Pub Date : 2023-10-17DOI: 10.1177/09639470231202261
Inge van de Ven
How do individual readers determine where to allocate and how to modulate attention while reading a short story? To what extent are their attentional modulations influenced by textual characteristics and personal characteristics? This study uses response data from group discussions of the short story “Where are you going, where have you been?” by Joyce Carol Oates (1966). Participants read the story in advance, color-coding words or lines to indicate different modes of attention employed and annotated the text with text-related and unrelated mind-wandering thoughts. The results show how attentional allocation is driven by textual elements as well as readers’ choices, resulting in a complex interaction of elicited and volitional attention to certain elements of the text– not just focused or distracted attention, but a “modulated” and “integrated” experience that is dynamic and personal. These modulations are also impacted by contextual factors and the reader’s personal history that impact which aspects of a text are salient and how attention is directed. The results might provide an empirical basis for, but also challenge and supplement current theories of attentional modulation in reading literature.
在阅读短篇小说时，个体读者如何决定将注意力分配到哪里以及如何调节注意力?他们的注意力调节在多大程度上受到文本特征和个人特征的影响?这项研究使用了小组讨论短篇故事“你要去哪里，你去过哪里?”乔伊斯·卡罗尔·奥茨(Joyce Carol Oates, 1966)著。参与者提前阅读故事，用颜色标记单词或句子，以表明所使用的不同注意力模式，并用与文本相关和不相关的走神思想注释文本。结果表明，注意力分配是如何受到文本元素和读者选择的驱动的，从而导致对文本某些元素的诱导和自愿注意的复杂互动——不仅仅是集中或分散注意力，而是一种动态和个人的“调制”和“综合”体验。这些变化还受到上下文因素和读者个人历史的影响，这些因素会影响文本的哪些方面是突出的，以及注意力如何被引导。研究结果为现有的阅读文献注意调节理论提供了实证依据，同时也对现有的阅读文献注意调节理论提出了挑战和补充。
{"title":"‘Gonna get you, baby!’ A qualitative-empirical study of attentional modulation in reading a short story","authors":"Inge van de Ven","doi":"10.1177/09639470231202261","DOIUrl":"https://doi.org/10.1177/09639470231202261","url":null,"abstract":"How do individual readers determine where to allocate and how to modulate attention while reading a short story? To what extent are their attentional modulations influenced by textual characteristics and personal characteristics? This study uses response data from group discussions of the short story “Where are you going, where have you been?” by Joyce Carol Oates (1966). Participants read the story in advance, color-coding words or lines to indicate different modes of attention employed and annotated the text with text-related and unrelated mind-wandering thoughts. The results show how attentional allocation is driven by textual elements as well as readers’ choices, resulting in a complex interaction of elicited and volitional attention to certain elements of the text– not just focused or distracted attention, but a “modulated” and “integrated” experience that is dynamic and personal. These modulations are also impacted by contextual factors and the reader’s personal history that impact which aspects of a text are salient and how attention is directed. The results might provide an empirical basis for, but also challenge and supplement current theories of attentional modulation in reading literature.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135943952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-22DOI: 10.1177/09639470231202263
Lorenzo Mastropierro, Kathy Conklin
This paper combines reader-response analysis and stylistic insights to investigate what may be triggering perceptions of racism in Joseph Conrad’s Heart of Darkness. It presents the results of a survey that asked participants to read extracts from the novel in which Africans are described and to highlight words and phrases they found problematic. Participants were then asked to answer some questions about their perception. Linking quantitative examination of the patterns emerging from participants’ highlighting with a qualitative analysis of participants’ answers, this paper provides a comprehensive picture of the linguistic features and structures that contribute to the perception of racism in Heart of Darkness. By doing so, this paper not only offers a novel perspective on the discussion about race and racism in Conrad’s canonical text, but it also provides further empirical evidence of the relationship between language and reader response.
