Pub Date : 2019-11-30DOI: 10.1017/9781108582889.004
George Yule
I take it you already know Of tough and bough and cough and dough? Others may stumble but not you On hiccough, thorough, lough and through. Well done! And now you wish, perhaps, To learn of less familiar traps? Beware of heard, a dreadful word, That looks like beard and sounds like bird. And dead: it's said like bed, not bead – For goodness sake don't call it ‘deed’! Watch out for meat and great and threat (They rhyme with suite and straight and debt). T. S. W. quoted in Mackay (1970) Imagine the manager of a small restaurant, a man who has always had trouble with the spelling of unusual words, writing out a sign which he puts in the front window, advertising that they have a new seagh . You see the sign and you decide to ask what kind of new thing this is. When you hear the pronunciation, you recognize the word usually written as chef . How did he arrive at that other spelling? Well, it's very simple, he says. Take the first sound of the word s ure , the middle sound of the word d ea d , and the final sound of the word lau gh . Isn't that a seagh ?
{"title":"The Sounds of Language","authors":"George Yule","doi":"10.1017/9781108582889.004","DOIUrl":"https://doi.org/10.1017/9781108582889.004","url":null,"abstract":"I take it you already know Of tough and bough and cough and dough? Others may stumble but not you On hiccough, thorough, lough and through. Well done! And now you wish, perhaps, To learn of less familiar traps? Beware of heard, a dreadful word, That looks like beard and sounds like bird. And dead: it's said like bed, not bead – For goodness sake don't call it ‘deed’! Watch out for meat and great and threat (They rhyme with suite and straight and debt). T. S. W. quoted in Mackay (1970) Imagine the manager of a small restaurant, a man who has always had trouble with the spelling of unusual words, writing out a sign which he puts in the front window, advertising that they have a new seagh . You see the sign and you decide to ask what kind of new thing this is. When you hear the pronunciation, you recognize the word usually written as chef . How did he arrive at that other spelling? Well, it's very simple, he says. Take the first sound of the word s ure , the middle sound of the word d ea d , and the final sound of the word lau gh . Isn't that a seagh ?","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87912731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-30DOI: 10.1017/9781108582889.024
{"title":"Index","authors":"","doi":"10.1017/9781108582889.024","DOIUrl":"https://doi.org/10.1017/9781108582889.024","url":null,"abstract":"","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86403130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-30DOI: 10.1017/9781108582889.002
George Yule
Chewing, licking and sucking are extremely widespread mammalian activities, which, in terms of casual observation, have obvious similarities with speech. MacNeilage (1998) We don't usually think of speaking as similar to chewing, licking and sucking, but, like speaking, all of these actions involve movements of the mouth, tongue and lips in some kind of controlled way. So, perhaps this connection is not as improbable as it first sounds. It is an example of the type of observation that can lead to interesting speculations about the origins of spoken language. They remain, however, speculations, not facts. We simply don't know how language originated. We suspect that some type of spoken language developed between 100,000 and 50,000 years ago, well before written language (about 5,000 years ago). Yet, among the traces of earlier periods of life on earth, we never find any direct evidence or artifacts relating to the speech of our distant ancestors that might tell us how language was back in the early stages. Perhaps because of this absence of direct physical evidence, there has been no shortage of speculation about the origins of human speech. In this chapter, we will consider the merits of some of those speculations. The divine source In the biblical tradition, God created Adam and “whatsoever Adam called every living creature, that was the name thereof”. Alternatively, following a Hindu tradition, language came from Sarasvati, wife of Brahma, creator of the universe.
{"title":"The Origins of Language","authors":"George Yule","doi":"10.1017/9781108582889.002","DOIUrl":"https://doi.org/10.1017/9781108582889.002","url":null,"abstract":"Chewing, licking and sucking are extremely widespread mammalian activities, which, in terms of casual observation, have obvious similarities with speech. MacNeilage (1998) We don't usually think of speaking as similar to chewing, licking and sucking, but, like speaking, all of these actions involve movements of the mouth, tongue and lips in some kind of controlled way. So, perhaps this connection is not as improbable as it first sounds. It is an example of the type of observation that can lead to interesting speculations about the origins of spoken language. They remain, however, speculations, not facts. We simply don't know how language originated. We suspect that some type of spoken language developed between 100,000 and 50,000 years ago, well before written language (about 5,000 years ago). Yet, among the traces of earlier periods of life on earth, we never find any direct evidence or artifacts relating to the speech of our distant ancestors that might tell us how language was back in the early stages. Perhaps because of this absence of direct physical evidence, there has been no shortage of speculation about the origins of human speech. In this chapter, we will consider the merits of some of those speculations. The divine source In the biblical tradition, God created Adam and “whatsoever Adam called every living creature, that was the name thereof”. Alternatively, following a Hindu tradition, language came from Sarasvati, wife of Brahma, creator of the universe.","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"97 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75004507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-30DOI: 10.1007/978-1-4419-1428-6_4110
Laura Wagner
