Introduction: language(s) with a difference

Milesi, Laurent

doi:10.1017/cbo9780511485206.001

Cited by 3 publications

(2 citation statements)

References 50 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“… 6 The list of reactions is too long to be reported here. For the Italian context, please refer to Milesi ( 2020 ) “The virality of the military language” [ La viraltà del linguaggio bellico ] published on the online magazine Vita , where linguists, journalists and writers discuss about the reasons and the dangers related to the use of the war metaphor to speak about a pandemic. In the UK, in April 2020, the University of Lancaster launched a collaborative initiative to ask linguist experts and anyone who wished to engage in proposing “examples of inspirational non-war-related metaphors” ( https://www.lancaster.ac.uk/linguistics/news/beyond-the-battle-far-from-the-frontline-a-call-for-alternative-ways-of-talking-about-covid-19 ).…”

mentioning

confidence: 99%

“We are at war”: The military rhetoric of COVID-19 in cross-cultural perspective of discourses

Giorgis¹,

Семенець

Todorova

2023

Front. Artif. Intell.

View full text Add to dashboard Cite

At the outburst of the COVID-19 pandemic and all throughout its continuation in 2020 and 2021, the metaphor of ‘war' has been one of the most pervasive and recurrent globally. As an international, cross-cultural group of scholars and practitioners, we will analyze critically the communicative strategies enacted and the political agenda that they have meant to serve in Italy, Bulgaria, and Ukraine discussing both the cultural differences and the cross-cultural similarities of such a discourse that has been shaping the perception of our factual reality during the pandemic. Expressions like ‘We are at war', ‘Our heroes are fighting at the forefront', ‘We will win this war' and the like contributed to create symbolical cross-cultural responses that, by playing on emotions such as fear, uncertainty and, in some cases, national pride, contributed to the creation of a new state of reality, that of the “new normality”, calling for specific actions and behaviors. However, the war metaphor assumed different hues according to the country in which it was disseminated, up to the actual appointment of generals as governmental spoke-persons or organizers of the vaccine logistics, often combined with the construction and the mediatization of the archetypical hero fighting against the virus/enemy. To analyze how, all throughout 2020 and 2021, the military rhetoric was implemented and disseminated as the dominant discourse, we draw on Media Representations of the Real, on Rhetoric Studies on Manipulation, on Political Discourse, on Critical Discourse Studies, and on Susan Sontag's fundamental essay Illness as Metaphor. We discuss such rhetorical strategies as they originated from a discussion within our collective project in other words, an online dictionary that, besides critically analyzing contextualized keywords that (re)produce different forms of Otherness, offers creative proposals to reverse such narratives, and can be used as a free resource in different social and educational contexts (www.iowdictionary.org).

show abstract

mentioning

confidence: 99%

“We are at war”: The military rhetoric of COVID-19 in cross-cultural perspective of discourses

Giorgis¹,

Семенець

Todorova

2023

Front. Artif. Intell.

View full text Add to dashboard Cite

show abstract

“…Indeed, "Joyce's fabrications force the reader to continually renegotiate how the text's idiom operates." 492 As Joyce himself called Frank Budgen's attention to the particular order of words regarding the third sentence of the quoted passage, "[y]ou can see for yourself in how many different ways they [the words] might be arranged." 493 Whatever the manifestation of the interplay between "moods" and "voices" may be like, it definitely involves the doubleness of perspective, so-called parallax.…”

Section: Seams Of Narrationmentioning

confidence: 99%

The Fabric of Textual Relations in James Joyce’s Ulysses

Véry¹

2018

View full text Add to dashboard Cite

Literature, as a written artefact, then, is singled out by its eminence. As Gadamer puts it, it is the particular mode of manifestation, or rather, self-manifestation which makes one consider texts of literature as distinct from other, non-artistic texts.[Literature] is text in an essential and demanding sense, namely, a text which does not refer back to a speech, be it thought or voiced, as its fixation, but is untied from its origin, claiming its own validity, as the ultimate authority on its own account for the reader and interpreter. 12 In this sense, it comes to light in its significance that "the artistic or literary work seals its own unity, that is to say, it establishes its own autonomy." 13 Texts, as works of literature, creating a different status of writing than it is customary in everyday use, articulate themselves as pieces of opaque writing, i.e. ones that necessitate the conscious effort of interpretation As Gadamer makes it explicit from this perspective,[t]he concept of the text is hermeneutic in itself. […] It is in this respect that the most extensive concept of the 'text' is related to 'understanding' and is disposed to 'interpretation'. But a text which is a literary artefact, seems to me a text in an eminent sense. It is not only disposed to, but necessitates interpretation. 14 As such does the text become a fundamental hermeneutical concept. "It articulates the authoritative potentiality [Gegebenheit], to which understanding and interpretation have to measure themselvesit is the hermeneutical point of identity, which keeps every variable within bounds." 15 The eminence of the work of literature, as text, exhibits itself in its laying 12 "Sie ist in einem wesentlichen und anspruchsvollen Sinne Text, nämlich ein solcher Text, der nicht als Fixierung einer gedachten oder gesprochenen Rede auf diese zurückweist, sondern, von seiner Herkunft abgelöst, eine eigene Geltung beansprucht, die ihrerseits für den Leser und Interpreten eine letzte Instanz ist." Gadamer, "Der 'eminente' Text und seine Wahrheit," p. 286.13 "[D]as Werk der Literatur oder Kunst sich durch sich selbst zur Einheit schließt, sich sozusagen autonom konstituiert." Gadamer, "Philosophie und Literatur," p. 254. 14 "Der Begriff des Textes ist selber ein hermeneutischer. […] Insofern ist auch im weitesten Begriff 'Text' auf 'Verstehen' bezogen und ist der 'Auslegung' fähig. Aber ein Text, der ein literarisches Kunstwerk ist, scheint mir ein Text im eminenten Sinne. Es ist der Auslegung nicht nur fähig, sondern bedürftig." Gadamer, "Philosophie und Literatur," p. 248. [italics mine -D. V.] 15 "Er formuliert die autoritative Gegebenheit, an sich Verstehen und Auslegen zu messen hatgleichsam als der hermeneutische Identitätspunkt, der alles Variable begrenzt." Gadamer, "Der 'eminente' Text und seine Wahrheit," p. 289.

show abstract

Protean Mutations: James Joyce’s Ulysses

Taylor-Batty¹

2013

Multilingualism in Modernist Fiction

View full text Add to dashboard Cite

Introduction: language(s) with a difference

Cited by 3 publications

References 50 publications

“We are at war”: The military rhetoric of COVID-19 in cross-cultural perspective of discourses

“We are at war”: The military rhetoric of COVID-19 in cross-cultural perspective of discourses

The Fabric of Textual Relations in James Joyce’s Ulysses

Protean Mutations: James Joyce’s Ulysses

Contact Info

Product

Resources

About