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- Institut für Anglistik und Amerikanistik (24) (remove)
This article offers an in-depth analysis of one particular type of meta-talk. It looks at how speakers use the meta-pragmatic claim to have previously communicated ('said' or 'meant') the same as, or the equivalent of, what their interlocutor just said. Through detailed sequential analyses, it is shown that this claim is frequently used as a practice for disarming disaffiliative responses and thus to manage (and often resolve) incipient disagreement. Besides unpacking the precise mechanisms underlying this practice, the paper also takes stock of the various (and partly variable) lexico-morpho-syntactic, prosodic and bodily-visual elements of conduct that recurrently enter into its composition. Since the practice essentially rests on the speaker’s insinuation of having been misunderstood by their co-participant, its relationship to the organization of repair will also be discussed. It is argued that the practice operates precisely at the intersection of stance-management (agreement/disagreement) and repair, and that it exhibits features which reflect this intersectional character. Data are in English.
Deep into the second half of the twentieth century the traditionalist definition of India as a country of villages remained dominant in official political rhetoric as well as cultural production. In the past two decades or so, this ruralist paradigm has been effectively superseded by a metropolitan imaginary in which the modern, globalised megacity increasingly functions as representative of India as a whole. Has the village, then, entirely vanished from the cultural imaginary in contemporary India? Addressing economic practices from upper-class consumerism to working-class family support strategies, this paper attempts to trace how ‘the village’ resurfaces or survives as a cultural reference point in the midst of the urban.
This paper argues that the texts surviving from the Old English period do not reflect the spoken language of the bulk of the population under Anglo-Saxon elite domination. While the Old English written documents suggest that the language was kept remarkably unchanged, i.e. was strongly monitored during the long OE period (some 500 years!), the spoken and "real Old English" is likely to have been very different and much more of the type of Middle English than the written texts. "Real Old Engish", i.e. of course only appeared in writing after the Norman Conquest. Middle English is therefore claimed to have begun with the 'late British' speaking shifters to Old English. The shift patterns must have differed in the various part of the island of Britain, as the shifters became exposed to further language contact with the Old Norse adstrate in the Danelaw areas and the Norman superstrate particularly in the South East, the South West having been least exposed to language contact after the original shift from 'Late British' to Old English. This explains why the North was historically the most innovative zone. This also explains the conservatism of the present day dialects in the South West. It is high time that historical linguists acknowledge the arcane character of the Old English written texts.
This article explores a recent performance of excerpts from T.S. Eliot’s Four Quartets (1935/36–1942) entitled Engaging Eliot: Four Quartets in Word, Color, and Sound as an example of live poetry. In this context, Eliot’s poem can be analysed as an auditory artefact that interacts strongly with other oral performances (welcome addresses and artists’ conversations), as well as with the musical performance of Christopher Theofanidis’s quintet “At the Still Point” at the end of the opening of Engaging Eliot. The event served as an introduction to a 13-day art exhibition and engaged in a re-evaluation of Eliot’s poem after 9/11: while its first part emphasises the connection between Eliot’s poem and Christian doctrine, its second part – especially the combination of poetry reading and musical performance – highlights the philosophical and spiritual dimensions of Four Quartets.
In this article, it will be argued that the concept of functional layering – an extension of Hopper’s (1991) concept of layering – can be fruitfully applied to understand the mechanisms behind the sometimes large and messy looking synchronic picture of diverse meanings which one and the same construction can fulfill at a particular point in time. The concept will be used to account for the meaning spectrum of the present-day English progressive, which, it will be argued, no monosemic approach to date can account for. Taking a look at the diachrony of the construction will help to reveal that the various “exceptions” found in the use of the progressive can be understood as reflections of different stages in its development. Older, less grammaticalized or less well-defined usage patterns thus often survive in certain restricted niches next to the newer, more grammaticalized or more clear-cut functions, representing different diachronic layers. In addition to this diachronic motivation for synchronic meaning variety, the article will also address the crucial question of how a present-day hearer of a progressive form is able to decode the specific meaning intended by the speaker based on contextual clues. The article ends with some suggestions for further applications of the concept of functional layering.
Rezensiertes Werk:
George, Rosemary Marangoly, Indian English and the Fiction of National Literature - Cambridge: Cambridge University Press, 2013. - Hb. viii, 285 pp. - (Zeitschrift für Anglistik und Amerikanistik ; 62(4)) ISBN 978-1-107-04000-7.
La carte de Tupaia constitue l’un des artéfacts les plus célèbres et les plus énigmatiques à émerger des toutes premières rencontres entre Européens et îliens du Pacifique. Elle a été élaborée entre août 1769 et février 1770 par Tupaia, prêtre ’arioi, conseiller royal et maître de navigation originaire de Ra’iātea, aux Îles Sous-le-Vent de la Société. En collaboration avec divers membres d’équipage de l’Endeavour de James Cook, en deux temps distincts de cartographie et trois ébauches. L’identité de bien des îles qui y figurent et la logique de leur agencement demeuraient jusqu’à présent des énigmes. En se fiant en partie à des pièces d’archives restées ignorées, nous proposons, dans ce long essai, une nouvelle compréhension de sa logique cartographique, une reconstitution détaillée de sa genèse et donc, pour la toute première fois, une lecture exhaustive. La carte de Tupaia n’illustre pas seulement la magnitude et la maîtrise de la navigation polynésienne, elle réalise aussi une remarquable synthèse représentationnelle de deux systèmes d’orientation très différents.
Luhmann in the Contact Zone
(2014)