Abstract
The Nordic Journal of English Studies was created in 2002 in order to offer a forum for Nordic scholars in English language and literature and to promote the field of English studies in the Nordic countries. It is affiliated to the Nordic Association of English Studies (NAES). Starting from 2007 the journal is open access and only published electronically.
Highlights
In the crime novels The Silence of the Lambs (SL) by the American author Thomas Harris,1 The Mermaids Singing (MS) by British Val McDermid, and Night Sister (NS) by Norwegian Unni Lindell2 the murderers in these texts are discussed, explicitly in two cases and implicitly in one, as not being homosexual, transsexual or transvestite
The qualitative analysis of the broadsides selected suggests that midseventeenth century political broadsides appeal to spoken idiom as an effective means to sensitise people towards the controversial issues of the time
The way in which the authorial authenticity of the character‘s discourse interacted with the narrator‘s framing argumentation reinforced the validity of his political claim
Summary
In the crime novels The Silence of the Lambs (SL) by the American author Thomas Harris, The Mermaids Singing (MS) by British Val McDermid, and Night Sister (NS) by Norwegian Unni Lindell the murderers in these texts are discussed, explicitly in two cases and implicitly in one, as not being homosexual, transsexual or transvestite. In a time when the printed word acted as a powerful weapon in the hands of Roundheads and Cavaliers, the ballad-author was primarily interested in charging his news discourse with a clear ideological message This was possible thanks to the personal voice of the I-narrator, who relied upon an oral mode of discourse and on the reporting of characters‘ speeches in order to inform, persuade and entertain his audience/readership.. As Fowler argues, commenting on the relationship between ideology and media-work, ―only an interpersonal mode of discourse can create that illusion of familiarity and friendliness with the audience which is crucial to the construction of ideological agreement around a set of institutional values‖ (1991:57) Bearing this in mind, I shall investigate to what extent and how the proto-editorial style of ballads is placed at the service of the propagandistic purposes of the Royalist author. Attention will be given to the way in which the spoken discourse of political figures provides an insight into their moral rectitude, prompting people‘s sense of membership with them and eventually biasing their ideological interpretation of the events
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