{"title":"First Language Acquisition","authors":"Laura Wagner","doi":"10.1007/978-1-4419-1428-6_4110","DOIUrl":"https://doi.org/10.1007/978-1-4419-1428-6_4110","url":null,"abstract":"","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89581498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study focuses on the role of the female characters in Harry Potter series. It aims to find out the ways the female characters, Hermione Granger, Ginny Weasley, and Luna Lovegood take a mother role for Harry, whereas they are in their teenage years. Using Barthes' theory on myths, this study identifies that there are two myths that are in operation, the myth that girls are supposed to be mothers and the myth that mothers are supposed to protect, nurture, and educate. As the agents of the myths,the three teenage girls willingly take their role as mothers role that are assigned to them. These three female characters take their roles as mothers to Harry in how they protect, nurture, and educate Harry. In response to this, Harry also succumbs to the position of being protected, nurtured and educated by these three girls. Despite Rowling's claims on her being a feminist when she said that “I've always considered myself as a feminist” (Rowling, 2011), she cannot escape the myths on girls and women. Rowling sees that being a mother is the most powerful role for girls and women
{"title":"The Role of Girls as Mothers in Harry Potter Series","authors":"Marcelina Fransisca, Jenny Mochtar","doi":"10.9744/kata.19.1.1-7","DOIUrl":"https://doi.org/10.9744/kata.19.1.1-7","url":null,"abstract":"This study focuses on the role of the female characters in Harry Potter series. It aims to find out the ways the female characters, Hermione Granger, Ginny Weasley, and Luna Lovegood take a mother role for Harry, whereas they are in their teenage years. Using Barthes' theory on myths, this study identifies that there are two myths that are in operation, the myth that girls are supposed to be mothers and the myth that mothers are supposed to protect, nurture, and educate. As the agents of the myths,the three teenage girls willingly take their role as mothers role that are assigned to them. These three female characters take their roles as mothers to Harry in how they protect, nurture, and educate Harry. In response to this, Harry also succumbs to the position of being protected, nurtured and educated by these three girls. Despite Rowling's claims on her being a feminist when she said that “I've always considered myself as a feminist” (Rowling, 2011), she cannot escape the myths on girls and women. Rowling sees that being a mother is the most powerful role for girls and women","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"19 1","pages":"1-7"},"PeriodicalIF":0.0,"publicationDate":"2017-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41996836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper is an attempt to analyze Ray Bradbury's Fahrenheit 451(1953) under the light of Jean Baudrillard's notions on the media and the influences it exerts on people's daily lives, and with an eye to Michel Foucault's surveillance as well. The title-mentioned work, it is suggested, portrays a representative sample of a culture where different fields including books, education, and history fall under the influence of the media. Bradbury presents a society in which its inhabitants are bombarded with excessive data transmitted through television most of which is detrimental and not reliable. It is concluded that the presented culture in the novel is a microcosm of contemporary societies where authorities keep their subjects under control, engendering an atmosphere of anxiety, trepidation and apprehension for subversive forces and therefore preclude any disturbance on the part of them
{"title":"The Omnipresence of Television and the Ascendancy of Surveillance/Sousveillance in Ray Bradbury’s Fahrenheit 451","authors":"H. Abootalebi","doi":"10.9744/kata.19.1.8-14","DOIUrl":"https://doi.org/10.9744/kata.19.1.8-14","url":null,"abstract":"This paper is an attempt to analyze Ray Bradbury's Fahrenheit 451(1953) under the light of Jean Baudrillard's notions on the media and the influences it exerts on people's daily lives, and with an eye to Michel Foucault's surveillance as well. The title-mentioned work, it is suggested, portrays a representative sample of a culture where different fields including books, education, and history fall under the influence of the media. Bradbury presents a society in which its inhabitants are bombarded with excessive data transmitted through television most of which is detrimental and not reliable. It is concluded that the presented culture in the novel is a microcosm of contemporary societies where authorities keep their subjects under control, engendering an atmosphere of anxiety, trepidation and apprehension for subversive forces and therefore preclude any disturbance on the part of them","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"19 1","pages":"8-14"},"PeriodicalIF":0.0,"publicationDate":"2017-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42466482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines the socio-historical subversion of ‘juridico-discursive' power in the late Victorian period. It briefly investigates the rise of the British suffrage movement and highlights the role of ‘suffrage drama' as its social apparatus. The authors demonstrate how suffrage artists, especially the playwright/actress Elizabeth Robins, acted against the dominant patriarchal hegemony and were in frontline of social uprisings. It is argued that ‘Suffrage drama' as a ‘place of tolerance' functioned as an antithesis to the mainstream theatre and challenged the conventional dramatic forms practiced prior to its birth. Suffrage drama provided a space for women to have their collective voice heard in a social and political context in the early Victorian era. Elizabeth Robins, mostly acknowledged for enacting women heroines of Ibsen's plays, became an invaluable inspirational figure for suffrage women as she was the actress in whom the strong concept of the ‘New Woman' was incarnated.
