International journal of literary linguistics
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In a similar way to dramatic performances and plays, song lyrics establish a complex discourse structure whereby listeners are placed in a position to overhear ‘the pretence of a conversation constructed to convey the performer’s meaning’ (Nahajec 2019: 25; see also Short 1996: 169). In Swift’s songwriting, listeners are positioned not only to eavesdrop on the narratives presented, but are also invited to conceptualise and enact particular roles and scenarios in the discourse. This paper offers a stylistic analysis of songwriting and narrative structure across Swift’s oeuvre to identify how disnarration strategies are used to build stories in her two sister albums written and produced during the Covid-19 pandemic, folklore (2020) and evermore (2020). Specifically, this study examines how disnarration characterises the albums’ narrators, establishes narrator-narratee relationships and invites listeners to adopt a participatory role in the meaning-making process. Through close analysis of four songs across the two albums, this paper builds on developing studies of the stylistics of songwriting (see West 2019), and argues that disnarration strategies foreground particular themes within the discourse, such as nostalgia, wistfulness and regret, and contribute to the fictionalisation and self-aware storytelling characteristic of these albums’ storyworlds.
The aim of this article is to show how linguistic and literary studies can benefit from the joint analysis of linguistic structures in poetry. Firstly, the analysis of poetry has an important impact on linguistic theory as it leads our attention to specific structures and meanings that so far have not been considered. Secondly, a close linguistic analysis can reveal hitherto overlooked facets of meaning which have a great significance for the overall interpretation of a poem. We focus on Bare Root Infinitives (BRIs) in German. As they lack the features for tense, mood, person and number, they are more flexible in meaning than finite forms. When looking at poetry, besides the well-known deontic and bouletic meanings (cf. Reis 1995, 2003; Gärtner 2014) a third meaning that we call reactive meaning stands out. Remarkably, this reactive meaning can also be found in everyday language. Its specific semantic properties show that a semantic analysis of BRIs in the style of Kaufmann (2012) is adequate: modality, but not non-referentiality, is a grammatically given semantic property of BRIs. The specific case study of the poem ‘muster fixieren’ (‘fixing patterns’) by Nico Bleutge reveals how the restricted context of the poem interacts with the different interpretations of BRIs, resulting in a complex interpretation of the text.
The (mis)management of rapport amongst groups in Niger Delta (ND) communities has become a significant issue, which Ahmed Yerima's Hard Ground (HG) depicts as having the capacity to aid or control the conflicts in the region. Linguistic studies on Yerima's drama from the perspective of pragmatics have tended to use pragmatic acts to identify the discourse value of proverbs and functions of characters' utterances but have not accounted for the politeness strategies utilised for rapport management, especially in conflict situations. This article, drawing on a rapport management model of politeness and aspects of speech act discourse, identifies the face, sociality rights, and interactional goals that characterise the conflict-motivated dialogues sampled in HG, and reveals the rapport management (RM) strategies through which these are managed in the text. Three conflict situations can be observed as prompting different RM strategies: cause-effect identification (CEI), militancy support (MSP), and disagreement (DSG) situations. CEI is marked by incriminating (involving eliciting and informing acts) and exonerating (including complimenting and acknowledging acts) strategies; MSP is indexed by strategies of persuasion (realised with face-enhancing/threatening acts), whereas DSG is typified by requesting (featuring explicit head acts and alerters) and blaming strategies (including insulting and threatening, aggravating moves). Generally, the requesting, blaming, and exonerating strategies are largely used by the ND youth in HG to probe, threaten, or disagree on specific issues, while the incriminating and persuasion strategies are mainly employed by the women to indict, influence, and predict future actions. The study of RM in the conflict situations depicted in the play sheds light on the often neglected cause of conflicts in contemporary Africa.
Four main informational elements have been suggested and studied as central aspects of narrative discourse: causality, character, location, time. The research that scholars have previously undertaken on these aspects has been primarily on Indo-European languages, and more specifically on the European side of that language family. The linguistic limitations have indicated that character is the aspect of narrative that readers/listeners attend to most closely. However, in examining narrative discourses from non-Indo-European languages, challenges to the presumed primacy of character emerge. In a partial report on field work conducted in Borneo in 2012-2015, I compare and contrast patterns in the rankings of the four main aspects of narrative in three languages, English, Hobongan and Daqan. I also note the strategies by which the languages make their respective rankings clear, including focus particles (Hobongan), specificity of description (each), and amount of information provided about the aspects (each). I suggest that analyses of the patterns and rankings of information in narrative be included in typological categorizations and linguistic descriptions of languages.
