Search

This article delves into participatory urban planning practices through the lens of Mikhail Bakhtin's theory of polyphony. We explore how polyphonic planning, which requires multiple voices in a dialogue and representations revealing various perspectives, can be achieved in a hybrid participatory planning process. Our action research, conducted as part of an actual planning process, reveals that while hybrid participation can foster dialogue and increase polyphony, it requires participatory knowledge sharing, public assessment of planners' interpretations, and a clear definition of concepts. We also suggest improving the vertical dialogue between planning levels. [ABSTRACT FROM AUTHOR]

This article explores the intersection between group analysis, feminism, and queer understandings of sexuality, aiming to initiate a dialogue and generate new insights in these fields. I examine key concepts from group analysis, such as the 'group matrix' and the 'social unconscious', to explore how therapeutic groups can generate openness to others and differences. The article presents group analysis as a historically grounded psychosocial theory capable of bridging gaps between discourses to generate new ways of understanding social identities. The term 'figuration' borrowed from feminist and group analytic theory serves as a framework to synthesise conflicting perspectives, with the analytic group serving as a dynamic space of creative tension. By exploring this shared term, previously unconnected subjects can find potential common ground. Elizabeth Freeman's exploration of queer temporalities and spaces is then considered, followed by an examination of symmetric and asymmetric logic by psychoanalyst Ignatio Matte Blanco. These concepts shed light on conscious and unconscious modes of thought. By juxtaposing the histories of figuration alongside symmetric and asymmetric logic, the article elucidates the consequences for group analysis in understanding sexuality and gender. The group analytic concept of the location of disturbance and the processes involving logic and counter-logic within the analytic group matrix are instrumental in delineating these consequences. By bridging the gaps between fields and encouraging creative engagement, the article contributes to expanding the understanding of sexuality and gender within the context of group analytic theory. [ABSTRACT FROM AUTHOR]

Background: In the modern music industry, AI music generators have gained particular importance. The use of AI greatly simplifies the creation of polyphony. In addition, it can increase student motivation and interest. Aims: This study focuses on the AI‐assisted creation of polyphonic music. The purpose of this study is to determine how creating polyphony through the Deep Bach model impacts the academic motivation of music university students. Materials & Methods: Achieving this goal is possible by conducting an experimental training program based on the use of the above‐mentioned model. Results: The results show that students in the experimental group have higher motivation than the control group participants. Therefore, AI‐based music creation has the potential to become a new trend in music education. Implications: The findings of this study can be useful for music education experts, providing empirical data on the effectiveness of AI in music education. The use of the data can ultimately improve the learning process. Future research can focus on developing alternative AI models as well as investigating their effectiveness in music education. [ABSTRACT FROM AUTHOR]

A patient-authored medical record (PAMR) is a narrative-based prescription that is written by a psychiatric patient with help from a nurse. It is a tool specifically designed and developed for psychiatric nursing. We have reported its notable therapeutic effects for Japanese patients and found that the patients had accurate views of how to improve their illness. The present paper, which broadens the scope of this examination, includes the entire process of using this tool, including both patient-authored medical records and follow-up dialogue. We aim to demonstrate how a patient's potentials are leveraged and expanded through the interpretation of such texts through dialogue, in which interpretation takes the form of a conversational question based on not-knowing. Follow-up meetings facilitate the therapeutic process and team collaboration for patients, medical staff, and families. We also reaffirm the soundness and legitimacy of psychiatric patients writing their own prescription with help from a nurse. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Linguistic Anthropology is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study examines phenomena of polyphony in the literary and journalistic exile-œuvre of the Spanish reporter and novelist Luisa Carnés (1905–1964), which has previously been marginalized by both the literary canon and literary studies research. Emphasizing the dialogue between reportage, feuilletonistic prose and narrative writing in hybrid forms such as the ‘cuentos-reportajes’, the aim of the work is to identify characteristics of a female proletarian polyphony at the interface of literary and journalistic discourse. Narrative procedures such as self-reflexivity and media reflexivity are assumed to be strategies of female self-authorization; the specific writing formats and practices of the Spanish republican exile in Mexico motivate a heteronymous polyphony. For this purpose, several journalistic and narrative texts by the author, published between 1947 and 1963, are examined in a close reading based on a media-historical perspective.

