The standardization of minority languages has little room in language policy and language planning because models of nation-state building are generally not designed to accommodate minority languages, while standardized minority languages often lead to challenges for the state. This chapter reviews how various ideologies, such as nationalism, nationism and patriotism, interact with nation-state building and globalization in shaping approaches to the standardization of minority languages. As a case study, it examines how China, adopting the Soviet model of multinational state building, technically standardized minority languages in a two-track multilingual system where standardized Chinese functioned as the main track and standardized minority languages functioned as the satellites of an eventual linguistic integration. Since the failure of this model in the 1990s, globalization has created opportunities in China through transnational institutions, such as UNESCO and ISO, and technical revolutions, such as the Internet, for bottom-up efforts at the standardization of minority languages. The case shows a trajectory from the state monopoly of the agency of standardization to the diversity of the agency among the state, local communities and the global community. This development appears to be the future of the standardization of minority languages in multilingual nation-states in an age of globalization.

This chapter focuses on David Garrick as the most important catalyst for acoustic change in the eighteenth and early nineteenth century. His naturalistic style of acting has often been discussed within the wider context of the Enlightment. Largely overlooked, though, is the impact of his voice, which was notoriously marked by regional inflections, and of his debut as Richard III in one of London's illegitimate theatres, on two important movements, led by two men, both called John Palmer. These two movements aimed to widen access to Shakespeare by obtaining licences for regional theatres and by encouraging non-professional actors, amateurs and enthusiasts from lower-status social groups to perform Shakespeare in non-conventional venues, ranging from minor or private theatres, to smaller performance houses and song and supper clubs.