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E-raamat: Linguistic Creativity in Japanese Discourse: Exploring the multiplicity of self, perspective, and voice

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(Rutgers University)
  • Formaat: 378 pages
  • Sari: Pragmatics & Beyond New Series 159
  • Ilmumisaeg: 13-Jul-2007
  • Kirjastus: John Benjamins Publishing Co
  • Keel: eng
  • ISBN-13: 9789027292285
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Linguistic Creativity in Japanese Discourse: Exploring the multiplicity of self, perspective, and voiceSuurem pilt
  • Formaat: 378 pages
  • Sari: Pragmatics & Beyond New Series 159
  • Ilmumisaeg: 13-Jul-2007
  • Kirjastus: John Benjamins Publishing Co
  • Keel: eng
  • ISBN-13: 9789027292285
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Using theoretical concepts of self, perspective, and voice as an interpretive guide, and based on the Place of Negotiation theory, this volume explores the phenomenon of linguistic creativity in Japanese discourse, i.e., the use of language in specific ways for foregrounding personalized expressive meanings. Personalized expressive meanings include psychological, emotive, interpersonal, and rhetorical aspects of communication, encompassing broad meanings such as feelings of intimacy or distance, emotion, empathy, humor, playfulness, persona, sense of self, identity, rhetorical effects, and so on. Nine analysis chapters explore the meanings, functions, and effects observable in the indices of linguistic creativity, focusing on discourse creativity (style mixture, borrowing others’ styles, genre mixture), rhetorical creativity (puns, metaphors, metaphors in multimodal discourse), and grammatical creativity (negatives, demonstratives, first-person references). Based on the analysis of verbal and visual data drawn from multiple genres of contemporary cultural discourse, this work reveals that by creatively expressing in language we share our worlds from multiple perspectives, we speak in self’s and others’ many voices, and we endlessly create personalized expressive meanings as testimony to our own sense of being.

Arvustused

[ ...] for solid scholarship and lucid explanations of both theoretical and practical matters of linguistic creativity in Japanese, Maynard's work will be valued as an indispensable text for many years to come. -- Robert Ó'Móchain, Osaka University, Japan, in Discourse Studies 10(6)

