Prosody, polyphony and politeness: A polyphonic approach to prosodic configurations common to French and Spanish

From a theoretical perspective based on the Theory of Argumentation in Language (Théorie de l’Argumentation dans la Langue – TAL) and the Theory of Polyphony (Théorie de la Polyphonie Énonciative – TPE), the present study describes and analyses polyphonic configurations that are disclosed through the use of certain voice traits; configurations which, unmistakably common to both French and Spanish, are manifested by what is said and what is prosodically shown in utterances. Within a French corpus and a Spanish corpus of naturally occurring discourse, the patent polyphonic dimension of intonation has been explored in order to demonstrate that locutors’ utterances themselves reveal the orientation of enunciation through both the marking of the lexical and grammatical components and the prosody within which they are embedded. Through this study, the authors show how the locutor – the discursive character presented by the utterance as responsible for its enunciation – puts on stage a multiplicity of enunciators, or viewpoints, which allow him or her to protect the image of self, i.e., the locutor’s own image, and expose, protect or enhance that of others. Polyphony is materialized in two different ways: one in which the enunciator embodied in the prosody reinforces the locutor’s assimilation to the wording of the utterance and another in which the enunciator corresponding to the intonational feature does not match what is expressed through words.Fil: Garcia Negroni, Maria Marta. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Lingüística; ArgentinaFil: Caldiz, Adriana Mabel. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Departamento de Lenguas Modernas; Argentin

WRITING UTOPIA NOW: Utopian Poetics In The Work Of Theresa Hak Kyung Cha

This thesis examines Theresa Hak Kyung Cha’s DICTEE (1982), Audience Distant Relative (1977) and Reveillé dans la Brume (Awakened in the Mist) (1977). The premise of the thesis is an exploration of the various ways in which these works both perform and gesture toward the possibility of a ‘utopian’ experience of nonalienation. In Cha’s vocabulary, this takes the form of ‘interfusion’ and is related to the role of the artist as alchemist. Cha employs formal and linguistic innovations in her text, mail art and performance works to invite active participation from her readers and audience in a gesture toward embodied intersubjectivity. Her grappling with the challenges relating to the articulation of subjectivity place her work at the centre of contemporary critical debates around subjectivity and innovative poetics. In particular, recent scholarship on race and the poetic avant-garde has called for cross-disciplinary approaches to reading DICTEE as a text that explores the intersections of subjectivity and its performance in contemporary innovative poetics. Developing a theory of Utopian Poetics from my reading of Ernst Bloch’s utopian philosophy, I explore the ways in which DICTEE and Cha’s other works perform a yearning for non-alienated subjectivity that remains necessarily open and incomplete. My reading of DICTEE, in particular, is primarily informed by my own practices of yoga and meditation, and these practices form the basis of both my scholarly and creative engagements with this research. This scholarly thesis comprises Part 1 of a two-part submission. Part 2 comprises my own creative experiments with UtopianPoetics

Doing and Showing

The persisting gap between the formal and the informal mathematics is due to an inadequate notion of mathematical theory behind the current formalization techniques. I mean the (informal) notion of axiomatic theory according to which a mathematical theory consists of a set of axioms and further theorems deduced from these axioms according to certain rules of logical inference. Thus the usual notion of axiomatic method is inadequate and needs a replacement.Comment: 54 pages, 2 figure

Smoothie or Fruit Salad? Learners’ Descriptions of Accents as Windows to Concept Formation

This paper explores the linguistically naive descriptions which one set of EFL learners provided when identifying and describing accents. First and second-year English majors at a French university were asked to do two tasks. First, they listened to two extracts to determine whether the speaker’s accent sounded more British or American, and to explain which features helped them to decide. Later they answered two questions: a) What do you do when you want to sound more like an American? and b) more like a British person? The analysis of their answers highlights learners’ underlying representations of accents as well as concept formation in relation to English pronunciation. I argue that this cognitive aspect of L2 learning should be addressed explicitly in instruction

The current status of oral reading in professional literature

Thesis (M.A.)--Boston Universit

How to return to subjectivity? Natorp, Husserl, and Lacan on the limits of reflection

This article discusses the recent call within contemporary phenomenology to return to subjectivity in response to certain limitations of naturalistic explanations of the mind. The meaning and feasibility of this call is elaborated by connecting it to a classical issue within the phenomenological tradition concerning the possibility of investigating the first-person perspective through reflection. We will discuss how this methodological question is respectively treated and reconfigured in the works of Natorp, Husserl, and Lacan. Finally, we will lay out some possible consequences of such a cross-reading for the conception of subjectivity and the concomitant effort to account for this dimension of first-person experience in response and in addition to its omission within the standard third-person perspective of psychological research

Structures in Crisis: A Narrative Approach to Asghar Farhadi’s Films

This paper proposes an exploration of the films of Iranian director Asghar Farhadi. It employs a methodology based on textual analysis, focusing specifically on the structural design of his films and the focalization processes of his scripts. It shows how Farhadi’s work can be understood as a coherent research project with a uniquely solid model based on chronological linearity as a way to explore the violent breakdown of different emotional communities: families, marriages, groups of friends, etc. At the same time, it considers how all the focalization processes in his films are oriented toward two main concepts: knowledge (of the characters, but also of the audience) and pain (of living in a [narrative] world afflicted by meaninglessness)

Doing voices: reading language as craft in black British poetry

This is the author's final draft post-refereeing as published in The Journal of Commonwealth Literature published online 14 April 2014 DOI:10.1177/0021989414529121. The online version of this article can be found at: http://jcl.sagepub.com/content/early/2014/04/11/0021989414529121This essay offers a detailed exploration and comparative reading of two poems published 20 years apart: John Agard’s “Listen Mr Oxford Don” (1985), and Daljit Nagra’s “Kabba Questions the Ontology of Representation, the Catch-22 for ‘Black’ Writers…” (2007). The former poem is well-known, being regarded by a range of scholars as the acme of (and often, shorthand for) self-reflexively dialogic black British voice poetry, as it emerged in the 1980s, that plays off the friction between writing and speech. The latter is a complex and satirical take on poetic convention and canonicity – including the legacies of 1980s black British poetry – that exploits a tension between written poetic convention and artifice on the one hand, and the idea of the voiced poem as conveying “presence” or “authenticity” on the other. Both poems direct us towards a structuring paradox in which the embodied immediacy of human voice is mediated through the graphic conventions of written poetry. Reading these poems together, the essay considers on the one hand, how ideas about poetic form, language, and voice emerge out of particular historical junctures; and on the other, how such attentiveness to context can help us to develop techniques of a postcolonial “close reading”, eschewing totalizing formulae or summative evaluations of linguistic dissidence