Alien Discourse Research Articles

Novos percursos da ciência: as modificações da divulgação científica no meio digital a partir de uma análise contrastiva

RESUMO Este artigo investiga a forma com que enunciados orais de divulgação científica se adaptam ao meio digital, especificamente ao YouTube, para realizar sua função principal: criar em seu interlocutor uma cultura científica a partir do seu fundo aperceptível de compreensão responsiva e da cultura discursiva com que este se identifica. Para tanto, analisa-se a transmissão do discurso alheio em um canal brasileiro, Nerdologia, e um americano, Scishow, baseando-se, por um lado, nos preceitos teóricos do Círculo de Bakhtin, e, por outro, nas propostas teórico-metodológicas da análise contrastiva de discursos. A partir disso, encontramos no corpus relações entre as ocorrências quantitativas e qualitativas dos modos de transmissão do discurso alheio, que, ao mesmo tempo, ressaltam semelhanças entre os dois canais, traçando um espectro geral das adaptações sofridas por essa modalidade discursiva no meio digital, e apontam suas diferenças, que se relacionam com as diferentes culturas discursivas que os enunciados materializam.

Страсть влияния: поэтика Иосифа Бродского в книге стихов Андрея Драгунова Monologica (2002)

В статье рассматриваются элементы чужой поэтики в стихах Андрея Драгунова. В книге Monologica приемы Иосифа Бродского обнаруживают себя на разных уровнях текста (ритм, синтаксис, лексика, мотивика, топика). Если автор не осознает это как заимствование, то читатель видит здесь ритмический, стилистический, идеологический облик чужой оригинальности. Новый поэт как бы присваивает себе чужое слово, и этот другой голос «вовсе не входит в замыслы подражающего» (Михаил Бахтин). В ходе сопоставления стихов двух поэтов мы приходим к выводу, что чужая форма стала для Драгунова единственным и универсальным способом высказывания, сохраняющим признаки эстетического образца и стилистического шаблона.

Poetry and its others: news, prayer, song, and the dialogue of genres

What is poetry? Often it is understood as a largely self-enclosed verbal system - suspended from any mutual interaction with alien discourse, in the words of Mikhail Bakhtin. But in Poetry and Its Others, Jahan Ramazani reveals modern and contemporary poetry's animated dialogue with other genres and discourses. Poetry generates rich new possibilities, he argues, by absorbing and contending with its near verbal relatives. Exploring poetry's vibrant exchanges with other forms of writing, Ramazani shows how poetry assimilates features of prose fiction but differentiates itself from novelistic realism; metabolizes aspects of theory and philosophy but refuses their abstract procedures; and recognizes itself in the verbal precision of the law even as it separates itself from the law's rationalism. But poetry's most frequent interlocutors, he demonstrates, are news, prayer, and song. Poets such as William Carlos Williams and W. H. Auden refashioned poetry to absorb the news while expanding its contexts; T. S. Eliot and Charles Wright drew on the intimacy of prayer though resisting its limits; and Paul Muldoon, Rae Armantrout, and Patience Agbabi have played with and against song lyrics and techniques. Encompassing a cultural and stylistic range of writing unsurpassed by other studies of poetry, Poetry and Its Others shows that we understand what poetry is by examining its interplay with what it is not.

The Bakhtin Circle: In the Master's Absence

Re-introducing the Bakhtin Circle - David Shepherd Part One: About the Bakhtin Circle 1. The scholarly legacy of Pavel Medvedev in the light of his dialogue with Bakhtin - Iurii Medvedev and Dar'ia Medvedeva 2. Seeking a 'third way' for Soviet aesthetics: Eurasianism, Marxism, Formalism - Galin Tihanov 3. The Bakhtin Circle and problems in linguistics - Vladimir Alpatov 4. Voloshinov's dilemma: On the philosophical roots of the dialogic theory of the utterance - Craig Brandist 5. Lev Pumpianskii and the Nevel School of philosophy - Nikolai Nikolaev 6. Kanaev, vitalism and the Bakhtin Circle - Ben Taylor 7. Sollertinskii and dialogical symphonism - Pauline Fairclough Part Two: Selected works by members of the Bakhtin Circle 8. Tolstoi's 'Diary' by P. N. Medvedev 9. Hermann Cohen (4 July 1842-4 April 1918) by M.I. Kagan 10. [On Marxism] by L.V. Pumpianskii 11. Archival materials (I. The problem of the transmission of alien discourse: An essay in sociolinguistic research II. Report on work as a postgraduate student, 1927/28: Plan and some guiding thoughts for the work 'Marxism and the Philosophy of Language') by V. N. Voloshinov Appendix - The Bakhtin Circle: A timeline -- .

Ethics and the Lyric: Form, Dialogue, Answerability

The purpose of this essay is double—to counter Mikhail Bakhtin's contention that all poetry is necessarily monologic and therefore unethical (and, in doing so, to challenge also common assumptions about the lyric that presume a singular, personal, unified voice) and to make this claim by employing Bakhtin's own theories of dialogue in reading contemporary African American poet Robert Hayden's lyric "Night, Death, Mississippi." Hayden's powerful lyric about lynching, at once beautiful and horrifying, provides a rich site to trace some strategies of form and style—for example, the use of free indirect discourse, multiple lyric voices, and a modified call-and-response structure—that enable heteroglossic dialogism within the poem itself and also self-consciously evoke and even perform the reader's answerability to and for it, establishing the participation of the lyric in the ethical encounters of dialogue.