"You don’t mind my calling you Harry?" : Terms of address in John Updike’s "Rabbit" tetralogy
(2020)
This paper examines the use of address terms in John Updike’s Rabbit tetralogy (Updike 1995). The first part of the analysis provides a comprehensive overview of the great variety of terms used to address the protagonist, Harry Angstrom, in the decades covered by the novels. The second part focuses on two important side characters, Reverend Eccles and Harry’s mother-in-law. It demonstrates how address term usage with these two characters reflects ongoing changes in their relationship with Harry. The main aim of the paper is to demonstrate the potential of fictional data for the study of address terms and, in return, to capture the manifold functions of address terms as a literary device in fiction.
The shared communicative act of theatrical texts in performance: a relevance theoretic approach
(2020)
This article adopts a relevance theoretic approach to meaning making in theatrical texts and performances. Theatrical texts communicate immediately to multiple audiences: readers, actors, directors, producers, and designers. They communicate less directly to the writer’s ultimate audience – the playgoer or spectator – through the medium of performance. But playgoers are not passive receptacles for interpretations distilled in rehearsal, enacted through performance, or developed in study and reflection. Rather, in the framework of communication postulated by relevance theory, the audience is an active participant in making meaning. I will briefly review a range of approaches to meaning making in theatre, and then outline my view of a relevance theoretic account of the vital contributions of the audience in constructing the interpretation of performance, treating it as a communicative act.
Combining the methods of linguistics and literary criticism, this article takes a fresh look at two texts that have been analysed ad nauseam: Henry James’s The Portrait of a Lady and Edith Wharton’s The Age of Innocence. I use James’s late style as a touchstone to compare and contrast the two texts. Analysing syntax by means of close textual analysis of the novels’ opening paragraphs as well as their metaphorical language, and employing the corpus analysis programme AntConc to survey the entire texts, I aim to show that James’s 1880 text anticipates his late style and Wharton’s 1920 text appropriates it to suit her own agenda. However, in respectively anticipating and appropriating this style, James and Wharton create different effects. James intensifies his female protagonist’s ‘world of thought and feeling’ (Eliot 1963: 56), creating a fictional world with literary equality for both genders, while Wharton subverts gender roles in a scathing critique of Gilded Age society, which did not allow for this other ‘world of thought and feeling’. In addition to positioning both novels as feminist, this article compares Wharton’s writing to James’s, but without presupposing the latter’s influence on the former. Instead, acknowledging the fluidity of style, I aim to put forward a convincing case that there are subtle differences that make these authors’ styles Jamesian and Whartonian, respectively.
Linguistic research and linguistic activism have resulted in key changes to official language use. However, revisions remain contested and many English and German speakers continue to employ male generic terms. In this article I explore whether the encounter with sex-/gender-neutral terminology in June Arnold's novel 'The Cook and the Carpenter' can prompt readers to review their language use and consider alternatives. Based on narrative research, my premise is that fiction can create familiarity with new terms, which is the first step toward wider linguistic change. I frame my investigation with Wittgenstein's notion that "to imagine a language means to imagine a form of life", and put it to the test with a discourse analysis of English and German reader responses. The results of my study show that Arnold's novel stimulates fruitful debate around the issue of linguistic representation. Based on my findings, I propose to integrate literary texts which engage with the issue of sex/gender and language into educational settings to further promote neutral/inclusive language use.
This article presents an analysis of the police television series A Touch of Frost (Yorkshire Television, 1992) and the crime novels by Rodney Wingfield upon which it is based.
In order to analyse the way the protagonist, Inspector Jack Frost, is characterised in either version, data is drawn from the pilot episode of the series and Wingfield’s debut novel Frost at Christmas (1984). Wingfield was less than impressed with television’s version of Frost, stating, ‘He just isn’t my Frost’. The rationale for this article is to apply established models in stylistics to investigate the differences between the original and the adaptation. A core motivation for stylistics is to ‘support initial impressions in various extracts’ readings’ and to ‘describe the readers’ response with some precision’ (Gregoriou 2007: 19); this article therefore offers a close linguistic explanation for an author’s dissatisfaction with the adaptation of his own work. The famously reticent Wingfield did not elaborate in detail on why he disapproved of the television version of Frost, although several critics observed that Wingfield felt television had ‘softened’ his creation. This article contends that ‘softness’ is represented in language through politeness strategies adopted by speakers whilst impoliteness represents the ‘tougher’ speech of Wingfield’s original iteration of Jack Frost. In order to demonstrate this contention, this study will analyse pragmatic elements of the dialogue of both novel and television versions of Frost through the analytical framework for impoliteness developed by Culpeper (1996; 2010). This framework will be integrated into the model for analysing the elements of narrative outlined by Simpson and Montgomery (1995), in turn suggesting an elaboration of this model. In investigating whether television’s Jack Frost is ‘softer’ than the character envisaged by Wingfield, free direct speech and accompanying physical behaviour in novel and television adaptation are analysed, focussing on whether the perceived softness of the latter has been partly achieved by making the speech of Frost less impolite on television.