This article critiques the ongoing dominance of the Hollywood monomyth in the film and television industry, at least in the UK if not more widely. It considers how this is impacting on the teaching of narrative and story in university film and media departments as they move towards stronger collaborations with industry. It argues for the importance of two-way dialogue to help equip students and their future employers for a world facing complex global challenges. Drawing on the author's extensive experience in teaching and practice-led research, it advocates for a creative problem-solving approach which decentres conflict-driven models of narrative development, such as the Hero's Journey, placing them alongside alternative models which engage with the relationship between conflict and harmony in a variety of different ways. Considering narrative structures such as Kishōtenketsu, indigenous storytelling methods and the author's own work with the Polyphonic Documentary project, the need for a genuinely inclusive and expansive approach is brought to the fore. A mixed economy is considered to be essential, with experimental and traditional approaches preparing students for current industry demands whilst also encouraging them to shape future storytelling landscapes. The argument is made that this is crucial to foster a nuanced understanding of narrative and story that can respond creatively and effectively to the demands of a rapidly changing world. [ABSTRACT FROM AUTHOR]

Bakhtin's view of the history of the novel, through the lens of Dostoevsky's writing in his famous study on Dostoevsky's poetics (1963), has had a significant impact on the way we read Dostoevsky today. On the other hand, Shestov's original explorations of the human soul, which were drawn on his reading of Dostoevsky and made a lasting impression on his contemporaries, are still relatively unknown to the English-speaking reader. Having traced the history of the regenerations of Dostoevsky's convictions in his earlier works, in his mature writings Shestov proposed that at a time of deep crisis the human mind may acquire a new dimension, which lies beyond the limits of the comprehensible and the explicable. Building on his analysis of Dostoevsky's life and work, a transformative shift in Shestov's own worldview, led to significant alterations in his reading of Dostoevsky in the final years of his life. In this essay, as I draw the two thinkers into a dialogue, I try to look beyond the obvious differences in the two philosophers' views (though I acknowledge them) and, with respect to both thinkers' outstanding contributions to twentieth-century European culture, I attempt to discover a number of key developing points in their views derived from their shared love of Dostoevsky's art. Contrasting Shestov's interpretation of Dostoevsky to that of Bakhtin's, I argue that despite their different methods, standpoints, and philosophical views, and despite the seemingly antagonizing nature of their observations, Bakhtin and Shestov arrived at a number of conclusions, which contributed to our present understanding of Dostoevsky's worldview. [ABSTRACT FROM AUTHOR]

The present research analyses the growing popularity of the trumpet musical instrument in modern Chinese music. The research purpose is to examine the use of the technique of polyphony in trumpet players and its impact on the creative development of trumpet students. The sample consisted of 496 Chinese trumpeters who participated in brass band festivals. The creative abilities of students were assessed using the following psychodiagnostic methods: Readiness for self-development test, Imagination test, Test questionnaire by Davis to measure creativity; Creative Thinking Test developed by Torrance and Bruner method to assess the types of thinking and creativity. The results showed a statistically valid and significant performance improvement creativity and creative abilities of the studied students of the experimental group, who performed polyphonic pieces of music for a month, as well as increased motivation for further self-knowledge and self-development. The research found an increase in the trumpeters who had a high level of creative potential (from 20.6% to 34.8%). Quantity trumpeters with low creativity decreased from 14.6% to 6.5%. The research concluded that the lessons of polyphonic music contributes to the development of creative abilities among trumpet players. [ABSTRACT FROM AUTHOR]