{"title":"What triggers perceptions of racism in Heart of Darkness? A reader-response analysis","authors":"Lorenzo Mastropierro, Kathy Conklin","doi":"10.1177/09639470231202263","DOIUrl":"https://doi.org/10.1177/09639470231202263","url":null,"abstract":"This paper combines reader-response analysis and stylistic insights to investigate what may be triggering perceptions of racism in Joseph Conrad’s Heart of Darkness. It presents the results of a survey that asked participants to read extracts from the novel in which Africans are described and to highlight words and phrases they found problematic. Participants were then asked to answer some questions about their perception. Linking quantitative examination of the patterns emerging from participants’ highlighting with a qualitative analysis of participants’ answers, this paper provides a comprehensive picture of the linguistic features and structures that contribute to the perception of racism in Heart of Darkness. By doing so, this paper not only offers a novel perspective on the discussion about race and racism in Conrad’s canonical text, but it also provides further empirical evidence of the relationship between language and reader response.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136061693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-19DOI: 10.1177/09639470231202262
Roi Tartakovsky, Yeshayahu Shen
Zeugma (‘yoking’) is a figure of speech which, unlike metaphor, typically involves a verb followed by two discrepant objects or items in a coordinating conjunction (‘You held your breath and the door for me’). A reversal of the given order of the two items will often have a considerable effect on the tone and emotional quality of the zeugma. Still, accounts of zeugma all but ignore the question of order. This essay asks about the connection between the order of the zeugma’s items and its effect. It differentiates between the positions or slots for the items within the zeugma, and the actual items which occupy these slots. It posits an asymmetry between the first and second slots such that the second is the site of more attention and is presumed to carry more important or surprising information. Structurally, then, the zeugma entails a weak-to-strong trajectory. Separately, it also posits an asymmetry between the two items themselves, which tend to divide into a weaker (neutral) one and one that is emotionally richer or ‘strong.’ The effect of the zeugma is then linked to the relationship between the strength of the slot and the strength of the item. In the typical case, a strong item is placed in the strong slot, which produces an effect of emotional elevation. In other cases, a weak item is placed in the strong slot, which tends to produce irony. We analyze several zeugmas according to these principles, with an emphasis on examples drawn from English-language poetry.
{"title":"‘Uncle Al is old, has brown eyes and dementia’: The importance of order in zeugmas","authors":"Roi Tartakovsky, Yeshayahu Shen","doi":"10.1177/09639470231202262","DOIUrl":"https://doi.org/10.1177/09639470231202262","url":null,"abstract":"Zeugma (‘yoking’) is a figure of speech which, unlike metaphor, typically involves a verb followed by two discrepant objects or items in a coordinating conjunction (‘You held your breath and the door for me’). A reversal of the given order of the two items will often have a considerable effect on the tone and emotional quality of the zeugma. Still, accounts of zeugma all but ignore the question of order. This essay asks about the connection between the order of the zeugma’s items and its effect. It differentiates between the positions or slots for the items within the zeugma, and the actual items which occupy these slots. It posits an asymmetry between the first and second slots such that the second is the site of more attention and is presumed to carry more important or surprising information. Structurally, then, the zeugma entails a weak-to-strong trajectory. Separately, it also posits an asymmetry between the two items themselves, which tend to divide into a weaker (neutral) one and one that is emotionally richer or ‘strong.’ The effect of the zeugma is then linked to the relationship between the strength of the slot and the strength of the item. In the typical case, a strong item is placed in the strong slot, which produces an effect of emotional elevation. In other cases, a weak item is placed in the strong slot, which tends to produce irony. We analyze several zeugmas according to these principles, with an emphasis on examples drawn from English-language poetry.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135060928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-15DOI: 10.1177/09639470231202264
Yi Fan
In recent years, Text World Theory has been extended and elaborated to explain readers’ understanding of discoursal phenomena where toggling between separate text-worlds is sustained at length, such as extended metaphor and allegory. Similarly, experiencing adaptation, that is, reading a rewrite of a source text, may also involve readers deriving cognitive effects from shifting attention between two ontologically separate sets of worlds throughout a discourse. However, Text World Theory has not been previously applied to the study of this area. This paper deploys Text World Theory to examine the stylistic manipulation of text-worlds in A Thousand Acres by Jane Smiley and Dunbar by Edward St. Aubyn, novels that are both modern rewrites of Shakespeare’s King Lear. It aims to contribute on the one hand to Text World Theory by enriching and elaborating a Text World basis for explaining adaptation, and on the other to adaptation studies by demonstrating the utility of a cognitive stylistic approach for analyzing literary adaptation. Specifically, it investigates how the construction of intertextually-relevant text-world patterns serves to draw the reader’s attention to assign significance to certain narrative moments, and to allow the reader to access an additional layer of meaning. This study sheds some light on the possible contribution of special types of contextual information to the negotiation of text-worlds.
