session 4, text & sign ii recap: social meaning of language variation e.g. a play (drama): 1....

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Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register : fictional literature – not e.g. natural conversation (cp. interactional features) Genre : stage dialog – not e.g. poem, novel, short story, etc. 2. User dimension: The characters within the “reality” of the fiction: What does their use of language show about … who they are (social stereotypes)? their social relationship to other characters? their social attitudes and values?

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Page 1: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Session 4, Text & Sign II

RECAP: Social meaning of language variation

E.g. a play (drama):

1. Use dimension:  Register: fictional literature – not e.g. natural conversation

(cp. interactional features)Genre: stage dialog – not e.g. poem, novel, short story, etc.

 

2. User dimension:

The characters within the “reality” of the fiction:

What does their use of language show about … who they are (social stereotypes)? their social relationship to other characters? their social attitudes and values?

Page 2: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

”Language and Power” - Discourse AnalysisSociolinguistics: concerned with spoken language

especially – form and (social) functionDiscourse analysis: Concerned with written language

especially – form and content

Definitions of Discourse:

 A. Text across sentences, spoken or written (structural cohesion/coherence)

 B. Conversational interaction (the “management” of the conversation)

 C. Particular ways of structuring areas of knowledge and social practices

Page 3: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Critical Discourse AnalysisWe can see (A), (B) and (C) as different levels of social practice, but –

– regardless of the level analyzed:Discourse Analysis = analysis of the discourse

by any or all methods!

i.e. it may involve any number or type of linguistic, pragmatic and/or social theories

or methods (including e.g. Sign Theory and Speech Act

Theory)

Page 4: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Critical Discourse Analysis

is based on a ”conflict” model of society: language creates, sustains and replicates fundamental social inequalities

Sociolinguistics is more often based on a consensus model of society– according to some analysts

Page 5: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Discourse (Analysis) theoryAlready in Speech Act theory, language not only

reflects, it creates reality – cp. speech act theoryThus variation in language/texts = variation in

reality!A text is rarely true or false …… but may construct a different reality than

some other textThis notion is called Linguistic RelativityThe different discursive realities tend to be

politically or ideologically determinedrepresenting different power structures,

conflicts, inequalities, etc.

Page 6: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Early Foucaultidentities are constructed through the range of

discourses available to the individual(language controls consciousness – cp. Sapir/Whorf)

Later Foucaultidentities are constructed by relations of power

= “the internalization of the norms and values implied by the prevailing discourses”= “what seems attractive and desirable” – “socially useful” Fairclough

Page 7: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Fairclough’s model (Readings pp.77-78)

– adds a more linguistic dimension

TEXT

DISCOURSE PRACTICE

SOCIAL PRACTICE

1. A concrete text (written, spoken or signed)

2. Discourse practice (of text production or interpretation

3. Sociocultural Practice (wider social and political relations)

Page 8: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Fairclough cont.Orders of Discourse (cp. Bourdieu’s Linguistic Markets)

Discourse practices within, e.g., education system, labor market, government, everyday interactions

The particular order of discourse of an institution comprises a hierarchy of more or less acceptable discourse types

Some have an on-stage role – others an off-stage role – in the practices of the institution

Page 9: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Pierre Bourdieu: Four types of capital

1. Economic2. Cultural (knowledge, skill, education)3. Social (connections, membership)4. Symbolic (prestige, honor, status) Interactions take place within Linguistic MarketplaceSymbolic capital symbolic dominationCapital coveted the most: that which is most unequally

distributedThe powerless believe in the legitimacy of the powerful

Page 10: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Bourdieu cont.Habitus – euphemization: durable,

transposable (class) dispositions influencing individual

practices cp. Basil Bernstein’s ”particularistic vs. universalistic” orders of meaning (1973)

Critique of Bourdieu:Focuses on power at the expense of the solidarity

dimensionUndervalues structure and function of working

class vernaculars

Page 11: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Discourse Analysis: Some key notions for discussion

 Power – solidarity (hierarchical><non-hierarch.)Tu/Vous distinction in your language(s)?