Aim: This exploratory study analyses the interplay between the treatment philosophies of Alcoholics Anonymous (AA) and Relapse Prevention (RP) in personal stories of addiction. While the basic ideas of AA and RP are compatible in many ways, they also carry some fundamental differences. Methods: The data consisted of interviews with 12 individuals recovering from substance use problems, who had experience of both AA and RP. The analysis drew on a dialogical narrative perspective, and the concept polyphony was used to shed light on the interplay between different treatment philosophies in personal stories of relapse. Findings: Although sometimes resulting in incoherence, the treatment philosophies were combined idiosyncratically, in ways that appeared productive for the participants' self-images and recovery journeys. Conclusion: The combination of AA and RP philosophies in narratives of relapse and recovery may reflect a new treatment discourse where individualisation and responsibilisation stand in a complicated relationship with collectivism and surrendering to so-called addicting processes. [ABSTRACT FROM AUTHOR]

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Djoussour El-maarefa is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay argues that Ben Lerner’s The Topeka School (2019) complicates Mikhail Bakhtin’s dichotomy between monologism and polyphony through strategies resonating with Cristina Rivera Garza’s concept of disappropriation. In contrast to Bakhtinian polyphony, Lerner’s novel posits the necessity of exposing the author’s agency behind the characters’ voices to refrain from appropriating them; it thus embraces authorial fallibility and turns it into an ethical project. Despite comprising multiple narrators, The Topeka School is metafictionally presented as authored by an older version of its teenage protagonist Adam Gordon, serving as Lerner’s alter ego. Adam’s overarching authorial presence is suggested by the narrative’s frequent rejection of individuation and mimesis in its depiction of different characters’ speeches; yet, by presenting individual voices as interwoven, the novel also emphasises the collective nature of language. I discuss how this tension between authorial control and interconnectedness is reflected in textual interferences across different narrative perspectives, in the oscillation between authorial and figural narration in the interludes dedicated to the character Darren, and in the infiltration of various intra and intertextual references into Amber’s as well as Adam’s voice. Through these disappropriative techniques, Lerner’s novel avoids solipsism while also moving beyond the dialogic strategies of previous post-postmodern metafiction. [ABSTRACT FROM AUTHOR]

The transformation of the art of fiction from a novel with a single, unique voice to a novel with multiple voices constituted a historical turning point in the path of the novel, in terms of creativity, reception, analysis, and criticism. The novel was liberated from the dominance of a single voice in the narrative path and turned into a multivoiced novel, in what is known critically as “dialogue,” through plurality in artistic construction, diversity in the multiplicity of narrators, characters, ideological intellectual attitudes, diversity of languages and styles, narrative perspectives, heterogeneity, different visions and orientations, coexistence with contradictions, the contrast of elements within the novel, and transcended with that from one voice self-talk into multiple selves and diverse voices. This research aims to guide attention to Omani writers, study their narrative works, and the range of narrative techniques used in their narrative works; by studying the “dialogical” polyphony technique in the novel “Whisper of Bridges” by the Omani novelist “Ali Al-Maamari” in the research in two aspects: theoretical and practical action; by applying pragmatics to this topic. The theoretical aspect deals with dialogism - especially in pragmatics and verbal narratives-, which was established by the Russian novelist Mikhail Bakhtin. This critical concept later developed among a group of critics such as “Gérard Genet”, “Decroux”, “Anscomber” and led to Bulgarian critic “Julia Kristeva”’s efforts in “intertextuality”, the interaction and dialogue of text. As for the practical action aspect, it is represented by a study of the representations of dialogue and its aesthetics in the novel “Whispers of Bridges” in the characters, their interactive relationships, and the multiplicity of narrators between firstperson narrative, the co-narrator, and the omniscient narrator, the narrator’s transformations and narrative maqamat. The multiplicity of discourses in this novel deals with direct discourse, indirect discourse, free indirect discourse, and the relationships of all of these with the path of events of the novel. The research concluded with the novelist Ali Al-Maamari’s conscientiousness in narrative techniques and his ability to apply “dialogue” and representations of its aesthetics in his novel “Whispers of Bridges”; with the multiplicity of characters, their relationships, the multiplicity of narrators, and the multiplicity of discourses in the novel. [ABSTRACT FROM AUTHOR]

