Search

This article examines the nature of graffiti semiotics in the public space of Kosovo's capital Pristina. By adopting a perspective on graffiti as a historically situated and semiotic practice, we identify distinct ethno-political voices, each relying on highly multimodal-linguistic resources to convey their respective political messages to a wider audience. The corpus was gathered during a specific period in Kosovo's history (2013-2014) and as such allows us to capture the idiosyncratic nature of the encountered graffiti as a phenomenon which emerges as a non-transgressively emplaced and dynamically constructed medium allowing conflicting views on the political future of Kosovo to enter in dialogue with one another for everyone to see in the public heart of the capital. Moreover, the dynamic nature of graffiti inscriptions in the Kosovo capital makes it a conversationally layered, inherently heteroglossic speech act with several dissenting authors at work. Our fieldwork and analysis contribute not only to insights in the nature of graffiti as a political medium but also to our understanding of the phenomenology of ethno-political graffiti in Kosovo, the complexities of which can only be appreciated against the history of both the country as a contested geographical entity, and the Balkan region at large. [ABSTRACT FROM AUTHOR]

In the digital age, the relationship between film and literature demonstrates how different forms of art can collaborate to improve the storytelling experience. Rather than competing, these mediums complement one another, each bringing their own strengths to the storytelling process. This mutual relationship not only enhances the audience's experience but also fosters a greater appreciation for both film and literature (Hutcheon, 2006; Sanders, 2016). The various film adaptations of Chris Van Allsburg’s picturebook Jumanji (1981) are excellent examples of how literature and film can complement and improve one another over time. The first major adaptation of Jumanji was released in 1995 starring Robin Williams and directed by Joe Johnston. Decades later, the story of Jumanji was revitalized with the releases of Jumanji: Welcome to the Jungle (2017) and Jumanji: The Next Level (2019) both directed by Jake Kasdan. These adaptations illustrate the changing nature of storytelling across mediums and how each new iteration introduces new perspectives and engages contemporary audiences in novel ways. Mikhail Bakhtin’s concepts of heteroglossia and dialogic relationship (1981) are great tools for understanding how different voices and cultural contexts interact within and between texts, thereby revealing the dynamic nature of storytelling and interpretation. Thus, this paper aims to investigate how Bakhtin's concepts of heteroglossia and dialogic relationship function in Jake Kasdan's 2017 sequel, focusing on how the film adaptation evolves in response to its contemporary context. [ABSTRACT FROM AUTHOR]

Using literature, more specifically poetry in English as F/L2 has grown over time. However, scholars disagree as to whether it makes any difference to language learning or what functions it serves. The purpose of this study is to examine what discourses poetry embodies, what identities it shapes, and whether it can confront dominant ideologies in English language textbooks in Pakistan. Based on Fairclough's dialectical-relational approach and Bakhtin's ideas on dialogism and heteroglossia, we analysed 12 Pakistani English language textbooks. Findings suggest poetry texts embody a variety of ideological themes, including linguistic sexism, nationalistic sentiments, and religious and spiritual ethos. These discourses tend to shape learners' identities. In addition, we also found references to poems that offer learners alternative perspectives and ways of being. In certain poems, for instance, curiosity, questioning, struggle, and recognising truth as a multifaceted entity are evident, allowing spaces for heteroglossia. Using these insights, teachers, curriculum developers and textbook writers will be able to better reflect on their pedagogical approaches and content embedded in textbooks to ensure justice, equality, and inclusion for students from a variety of socioeconomic, ethnic, and religious backgrounds. [ABSTRACT FROM AUTHOR]

Time-travel television dramas have recently gained tremendous popularity worldwide. Defying stereotypes of romance TV dramas as women’s genres, time-travel romance TV drama genres seem to have attracted young men and women of different walks of life. Informed by positioning theory and Bakhtin’s heteroglossic dialogism, this study investigates a group of bilingual Mainland Chinese, heterosexual postgraduate students’ consumption of a Chinese time-travel TV drama, Scarlet Heart. It is found that well-educated Mainland Chinese women and men are still confronted with dilemmas of gender role boundaries and pressure to subscribe to traditional gender values. However, the time-travel TV drama has enabled the interviewees to negotiate new gender relations when they assign different positions to the female protagonist and themselves in the discussion. It is therefore proposed that time-travel TV dramas can be appropriated as dialogic resources for ideological becoming and critical literacy activities for facilitating construction of alternative subject positions and identities. [ABSTRACT FROM AUTHOR]

This article examines three biblical events with focus on the politics of language: the confusion of languages at Babel, the speaking in tongues at Pentecost, and the conflict of tongues and prophecies at Corinth. By identifying the ideology inherent in these passages and bringing them into conversation, the comparison aims at constructing a political theology of glossolalia that engages with the intersecting concerns of the sociopolitical and ideological identity of charismatic speech. The successive ideology found in the three events allows for the reading of the Babel narrative to inform the reading of Pentecost, and the two events together to inform the reading of Paul. The result highlights the importance of heteroglossia for resisting the reduction of inspired language to simply one tongue or many tongues and the suppression of any form of inspired speech to the quality of another. [ABSTRACT FROM AUTHOR]