{"title":"Tracing palimpsestic text-worlds of key moments in rewrites of <i>King Lear</i> - <i>A Thousand Acres</i> and <i>Dunbar</i>","authors":"Yi Fan","doi":"10.1177/09639470231202264","DOIUrl":"https://doi.org/10.1177/09639470231202264","url":null,"abstract":"In recent years, Text World Theory has been extended and elaborated to explain readers’ understanding of discoursal phenomena where toggling between separate text-worlds is sustained at length, such as extended metaphor and allegory. Similarly, experiencing adaptation, that is, reading a rewrite of a source text, may also involve readers deriving cognitive effects from shifting attention between two ontologically separate sets of worlds throughout a discourse. However, Text World Theory has not been previously applied to the study of this area. This paper deploys Text World Theory to examine the stylistic manipulation of text-worlds in A Thousand Acres by Jane Smiley and Dunbar by Edward St. Aubyn, novels that are both modern rewrites of Shakespeare’s King Lear. It aims to contribute on the one hand to Text World Theory by enriching and elaborating a Text World basis for explaining adaptation, and on the other to adaptation studies by demonstrating the utility of a cognitive stylistic approach for analyzing literary adaptation. Specifically, it investigates how the construction of intertextually-relevant text-world patterns serves to draw the reader’s attention to assign significance to certain narrative moments, and to allow the reader to access an additional layer of meaning. This study sheds some light on the possible contribution of special types of contextual information to the negotiation of text-worlds.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"204 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135393840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-29DOI: 10.1177/09639470231177583
Nikolas Gunn
In this article, I apply Stockwell’s framework of attentional phenomena in language to Old English literature. I outline the special attentional features that we find in Old English poetry, encompassing alliteration, poetic vocabulary and apposition. I then move on to provide an analysis of the figure of Grendel through an attentional lens, arguing that the Beowulf-poet consistently pulls our attention towards his demonic or monstrous aspects rather than his residual humanity. In my discussion, I argue that alliterative patterning and its intersection with lexical content is central to how the poet filters our perception of Grendel. I then move on to examine how the poet uses stock poetic lexis to define him, drawing on the Cognitive Grammar concept of reference points, suggesting that the various synonyms for ‘man’ or ‘warrior’ applied to Grendel are consistently decentred from his overall description. Finally, drawing on Nuttall, I conclude with some observations on how the narrator controls our perception of Grendel’s mind.
{"title":"The poetics of attention in Old English verse: A cognitive stylistic approach to the depiction of Grendel in Beowulf","authors":"Nikolas Gunn","doi":"10.1177/09639470231177583","DOIUrl":"https://doi.org/10.1177/09639470231177583","url":null,"abstract":"In this article, I apply Stockwell’s framework of attentional phenomena in language to Old English literature. I outline the special attentional features that we find in Old English poetry, encompassing alliteration, poetic vocabulary and apposition. I then move on to provide an analysis of the figure of Grendel through an attentional lens, arguing that the Beowulf-poet consistently pulls our attention towards his demonic or monstrous aspects rather than his residual humanity. In my discussion, I argue that alliterative patterning and its intersection with lexical content is central to how the poet filters our perception of Grendel. I then move on to examine how the poet uses stock poetic lexis to define him, drawing on the Cognitive Grammar concept of reference points, suggesting that the various synonyms for ‘man’ or ‘warrior’ applied to Grendel are consistently decentred from his overall description. Finally, drawing on Nuttall, I conclude with some observations on how the narrator controls our perception of Grendel’s mind.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"329 - 354"},"PeriodicalIF":0.7,"publicationDate":"2023-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41976892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-25DOI: 10.1177/09639470231160579
Richard Ingham, Michael Ingham
This paper builds on findings on variation in Elizabethan grammar, analysing the syntax of negation in a large number of Shakespearean stage dramas and those of his contemporaries. It shows that Shakespeare differed substantially from them grammatically and stylistically. His contemporaries most often adhered to the emerging standard pattern of avoiding Subject-Verb syntax and multiple negation, whereas Shakespeare made much greater use of it, especially in coordinate contexts. In other contexts, use of multiple negation by other authors was usually for characterological purposes, whereas in Shakespeare it is employed as a stylistic resource regardless of the character’s social standing. These findings are interpreted against the background of sociolinguistic research on diachronic English syntax, showing that higher-status individuals led the change away from multiple negation. The differing outcomes are related to Shakespeare’s provincial background and non-participation in a university milieu, distinguishing him from the ‘golden triangle’ background of his contemporary dramatists.