In this paper pronominalization is analyzed in reference to the fictional creatures in the literary work of Guillermo del Toro’ in order to study whether the choice of pronoun serves the function of expressing attitudes towards fictional creatures, such as zombies and vampires, in a way that makes the contexts and the characters’ subjective perceptions the dominant factors and consequently puts aside the semantic or grammatical status of the referent. The paper also investigates whether inanimate pronouns (it/its, which), are used in association with detached appraisal, callousness and dehumanization, and whether personal pronouns (he/his, she/her, and who/whom) are used with attachment, closeness and humanization. These two categories of pronouns (personal and inanimate) are normally distinct, i.e., in most contexts they cannot be used interchangeably. The study of the characteristics of fictional creature pronominalization can shed light on how we use pronouns in order to create creatures that exist only in our imagination, and how a variety of different attitudes towards them is expressed through this specific linguistic tool. In relation to del Toro’s zombies and vampires, it can be argued that the pronominalization serves a certain purpose in order to dehumanize them, differentiate the dead vampire/zombies from the living humans, and to point out the before and the after of the transition between life and death. The pronominalization in reference to fairies, although complicated and not completely consistent, shows a clear tendency towards a correlation between animal–like creatures and inanimate pronouns. In regards to del Toro’s trolls, the pronominalization follows a more consistent pattern, which clearly serves the function of expressing different kinds of attitudes towards the creatures such as detached appraisal and dehumanization, on the one hand, and friendship and alliance, on the other.
In this article, we profile an empirically grounded, cognitive approach to immersion in digital fiction by combining text-driven stylistic analysis with insights from theories of cognition and reader-response research. We offer a new analytical method for immersive features in digital fiction by developing deictic shift theory for the affordances of digital media. We also provide empirically substantiated insights to show how immersion is experienced cognitively by using Andy Campbell and Judi Alston’s (2015) digital fiction piece WALLPAPER as a case study. We add ‘interactional deixis’ and ‘audible deixis’ to Stockwell’s (2002) model to account for the multimodal nature of immersion in digital fiction. We also show how extra-textual features can contribute to immersion and thus propose that they should be accounted for when analysing immersion across media. We conclude that the analytical framework and reader response protocol that we develop here can be adapted for application to texts across media.
This paper discusses aspects of direct speech in James Joyce’s story "The Sisters". The story is often analyzed with special attention to the gaps and ellipses in the utterances, which are usually read as omissions, evasions, or uncomfortable silences, and thus as indicative of some transgressive behaviour of the dead priest who is at the centre of the dialogues. In this article we explore the hypothesis that the utterances in question show features that are quite common in natural spoken language and thus may also be read as literary techniques to create authentic oral discourse. This hypothesis is not intended to invalidate previous interpretations, but to introduce an additional aspect of interpretation that has been neglected so far. In the context of a literary work, features of natural spoken language acquire new meaning, and the very attempt to narrow the gap between literary and natural spoken language appears as inauthentic, ominous and as an artistic strategy to express the unspeakable. The story thus evokes suspicion and a feeling of eeriness while also offering narrative and linguistic information that allows for a more empathic assessment of the characters. We use quantitative methods of analysis and linguistic data from corpora of (authentic) spoken language to substantiate our hypothesis. As "The Sisters" is a rather short story and the present study is, in several respects, exploratory, our claims and hypotheses need to be confirmed and validated by more exhaustive research into Joyce’s major works.
In order to achieve the goals of social commentary and moral judgement pursued in her novels, Jane Austen describes and evaluates different aspects of her characters’ personalities: social attitude, intellectual qualities and moral traits (Lodge 1966). Mansfield Park (1814) is one of her novels in which this moral awareness is most acute. In order to construct a community of shared values with her readers, Austen skilfully alternates different points of view as sources of evaluation. We propose an analysis of the first chapter of Mansfield Park that addresses this dialogic dimension by focusing on the resources of engagement, the subsystem of Appraisal Theory with which speakers/writers express their commitment to the truth of a proposition and their willingness to open the negotiation space to other voices (Martin & White 2005: 97).
