This paper derives from an M.A. dissertation on Stephen Crane (“Reading ‘The Monster’,” Brown University, 1989). It examines the critical reception of Stephen Crane’s story ‘The Monster,’ with a special focus on the issue of racial representation and on the way authorial intentions bearing on this issue are constructed by critics. The critical approach expands narratological analysis in the direction of the sociology of literature, in this case through reception aesthetics. Focusing on racial representations and attitudes, the paper upholds the relevance of authorial intention as a critical concept, understanding criticism as a specific discursive discipline or “language game,” on the basis of the continual use critics make of this concept in order to make sense of the works they read. At the same time, the limits of such intentions are shown to be ideologically determined in the critical act. Interpretation emerges, therefore, as an interactive practice which is often blind to the discursive conventions that enable it.
Inspired by Samuel Beckett’s attenuation of language, the French Nobel Prize laureate Gao Xingjian has conducted various language experiments in his literary creations in the past two decades. Gao’s literary works, as Diaspora literature, have received extensive attention from European readers due to their Western modernist literary style, the author’s anti-institution attitude, and the classical Chinese aesthetics pursued in his literary creations. In this paper I examine how the classical Chinese aesthetics and the influences of European modernism and French postmodernism collide towards an expression of an inner stress of immigrant identity. It employs linguistic anthropology to explore the chronotopes and language ideologies embedded in Gao Xingjian’s literary language. I use Gao’s fictions published after he emigrated to France as case studies. The literary language of Gao’s two fictions are thick with various aesthetic and poetic traditions in Chinese history and geography. However, Gao also conflates the desire to violate his native language with the retrospection of Chinese language and culture from a stance of his new immigrant identity. With detailed analysis of the literary devices including the juxtaposition of time-space configurations, the interactions of diversified language elements, the micro-histories and political geographies embedded in his travel literatures, I look into how Gao’s literary language responds to the complex Chinese language institutions and the influence of European modernism and French postmodernism. This paper is one of the first few attempts of using linguistic anthropology methods to study the relationship between Chinese Diaspora literature and the European political and cultural roles for immigrants. It contributes to the recent hot debates on immigrant cultural diversity in Europe.
Sociolinguistics, language contact, bilingualism, language use and attitudes, qualitative methodology, ethnographic research.
Spanish, Valencian, English.
Annotations on V. N. Voloshinov’s study “Marxism and the Philosophy of Language” (1929), on topics such as reflexion vs. refraction, consciousness and signs, language and ideology, Saussurean structuralism, verbal interaction, and theme vs. meaning.
Sumerian and Akkadian language contact in the early part of the second millennium BCE. The article discusses prevalent language ideologies based on native metalinguistic discourse in comparison with language use in practice with the phrase mu—pad₃ = nīš—itma ‘(s)he swore an oath’ as a case study.
This volume began with the question: what analytical possibilities can scholarly work on language ideologies offer the study of media? Studying media ideologies is not new, but calling the metalanguage that emphasizes the technology or bodies through which we communicate a “media ideology” is. By examining media ideologies, the authors in this volume are building on previous ethnographies of how people on the ground understand the ways the medium shapes the message (see e.g., Barker 2008; Schieffelin 2000; Spitulnik 1998/1999). Media ideologies as a term can sharpen a focus on how people understand both the communicative possibilities and the material limitations of a specific channel, and how they conceive of channels in general.
Have you ever thought about the language you speak? If the answer is yes, surely you might have wondered: Where does my language come from? How does it change? What are its relationships with other languages? How do its literary and cultural production reflect such evolution and connections? In this course we will approach classic works of Spanish literature within the methodological frame of linguistic historiography, and the reading and analysis of these texts will help us understand how the Spanish language changes overtime, and challenge us to find answers for the above questions and many others in relation to linguistic attitudes and the historical construction of linguistic identity.
My current research focus is on ideologies in literature across cultures.
When U.S. college students tell breakup stories, they often indicate what medium was used for each exchange. In this article, I explore what this practice reveals about people’s media ideologies. By extending previous scholarship on language ideologies to media, I trace how switching media or refusing to switch media contributes to the labor of disconnecting the relationship, determining whether phrases such as “it’s over” are effective or not.
This study attempts to investigate the salient features of Turkish literary criticism through deconstructing the concepts of language, aesthetics and ideology intersecting the disciplines of sociology and history. It questions the nationality of the self-evident category of “Turkish literature” exploring in what ways the Turkish Literary Criticism operates in relation to its aesthetics and ideology. While discussions on nationalism invite us to reconsider Turkish Literature vis-a-vis post-colonial framework, the limitations of this framework for the Turkish literary studies are put to contest. Instead of inserting theoretical standpoints to fit into Turkish Literary criticism, this paper elaborates on interrelated concepts to fashion a stratified literary critical framework.