Hegemony /Ideological State Apparatuses (ISA)Power disguised, government with consent of the governed

- macro level, e.g. tacit language norm- micro level, e.g. tacit status & role

relationships Voices/polyphony (Bakhtin) –

- “decentered subjects” (Foucault) - intertextuality (e.g. Fairclough)

 

Page 12: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Key concepts, cont.The ideological nature of the sign

Voloshinov (1973)/ Bakhtin (1981): linguistic signs open to different social orientations (i.e. not ”neutral”)

Heteroglossia / polyphony: coexistence and interplay between several ”voices” in an utterance

Bakhtin: dominant classes try to downplay polyphony of the sign, to make the sign uniaccentual

Construction of self via language = entering into dialogue with, and adopting, many social ”voices” - cp. ”acts of identity” in later sociolinguistics

Page 13: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Related concepts:(Positive) connotations (Barthes) of some

words preferable to (negative) connotations of alternatives

Euphemization (Bourdieu): discarding the disagreeable word for the sake of appropriateness (”market accommodation”)

Relexicalization (Halliday): replacement of old words for new in the “anti-language”

Page 14: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

The Lopez textFairclough’s ”text” level: Purpose?

– what kind of social act does it constitute?

Ad-like features: ”code play” – intended effect?

Puns: Fanny-tastic (caption)Copy her moves (metaphor/literal) 1st par.

Kick-ass caboose, 1st par.

Behind the seams (cp. scenes) picture, below

Cosmo Buff, top left

Page 15: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Lopez, cont.Alliteration: Caption –

dug up the dish

her well-rounded rear ranked

best backside

1st par. –shapely star

butt boostingkick-ass caboose

Sub-headings –rump running

tush toning

Page 16: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Lopez, cont.

Cohesion: Different words for one item (!) is

the main principle of cohesion throughout

– Find all these different ”synonyms”

– Group them according to type

Page 17: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

i.e. Synonyms for buttocks in Lopez:

FORMAL INFORMAL SLANG

rear euph. backside euph. fanny AE! – cp. BE: taboo!

rump humor euph tush AE

butt ”end” cp. cigarette butt

caboose = last train wagon

(kick)ass rude, taboo!

NOT USED

behind euph.

bum euph.

bottom euph.

Page 18: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

i.e. 8 words for ”buttocks” used in Lopez

– all of them with obvious connotations – only word not used is the ”neutral” one:

buttocks!

Relexicalization (Halliday)

Euphemization (Bourdieu)

”anti-language” ”market accommodation”

Page 19: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

What commodity is being put on the market, in Lopez?

”keeps her well-rounded rear ranked Hollywood’s best backside”

”Copy … and you’ll have a kick-ass caboose in three weeks”

Implication: Women will compete for beauty / see this as a matter for competition

”kick-ass” intertextuality: games / fighting

Picture: Icon and Symbol (of beauty, metonymically represented in language and picture emphasis by ”tush”!

Page 20: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Lopez cont.

Fairclough’s Discourse Practice (level two)

Divide text into sections and label them

according to (main) language function (Readings, p. 45)

Page 21: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Lopez cont.Language Functions (cp. Readings p. 45):

Reportive/directive (”Copy …)+ Commissive (”and you’ll have …)

= style of advertising

2nd & 3rd columns:Directive/reportive: style of instruction manual

Page 22: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Lopez cont.Conversational style (”interaction”): Often in ads!Here ?

Tabloid style (cp. ”Kate’s boobs”)Here?

Fairclough’s Social Practice (level three):

Does the text challenge or reinforce expected social roles?

Page 23: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

PuristReports attitude:

”… instructed by my father to say ’It is I’”

”… dozens of rules of speech”

”… a question of being properly brought up”

”… class came into it”

Ex. of irony – the author speaking with two ”voices”?

”… And when we started writing, we were told never to begin a sentence with the word and”

”… nor to use a preposition to end a sentence up with”

Page 24: Session 4, Text & Sign II RECAP: Social meaning of language variation E.g. a play (drama): 1. Use dimension: Register: fictional literature – not e.g

Purist cont.Expressive of the author’s attitude:

”… Frankly, I don’t regret these injunctions”

”… they have taken on almost moral overtones”

”… I find it hard to trust someone who says …”

”… sense of superiority … scorn for the speaker …”

”… my disapproval is such that … I’m not going to give them any free advertising”

Implicit value judgments:”… bad grammar has a wider mass appeal than

normal grammar” [DISCUSS ”bad,” ”mass,” ”normal”! ]

[Identify the ”linguistic symbols of mass culture”

in the last paragraph]