Copyright of CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose: This conceptual paper aims to respond to the dearth of theory and mechanisms for handling the inherent ethereality, multiplicity and mutability of organisational identity and organisational image. Design/methodology/approach: This study considers existing approaches to organisational identity noting the diverse understandings of the paradoxical nature of identity. The authors suggest that identity is still essentially perceived as what is core and enduring about the character of an organisation with changes of identity being viewed as occurrences effectuated by events. In contrast, the authors argue that, because of the fluid interrelationships between identity and image, organisational identity is better viewed as an unstable construct. Findings: Departing from Bakhtin's logic of dialogism, this study proposes that identity–image result from dialogic relationships which in turn construct a system of polyphony. This study devises a preliminary polyphonic model which has the capacity to incorporate diverse stakeholder associations and fluctuating interpretations as well as situational understandings of organisational messages. Originality/value: This study's proposed model allows to trace how organisational identity–image is continually co-constructed recursively and cyclically and to systematise the various voices that are important for an organisation's strategic objectives. [ABSTRACT FROM AUTHOR]

This study employs quantitative and qualitative methodologies mainly to examine how UNFCCC Executive Secretaries use concessive but-constructions and linguistic polyphony to implicitly argue points of view and convey stance in speeches on climate change. Our findings indicate that, in order to achieve its goals for global climate governance while adhering to humanitarian and diplomatic principles, UNFCCC speeches delivered to the Parties to the Convention and the Stakeholders emphasize the urgent need for concerted action on climate change while implicitly expressing discontent and mild criticism of various Parties and Stakeholders for failing to do their fair share in support of such action. This style of discourse aims to promote group unity, solidarity, and transparency while minimizing the possibility of offending any Parties or Stakeholders. Nevertheless, given the urgency of addressing climate change challenges, we advise that UNFCCC speakers utilize more explicit linguistic methods that exert more direct pressure on specific Parties or Stakeholders who fail to assume their share of responsibility. In addition, we suggest that the UNFCCC focus on enabling the implementation of practical actions to limit the effects of global warming, while continuing to urge affluent countries to provide developing countries with much-needed financial and technological help. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The motet Huc me sydereo by Josquin des Prez appears in both five- and six-voice versions, having led scholars to debate which version is authentic to the composer's original conception. The authoritative New Josquin Edition presents the motet in its six-voice version; in the critical commentary, editor Bonnie Blackburn defended it as Josquin's original. More recently, Joshua Rifkin has demonstrated on stylistic and source-critical grounds that the five-voice version was original, with a sixth voice having been added later. In this article, I present new findings on the manuscript St Gallen 464, an important early source for Huc me sydereo , which reinforce arguments defending the authenticity of the five-voice version. I show that the origin of the sixth voice can be isolated to a trio of sources produced on the Italian peninsula in the 1510s, all but eliminating Josquin as a candidate as its author. Moreover, through a new identification of the original scribe and owner of St Gallen 464, I shed new light on that manuscript's date and provenance. In so doing, I demonstrate how the study of musical sources and transmission can carry direct importance for essential performance decisions. [ABSTRACT FROM AUTHOR]

This article examines how compositional and performative strategies impact the potency of environmental song lyrics on Gorillaz's album Plastic Beach. The quality of songfulness is implicated as a primary obstacle to lyrical force. The literary function of fictionality is put forth along with the Bakhtinian concept of literary polyphony as key strategies by which lyrics are reinforced. Plastic Beach employs a large cast of contributors, engaging several voices in a fictionalized reflection on plastic pollution. These features support the potential of lyrics to exert political force, while residing in tension with distracting effects of catchy pop grooves. [ABSTRACT FROM AUTHOR]