Stalking the Legal Lexicon of International Relations

International Law: A Dictionary. By Boleslaw A. Boczek Lanham, MD: Scarecrow Press, 2005. 477 pp., $110.00 (ISBN: 0-8108-5078-8). Words have particular meanings and convey particular ideas. But communication is neither simple nor straightforward. “‘When I use a word,’ Humpty Dumpty said, in rather a scornful tone, ‘it means just what I choose it to mean—neither more nor less’” (Carroll 1954:209). This attitude that words should mean exactly what we intend points up the need for special reference works—we call them dictionaries—that list words or concepts along with their objective meanings, histories, and contexts. Dictionaries are serious educational tools that aim to improve knowledge and explain the use of words, concepts, and phrases. They are distinguished by alphabetical organization and a particular mode of use—that is, dictionaries are meant for consultation on a need-to-know basis, as opposed to perusal from beginning to end. Modern international law contains an immense and growing body of rules, norms, and regulations that reaches virtually all aspects of international intercourse. Moreover, international organizations have contributed mightily to the composition of modern international law as a pervasive, organized system of cooperation. Nonetheless, the lexis for international law, like language in general, is hardly so precise that it can measure up to Humpty Dumpty's expectations, as expressed to Alice in Lewis Carroll's Through the Looking Glass . The vast array of concepts, terms, and principles of international law sometimes seems like alien discourse—not only because foreign words and phrases are often key concepts but also because legal language is often subject to varied interpretations. It is this combination of factors that highlights the intrinsic value of Boleslaw Boczek's International Law: A Dictionary , an encyclopedic work that marks the culmination of a lifetime of learning and teaching international law. Boczek is ably qualified to craft such a magnum opus . Prior to World War II, he studied law at Jagiellonian University in Cracow, Poland. After …

Challenges in English Literacy for African-American and Lankan Tamil Learners: Towards a Pedagogical Paradigm for Bidialectal and Bilingual Minority Students

The paper compares two separate classroom ethnographies in higher educational institutions one, on African-American students learning Academic writing and another on Lankan Tamil students learning English for General Purposes. Explicating the similarities of challenges and responses in English academic literacy for these students, the paper attempts to overcome the separation of the concerns of bilingual and bidialectal minority students in English language teaching. Although both groups of students are initially highly motivated, they experience conflicts for their identity, values, and group membership in internalising an alien discourse. They therefore adopt a formalistic learning approach of mastering the abstract structural rules and ignoring the communicative uses of the language in order to oppose its ideological thrusts. Through this ambivalent strategy, they attempt to attain the English proficiency needed for social mobility while retaining their cultural and ideological integrity. The paper proposes thatwhile minority students should be encouraged to analyse the limitations of their own attitudes and values, the pedagogy should also sustain an interrogation of the ideologies represented by English discourses. Such students should reposition themselves in relation to English and use it according to their own discursive backgrounds in order to empower themselves while pluralising English/academic discourses.

Transference and Resistance in the Basic Writing Classroom: Problematics and Praxis

Surely every instructor of composition-especially those of us involved with remedial or Basic Writing-has experienced moments of doubt and gloom in which the meanings implicit in Freud's famous comparison of impossible professions seem all too inescapable. For like psychoanalysis, our work helping students to find their voices frequently brings us face to face with a dense array of demons-fears, resistances, angers, and traumas-in our students and in ourselves. Indeed, the sub-text or latent content of a composition classroom often threatens utterly to overthrow the more cognitive dimension of our work. In encouraging our students to unlock and express their ideas, feelings, and beliefs more effectively, we are, like psychoanalysts, insisting that they confront lost or denied elements of themselves-itself a project filled with social, familial, and personal dangers-and then that they express those elements in written, often alien discourse, the very use of which arouses a whole new host of terrors.

Authority and Identity in Rulfo's El llano en llamas

There is a point in most of the stories of El llano en llamas where an individual comes up against the discourse of others, in the form of an accusation or declaration, and is annulled by it. His memory, knowledge, consciousness, sanity or even identity is destroyed. My first task is to describe the mechanism of that loss of consciousness. Though the alien discourse originates in a clearly identifiable figure of authority (cacique, parent, priest, government, army, the law), it is usually mediated by an unidentifiable impersonal or plural voice. The second question is thus why the voice of authority has become so fragmented, impersonal and empty. Three factors recur constantly: violence, transgression of structure, often family structure, its most basic form, and the death of the father. I have found it difficult to establish any strict hierarchy between these factors, any clear process of cause and effect. Rather they seem to be linked in an ever degenerating vicious circle. En la madrugada provides a labyrinthine example of the mediation of the annihilating word, when the cowherd Esteban is accused of killing his land-owner employer: Me llegaron con ese aviso. Y que dizque yo lo habia matado, dijeron los dfceres. Bien pudo ser; pero yo no me acuerdo (48).1 In Macario, the repetition by the authoritarian figure of the madrina of the plural accusation that the boy had attacked a woman turns the report into an absolute truth for him, again to the detriment of his knowledge and memory: no se por qu6 me amarrard las manos; pero dice que porque dizque luego hago locuras. Un dia inventaron que yo andaba ahorcando a alguien; que le aprete el pescuezo a una sefiora nada mas por nomas. Yo no me acuerdo. Pero, a todo esto, es mi madrina la que dice lo que yo hago y ella nunca anda con mentiras (8). In Diles que no me maten, the accusing voice of the colonel comes from inside a