‘Are we bound by it?’: Language and Gendered representations of power in Oleanna The world chronicled in David Mamet’s Oleanna is entirely disparate from the utopian paradise that Pete Seeger croons about in his song. Here, every use of language is charged with assumptions of power and gender that Mamet seeks to explore and critique. This review, using the film as a template seeks to investigate the way in which use of and access to language invests the individual with a certain semblance of power, thereby exploring how authority and domination is predicated on the application of these linguistic strategies by both genders. Distraught student Carol’s attempt to seek help from her professor John sets the plot in motion. What follows is palpably
Obviously, every speaker of a language has mastered and internalized a generative grammar that expresses his knowledge of his language. This is not say that he is aware of the rules of grammar or even that he can become aware of them or that this statement about his intuitive knowledge of the language are necessarily accurate”(Chomsky,A( 1965) Theory in Syntax). As it could be observed in the previous paragraphs is clear the main difference between those approaches. Moreover another important feature that distinguishes both is the study of language. In Structuralism is noticed that language is analysed syntactically like a structure, in order to link each element in a structural manner, therefore the study of the language is done in a specific manner.
Walcott also uses free verse poetry to express his feelings. Most of his poems are split into stanza but have no rhyme scheme and lack any form of organization. Although, his poems have a clear theme and express his main idea. Lastly, Walcott commonly uses a theme of romance. He talks about his love of an anonymous woman and how he wish he could spend everyday with her.
“Figurative language adds pizzazz. It raises work above the plain, the dull, the ordinary," said Ellen Hunnicutt, a successful American writer. In order to make writing stand out, and be engrossed, the writer needs to include figurative language. In the stories “Canyons” by Gary Paulsen, and “Treasure of Lemon Brown” by Walter Dean Myers, all use a common stylistic technique of figurative language to get the characters and setting across to the reader of the story. First off, Gary Paulsen in the book “Canyons” uses figurative languages such as metaphors and hyperboles.
British linguist Norman Fairclough is one of the founders of critical language study, CLS, where he attempts to show that language is very closely interconnected to power. Language has two ways in which it connects to power - it both arises out of and reinforces certain types of power and showcases different types of power (Fairclough, 2001, p. 1). Norman Fairclough however distances himself from the likes of previous theorists like Saussure. Fairclough strays away from the terms langue and parole in favor of discourse. He claims that in his eyes language is beyond a doubt socially determined (Fairclough, 2001, p. 5).
Thirdly, the language device, “words as character”, will be elaborated upon. Lastly, the language device, “words as conversation” with the audience, will be explained. Shakespeare was very specific, in 1603, about his choice of words when he wrote the play, “Othello”. The three language devices – “words as power”, “words as character” and “words as conversation” with the audience – are used to create characters’ identities and fates, and also to drive the plot of the play (Krieger, 2012). Powerful words are used in the world of “Othello” and can create order or chaos.
The most obvious technique Chesnutt uses is the pronounced dialect for his African American characters. Chesnutt’s use of dialect was often used to make fun of the African Americans in his stories just so his white readers could feel a sense of superiority over them. Although his use of dialect was to make fun of the African American characters, Chesnutt was highly praised for his use of dialect, especially by William
Language: The Currency of Power Compelling language and the mastery of infectious rhetoric are the currency of power in George Orwell’s Animal Farm. The expulsion of Mr. Jones, and Napoleon’s undemocratic rise to power, are achieved through the brute force of vowels and consonants. This is best exemplified by Squealer and his skillful manipulation of language to quell any rumblings before revolt could ignite. He commands a variety of literary devices; rhetorical questioning, repetition and logos, to ensure Napoleon retains a firm grasp on the feeble-minded animals. The artfully transparent allegorical nature of the novel is plainly intended to cast a negative light on the plight of humanity.
Language is a complex system of communication developed to convey thoughts, feelings, and meaning. Although, a must for comprehension, in William Shakespeare 's Hamlet, language is used as a device for manipulation by shifting one’s perception of the truth. The play forms recurring motifs relating to the dichotomy of appearance versus reality. This technique manifests through Claudius, a politician that takes the throne by pouring poison into the King’s ear, then marries the Queen. During Act 1 his ability is shown through his speech filled with oxymorons such as “defeated joy” (I.II.10) to appear as the grieving brother to the people of Denmark.
case, speakers of languages with very few words for colours would not be able to perceive different colours (Holmes 2008:336-337). However, it is vital to point out that two forms of the theory exist: the strong one that argues that language determines how we interpret the world and the weak one that argues that language is only one factor in how we construct the world (Pauwels 1998:83). According to Holmes (2008:350), most sociolinguists believe that language to some extent affects our world-view and consequently the way we view gender. Coquetry, as one of the pragmatic uses of language, shares the same attribution which is shaped by and reshapes society. As mentioned above, language used in coquetry are the carriers as well as the creators