{"title":"‘Native woodnotes wild’: Shakespeare, his contemporaries, and the syntax of negation","authors":"Richard Ingham, Michael Ingham","doi":"10.1177/09639470231160579","DOIUrl":"https://doi.org/10.1177/09639470231160579","url":null,"abstract":"This paper builds on findings on variation in Elizabethan grammar, analysing the syntax of negation in a large number of Shakespearean stage dramas and those of his contemporaries. It shows that Shakespeare differed substantially from them grammatically and stylistically. His contemporaries most often adhered to the emerging standard pattern of avoiding Subject-Verb syntax and multiple negation, whereas Shakespeare made much greater use of it, especially in coordinate contexts. In other contexts, use of multiple negation by other authors was usually for characterological purposes, whereas in Shakespeare it is employed as a stylistic resource regardless of the character’s social standing. These findings are interpreted against the background of sociolinguistic research on diachronic English syntax, showing that higher-status individuals led the change away from multiple negation. The differing outcomes are related to Shakespeare’s provincial background and non-participation in a university milieu, distinguishing him from the ‘golden triangle’ background of his contemporary dramatists.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"355 - 375"},"PeriodicalIF":0.7,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45456426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-23DOI: 10.1177/09639470231158694
C. Ononye, Innocent Chiluwa
Studies on Niger Delta (ND) poetry have applied stylistic and discourse analyses in exploring the metaphorical elements of the deplorable ecological condition of the region, but how these elements have been used in creating an alternative positive image of the ecology, especially in Otobotekere’s poetry, has not attracted enough scholarly attention. This study examines metaphors in selected poems from Otobotekere’s My River. The poems were subjected to critical analysis, with insight from conceptual metaphor theory, phenomenonalistic construal, and aspects of ideology discourse. Three conceptual metaphors were observed with their respective phenomenalistic interpretations: the Niger River is a parent (sourced from the construal of ancestry, seasons and source), Niger River flow is entertainment (from the construal of theatrical display, music making and journey) and contacting Niger River is therapy (from the construal of relaxation and care giving). The mappings are associated with three natural traits imaginarily projected by the river, namely, identity, recreation, and comfort. Identity relates to the parental posture of the river, recreation deals with enjoyable nature of it, while comfort has to do with the care derived from coming in contact with the river. Through these metaphorical descriptions, Otobotekere is able to inscribe the ND ecology with an admirable landscape, which seems like an attempt by a former oil worker at greenwashing or changing the predominant ideological outlook of the environment. Thus, conceptual metaphors in Otobotekere’s poetry, with their phenomenalistic interpretation, demonstrate that there is still something positive about the ND ecology.