The linguistic subtlety and complexity of Jane Austen’s writing is a challenge to translators, who must try to identify all the concurrent interpretation possibilities and reproduce them in the target language. In this article we compare the English source text with various translations into Spanish, Catalan and German. Our analysis focuses on the lexicogrammatical realisations of engagement such as verba dicendi, epistemic expressions, lexical choices with a distinct attitudinal load, and also on the development of narration – as far as that is possible in a study centering on the first chapter –, since it is often the case that narrator stance is modified as the text unfolds.
We discuss fragments of narrator discourse, direct speech and indirect/free indirect speech and consider the advantages of the framework to uncover changes in the evaluative dimension of meaning that affect the readings the translations will afford in their target society, from character building to the articulation of points of view.
The present study investigates the representation of non-standardised varieties of English in literary prose texts. This is achieved by creating and annotating a corpus of literary texts from Scotland, West Africa, and Southeast Asia. The analysis addresses two major topics. Firstly, the extent of representation reveals clearly distinct feature profiles across regions, coupled with varying feature densities. Feature profiles are also relevant to individual characters, as certain traits such as social status, ethnicity, or age can be signalled by linguistic means. The second topic, accuracy of representation, compares the features observed in literary texts with descriptions of the actual varieties, and suggests that representations of varieties may differ from their real-life models in the sense that highly frequent features may be absent from texts, while less frequent but more emblematic ones, or even invented ones, may be used by authors to render a variety of English in their texts.
It has been noted (Perkins, 2009; Zwaan, 1999; Zwaan & Radvansky, 1998) that causality, character, location, and time are the four main aspects of narrative discourse, even if not attended to by listeners or readers in equal ways. For example, character is highly ranked, and the locational/spatial components have often been underestimated for English narratives (see Perkins, 2009, for a review). Relative to the ranking, there is no inherent reason why character needs to be highly ranked, and locational/spatial information is in fact important in English narrative discourse (Perkins, 2009). I instead suggest that there are linguistic and cultural factors in the ranking of these aspects of discourse. Specifically, I suggest that causality is (probably) the highest ranked component, in languages that have a ranking, with the other three elements being linked to causality more or less strongly, depending on linguistic and cultural factors; it is possible that some languages do not rank narrative elements or that some elements are ranked as highly as others. In English, the strongest link is between causality and character. However, this is not universal.
In a survey of fifty-eight languages from thirty language families, including an in-depth study of Hobongan, an Austronesian language spoken by approximately two thousand people on the island of Borneo that I am in the process of describing, it is found that there is a great deal of cross-linguistic variation, to the extent that it is possible that each logically possible combination of narrative elements is present in the world’s languages.
Abrupt switches between different tenses (past-to-present, present-to-past) are known from oral narratives and medieval literature in Romance languages, but there is little consensus about their function and interpretation. In this study, we combine corpus-linguistic tools with experimental methods and quantitative analysis to shed light on the use of tense switches in a medieval Icelandic prose text (Hrafnkels saga freysgoða). Specifically, we part-of-speech tagged all words in Hrafnkels saga freysgoða and then determined where verbs exhibit tense switches. In a second step, we had 19 subjects mark all parts in the saga they consider climactic so as to study the overall as well as subject-specific correlations between climaxness and tense switches. In the vast majority of subjects, we observe the expected correlation, and for most of these it is significant. We discuss the findings with regard to their implications for tense switching as a performative device and the position of sagas on an orality-literacy continuum.
Smith (1968) argues that poems may end with formal changes which produce an experience of closure in the reader. I argue that formal changes do not directly cause an experience of closure. Instead, changes in poetic form always demand increased processing effort from the reader, whether they involve new forms, shifts from more to less regular form, or from less to more regular form. I use relevance theory (Sperber and Wilson 1995) to argue that the increased processing effort encourages the reader to formulate rich and relevant thoughts, including the thought "this poem has closure". Closure is thus the content of a thought rather than a type of experience. I further argue that "closure" is a term whose meaning cannot be fully understood, which makes the thought "this poem has closure" into a schematic belief of the kind which Sperber shows has great richness and productivity. This is one of the reasons that the thought "this poem has closure" achieves sufficient relevance to justify the effort put into processing the end of the poem.