Although we have seen a growing interest in participatory strategy-making, there is a paucity of knowledge about the role of polyphony and how it may be orchestrated. Our longitudinal analysis of a revealing case shows how narrative strategy-making unfolded in four temporally overlapping phases: First, a top-down effort to lead participatory strategy-making resulted in polyphony, which was nevertheless largely controlled from the top. Second, it was followed by autonomous narrative strategy-making in units, leading to polyphony that was less but still partly controlled from the top. Third, all this triggered an emergence of counternarratives offering alternatives to the overall narrative, thus generating 'genuine' polyphony not controlled from the top. Fourth, partly as a response, top decision-makers launched an update, again seizing more control in polyphony. Thus, our study advances prior research by elucidating how orchestration of participatory strategy-making both generates and reduces polyphony. By so doing, our analysis helps us to move from a dichotomous view of participation and openness towards a more nuanced appreciation of alternative voices and how they may or may not emerge or be controlled in strategy-making. [ABSTRACT FROM AUTHOR]

ABSTRACT: On the literary scene, Algerian novels are increasingly asserting themselves through their value, and their aesthetic renewal. Thus, contemporary Algerian novel production preserves its ancestral heritage while renewing its scriptural forms. Our aim is to interrogate the manifestation of this contemporary aesthetic renewal, through Lynda Chouiten's novel 'Une Valse'. This article takes a critical look at the notion of generic hybridity, linguistic hybridization, and narrative polyphony. It seeks to highlight, through a structural and semiotic approach, the set of processes that have enabled the proliferation of genres, languages, and discourses in our corpus. RÉSUMÉ : Sur l’Olympia littéraire, le roman algérien s’impose de plus en plus de par sa valeur et son renouveau esthétique. Ainsi, la production romanesque algérienne contemporaine préserve son héritage ancestral tout en renouvelant les formes scripturales. Notre dessein est d’interroger la manifestation de ce renouveau esthétique contemporain, à travers le roman Une Valse de Lynda Chouiten. Cet article porte un regard critique envers la notion de l’hybridité générique, le métissage linguistique ainsi que la polyphonie narrative. Il s’agit de mettre en évidence, à travers une approche structurale et sémiotique, l’ensemble des procédés ayant permis la profusion des genres, des langues et des discours dans notre corpus

В данной статье представлен разбор четырёх художественных текстов с позиций интертекстуальности, полифонии и гибридности. Тексты либретто мюзиклов Les Misérables (Отверженные), Chess (Шахматы) и музыкальных мультфильмов Coco (Тайна Коко) и Encanto (Энканто) на английском языке были рассмотрены с точки зрения диалогов между различными художественными текстами, диалогов между персонажами, диалогом автора с его героями и реципиентом. Наследие М. М. Бахтина остаётся чрезвычайно актуальным в современном мире, где смешение жанров и лингвокультур, а также возможность вступить в диалог высоки, как никогда прежде. Различные виды диалога, представленные внутри текстов, имеют как художественную ценность, так и большое культурное значение в контексте глобализации.

The purpose of this article is to analyze the narrative structure of B. Zhytkov's novel «Viktor Vavіch» (1926-1931, published in 1999). The relevance of the study is due to the fact that narratological analysis is a promising area of modern philological science, but the narrative characteristics of B. Zhytkov's novel are almost never revealed in literary studies of the text. The author proposes to use the model of communicative instances and points of view of W. Schmid, to clarify the relationship between the narrative structure and the novel's problems, narrative factors of characterization, etc. It is proved that the novel is based on a complex polyperceptual composition, in which the narrator's colorful figure is almost not revealed, who remains as if outside the text, allowing his characters to present their worldview almost independently. The author examines the figure of the titular character Viktor Vavich and how his image is constructed by narrative means. It is proved that the structure of consciousness represented by Viktor Vavich is dual and incorporates both the hero's own consciousness and the imaginary image of the external other constructed by him, which subjects him to critical evaluation. This duality of self-perception is characteristic of several characters in the text, but only in the case of Vavich does it become a psychological dominant that ultimately destroys his personality and leads him to decline and death. It has been shown that despite the polyperceptual composition and the unidentified narrator, there is a monologic organizing principle in the text, which is manifested through the functioning of a rather uniform and stable motivic system that is realized through different perceptual instances. In this way, the text forms an imaginary dialogue between two instances: a monological intention that exists in the categories of its own ideology and a polyphony of consciousnesses that do not have a colored narrator figure to give them any ideological assessment.