{"title":"“There’s still something positive about the Niger Delta ecology”: Metaphor and ideology in the Niger Delta poetic discourse","authors":"C. Ononye, Innocent Chiluwa","doi":"10.1177/09639470231158694","DOIUrl":"https://doi.org/10.1177/09639470231158694","url":null,"abstract":"Studies on Niger Delta (ND) poetry have applied stylistic and discourse analyses in exploring the metaphorical elements of the deplorable ecological condition of the region, but how these elements have been used in creating an alternative positive image of the ecology, especially in Otobotekere’s poetry, has not attracted enough scholarly attention. This study examines metaphors in selected poems from Otobotekere’s My River. The poems were subjected to critical analysis, with insight from conceptual metaphor theory, phenomenonalistic construal, and aspects of ideology discourse. Three conceptual metaphors were observed with their respective phenomenalistic interpretations: the Niger River is a parent (sourced from the construal of ancestry, seasons and source), Niger River flow is entertainment (from the construal of theatrical display, music making and journey) and contacting Niger River is therapy (from the construal of relaxation and care giving). The mappings are associated with three natural traits imaginarily projected by the river, namely, identity, recreation, and comfort. Identity relates to the parental posture of the river, recreation deals with enjoyable nature of it, while comfort has to do with the care derived from coming in contact with the river. Through these metaphorical descriptions, Otobotekere is able to inscribe the ND ecology with an admirable landscape, which seems like an attempt by a former oil worker at greenwashing or changing the predominant ideological outlook of the environment. Thus, conceptual metaphors in Otobotekere’s poetry, with their phenomenalistic interpretation, demonstrate that there is still something positive about the ND ecology.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"275 - 296"},"PeriodicalIF":0.7,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46641579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-23DOI: 10.1177/09639470231158695
Mel Evans
This paper examines the manifestation of individual style through the lens of a specific language category: the interjection. The analysis considers how interjections are used as a resource in the dramatic dialogue of three Restoration playwrights: Aphra Behn, John Dryden and Thomas D’Urfey, and how their preferences and practices of use compare to previously identified trends in the history of English. Using the concept of the repertoire as a frame for situated language use, the paper examines how genre, time, and characterisation shape the selection and frequency of interjections in the plays of each author. Corpus linguistic methods are used to provide a quantitative and qualitative overview of each author’s interjection repertoire. The results suggest that whilst genre, time, and characterisation are influential in shaping the selection and implementation of interjection forms, the choice of expressive language in dramatic contexts is also distinctive and coherent at an authorial level.
{"title":"Interjections and individual style: A study of restoration dramatic language","authors":"Mel Evans","doi":"10.1177/09639470231158695","DOIUrl":"https://doi.org/10.1177/09639470231158695","url":null,"abstract":"This paper examines the manifestation of individual style through the lens of a specific language category: the interjection. The analysis considers how interjections are used as a resource in the dramatic dialogue of three Restoration playwrights: Aphra Behn, John Dryden and Thomas D’Urfey, and how their preferences and practices of use compare to previously identified trends in the history of English. Using the concept of the repertoire as a frame for situated language use, the paper examines how genre, time, and characterisation shape the selection and frequency of interjections in the plays of each author. Corpus linguistic methods are used to provide a quantitative and qualitative overview of each author’s interjection repertoire. The results suggest that whilst genre, time, and characterisation are influential in shaping the selection and implementation of interjection forms, the choice of expressive language in dramatic contexts is also distinctive and coherent at an authorial level.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"297 - 328"},"PeriodicalIF":0.7,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44699648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-18DOI: 10.1177/09639470231158696
Fan Yang
This article investigates power dynamics reflected in the conversations between characters in Arthur Miller’s written text, A View from the Bridge, from the perspective of pragmatic stylistics. Given that techniques from conversation analysis have proven feasible and effective in the analysis of dramatic dialogue, this article analyses and interprets the development of power relations in the Carbone family by means of turn-taking patterns. In general, this article argues that Eddie’s authority is consecutively undermined in front of Catherine, while his control over Beatrice is gradually reinforced. Moreover, Beatrice’s manipulation of Catherine is continuously challenged. Based on the above results, this article demonstrates that the changing power relations are a fundamental cause of family conflicts and the final tragedy. Therefore, this article shows that turn-taking analysis is a new way of explaining how we understand dynamic power relations between characters in this dramatic text.
{"title":"Dynamic power relations between characters in A View from the Bridge: A pragmastylistic approach","authors":"Fan Yang","doi":"10.1177/09639470231158696","DOIUrl":"https://doi.org/10.1177/09639470231158696","url":null,"abstract":"This article investigates power dynamics reflected in the conversations between characters in Arthur Miller’s written text, A View from the Bridge, from the perspective of pragmatic stylistics. Given that techniques from conversation analysis have proven feasible and effective in the analysis of dramatic dialogue, this article analyses and interprets the development of power relations in the Carbone family by means of turn-taking patterns. In general, this article argues that Eddie’s authority is consecutively undermined in front of Catherine, while his control over Beatrice is gradually reinforced. Moreover, Beatrice’s manipulation of Catherine is continuously challenged. Based on the above results, this article demonstrates that the changing power relations are a fundamental cause of family conflicts and the final tragedy. Therefore, this article shows that turn-taking analysis is a new way of explaining how we understand dynamic power relations between characters in this dramatic text.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"247 - 264"},"PeriodicalIF":0.7,"publicationDate":"2023-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43417430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：