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The Taming of the Text : Explorations in Language, Literature and Culture

01 Jan 1989-The Journal of Aesthetics and Art Criticism (Routledge)-Vol. 47, Iss: 2, pp 202
TL;DR: The authors explored the ways in which language constitutes textual functions, ranging from mediation to manipulation, from questioning to commanding, and from narrative to Bakhtin's theory of literary communication, and provided a view of the social functioning of texts, taking account of linguistic, literary and cultural elements.
Abstract: This study attempts to explore the ways in which language constitutes textual functions, ranging from mediation to manipulation, from questioning to commanding, and from narrative to Bakhtin's theory of literary communication The contributors provide a view of the social functioning of texts, taking account of linguistic, literary and cultural elements They bring together new perspectives on literary analysis and theory, on pragmatics and discourse analysis, as well as on text linguistics and reception theory Various types of text are examined - descriptions, travel accounts, dialogues, press columns, recipes, poetry and drama - including work by Brecht, Camus, Defoe, Frost, Harrison, Larkin, Plath and Shakespeare
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Journal ArticleDOI
TL;DR: The authors examines how speech representation in Japanese journalistic discourse reflects and reproduces the social structure in Japan and the identity of the Imperial Family and argues that this practice mirrors the Japanese media's ideology that the Imperial family belongs to a noble class.
Abstract: This article examines how speech representation in Japanese journalistic discourse reflects and reproduces the social structure in Japan and the identity of the Imperial Family. Japanese newspapers tend strongly to quote the Imperial Family verbatim, which supports the thesis `the higher the status of the speaker, the more direct the presentation' (Glasgow University Media Group, 1980; Davis, 1985). On the other hand, Japanese newspapers also tend to quote those who address the Imperial Family verbatim, which suggests that not only the more elite the speaker, but also the more elite the addressee, the more verbatim the presentation. I argue that this practice mirrors the Japanese media's ideology that the Imperial Family belongs to a noble class. However, there has been a sign of change in the quoting practice since the Crown Prince got married in June 1993. This change may contribute to constructing new power relations and identities in Japanese society.

25 citations

Dissertation
26 Sep 2018
TL;DR: In this paper, a cognitive framework for character impression formation is proposed based on the cognitive concept of schema, which is inscribed within the cognitive stylistics theories and analytical frameworks, and explores the question of how narrative film viewers presumably understand characters and make impressions about them as a result of the interplay of different types of schema.
Abstract: This thesis deals with the cognitive process of cinematic character construal and explores the question of how narrative film viewers presumably understand characters and make impressions about them as a result of the interplay of different types of schema. Based on the cognitive concept of schema (Barlett [1932] 1995), Speech Act Theory (Austin, 1962; Searle, 1969) and cognitivist film theory (Bordwell,1985), a cognitive framework, which is inscribed within the cognitive stylistics theories and analytical frameworks, is proposed for character impression formation. The model posits that viewers understand characters in terms of the interactions between three planes of background knowledge: 1. Social knowledge (knowledge of real-life people, social roles, and interpersonal relations), 2. Narrative film knowledge (knowledge of film narrative, style and techniques), 3. Pragmalinguistic knowledge (knowledge of linguistic and pragmatic norms. The focus of the linguistic plane is on Speech Act Theory). This research argues that film draws on medium-specific, multimodal devices to tell the story and create characters. With regard to the multimodality of film discourse, this thesis suggests a toolkit for character creation and comprehension. The three planes of social, film and pragmalinguistic schemas and also the marked aspects of the suggested cinematic character creation toolkit are all applied to three art auteur films: The Piano Teacher (2001), Autumn Sonata (1987), and Ten (2001), whose comprehension is challenging for viewers Pragmalinguistic because of their deviations from the conventional norms of Hollywood cinema in terms of narrative, characterization, cinematic style and techniques. Methodologically, this analysis is informed by multimodal analysis (Kress and van Leeuwen, 1996), and multimodal transcription (Baldry and Thibault, 2006) in particular, which consider text as an ensemble of different communication modes all of which contribute to meaningmaking. Thus, this analysis presents a detailed account of viewers’ plausible understanding trajectory, and an explanation of linguistic and visual/cinematic strategies to narrative (as the context in which characters are created and developed), and particularly character creation within the scope of the films mentioned above.

24 citations

Journal ArticleDOI
01 Apr 1996-Poetics
TL;DR: The authors assess and compare two attribution theories, both of which are designed to explain how we infer aspects of personality in real life situations, and highlight the apparent mutual incompatibility of these theories.

21 citations

Dissertation
01 Jan 2007
TL;DR: The poesie de Tony Harrison as mentioned in this paper is inclassifiable, in the sense that it is iconoclaste and traditionaliste, populaire et elitiste, pudique et publique, inclusive and exclusive.
Abstract: Parce qu’elle louvoie constamment entre les extremes, surprenant son public la ou il ne s’y attend pas, la poesie de Tony Harrison est inclassifiable. A l’instar de l’ironie, son mode d’ecriture privilegie, elle est a la fois iconoclaste et traditionaliste, populaire et elitiste, pudique et publique, inclusive et exclusive. Tony Harrison imprime sa marque dans le canon, entre resistance et rebellion, fidelite et originalite, grâce a des traductions audacieuses de textes dramatiques classiques. De meme, il revisite la forme sonnet, confronte la langue poetique aux theories sur l’hegemonie culturelle et invite la problematique galvaudee du scholarship boy dans l’Angleterre thatcheriste. Dans sa quete d’une poesie publique, ce trouble-fete socioculturel s’approprie des media, ainsi que des lieux de production et de representation non-conformistes. Brouillant les frontieres generiques entre poesie, theâtre et cinema, entre art et reportage, Tony Harrison impose les rimes et les formes strictes, apparaissant paradoxalement comme le plus traditionaliste des poetes anglais contemporains. Il revisite ainsi l’esthetique tragique pour que la poesie survive aux traumas du vingtieme siecle, tout en exhibant une tendance irrepressible a l’ironie. De la ritualisation de la representation theâtrale a la mise en scene de la litterarite, la poesie de Tony Harrison s’offre en spectacle, ecumant les poetes, les langues, les dialectes et les idiolectes pour celebrer les plaisirs de l’ecriture

20 citations