The article addresses the question of who reports the dialogue in fictional texts featuring an unreliable narrator. Since no human being can remember and reproduce lengthy conversations accurately, some narrative theorists attribute direct speech representation to the author instead of the character narrator. This means that the speech of other characters may be reported reliably even if the narrator is totally unreliable. The narrator’s version of the events may then be contradicted by others, which allows the reader to perceive his biases. However, Kazuo Ishiguro’s An Artist of the Floating World illustrates the fact that direct speech reports, too, can be distorted by the narrator’s subjectivity, especially his emotions. In Ishiguro’s novel, the narrator’s grief and depression lead him to misremember and invent past conversations. Following Meir Sternberg, the article argues that the reliability of speech reporting in unreliable narration must be determined on a case-by-case basis. The text must signal that the narrator’s speech reporting is unreliable. In the absence of a signal, the reader is supposed to disregard any deviations from verbatim reproduction and to accept the transgression of the limits of human memory.
This article approaches literary translation from a contact-linguistic perspective and views translation as a language contact situation in which the translator "moves" between the source and target language. The study touches upon the possible linguistic effects of the source text on the translated text and relates the translation-mediated cross-linguistic influence to other language-contact situations. The study investigates the use of Finnish passive in a corpus of literary texts consisting of Finnish translations from Estonian and German and comparable non-translated Finnish literary texts. The translated texts are compared with non-translated ones by using corpus-linguistic tools, and the results are related to a previous contact-linguistic study on the use of the Finnish passive in spoken interviews of Finnish migrants in Estonia. The main objective is to test methodological tools that could be used for this kind of comparative purposes.
In addition, the study approaches the question whether translation as a type of language contact affects the use of the Finnish passive in a similar way as an oral language contact situation. All in all, the study shows that there are some features that differentiate the investigated literary translations from non-translated Finnish texts but the evidence is not unambiguous. The article discusses the possible reasons for the mainly non-conclusive results of the analysis and points out factors that should be taken into account in future studies, such as the size of the sub-corpora and the possibly biased text or genre specific stylistic characteristics. The methodology clearly has to be adjusted and more in-depth methods developed in order to acquire a fuller picture of the Finnish passive in literary texts and to confirm what is author, translator, genre or source-language specific in the use of the Finnish passive.
This article analyzes the representation of linguistic variation in the Finnish translations of four Swedish coming-of-age stories depicting migrant or minority perspectives: Mikael Niemi’s 2000 Popular Music from Vittula, Jonas Hassen Khemiri’s 2003 Ett öga rött, Marjaneh Bakhtiari’s 2005 Kalla det vad fan du vill, and Susanna Alakoski’s 2006 Svinalängorna. Through an analysis of speech and thought representation techniques and focalization, the article explores the role played by literature and translation in the materialization of dialects and sociolects as bounded entities. The paper argues that linguistic and social hybridity, on which the reception of minority and migrant literatures often focuses, is accompanied by the reification of new varieties conceived as authentic expressions of migrant and minority experience. Literature and translation are active agents in such processes, which are largely based on cultural, discursive, and cognitive constraints that condition the interpretation of each text.
C’est trop auch! the translation of contemporary French literature featuring urban youth slang
(2016)
The French post-colonial novel has recently been witnessing the emergence of urban youth language or français contemporain des cités (Goudaillier 2001). This linguistic variety allows underprivileged youths from multi-ethnic suburbs to rebel against authority by deliberately violating standard language norms. Its characteristics include frequent lexical input from immigrant languages, in particular Arabic and English, and the use of verlan at the morphological level, with the latter involving a form of back slang using syllabic inversion, which can be recurrently applied to heighten its coding function. In view of the social rejection of this ‘antilanguage’ (Halliday 1978), it has had difficulty penetrating into literature. However, this is now beginning to change, with urban youth discourse appearing in a number of novels, mostly by young ‘post-migration’ writers (Geiser 2008), such as Faïza Guène, Insa Sané and Rachid Djaïdani. While this language variety has mainly been dealt with by sociolinguists, some of the novels concerned are now crossing borders, and a multi-disciplinary approach to this phenomenon is now called for, combining linguistic, literary and translatological tools.
The transfer of this heterolingual genre does indeed raise a number of issues. For example, if we assume that translation is a cultural-political practice (Venuti 2008), what options do translators have to convey the resistant discourse of young immigrant slang users? How will the relationship between language use and social identity manifest itself in the target text? And how can a contrastive linguistic analysis of the features of urban youth language help to resolve translation problems? I will draw on a corpus of French and Dutch novels as well as some translations from French in an attempt to answer these questions.