If we observe group analysis as a figure in the social field, many changes in society undoubtedly shape it both as a theory, a therapeutic method and a form of training. That is how it was and will be. This shaping is slow, discreet but an active process of constant acculturation of both group analysis and group analysts. Wars, migrations, emigrations, cultural diversities create a need for a more flexible and culturally attuned profile of group analysts, who are not only capable of working with diversity, but also within diversity—actively reflecting on their own identity and experience even under the pressure and tormented by problems of preserving their own tent canvas. This is one possible future for group analysis, in the ever-increasing intertwining and cross-fertilization between human sciences such as sociology, history, anthropology, ethnology, linguistics, communicology, art, with no fear of diversity that threatens identity, with openness of new generation of group analysts to heteroglossia. [ABSTRACT FROM AUTHOR]

This autoethnography delineates how, I, as a bilingual researcher proficient in Korean and English, negotiated the tensions between conforming to English- only academic writing norms for survival in academia and embracing translingual writing practices during the composition of my dissertation. Based on the salient themes and repeating experiences that I penned in analytic memos, field notes and diaries, I meticulously rearranged the thoughts and emotions, weaving them into stream-of-consciousness-style narratives. Through this method, I aimed to vividly portray the inevitable tensions that might be experienced by numerous bilingual researchers speaking English as a second language. This autoethnography particularly portrays the troubles of conveying intricate cultural nuances when translating my research partners' Korean responses into English. Also, I detail the process of how I negotiated the dilemmas between artistic translingual writing and writing solely in English for a broader readership. Such detailing processes eventually prompted me to contemplate whether I truly embodied the transformative linguistic practices that I kept advocating for in my research projects. This autoethnography, although entailing vulnerability, ultimately underscores the significance of practicing self-reflexivity through crafting authentic and vivid narratives. [ABSTRACT FROM AUTHOR]

The democratic environment in Romania after 1989 witnessed the emergence of an unprecedented number of public discourses engaged with the re-evaluation of communism. In line with recent contributions to cultural memory studies (Aleida Assmann, Astrid Erll), this essay tries to assess the role that fiction played in reshaping the communist past and engaging with the post-communist present. Narratives written by Dan Lungu, Radu Pavel Gheo and Vasile Ernu, some of the most representative writers of the Romanian post-1989 era, are examined against the backdrop of public debates regarding the opposition between democracy and totalitarianism, progression and nostalgia, the 'civilized West' and the 'provincial' East. In reaction to the pressure of ideological discourses, this article argues that literature remains a privileged site where alternative versions of memory can intertwine and negotiate their claims. Literary texts that reshape cultural perceptions fulfil the 'mnemonic multiperspectivity' function of the public discourse with particular focus on recovering the marginal voices that are often disregarded by classic historiography. [ABSTRACT FROM AUTHOR]

In both Chinese and Western literary theory, there are several fundamental perspectives on the exploration of "the source of textual meaning," which can be categorized into ontological, entitative, and generative types. Future research must integrate the "source" perspective with the "trigger" perspective, while overcoming the postmodern cultural pluralist limitations of "multiple symbiosis." This article adopts the perspective of a "multi-source symbiosis" of textual meaning and maintains that textual meaning possesses characteristics of multiple sources, co-generation, and dynamic transformation. The "multi-source symbiosis" of textual meaning does not emphasize "differences," but rather strives for "consensus." The objectivity of the source of textual meaning and the regularity of textual understanding and interpretation are the prerequisites for agreement on textual meaning. The trigger mechanism for the symbiosis of textual meanings lies in three aspects: disclosing textual meanings in reading behavior, proliferating textual meanings in critical activities, and multi-source triggering of textual meanings in literary events. "Multi-source symbiosis" creates a heteroglossic state of textual meaning, with the ultimate goal of establishing a common understanding of textual meaning. [ABSTRACT FROM AUTHOR]

The article is dedicated to the analysis of the linguistic-textual representation of Salvatore in Umberto Eco's novel The Name of the Rose and its Slovene, Croatian, Czech and Polish translations. The first part of the article deals with different linguistic and intertextual layers composing Salvatore's original utterances, while the second part is devoted to Salvatore's translated language, concentrating - primarily - on his heteroglossia and intertextuality. Salvatore is a grotesque plurilinguistic and intertextual character born out of the rich erudite immagination of Umberto Eco. The four translated Salvatores appear also as strange babelic monks whose multilingualism expands by adding a dominant Slavic linguistic element to the source-text heteroglossia. The intertextual dimension of translated Salvatores, on one hand, diminishes as most source-text citations blend into the translated linguistic mosaic, but, on the other hand, it also increases by gaining an additional metatextual (translational) dimension and, equally important, by incorporating a substantial part of Eco's original text. [ABSTRACT FROM AUTHOR]

The article is dedicated to the analysis of the linguistic-textual representation of Salvatore in Umberto Eco’s novel The Name of the Rose and its Slovene, Croatian, Czech and Polish translations. The first part of the article deals with different linguistic and intertextual layers composing Salvatore’s original utterances, while the second part is devoted to Salvatore’s translated language, concentrating – primarily – on his heteroglossia and intertextuality. Salvatore is a grotesque plurilinguistic and intertextual character born out of the rich erudite immagination of Umberto Eco. The four translated Salvatores appear also as strange babelic monks whose multilingualism expands by adding a dominant Slavic linguistic element to the source-text heteroglossia. The intertextual dimension of translated Salvatores, on one hand, diminishes as most source-text citations blend into the translated linguistic mosaic, but, on the other hand, it also increases by gaining an additional metatextual (translational) dimension and, equally important, by incorporating a substantial part of Eco’s original text.