{"title":"Suffrage Movement and the Subversion of the ‘Juridico-Discursive’ Power in the Victorian Period: Elizabeth Robins and The Concept of 'New Women'","authors":"E. Najar, Reza Kazemifar","doi":"10.9744/kata.18.2.42-47","DOIUrl":"https://doi.org/10.9744/kata.18.2.42-47","url":null,"abstract":"This paper examines the socio-historical subversion of ‘juridico-discursive' power in the late Victorian period. It briefly investigates the rise of the British suffrage movement and highlights the role of ‘suffrage drama' as its social apparatus. The authors demonstrate how suffrage artists, especially the playwright/actress Elizabeth Robins, acted against the dominant patriarchal hegemony and were in frontline of social uprisings. It is argued that ‘Suffrage drama' as a ‘place of tolerance' functioned as an antithesis to the mainstream theatre and challenged the conventional dramatic forms practiced prior to its birth. Suffrage drama provided a space for women to have their collective voice heard in a social and political context in the early Victorian era. Elizabeth Robins, mostly acknowledged for enacting women heroines of Ibsen's plays, became an invaluable inspirational figure for suffrage women as she was the actress in whom the strong concept of the ‘New Woman' was incarnated.","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"18 1","pages":"42-47"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71210973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
John Keats, a main figure in the second generation of Romantic poets, was not generally well received by his contemporary critics, though during the course of time, he has become one of the most beloved poets. Stuart Hall proposes an analytical model of communication, namely the encoding/decoding model, which assumes a complex structure of relations to be produced and sustained through linked but distinctive moments which are termed as production, circulation, distribution/ consumption, and reproduction. This paper employs Hall’s encoding/decoding communication model as a yardstick to move beyond his approach, which mainly addresses modern mass media and communication system, and relate the distinctive moments playing integrally in encoding and decoding to Keats’s Ode on a Grecian Urn (1819). Furthermore, there is an attempt to turn the spotlight on the ode’s durability after the French Revolution passions abate and the poem starts to gain its thingness.
{"title":"The Encoding / Decoding Model on Keats’s “Ode on a Grecian Urn” as a Thing","authors":"Hussein Salimian Rizi, Pyeaam Abbasi","doi":"10.9744/KATA.18.2.48-55","DOIUrl":"https://doi.org/10.9744/KATA.18.2.48-55","url":null,"abstract":"John Keats, a main figure in the second generation of Romantic poets, was not generally well received by his contemporary critics, though during the course of time, he has become one of the most beloved poets. Stuart Hall proposes an analytical model of communication, namely the encoding/decoding model, which assumes a complex structure of relations to be produced and sustained through linked but distinctive moments which are termed as production, circulation, distribution/ consumption, and reproduction. This paper employs Hall’s encoding/decoding communication model as a yardstick to move beyond his approach, which mainly addresses modern mass media and communication system, and relate the distinctive moments playing integrally in encoding and decoding to Keats’s Ode on a Grecian Urn (1819). Furthermore, there is an attempt to turn the spotlight on the ode’s durability after the French Revolution passions abate and the poem starts to gain its thingness.","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"18 1","pages":"48-55"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71211718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-10-01DOI: 10.1017/cbo9781316594131.020
G. Yule
{"title":"Social Variation in Language","authors":"G. Yule","doi":"10.1017/cbo9781316594131.020","DOIUrl":"https://doi.org/10.1017/cbo9781316594131.020","url":null,"abstract":"","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74874530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present paper aims at concentrating on Judith Butler's theory of gender as performance and how Virginia Woolf challenges the assumptions of heterosexuality in Virginia Woolf's Orlando (1992). Woolf rebels against the traditional view of gender as two separate categories by presenting Orlando as an androgynous and bisexual character. Orlando's transformation from male to female and exhibition of the characteristics of both feminist and masculinity expose how gender norms are socially instituted. Woolf portrays Orlando's attraction to both men and women. He/she loves Sasha regardless of what changes her body undergoes, but he/she marries Shelmerdine because he/she is bisexual. Woolf also shows clothing as signifiers of the social construction of gender and how characters flout this convention by using cross dressing.
{"title":"A Study of Gender Performativity in Virginia Woolf’s Orlando: A Mocking Biography","authors":"Mahboubeh Moslehi, N. Niazi","doi":"10.9744/KATA.18.1.1-7","DOIUrl":"https://doi.org/10.9744/KATA.18.1.1-7","url":null,"abstract":"The present paper aims at concentrating on Judith Butler's theory of gender as performance and how Virginia Woolf challenges the assumptions of heterosexuality in Virginia Woolf's Orlando (1992). Woolf rebels against the traditional view of gender as two separate categories by presenting Orlando as an androgynous and bisexual character. Orlando's transformation from male to female and exhibition of the characteristics of both feminist and masculinity expose how gender norms are socially instituted. Woolf portrays Orlando's attraction to both men and women. He/she loves Sasha regardless of what changes her body undergoes, but he/she marries Shelmerdine because he/she is bisexual. Woolf also shows clothing as signifiers of the social construction of gender and how characters flout this convention by using cross dressing.","PeriodicalId":30120,"journal":{"name":"Kta A Biannual Publication on the Study of Language and Literature","volume":"18 1","pages":"1-7"},"PeriodicalIF":0.0,"publicationDate":"2016-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71210927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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