In this article, I investigate the discursive field of the digital transformation of higher education and research policy in Switzerland. The qualitative analysis of political strategies and documents shows that actors in this policy field use open, ambiguous terms to characterise digitalisation. By building on this discursive strategy, the political actors aim not only to reduce uncertainty about the digital transformation as a complex phenomenon but also to build political consensus about the future development of this discursive field.

The liturgical singing of the Romanian Orthodox Church is monodic, of the Byzantine tradition. From the 19th century, under the influence of the Russian Orthodox Church, multiple voices choral singing penetrates the Romanian worship establishments. The beginnings were timid, isolated, from private initiatives and sometimes encountering the hostility of conservative ecclesiastical traditionalism. After 1959, the introduction of choral singing in the United Romanian Principalities was to be facilitated by state legislation. Choral singing would be used predominantly for the office of the Holy Liturgy. In finding a choral style suitable for the orthodox liturgical ceremonial, three main stylistic directions were outlined, among which the classicalromantic influence created a generous and varied repertoire. [ABSTRACT FROM AUTHOR]

This interlude follows the AAH conference, when all of the authors who contribute to the special journal edition are present. Their wide-ranging conversation covers the idea and possibilities of a polyphonic history of art. This interlude is a starting point, a jumping off point from where a group of authors, researchers and artists reflect on new ways of thinking about, and new ways of presenting, art history. Their conversation develops an ambition to move away from the well-trodden and often reductive methodological frameworks of art history, as they debate ideas around transnationalism, globalism, artist-centric art histories and the idea of artist as author. This interlude is about collective endeavours, both by the subjects being discussed in each paper, and by the authors who are writing about them. [ABSTRACT FROM AUTHOR]

Copyright of Notes Muzyczny is the property of Akademia Muzyczna im. Grazyny i Kiejstuta Bacewiczow w Lodzi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Essentially grounded in Cognitive Semantics and conceived to capture fundamental compositional properties inscribed in (written) text and (spoken) discourse, this study proposes a unifying account of parenthesis and quotation in English. Understood as determinants of conceptual structure in language, these two categories, though ubiquitous in all forms of language use, but so far entirely missing from the Cognitive Semantics, research agenda, are (re-)conceptualized under the aegis of Bakhtin's polyphony and voice, and Goffman's decomposition of the speaker as 'fictive' polyphony. In achieving this goal, the paper explores via dense, multimodally informed micro-studies of authentic text and discourse how voices are made salient to readers and hearers, scrutinizing various categories of cuing devices. As a corollary, Cognitive Semantics is seen to be developed and enriched, opening it up to transcend the language system, thus paying respect to the 'total linguistic fact' in the sense of Silverstein. [ABSTRACT FROM AUTHOR]

Despite audience’s incessant exposures to a multitude of screens, windows, and images in contemporary times, the presence of more than one screen at once in a cinematic context creates a problem that conflicts with the medium itself: the competition for protagonism among the different narratives that form the entirety of the frame. Even though this feature is mostly used to the films’ advantage, it is nevertheless interesting to understand how different images and sounds can be composed in time and space. Therefore, drawing on John Bruns, I propose to analyze this relationship between screens from a perspective analogous to that of music. I attempt to transpose the idea of polyphony (i.e., a composition that encompasses melodic lines that, albeit independent, create a whole greater than the sum of its parts), to the work on narrative multiplicity in cinema. However, I believe that this analogy might be more interesting if one considers specifically the split-screen technique, where there are literally several moving pictures that interact with one other on a single frame simultaneously, yet independently, creating-much like in music-a whole greater than the sum of its isolated lines. I will delve on how multiple events, and their relative importance within the frame, may be developed through this cinematic device, allowing them to diverge, intersect, overshadow, or complement one other. My interest in the relationship between these multiplicities resides precisely in their fluctuations. I propose to apply this reasoning to the film Vortex (Gaspar Noé, 2021) which I consider to be an object that encapsulates all the aforementioned aspects. I have selected this example not necessarily because it is produced almost entirely in split-screen, but rather because of the exquisite way in which this polyphony contributes to the construction of the film’s dramaturgy. [ABSTRACT FROM AUTHOR]