This article examines Washington State's growing dual language program through the lens of heteroglossia. A heteroglosic lens is significant to understanding the contemporary linguistic landscape and framing language policies that will equitably serve multilingual learners and communities. With the increasing multilingual complexities of today's classrooms and the history of academic achievement gaps between monolingual and multilingual learners, heteroglossia illuminates the contextual ways in which language practices and policies hegemonize certain groups and create educational and social inequities. The article argues that unless the state's language policy is structurally revised and informed with a heteroglossic ideology and theorization of language education, its aspirational goals of equitable education for its multilingual learners may never be attained. It offers an overview of the theoretical lens of heteroglossia that must guide the planning of an equitable language policy/program that reflects multilingual learners' authentic fluid language practices. [ABSTRACT FROM AUTHOR]

The aim of this article is to analyse teachers’ beliefs on integrating multilingual linguistic landscapes into the plurilingual language classroom. In an empirical study, a focus group interview was conducted with teachers of Spanish, French and Latin who have worked with linguistic landscapes in the realm of a language project day. Since teachers have generally positive beliefs towards plurilingualism, it remains underexplored what beliefs underlie their perspectives, namely heteroglossic and/or monoglossic perspectives. Using discourse and content analysis, beliefs can be placed on a continuum from a heteroglossic perspective (on plurilingual groups, interdisciplinarity and connecting languages) to a monoglossic perspective (on the special status of certain languages). Within this continuum, there are tensions in terms of ideologies, school structures, and teachers’ critical awareness that have the potential to lead to the co-construction of knowledge and learner-centred pedagogies.

In the following paper, I present the hero-villain-fool narrative construction method in order to assess hidden organizational phenomena. Psychologists can analyze organizations in two ways either by focusing upon formal networks (e.g. organigram) or by taking a closer look into informal networks. The present paper tries to help organizational psychologists to generate meaning making within informal networks. These informal networks are important semiotic spaces where knowledge is generated that lies in the taboo zone of talking for the formal networks. Thus, my open interview guide proposes a flexible method that can reverse the taboo zone of talking and expand the talkability zone. As a consequence, meaning making is generated that bears conflicts showing urgent – yet not fulfilled – needs within the organization. The proposed method is instanced by a microgenetic analysis of a single case study showing that the hero works as a meta-organizer for adaptive trajectories that lead into a multilateral negotiation of concrete strategies fulfilling urgent pressing needs within organizations. Limitations are made explicit such as by arguing for expanding the research design into focus groups inviting various employees and leaders to the generation of meaning making that operates between the talkability and taboo zone of talking. [ABSTRACT FROM AUTHOR]

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]

Lebanon's reservations in ratifying the Convention on the Elimination of all forms of Discrimination against Women (CEDAW) in 1997 left women at the mercy of the country's personal status codes derived from its 18 religious sects and its lenient, if not absent, laws on marital rape and domestic violence. It was only in August 2017 that article 522, which allows a rapist to escape punishment in case he marries his victim, was repealed by parliament. Rape, nonetheless, is still stigmatized and victims are often blamed and shamed. Using Bakhtin's heteroglossia and Foucault's moral principles of refusal, curiosity and innovation, this paper presents an in-depth analysis of women's advocacy campaigns to argue that these campaigns formulate heteroglossic discourses that consolidate the social field of women through their silence and visibility. Identifying heteroglossic disturbances as fundamental to the production of the discourse on gender and the propagation of its perception, the study also attempts to show how women's voice is generated through a particular staging of forces. The main case study for this paper is the campaign entitled Shame on Who?, launched in November 2018 by ABAAD, one of the most prominent non-profit associations advocating gender equality in the MENA region. [ABSTRACT FROM AUTHOR]

Historical investigation of novel changes over the ages. It demands observations from different dimensions, confronting one another and sometimes presenting opposite views provided by additional studies. Considering literary analysis about the emergence, structure, component, or features of novels somewhat has diffused the discussion. This paper reviewed the comprehensive theory of Mikhail Mikhailovich Bakhtin regarding the novel, the most celebrated discourse of books. The world merges into an open-ended, multi-voiced, dialogic reality as a novel gives way to distributing entirely incompatible parts among different perspectives of equal importance. Bakhtin opposes monologic speech and acknowledges dialogic speech, which determines social relations where the speaker is embedded. The dialogic discourse offers a radical liberalization of both the self and the concept of culture. The present paper traced the implied dialogism or the social relations within the framework of culture and subculture. Thus language which functions in a novel is not "symptomatic" of "persons," but persons are the bearer of the language, with the "specific set of social and ideological valuations" that entails in a novel. [ABSTRACT FROM AUTHOR]