Preface and acknowledgments XIII
PART I Preliminaries
CHAPTER 1 Introduction
3
1. Introductory remarks: creativity in language and discourse
3
2. Creativity, language, and thought
6
2.1 Tokieda: the speaking subject's expressivity and linguistic creativity
6
2.2 Vygotsky: fluid thought and linguistic creativity
9
3. Creating personalized expressive meanings
10
4. Theoretical framework: the place of negotiation theory
13
5. Methodology and interpretive approaches
16
5.1 Methodology
16
5.2 Concepts of selves, perspectives, and voices
17
6. Data
18
7. Organization of the book
20
CHAPTER 2 Background
23
1. Studies on linguistic creativity
23
1.1 Linguistic creativity in ordinary conversation
25
1.2 On language play
26
1.3 Linguistic creativity in cognitive approaches
29
1.4 Toward exploring linguistic creativity in Japanese discourse
31
2. Linguistic creativity in Japanese rhetoric and culture
32
2.1 Selves-in-transit: mojiri and mimicry
33
2.2 Perspective taking: mitate and futaku
35
2.3 Echoing voices: honkadori and linking
37
3. Linguistic creativity and rhetorical views toward language and discourse
40
3.1 Miki and the spirit of rhetoric
41
3.2 Rhetoric of Pathos
43
CHAPTER 3 Approaches
45
1. Self and multiple selves
45
1.1 Self in the place of negotiation theory
45
1.2 Multiple selves in Japanese studies
47
1.3 In between self and other: Mild and Bakhtin
49
1.4 Divided selves and the relational sublime
51
2. Self and linguistic subjectivity
53
2.1 Linguistic subjectivity across languages
54
2.2 Japanese as a subjectivity-prominent and ego-centered language
55
2.3 Self and linguistic subjectivity in Japanese discourse
57
3. Perspective and perspectivization
59
3.1 Perspective in linguistics and literature
60
3.2 Perspective and cognitive approaches
61
3.3 Joint attention and sharing the perspectivized appearance
63
4. Multiple voices and intertextuality
66
4.1 Bakhtin and multiple voices
66
4.2 Intertextualiy
68
5. Linguistic creativity: a source for realizing selves and identities
69
PART II Discourse creativity: Styles and genres
CHAPTER 4 Style mixture and the use of rhetorical sentences
75
1. Introduction: creative use of style mixture
75
2. Background
76
3. Basic styles
80
4. Mixing the emotive da style
81
5. Mixing the emotive desu/masu style
84
6. Mixing the supra-polite style
86
7. Mixing rhetorical sentences
90
7.1 Rhetorical sentences and linking
90
7.2 Rhetorical sentences and the story-telling effect
91
8. Reflections: speaking in multiple voices
94
CHAPTER 5 Borrowing others' styles and manipulating styles-in-transit
95
1. Introduction
95
2. Background
96
3. Borrowing others' styles
98
3.1 Styling the other
99
3.2 Manipulating imagined styles
104
4. Styles-in-transit: concurrent styles and mojiri
107
4.1 The drama: Tiger & Dragon
107
4.2 Concurrent styles and multiple selves
109
4.3 Styles-in-transit and mojiri
113
5. Reflections: presenting selves through styles
116
CHAPTER 6 Genre mixture between conversation and text
119
1. Introduction: creative use of genre mixture
119
2. Background: quotation and dialogicality
122
3. Sentence-final mitaina: acting out the conversation
124
3.1 On sentence-final mitaina
124
3.2 Mitaina in conversation
126
3.3 Mitaina in text
130
4. Conversation as a modifier
133
5. Conversational commentary in text
137
6. Reflections: manipulating multiple voices and selves
138
PART III Rhetorical creativity: Humor and figures
CHAPTER 7 Puns and intertextuality
143
1. Introduction: linguistic creativity and playfulness
143
2. Background: on puns and humor
145
3. Types of puns
146
4. Puns in satire
147
5. Puns in conversation
150
6. Puns in advertising
152
6.1 The JARO ad
152
6.2 Multiple and overlapping puns
152
7. Intertextual puns: playing with the prior text
155
7.1 Playing with poetic lines
156
7.2 Playing with tanka
158
8. Reflections: playing with multiple voices and perspectives in and across discourse
159
CHAPTER 8 Mitate, futaku, and the macro-metaphor
161
1. Introduction: metaphors and rhetorical effects
161
2. Background
162
2.1 On metaphor
162
2.2 Metaphor and culture
164
3. Mitate and futaku
165
4. The flower/blossom macro-metaphor as a cultural icon
168
5. The yuusuge flower in a poem
171
6. The theatrical flower in a Noh manual
174
7. The flower in a popular song
177
8. The cherry blossom story in an essay
180
9. Reflections: metaphor, culture, and linguistic creativity
184
CHAPTER 9 Metaphors in multimodal discourse
187
1. Introduction
187
2. Background: multimodal approaches to discourse
187
2.1 Between text and visual image
188
2.2 Visual metaphors
189
3. Visual images in an essay
192
3.1 The cartoon illustration
192
3.2 Illustration as metaphorical thematic presentation
193
4. Metaphorical framing of "silence"
194
4.1 The Kurinappu ad
194
4.2 Between text and visual metaphor
196
4.3 Multimodal analysis
198
5. Visual metaphorization of "freedom"
199
5.1 The SMFG ad
199
5.2 Between text and visual metaphor
202
5.3 Multimodal analysis
202
6. Multilevel metaphors in a singing spectacle
204
6.1 The song: Manjuushaka
204
6.2 Between lyrical and visual metaphor
205
6.3 The performer-metaphor metamorphosis
207
7. Reflections: presenting multiple perspectives in metaphorical discourse
208
PART IV Grammatical creativity: Sentences and phrases
CHAPTER 10 Negatives for non-negative effects
211
1. Introduction: negating creatively
211
2. Background: on the use of negatives
212
3. From contrast to denial
214
3.1 Contrast as context
214
3.2 Denial as an act
216
3.3 Effects of double and repeated denials
217
4. Expressive functions of negatives in advertising and poetry
219
4.1 The HONDA ad
219
4.2 The poem: Do not bundle me
220
5. Expressive functions of negatives in novels
222
5.1 Negatives and character portrayal
223
5.2 Repeated denials and undeniable feelings
229
6. Reflections: grammar as a source for linguistic creativity
231
CHAPTER 11 Demonstratives and the perspectivization of discourse worlds
233
1. Introduction: more than physical locations
233
2. Background: on demonstratives in discourse
234
3. Between ko-series demonstratives and so-series demonstratives
235
4. Discourse functions of ko-, so-, and a-series demonstratives
238
5. Ko-series demonstratives: emotive proximity and narrative perspectives
240
6. The world of ko and the world of so
244
7. Anaphora, cataphora, and the boundaries of discourse
248
8. A-series demonstratives: emotivity and the perspectivized appearance
251
9. Reflections: locating discourse worlds in emotive places
255
CHAPTER 12 First-person references and the perspectivization of multiple selves
257
1. Introduction: linguistic creativity and the presentation of selves
257
2. Background: first-person references in cognitive approaches
259
3. First-person references in Japanese discourse
261
3.1 Characteristics of watashi and its variants
262
3.2 On the non-use of watashi
265
3.3 Watashi and the particle use
267
4. From self as locutionary agent to self-identifying objectified self
268
4.1 Mixing the zero form and watashi
269
4.2 Shifting perspectivized appearances and presenting multiple selves
270
5. Jibun: the presentation of reflexively projected self
272
5.1 On jibun
272
5.2 Presenting multiple selves by mixing the zero form, watashi, and jibun
274
5.3 Jibun in conversation and interpersonal effects
277
6. Reflections: identifying divided and embedded selves
279
PART V Reflections
CHAPTER 13 Linguistic creativity in Japanese discourse and beyond
283
1. Linguistic creativity, expressivity, and identity
283
2. Linguistic creativity and cultural context
284
3. Nihonjinron, criticism, and the practice of Japanese discourse
287
4. Linguistic creativity and linguistic theory
289
Appendix: Presentation of data in Japanese orthography 293
Notes 325
References 333
Data references 345
Author index 349
Subject index 353


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