Copyright of Aled: Revista Latinoamericana de Estudios del Discurso is the property of Asociacion Latinoamericana de Estudio del Discurso and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, we address the formal and semantic-pragmatic analysis of operators il n'y a pas à dire and incontestablement. We argue that il n'y a pas à dire, P, makes it possible to present P as an explicit conclusion assumed by the speaker and in direct relation to its left cotext, where it occupies the status of an implicit conclusion. The adverb incontestablement implies a double assumption of P, firstly through the simple assertion of P and, secondly, through the speaker's rejection of doubt as to the existence of P. In either case, the discourse operators mark an assumption of P and contribute to the construction of a positive speaker ethos. [ABSTRACT FROM AUTHOR]

This article offers a contrastive study of two entities: je dirais in French, and diría yo in Spanish. The discursive strategy instructed by the French marker je dirais denotes a certain attitude of the speaker, who presents a content p; the speaker is the source of the content, as not shared by the language community. This semantic-pragmatic description is matched on the surface by specific formal properties, such as the incised position and the combination with certain linguistic units. The Spanish language marker admits the same combinations as je dirais and has other properties in common with the latter. Despite these few similarities, the semantic-pragmatic behaviour of the two markers differs: while je dirais emphasises the mean, in the case of diría yo the stress is on what is said. [ABSTRACT FROM AUTHOR]

This article investigates the presence of Robin Hood as a key figure in Lionel Shriver's novel We Need to Talk About Kevin and its film adaptation, directed by Lynne Ramsay. I argue that the film emphasizes Kevin's 'whiteness' in the way that it adapts the Robin Hood material from Shriver's novel, embellishing his role in the story and complicating his affiliation with the teenage killer by tapping into Robin Hood's status in popular visual culture; in so doing, the film critiques America's 'copycat' appropriation of a similar strategy used by earlier nationalist writers in Britain. In the scene that depicts a Robin Hood children's book, Ramsay superimposes multiple Robin Hood texts into one, polyphonically performing the Bakhtinian concept of dialogism. Therefore, despite the fact that Kevin appropriates Robin Hood for his own evil ends, Ramsay dialogically inserts multiple voicings from the Robin Hood tradition to speak against a hegemonic backdrop of white masculinity (mis)informed by racist discourses affirming Anglo-Saxonist ideas of white heritage. [ABSTRACT FROM AUTHOR]

Copyright of Cultural Studies of Science Education is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Signos is the property of Pontificia Universidad Catolica de Valparaiso and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study offers a critical analysis of Shyam Benegal's Hindi language-based teledrama series Amaravati ki Kathayen utilizing Mikhail Bakhtin's theories of dialogism, heteroglossia, and polyphony. It is common sense to think that Bakhtin, the philosopher of dialogism, would be sympathetic to the drama form in which dialogues are the most natural mode of expression. Instead, Bakhtin argues that the monological selection of languages in drama does not allow the dialogic interaction of different registers. Second, drama, for upholding its unity of plot, cannot allow its characters to abide by a truly multi-level dialogic engagement. However, this act is especially performed in the novel by the inter-animation of the narrator's all-encompassing language and the language of the characters. Against this, this study brings to the fore the historical premises of Bakhtin's reservations against the dramatic form. Recognizing the merits of Bakhtin's philosophy of literature and language, two episodes from Amaravati ki Kathayen, a Hindi language-based teledrama series, are analyzed to place them before the global audiences as well as to ascertain the relevance of Bakhtin's poetics across the genres. Above all, a return to dialogism as a critical inquiry is important to promote the values of plurality, dialogue, and peaceful co-existence. [ABSTRACT FROM AUTHOR]

Copyright of Umm Al-Qura University Journal for Languages & Literature is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Fabula - LhT is the property of Fabula and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)