Policies restricting bilingual education have yielded to policy frameworks touting its benefits. This shift corresponds with evolving lines of debate, focusing now on how bilingual education can best support racialized bilingual learners. One element of this new debate is the perspective on language underlying curriculum in bilingual programs, with a focus on translanguaging– normalization of the language practices of bilingual communities and positing that bilinguals draw from a singular linguistic repertoire. This article examines initiatives undertaken in California between 2010 and 2019 using Critical Policy Analysis. The work highlights that while opportunities for translanguaging have arisen, tensions between heteroglossic perspectives and the impulses toward standardization and commodification of language undermine such possibilities, and that notable gaps remain between teacher preparation frameworks and intended pedagogical practice. [ABSTRACT FROM AUTHOR]

Mikhail Bakhtin is one of the most influential theorists of literary criticism in the twentieth century whose ideas, particularly in the field of novel criticism, have been widely embraced by scholars in literary studies worldwide. In Iran, however, the Bakhtinian approach is less known compared with other critical approaches such as mythological-archetypal criticism or psychoanalytical criticism. Bakhtin initially started his literary scholarship in association with the Russian Formalists, but gradually distanced himself from their viewpoints and established his own independent approach in criticism. The Russian Formalists believed the function of language in literary texts to be "defamiliarisation". As such, they argued that figures of speech are tools that poets and writers use in order to make the literary use of language different from its non-literary usage. Bakhtin disagreed with the Formalists and argued that language also has social and discursive aspects that need to be taken into account so that the critic would be in a position to offer insights into the deeper, hidden layers of social behaviour. Therefore, unlike the Formalists who focused their attention on the rhetorical and formal aspects of literary works, Bakhtin tried to analyse literature as discourse. Highlighting the social aspects of the novel, he emphasizes that the critic's central concern should be to investigate how language is used in the novel. In his view, language in the novel, in distinction to poetry, is marked by concreteness. Therefore, novelistic prose is always orientated towards concrete details, as it also is in journalistic as well as legal and political texts. This concrete orientation necessitates that linguistic usage in the novel be consistent with actual language use by social groups. Concentrating on the novel as an essentially polyphonic genre marked by heteroglossia, he put forward a theory about the carnivalesque in the novel.This essay aims to expound the Bakhtinian approach in literary criticism by focusing on the tripartite concepts of "polyphony", "heteroglossia" and "carnival". To do so, we first discuss Bakhtin's ideas on the essential contrast between the language of poetry and the language of the novel and then move on to consider his viewpoints on the multiplicity of voices in the novel, linguistic reflection of social stratification in this genre, and its carnivalesque qualities. In order to clarify the theoretical aspects of the Bakhtinian approach, we complement our exposition of Bakhtin's theory with critical readings of three sample texts of Persian literature, which include selected extracts from Ferowsi's Shahnameh, a poem by Mehdi Akhvan Salles entitled "Sonnet No. 3", and the novel Shazdeh Ehtejab by Hooshang Golshiri. In the conclusion to this essay, we offer our assessment of the potentialities as well as the limitations of Bakhtin's theory in literary criticism in addition to drawing a perspective of the expansion and updating of this critical approach. [ABSTRACT FROM AUTHOR]

As a persistently profound source of inspiring ideas, William Golding’s Lord of the Flies (1954) continues to attract researchers with novel concepts and notions to be addressed. Whenever researchers seem to have exhausted the text in critical writings and used up its possible subjects, the novel’s supply of ever fresher and more original ideas seems to keep flowing. Therefore, the current research study intends to examine certain concepts such as dialogism, unfinalizability and heteroglossia in Lord of the Flies from a Bakhtinian perspective, which is a new approach to the novel. No research study before this one has—to the best knowledge of the researcher—addressed Lord of the Flies or these concepts from such an angle. As the title suggests, the present study explores the concepts mentioned earlier by examining the diversity, difference, and variety of characters in the novel, their views and ideas on numerous issues such as leadership, survival, rescue, fire, hunting, masking and the like. It employs Bakhtin’s views and theorizations as a theoretical reference outline for its main argument. The analysis of the paper will address the diversity, variety and multiplicity of different views, plural opinions, and assorted narrative voices as demonstrated by the novel’s characters to show their dialogic, unfinalizable and heteroglossic nature. [ABSTRACT FROM AUTHOR]