Several translation scholars have recognised translation as a form of discourse mediation or discourse presentation (see, for example, Mossop 1998). In line with this, "universals" of translation have also been re-framed in the larger context of discourse mediation, as mediation universals rather than something strictly translationspecific (Ulrych 2009). In the present article, this line of enquiry is developed by comparing some of the alleged universals of translation, namely standardization and explicitation, with insights from literary and narratological studies on the nature of discourse presentation. The notion of reportive or interpretative interference (Sternberg 1982) and Fludernik’s (1993) claim that all represented discourse is typical and schematic in nature seem to bear curious resemblance to the notion of standardization or normalization, posited as a possible universal of translation (Mauranen & Kujamäki 2004). Drawing on the results of my earlier research (Kuusi 2011), I present examples of free indirect discourse (FID) used in Dostoevsky’s novel Crime and Punishment with their translations into Finnish. Analyzing the translations, I demonstrate how in
translations, the narratological and literary-theoretical notions of reportive interference and typification/schematization coincide with the translation-theoretical notions of explicitation and standardization.
The article deals with Finnish translations of varieties of spoken language in fiction from the late 19th century to the beginning of the 2000s. It presents the central findings of a comprehensive study on the changes and developments of translational norms in Finnish literature. The study is based on a corpus consisting of 200 literary works (the original and its translations are counted as one work), representing various genres: literary fiction, young-adult fiction, as well as genre fiction (romance and crime). During this 100-year period, the use of colloquial variants in translations has strongly increased, influenced by the changing literary and linguistic norms of original Finnish literature. The norms of different literary genres, however, vary, and rich, non-standard variation can be found in translated works from different periods.
This article is a linguistic study of David Bellos’ indirect translation of Ismail Kadare’s The File on H (1997), a novel first published in 1980-1981 in the Albanian literary review Nëntori, and translated into English on the basis of Jusuf Vrioni’s French version, Le Dossier H (1989). Also called "double", "mediated" or "second-hand", indirect translation is an understudied phenomenon, often criticised by scholars because of its greater distance to the original. Cay Dollerup (2000: 23), for example, argues that the grammatical structure of the mediating language (ML) obscures the distinctions made in the source language (SL), and that possible "mistakes" in the ML may be repeated in the target language (TL). Do fidelity and loyalty to the author become weakened in Bellos’ indirect translation? To what extent is such weakening discernible linguistically? And does this particular case of indirect translation reveal notable patterns or recurring types of linguistic shifts between ST and TT? Showing that some of the features specific to Kadare’s Albanian writing are tempered in the doubly-translated English text, yet highlighting that similar shifts occur in the three language directions involved, this article demonstrates that changes between ST and TT may occur in indirect translation regardless of the strategies adopted by MT – thus challenging the hypothesis that linguistic shifts in indirect translation follow a single or consistent pattern.
Thomas Mann’s Der Tod in Venedig (1912) owes much of its fame in English to a translation from 1928 by Helen Tracy Lowe-Porter. The novella however has in fact been translated many times – first by Burke (1924, with a revised edition following in 1970), and, after Lowe-Porter, by Luke (1988), Koelb (1994), Appelbaum (1995), Neugroschel (1998), Chase (1999), Heim (2004), Doege (2007) and Hansen & Hansen (2012). Most of these versions are neither known to readers nor discussed in academic literature. This paper, which comes as part of a larger study on linguistic creativity in Der Tod in Venedig, focuses on the use of neologisms by Mann and what happens to them in (re)translation. Relying on a digital corpus composed of the complete set of English retranslations and a corpus-based methodology, the paper argues that, despite the extended time period between the publications and different translation conditions, neologisms are treated uniformly by the translators. Mann’s coinages are nearly always obliterated through normalisation and, if preserved, demonstrate less creativity overall than in the ST, raising questions about the Retranslation Hypothesis (RH) which proposes that early TT versions tend to domesticate while later ones increasingly foreignise.
This special issue of the International Journal of Literary Linguistics offers seven state-of-the-art contributions on the current linguistic study of literary translation. Although the articles are based on similar data – literary source texts and their translations – they focus on diverse aspects of literary translation, study a range of linguistic phenomena and utilize different methodologies. In other words, it is an important goal of this special issue to illuminate the current diversity of possible approaches in the linguistic study of translated literary texts within the discipline of translation studies. At the same time, new theoretical and empirical insights are opened to the study of the linguistic phenomena chosen by the authors of the articles and their representation or use in literary texts and translations. The analyzed features range from neologisms to the category of passive and from spoken language features to the representation of speech and multilingualism in writing. Therefore, the articles in this issue are not only relevant for the study of literary translation or translation theory in general, but also for the disciplines of linguistics and literary studies – or most importantly, for the cross-disciplinary co-operation between these three fields of study.
