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Beyond humanitarianism
(2022)
While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.
This book endeavours to understand the seemingly direct link between utopianism and the USA, discussing novels that have never been brought together in this combination before, even though they all revolve around intentional communities: Imlay’s The Emigrants (1793), Hawthorne’s The Blithedale Romance (1852), Howland’s Papas Own Girl (1874), Griggs’s Imperium in Imperio (1899), and Du Bois’s The Quest of the Silver Fleece (1911). They relate nation and utopia not by describing perfect societies, but by writing about attempts to immediately live radically different lives. Signposting the respective communal history, the readings provide a literary perspective to communal studies, and add to a deeply necessary historicization for strictly literary approaches to US utopianism, and for studies that focus on Pilgrims/Puritans/Founding Fathers as utopian practitioners. This book therefore highlights how the authors evaluated the USA’s utopian potential and traces the nineteenth-century development of the utopian imagination from various perspectives.
Vignetten
(2004)
The parallel-opposition construction has not yet been widely described as an independent construction type. This article reports on its realization in everyday British-English conversation. In particular, it focusses on prosodic projection in the lexically and syntactically unmarked first component of this syntactic pattern, and thus adds to the body of research investigating the organization of turn-taking in the context of bi-clausal constructions with which the first part lacks explicit lexical hint, to their continuation. It is shown that the parallel-opposition construction, next to specific semantic-pragmatic, syntactic and lexical features, also exhibits a relatively fixed range of prosodic features in the first conjunct, among these narrow focus, continuing intonation and/or the avoidance of intonation-unit boundary signals. These are used to project continuation of an otherwise complete utterance and, thus, to secure the floor for the expression of contrast. In addition, the detailed analysis of apparently deviant cases, which takes into account the on-line production of syntax, shows that a lack of prosodically projective features in the first component of the parallel-opposition construction can be explained by the strategic, retrospective use of the construction to resolve problems in turn transition.
“Chunking” spoken language
(2021)
In this introductory paper to the special issue on “Weak cesuras in talk-in-interaction”, we aim to guide the reader into current work on the “chunking” of naturally occurring talk. It is conducted in the methodological frameworks of Conversation Analysis and Interactional Linguistics – two approaches that consider the interactional aspect of humans talking with each other to be a crucial starting point for its analysis. In doing so, we will (1) lay out the background of this special issue (what is problematic about “chunking” talk-in-interaction, the characteristics of the methodological approach chosen by the contributors, the cesura model), (2) highlight what can be gained from such a revised understanding of “chunking” in talk-in-interaction by referring to previous work with this model as well as the findings of the contributions to this special issue, and (3) indicate further directions such work could take starting from papers in this special issue. We hope to induce a fruitful exchange on the phenomena discussed, across methodological divides.
Against „Values“?
(2022)
Im Kontext fortschreitender Globalisierung, die sich durch zunehmende Migrationsbewegungen, weltweite Mobilität und globale Kommunikationsformen auszeichnet, ist es nicht länger möglich, ‚Kultur‘ nationalstaatlich im Sinne einer geteilten Sprache und homogen anerkannter Wertordnungen zu verstehen. Vielmehr sind Gemeinschaften unter Bedingungen der Globalisierung sprachlich und kulturell so heterogen geworden, dass Sprecher*innen, die die gleiche ‚Sprache‘ sprechen, nicht die gleichen objektiven Bedeutungen indizieren, sondern stattdessen auf subjektive Erinnerungen, unterschiedliche moralische Ordnungen, Wahrheiten und Überzeugungen verweisen.
Today’s focus on the 1930s as a time of radical politics paving the way for the apocalypse of the Second World War ignores the complexity of the decade’s cultural responses, especially those by British women writers who highlighted gender issues within their contemporary political climate. The decade’s literature is often understood to capture the political unrest, either narrating people’s chaotic movement or their paralysed shock. This book argues that 1930s novels collapse the distinction between movement and standstill and calls this phenomenon Dynamic Stasis. This Dynamic Stasis thematically and structurally informs the novels of Nancy Mitford, Stevie Smith, Rosamond Lehmann and Jean Rhys. By disrupting the oft-repeated cliché of the 1930s as the age of political extremes, gender politics and negotiations of femininity can emerge from the discursive periphery. This book therefore corrects a persistent gender blind spot, which opens up a (re)consideration of authors that have been overlooked in literary criticism of 1930s to this day.