According to Bakhtin's theory, the novel as a literary type, appropriate to the spirit of the age and human society, has dialogical relations in linguistic dimensions. A conversational visual novel is the result of the entanglement of languages emerging from the characters, each of them with a different worldview, social and cultural level, is present in the novel and interacts with each other. The novel "Post-e Shabaneh" in a multi-voiced world, with the depiction of different sounds, has the heteroglossia feature, and the language of each character in each part of the novel interacts with other languages. This heteroglossia can be seen in the language, tone, and form of the novel, and its translation is very important, and this article will analyze this feature. The novel "Post-e Shabaneh" is a Persian translation of the Arabic novel "Barid Al-Layl" by Hoda Barakat. The present article tries to criticize its Persian translations with a descriptive-analytical method in order to find out how translators dealt with the heteroglossia feature of the novel in the translations. There have been three translations of this work by Hamidreza Mohajerani, Mansoureh Ahmadi Jafari, and Soha Banouni and published under the title "Post-e Shabaneh". In the study of more than 60 samples of translations in multiple languages manifested in the tone and language of the character and the double-voiced discourse, it seems that each of the translators has been successful in translating the heteroglossia feature to some extent. Banouni has performed poorly in this field and has often not provided an acceptable translation.Keywords: Novel Translation, Heteroglossia, Post-e Shabaneh, Hoda.Introduction The Arabic novel "Barid Al-Layl" by Hoda Barakat is the winner of the 2019 Arabic Booker Prize, and due to its importance in the contemporary Arabic novel, it is also translated into Persian under the title "Post-e Shabaneh" by three translators (Hamidreza Mohajerani, Mansoureh Ahmadi Jafari and Saha Banouni). By explaining this feature of the novel, this article is trying to examine with what components it is possible to translate the heteroglossia style of the novel and whether the translations of this work have been able to reflect this important feature in the style of the novel. Because a good translation of a novel is not a translation of words and sentences, but a translation of all the narrative, stylistic, and linguistic aspects of the novel; the present article tries to criticize the translations of the novel "Post-e Shabaneh" by Hoda Barakat, focusing on its "heteroglossia" feature. Therefore, this article examines the characters' utterances in accordance with the characterization, the interaction of the novel with other literary types, and the interaction of the speech styles of hybridization, polemic, parody, and stylization.The current research aims to answer the following questions:In what components can the feature of heteroglossia in the novel "Post-e Shabaneh" be studied and evaluated?Which of the translators has presented a more successful translation of the heteroglossia feature of the mentioned novel? The hypotheses are as follows:According to the narrative style of the letter in the first part and the self-talk of the characters in the last two parts, the novel "Post-e Shabaneh" has put the speech of the story characters in conversational interaction with other sounds and has established heteroglossia in the language of the characters according to the type of each character. Also, heteroglossia can be seen in the interaction of the language of the novel with other literary and non-literary types in the language of the characters, as well as double-voiced discourse in the interaction of speech styles such as hybridization, polemic, parody, and stylistics.In the examination of the double-voiced discourse of the novel, it seems that the translators have not provided a suitable translation and the interference of sounds and correspondence or correlation or contrast in the desired double-voiced discourse have not been considered.Literature ReviewIn analyzing the feature of heteroglossia in the novel, the following points can be mentioned:Akbarizadeh et al. (2014) in the article Heteroglossia Effects in the Novel Things We Left Unsaid, investigated the double-voiced discourse between the female writer and the characters and narrator's language and the language of literary and non-literary genres, and by studying the three levels of multilingualism in Pirzad's novel for women, they analyzed different elements in the creation of an inconsistent language system in the discourse of the novel.Baloo and his colleagues (2016) in the article Bakhtinian Polyphony and Heteroglossia and Their Presentation in the Novel Sangesabor, besides the polyphonic feature of this novel, paid attention to heteroglossia feature, and while enumerating the characteristics of the sounds of the text manifested in the characters, they also dealt with the conversational relationships between them and enumerated the aspects of parody and consonance between them.Professor Mohammadi and his colleague (2016) in an article entitled Multilingualism and Polyphony: Post-modernism Features in "Possible Night" (Shab-e Momken) Novel, while enumerating the novel's postmodern characteristics, pointed out multilingualism and listed the use of English and French alongside Persian as well as the use of colloquial language and the use of words different from the official language by the characters as manifestations of multilingualism.MethodologyIn order to understand a novel, it is important to pay attention to its linguistic and stylistic layers. Also, it is necessary to discover and understand the different language varieties that have emerged according to linguistic rules. The novel "Post-e Shabaneh" is a Persian translation of the Arabic novel "Barid Al-Layl" by Hoda Barakat. This article tries to criticize the Persian translations of Hamidreza Mohajerani, Mansoureh Ahmadi Jafari, and Soha Banouni with a descriptive-analytical method and library tools in order to understand how the heteroglossia feature of this novel is translated.ConclusionAccording to the analysis of the discourse of the novel "Post-e Shabaneh" by Hoda Barakat; in confirmation of the first hypothesis, it can be found that the words of the characters in the novel in the official language of the letters are appropriate for each character as well as the specific time and place of writing.Heteroglossia can be seen in the language of the characters, in the mixing of the language of religion, popular culture and science in the words of the characters. The double-voiced discourse is arranged in relation to the voice of the hypothetical addressee of each letter, as well as the voice of the society and the ruling presuppositions and taboos. Where another voice has an objective embodiment in the speech of the speaker, we are faced with a hybrid discourse. However, when another voice is implicitly considered during the speech, or the speaker's voice is consistent with another voice, it is the stylistic double-voiced speech, or it is in contrast with the other, and the representation is contradictory. It is very important to pay attention to the interference of sounds in speech and translators should consider the type of personality, insight, and social level of the person as well as another voice, to represent the double-voiced speech and translate the multiple voices and choose the appropriate interpretations and words. Among more than 60 selected samples, some of which were mentioned in a small part of the article, it was observed that the second hypothesis is somewhat true and the translators tried to translate these heteroglossias in an experimental way and were successful to some extent.