The common theme that all these articles share is how the translation process shapes, transfers and changes the linguistic properties of literary texts as compared to their sources texts, other translations or non-translated literary texts in the same language and how this question can be approached in research. All articles provide new information about the forces that direct and affect translators’ textual choices and the previously formulated hypotheses about the functioning of such forces. The articles illustrate how translators may perform differently from authors and how translators’ and authors’ norms may diverge at different times and in different cultures. The question of how translation affects the linguistic properties of literary translations is approached from the viewpoint of previously proposed claims or hypotheses about translation. In the following, we will introduce these viewpoints for readers who are not familiar with the recent developments in translation studies. At the same time, we will shortly present the articles in this issue.
This article analyzes the dynamics of fictional dialogue in three short stories by the Finnish author Rosa Liksom. These stories are constructed almost entirely of dialogue, with minimal involvement on the part of the narrator. We adopt two different approaches to dialogue. First, we analyze dialogue from a micro level, as interaction between the characters within the storyworlds, then from a more holistic perspective, paying attention to how dialogue contributes to the rhetorical structure and ethical interpretation of the stories. We show that resorting mainly to dialogue as a narrative mode works as a way of depicting tensions between Liksom’s characters, and between them and the surrounding fictional world. This, in turn, engages the reader in an interpretative process to understand the story’s logic both within the fictional worlds and on the level of communication between the implied author and the authorial audience.
This article explores the uses and functions of dialogue in Frank McCourt’s memoir Angela’s Ashes. Taking conversational dialogue and fictional dialogue as points of comparison, the article argues that dialogue in autobiographical writing is essentially constructed, albeit not in the same way as fictional dialogue is. Dialogue as a means of dramatisation raises questions regarding factuality and fictionality. In McCourt’s memoir, dialogue is shown to serve numerous functions: characterisation and stereotyping; selfpositioning and indirect stance-marking; the creation of verisimilitude, humour and reader involvement.
This special issue is devoted to a cross-disciplinary investigation of a specific literary phenomenon, fictional dialogue. Fictional dialogue is used to refer to passages of character-character conversation within a literary text. More specifically, the articles of the issue deal with fictional dialogue as a narrative mode in prose fiction. The issue aims to engender an appreciation and a better understanding of the workings of dialogue by drawing on the insights and methods from both literary studies and linguistics. These methods include a rhetorical-ethical approach to narrative, cognitive and “natural” narratology, the study of everyday conversational storytelling, and Conversation Analysis (CA). Combining these methods helps us to understand that while dialogue is a central means to depict character-character relationships it also serves other levels of communication in a narrative and thus contributes to the reader's comprehension of the narrative design's rhetorical and ethical dimensions. The articles also suggest that while understanding dialogue depends partly on the reader’s experiences of real-life conversation, the interpretation of dialogue is determined by the overall design of a literary text and the historically changing conventions.
Metaphors we may not live by
(2016)
Metaphors We Live By created an immediate stir in 1980, and it continues to spur interest in cognitive linguistics, cognitive stylistics, and metaphor theory. This article uses both collocations and random samples of words used in conceptual metaphors to search for corpus evidence of the pervasiveness of conceptual metaphor that was unavailable to Lakoff and Johnson. Some metaphors, such as TIME IS MONEY, are pervasive in giant natural language corpora. Others, such as MORE IS UP, are frequent in clearly and consciously metaphorical forms, but relatively rare in the basic forms that would clearly show that we use metaphor to understand more abstract concepts in terms of concrete ones. Some, including ARGUMENT IS WAR, that Lakoff and Johnson discuss throughout their book, are poorly represented. Some gaps in evidence probably result from multiple ways of expressing a complex conceptual metaphors, but others suggest that intuitive plausibility is an insecure basis for argument.
Most of us receive numerous spam e-mails, texts that in one or the other way try to convince us to engage in the transaction of enormous sums of money, promising enormous benefits. In reality, such scam e-mails are fraudulent attempts to swindle money from unsuspecting Internet users. Language, its social contexts, and the composition of texts play a crucial role in the scammers’ strategies to approach their victims. This article uncovers and discusses some of the linguistic strategies by which scammers try to shape a sense of identity and mutual relationship – in the face of virtual anonymity –, and to involve their readers personally. In their attempts to get the recipients involved, scammers combine cultural indexicals, interactional roles, and narrative strategies. The analysis distinguishes three different narrative strategies in scam e-mails: Based on first, second, and third person stories, scammers establish links with the recipients by combining fictional content with real-world contexts. Some of the narratives display quite elaborate and artful traits and involve prototypical functions of traditional fairy tales. Hereby they implicitly connect the story content with the interactional roles of e-mail communication.
