Imagination in Discourse

Clark, Herbert H.; Wege, Mija M. Van Der

doi:10.1002/9780470753460.ch40

Cited by 8 publications

(6 citation statements)

References 24 publications

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“…While metaphor has long been known as a resource for the creation of novel ontological reality (Lakoff and Johnson 1980;Johnson and Erickson 1980;Charteris-Black 2003), in this sense, I assume other aspects and elements of discourse can be equally performative. In this view, I agree with Fairclough that one vital resource for the creation of new realities is what I term 'fictions' and he terms 'imaginaries, ' representations of worlds or states of affairs that are not but that might, could or should be (Fairclough 2001;Clark and van der Wege 2001). Finally, since I assume that language use is to persuade or induce assent, it is evident that the reality it creates is 'ideological' in that it benefits some more than others, highlights some features while hiding others, decrees what is possible and impossible and seeks to legitimate and perpetuate this state of affairs (van Dijk 1993; van Dijk 2001).…”

Section: Approachmentioning

confidence: 93%

Unnatural acts: Nuclear language, proliferation and order

Woods¹

2007

Journal of Language and Politics

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International relations theory overdetermines proliferation but few states possess nuclear arms. This article maintains the linguistic construction of 'proliferation' accounts for the international nonnuclear order. Following an overview of its approach, the article begins with a review of earlier works and notes the inability of 'nuclear language studies' to account for the order of rejection rather than acquisition of nuclear arms. The article traces that limitation to a practical assumption about the world that animates scholars to attend to how words distort rather than create reality. The article then introduces a version of constructivism that claims speech acts produce constitutive rules that create what 'is' and oblige order (as 'same use') to suggest how language accounts for the order that turns on rejection of nuclear weapons. Finally, the article illustrates how states, following this constructivist process, often used discursive practices that emphasized the 'unnatural' to create 'proliferation' between 1958 and 1968.

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Section: Approachmentioning

confidence: 93%

Unnatural acts: Nuclear language, proliferation and order

Woods¹

2007

Journal of Language and Politics

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“…Lines 15-27 begin another dimension of autotelic humour, precisely joint fantasising (Kotthoff 2006;Chovanec 2012). The goal of this sequence is clearly to elicit laughter, and to demonstrate which of the presenters would out-do the other in this exercise of absurdity (Norrick 1993 (Dynel 2017: 93), include the co-construction of absurd or even impossible scenarios or narratives (Stallone & Haugh 2017), which are based on overt, joint pretence (Clark & Van Der Wege 2001;Dynel 2017), and are contributed to on an incremental bases (Kotthoff 1999: 130), either by emulating the format of a previous contribution (Goodwin & Goodwin 1987) or attempting to outperform a previous contribution, and they serve various interpersonal functions ranging from bonding, solidarity, identity work, entertainment, etc. (Chovanec 2012;Stallone & Haugh 2017).…”

Section: Joint Fantasizingmentioning

confidence: 99%

Conversational humour in a Nigerian radio news programme: A case study of Lati inu aka aka Biodun/Kayode

Inya

2018

EJHR

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This paper investigates the Generic Structure Potential (GSP) of Lati inu aka aka Biodun/Kayode (LIABK), a Nigerian secondary gatekeeping radio news programme, with the aim of indicating the stages of the genre where conversational humour typically occurs, and then it analyses humour types in the data through the neo-Gricean concept of untruthfulness and pragmatic act theory. The data for the study constitute a ten hour audio recording of Lati inu aka aka Biodun/Kayode from two radio stations in Ekiti and Ondo States, South-Western Nigeria. The GSP of LIABK is constituted by five obligatory elements: Opening (O), Advertisement (A), Pre-news Presentation (PnP), News Presentation (NP) and Closing (C). The genre-based expectations for O, PnP and C, and then NP are to provide entertainment and information to the listeners respectively. Thus, humour typically occurs in the O, PnP, and C stages of the programme, and rarely occurs in NP. Four humour types are indicated: song-as-humour, absurdity, joint fantasising and speaker-meaning-telic humour respectively. While song-as-humour resists being neatly categorised as autotelic humour, absurdity and joint fantasising are easily characterised as thus. The pragmatic act analysis reveals the incremental, sequential and co-constructed nature of the humour types. Furthermore, the pragmemes of entertainment and offering of opinion by the news presenters constitute the affordances or genre-based expectations that constrain the social activities that constitute LIABK. The study contributes to the scholarship on secondary gatekeeping in Nigeria broadcast media, conversational humour and pragmatics.

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“…the collective sender controls characters' interactions before and when they take place (determining the form and content of conversations, which are created by the scriptwriter and rendered by actors under the director's supervision) and after they have been performed, (determining how the interactions are shown thanks to picture and sound editing, for instance). Meanings gleaned by audiences are constructed both by actors who verbalise the lines written by scriptwriters under the director's supervision and by means of an array of cinematographic ploys, which can be viewed as what Clark and Van Der Wege (2001) dub mimetic props, i.e. devices which facilitate imagining the story world.…”

Section: Twofold Layering and Two Communicative Levelsmentioning

confidence: 99%

“…As Clark and Van Der Wege (2001: 783) define it, a joint pretence is "an activity in which two or more people jointly act as if they were doing something that they are not actually, really, or seriously doing at the moment." Joint pretence may then serve as a framework for analysing fictional discourse of books and films (Goffman 1974, Walton 1990, Clark 1996, Clark and Van Der Wege 2001. Film reality subscribes to a coherently constructed fictional frame, in which even the most peculiar illogicalities or impossibilities do not go against the grain, the science-fiction genre typifying this claim.…”

Section: Recipient Design and Recipient's Inferential Processesmentioning

confidence: 99%

Stranger than Fiction? A Few Methodological Notes on Linguistic Research in Film Discourse

Dynel¹

2011

Brno Studies in English

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This theoretical essay addresses a number of methodological problems pertinent to linguistic research on film discourse. First of all, attention is paid to the interdependence between contemporary film discourse and everyday language, with a view to dispersing doubts about the former's legitimacy in language studies. Also, the discussion captures the interface between a character's identity portrayal and the target audience's socio-cultural background and expectations. Another objective is to elaborate a model of film discourse's twofold layering, viz. the fictional layer and the film crew's layer; and two communicative levels, namely the characters' level and the viewer's level, on which meanings are communicated and inferred by the viewer, who is conceptualised as the recipient. Additionally, the notion of recipient design will be endorsed in order to demonstrate that meanings are purposefully communicated to, and thus gleaned by, the viewer. Several postulates are propounded concerning the viewer's understanding and appreciation of film discourse.

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Imagination in Discourse

Cited by 8 publications

References 24 publications

Unnatural acts: Nuclear language, proliferation and order

Unnatural acts: Nuclear language, proliferation and order

Conversational humour in a Nigerian radio news programme: A case study of Lati inu aka aka Biodun/Kayode

Stranger than Fiction? A Few Methodological Notes on Linguistic Research in Film Discourse

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