Arabic has been held up as a model of diglossia with Modern Standard Arabic (MSA) representing the “high” variety and local dialects the “low” variety. Yet, Arabic is not merely two language varieties, and Arabic speakers do not merely switch between the two. Arabic speakers, instead, draw on an array of linguistic features along a heteroglossic continuum between MSA and vernacular varieties (including sociolects). Features are deployed in daily interactions triggered by formality, education, gender, stancetaking, and other variables. Understanding how to successfully deploy these features – translanguaging – is part of Arabic speakers’ communicative competence. Translanguaging, however, poses a challenge for learners of Arabic as an additional language. In response, greater emphasis on sociolinguistic competence is advocated to develop learners’ proficiency to more effectively function in Arabic-speaking communities. We suggest enhancing metalinguistic awareness early on through pragmatic-focused task-based activities scaffolded by explicit instruction about the forms and functions of Arabic features.

According to James I. Crump, Chinese vernacular fiction is characterized by extensive use of "pastiche," which includes both verbatim incorporation of other identifiable texts and generic parodies. This penchant finds its supreme manifestation in A Dream of Red Mansions (Honglou meng 紅樓夢). The vast variety of discourses and voices in Dream can be read as a manifestation of heteroglossia, and are intended to function dialogically, in the Bakhtinian senses of these terms. This essay examines the exact circumstances in which the two widely-read full English translations of Dream were produced and compares them in terms of their recognition and treatment of heteroglossia. I argue that although the Yangs' translation may be characterized as "literal" in the sense of rendering "word for word," what Hawkes achieves in his translation should be considered a higher level of literalness in the sense of "text for text." While Hawkes consistently strives to retain the linguistic hybridity and subtle contrasts in the original, the Yangs often smooth out the checkered texture of the text by adopting a plain "international" English and resorting to copious footnotes. [ABSTRACT FROM AUTHOR]

This introductory article to the special issue "Dialogic pedagogy and democratic education" aims to reflect upon the process of putting this special issue together and to pinpoint some of the most relevant aspects of the articles collected within the issue. Therefore, reverberating one of the editors' perspectives, not only is this paper meant to introduce the DP J readers to the texts compiled in the volume, as well as it is dedicated to giving you, dear reader, a glimpse of the journey taken by the editors and authors. It also tries and situates the issue in its social and historic chronotope to justify the ever-so-present appeal to reinforce, advocate and share theoretical discussions as well as practical accounts which focus on dialogic and democratic educational efforts - both distant and more recent events - that took place in different contexts, and different parts in the world. It's claimed that the several accounts and discussions highlighted in the papers in this special issue provide DP J readers with both hints and strong, factual proposals which might foster new ideas and further actions by those who want to consider dialogic/democratic education either as an end or/and as an act of/for social transformation. [ABSTRACT FROM AUTHOR]

This editorial is written by Lee Miller, one of Choreographic Practices' editors (along with Dani Abulhawa, Amaara Raheem and Simon Ellis). Here, Lee discusses the idea of uncertainty and its potential as a tool for resistance. Reflecting on the submissions in this issue, Lee considers how uncertainty might be used within choreographic practices as a way to rethink what we believe to be true, or certain, about ourselves, bodies in movement and the world more broadly. [ABSTRACT FROM AUTHOR]

This article presents an analysis of the Fransaskois play Green Mustang by Laurier Gareau that looks into the use of French and English in the text as well as the particular interlingual attitudes of the work's three characters. After comparing the attitudes that spring from the different sociocultural and historical contexts from which each character draws, Rémi Labrecque refers to the works by Patrick Chamoiseau, Nicole Côté, Jacques Derrida, Robert Dion, Maria Ferré and Édouard Glissant to better define the concept that opposes those who strive to build and remain within walls and those looking to live in relation with other individuals and groups. This allows the author to situate the interlinguistic attitude of Laurier Gareau's characters. He then looks into how English exerts an influence on the French language in the play in hopes of presenting an accurate picture of its heteroglossic nature. [ABSTRACT FROM AUTHOR]

This article argues that Amitav Ghosh’s Sea of Poppies combats monologic discourse by channeling what Mikhail Bakhtin calls the dialogic imagination. The first installment in the Ibis Trilogy, exploring the events leading up to and following the First Opium War, the novel follows the overlapping trajectories of six characters who undergo significant transformations as they cross the Indian Ocean aboard the eponymous ship. While much scholarship on the novel has discussed how barriers of caste, race, gender, and class crumble aboard the Ibis, this essay contributes to a growing corpus that attends to the novel’s imbrication of language and politics. This essay contends that it is through its linguistic inventiveness, specifically its multilingual wordplay, that the novel undermines the grand monologic narratives of history. Insisting on the narrative’s inventiveness allows this essay to discuss how it provides access to the past rather than the mold of academic history. [ABSTRACT FROM AUTHOR]

