International journal of literary linguistics
Refine
Year of publication
Document Type
- Article (36)
Language
- English (36)
Has Fulltext
- yes (36)
Is part of the Bibliography
- no (36)
Keywords
- Literary translation (3)
- stylistics (3)
- Direct speech representation (2)
- Hobongan (2)
- constructed dialogue (2)
- conversational dialogue (2)
- corpus linguistics (2)
- fictional dialogue (2)
- fictionality (2)
- hybridity (2)
Institute
- Extern (1)
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".
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. ...
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.
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.
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.
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.
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.
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.
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.