Establishing coherent identity patterns for literary characters in novels is a difficult task. In this respect, we assume that readers rely on pre-stored cultural models in order to construct mental models of the text content, including character identity. By significantly extending the approach by Van Dijk and Kintsch and going beyond the related accounts of Schneider and of Culpeper, we aim to clarify the constitutive role of conceptual metaphor as proposed by Lakoff et al. in processes of literary identity construction. The analysis of a corpus of three contemporary novels supports our claim that conceptual metaphors and the mapping of domains involved interact with cultural models and connect text phenomena to such prior knowledge structures. On this basis, we provide an integrated model of literary identity construction which acknowledges the constitutive value of conceptual metaphors in literary identity construction.
Frederick Turner and Ernst Pöppel (1983) proposed that lines of metrical poetry tend to measure three seconds or less when performed aloud, and that the metrical line is fitted to a three second "auditory present" in the brain. In this paper I show that there are faults both in their original argument, and in the claims which underlie it. I present new data, based on the measurement of line durations in publicly available recorded performances of 54 metrical poems; in this corpus, lines of performed metrical verse are often longer than three seconds: 59% of the 1155 lines are longer than 3 seconds, 40% longer than 3.5 seconds and 26% longer than 4 seconds. On the basis of weaknesses in the original paper, and the new data presented here, I propose, against Turner and Pöppel, that there is no evidence that lines of verse are constrained by a time-limited psychological capacity.
Editorial
(2013)
The aim of this two-part special issue of The International Journal of Literary Linguistics is to probe the implications of the cognitive turn in literary linguistics that has gone hand in hand with the field’s growing appreciation of pragmatics at the end of the twentieth century (as illustrated e.g. by MacMahon, Mey, Verdonk and Weber). The view, increasingly shared by literary linguists, that literature is a communicative endeavour between text (author) and reader has resulted in a heightened interest in the cognitive abilities that ultimately make this communication possible. Yet the ease with which the buzzword ‘cognition’ sometimes is applied to explain these abilities and processes (which are often only assumed to exist rather than substantiated with empirical evidence) seems to be at odds not least with the fact that the cognitive sciences are far from a uniform field yielding fixed and finite results. Indeed, whether or not all language phenomena are underpinned by innate cognitive rules is an issue that remains a bone of contention amongst scholars, as does the nature of these cognitive rules themselves. Even a cognitive grammarian like Ronald Langacker warns against jumping to premature conclusions about the natural foundations of language (14) and avoids making such claims in his own work. ...
The following mission statements by linguists and literary scholars working in different institutional and cultural contexts and at different stages of their careers are intended to map out the terrain covered by this journal. They tell similar stories about how these scholars came to cross the disciplinary boundary that too often divides their two fields, and they reveal a number of shared interests and emphases. But they also highlight the diversity of methodologies to which this journal is open – from metrics and stylistics to the cognitive sciences and Systemic Functional Grammar. The hopes and expectations voiced by the authors are partly pragmatic, expressing the wish that the journal’s Open Access format will have a broader reach than a journal published in the "traditional" way would, notably to colleagues outside of Western Europe. They also, however, emphasise the journal’s potential to shape our conception of "literary linguistics" and, therefore, to make an innovative contribution to shaping what continues to be a contested and often misunderstood "field".
The script of Caryl Churchill’s short play Hot Fudge (like several other plays by this author) contains detailed directions for overlapping conversation. At certain points in the play these may be contributing to a number of effects similar to those described for the naturally occurring ‘collaborative floor’, such as enthusiasm and mutual support. The importance of an interactive approach to constructed conversation is pointed out in the article, particularly that of analysing the overlapped speaker’s response to appreciate the discursive significance of the overlapping turn. For instance, acknowledging and/or reusing the other speaker’s overlapping formulations in a non-oppositional format can show an understanding of these contributions as collaboratively oriented. Therefore, such an interpretation of overlapping dialogue in a dramatic text will affect the reader’s understanding of the interpersonal context (e.g. dominance-seeking/mutual support/collaboration between pairs of speakers). In particular, this approach is taken to show how certain kinds of overlapping similar to those described for the naturally occurring conversation can be used dramatically to supportive rather than conflictive ends. Overall, it is shown how the dramatic characters’ interpersonal orientations become inferable from their use of certain dialogic options.