This article undertakes a constructivist analysis of disability/visual impairment in The Geometry of God (2014) by Uzma Aslam Khan. Disability as a new epistemology has greatly revolutionized the Western understanding of the socio-cultural and political situation of people with disabilities as marginalized others. A shameful silence, however, still shrouds this category in the Pakistani literary context which calls for a critical engagement to revise the oppressive social rhetoric surrounding it. Social Constructivism as a theoretical framework has helped examine Mehwish's blindness as a deterministic rubric of identity constructed socially like race and gender. Socio-cultural and political perspectives on disability/difference configuring in Pakistani Anglophone novels offer a broader understanding of the representation of the Pakistani community and human experience. The Geometry of God foregrounds Mehwish's blindness as palpable in that being disabled entails physical and psychological discomfort, even pain experienced by her on a daily basis. Her disability is a persistent concern for care and attention. Moreover, Mehwish's self-perception and formulation of a worldview are directly influenced by the way she interacts with others. Her maturation as a visually impaired, yet positional, and progressive being is traced through multilayered, polyphonic storytelling and dialogue. Social heteroglossia is pivotal to the constitution of her identity in a multicultural, postcolonial Pakistan depicted via diverse forms of social speech (at times even different languages) and individual voices. The dialogical perspective further elaborates how deficits of the body and mind are understood and dealt with differently in different societies. Change of locale and culture automatically changes the perception of disability. [ABSTRACT FROM AUTHOR]

This introductory article to the special issue “Dialogic pedagogy and democratic education” aims to reflect upon the process of putting this special issue together and to pinpoint some of the most relevant aspects of the articles collected within the issue. Therefore, reverberating one of the editors’ perspectives, not only is this paper meant to introduce the DPJ readers to the texts compiled in the volume, as well as it is dedicated to giving you, dear reader, a glimpse of the journey taken by the editors and authors. It also tries and situates the issue in its social and historic chronotope to justify the ever-so-present appeal to reinforce, advocate and share theoretical discussions as well as practical accounts which focus on dialogic and democratic educational efforts – both distant and more recent events – that took place in different contexts, and different parts in the world. It's claimed that the several accounts and discussions highlighted in the papers in this special issue provide DPJ readers with both hints and strong, factual proposals which might foster new ideas and further actions by those who want to consider dialogic/democratic education either as an end or/and as an act of/for social transformation.

This work will analyze two books by Héctor Hernández Montecinos, Good night fireflies and The proper names. This analysis will be structured from three axes: enunciation (stories), speech and text. Each axis will be reviewed through some interpretive figures: acid rogue, exposed body, heteroglossia of the other, memory mnemonic and the experimental. These figures or notions will be linked with the following theoretical supports: shock (Gómez Yedra), scriptural corporality (Barthes), heteroglossia (Bakhtín), memory and transfer (Taylor) and difference (Deleuze). The above is to propose a kind of hypothesis: the paradoxes and problems between the literary and the scriptural, from the statement to the text, raise multiple voices that will experience life in the work. [ABSTRACT FROM AUTHOR]

This chapter looks at the Bakhtinian account of language that Michael Brown presents in his The Concept of the Social in Uniting the Humanities and Social Sciences and suggests that it is in tension with his Rousseauean description of human sociality. Like Rousseau, Brown claims that human sociality derives from a recognition of mutual dependence that cements the disparate wills of individuals into a general will which enforces social equality and protects the rights of all. Brown argues that this fundamental human sociality is instantiated in language itself which he describes not as communication but as "an anti-telic moment of collective enunciation," and he identifies this collective enunciation with Bakhtin's notion of heteroglossia. In doing so, however, he downplays the drama of individual and social struggle that is at the center of Bakhtin's work and thus underestimates its power as a force for social change. [ABSTRACT FROM AUTHOR]

This article studies the sociolinguistic and social semiotic transgression enacted by a group of political signs in a public university in Hong Kong. It demonstrates how the signs break normative/stabilized social, cultural and political boundaries and order by mixing up multifarious stylistic and generic resources, resulting in a heteroglossic blending of diverse, often incongruent identities, voices and ideologies predominantly rooted in the modern history of Greater China. The article suggests that this heteroglossia ideologically distances the university away from the state, defends its historical, Western‐style autonomy and aligns it with the local pro‐democracy civil society amid the escalating sociopolitical tensions in Hong Kong particularly after the Umbrella Movement in 2014. It shows the value of linguistic and semiotic landscape research on institutions as dynamic and complex communities and discursive spaces. [ABSTRACT FROM AUTHOR]

This study aims at investigating the nature of Bakhtin's concept of heteroglossia, in Toni Morrison's novel, The Bluest Eye, and how heteroglossia is achieved in Pecola Breedlove's interaction with others in terms of beauty and personal aspiration in the novel. Pecola is the protagonist of the novel, The Bluest Eye. The study's main argument is whether heteroglossia has a significant role in revealing the hidden and implied intentions and meaning in Toni Morrison's The Bluest Eye in terms of beauty and personal aspiration. In order to prove the main argument of this paper, the researcher discusses Bakhtin's notion of heteroglossia and attempts to apply it to Toni Morrison's The Bluest Eye. The study illustrates Bakhtin's celebration of the novel as a genre defined by its dimensions to include verified and multiple meanings best expressed in Toni Morrison's novel The Bluest Eye due to the novel's Chapterization, the narrators' voice, and Pecola's recognition of beauty standards. The paper also shows how Toni Morrison's The Bluest Eye is being categorized as a dialogic novel according to its heteroclite structure, and the narrator's voice. [ABSTRACT FROM AUTHOR]

This paper aims at reading Gabriel Garcia Márquez's Chronicle of a Death Foretold (1981) in the light of Mikhail Bakhtin's theory of voice, especially the concept of "Polyphony". The main argument is that polyphony is an important key concept to take into consideration to better comprehend the interrelationships of voices between the narrator and the other characters in this novel. In order to prove this argument, the researchers emphasize language and speech diversity in order to shed light on "Heteroglossia", which is another related concept coined by Bakhtin. The researchers will also examine the characteristics of the doublevoicedness and the manifestations of polyphony in the novel. The results show that Gabriel Garcia Márquez's Chronicle of a Death Foretold can be described as a polyphonic novel because of the variety of consciousnesses and independent voices of its various characters. Eventually, the paper shows how the novel demonstrates heteroglot features because of the different characters who are coming from different social groups, which will help the reader to better realize the different layers of social voices. [ABSTRACT FROM AUTHOR]

Using Édouard Glissant’s vision of ‘poetics of relation,’ I intent to demonstrate how Olga Tokarczuk’s novel Flights (2007; 2017) turns significantly responsive to what I have termed ‘hyperglossia.’ Hyperglossia proposes a magnification of Bakhtin's heteroglossia, in recognition that today's world is informed by discourses that not only complete and complement each other, but also exceed the individual’s capacity to assemble one reality. If heteroglossia encompasses another's speech in another's language (Bakhtin), hyperglossia appeals to both the form that speech acquires and its precedence as utterance (the polyphonic aspect), as it is processed by the writer. Hyperglossia is rhizomatic, hypertextual, and exponential. It is a continuum of fluidity and indeterminacy that challenges Western patterns of reading and thought. On the light of this, I propose a reading of Tokarczuk’s Flights as a hyperglossic text in functions determined by the fragmentation of the narrative voice(s).

Intertextuality is a hermeneutical strand of poststructuralism. In biblical scholarship, since Hays's influential work Echoes of Scripture in the Letters of Paul (1989), the term has also been employed to refer to a later text's interpretation of an earlier text. Regrettably, however, for the past three decades, scholars have failed to come to a consensus on how to understand and apply intertextuality in New Testament studies. Though both literary and biblical studies employ the same term intertextuality, their conception and application of intertextuality differs substantially. Accordingly, this essay will sketch how literary and biblical studies have perceived and utilized the concept of intertextuality. Following this, the study will evaluate these approaches. Finally, the present essay will conclude with a proposal for how to relate intertextuality and New Testament studies that is a cogent middle ground between poststructuralism and biblical studies, thereby compensating for both sides' deficiencies. [ABSTRACT FROM AUTHOR]

In the analysis of our second case, we showed how Hassan Maikal, a Finnish Somali artist, gave his magisterial condemnation of the different ways in which racists are failing in their own language, thus temporarily reversing the stereotypical hierarchy of proficiency assumed to hold between white "native" speakers of Finnish and non-white speakers of the language. Even though he himself belongs to the group of Somalis who, linguistically speaking, can pass as a native speaker, in this comment Maikal implies that Finnish is not his language, but the language of the racists. In the same way as in Extract 3, here too, the hierarchical roles between Maikal as the person of color and the white Finnish commentators seem to be reversed: he positions himself as the one able to use the Finnish language, knowing it in fact better than the white Finns. At the same time he is condemning the racists for failing in their own language, and he is doing it in a way that never lets his viewers forget that he is a Finnish Somali who both identifies with and dis-identifies from Finnishness and the Finnish language, and who both belongs and does not belong to Finland (similar themes characterize his rap; see [32]). Keywords: heteroglossia; people of color; performance; social media EN heteroglossia people of color performance social media 129 151 23 05/12/22 20220501 NES 220501 1 Introduction For a long time, Finland has been an ethnically and culturally homogeneous country ([49]) that, due to its geographical location, strict immigration policies, and relatively small economy, has not attracted large-scale immigration ([41]). [Extracted from the article]

This article reflects on the assumption underlying the argument of Little et al. that "contested understandings" in the clinic are susceptible to reconciliation within a liberal framework described as "pragmatic pluralism". It is argued that no such reconciliation is possible or desirable because it is of the nature of the clinic that it provides a forum for multiple voices, ethical and cultural perspectives, and conceptual frameworks, and this is the source of its fecundity and creativity. Medicine itself cannot be represented by a single discourse, precisely because it is itself an unruly collection of practices that, despite their heterogeneity, are able to engage in productive dialogues with each other. The heteroglossia of the clinic, therefore, is not a problem to be overcome. Rather, it is a rich resource to be mobilized in accordance with its multiple inherent purposes. [ABSTRACT FROM AUTHOR]

The concepts of heteroglossia and Intertextuality are not new to linguistic discourse and its discovery has unearthed an entirely new horizon for text analysis. Heteroglossia and Intertextual analysis of a literary text provide a comprehensive understanding of linguistic tools and double-voiced ness. The present article tries to study the multiculturalism and diachronicity of the play of Evgeny Schwartz "The Dragon" viz. its two leads and few lines from the text will be quoted for analysis and better comprehension. The author portrays the social and political structure of Stalinist Russia through a fairy tale- play where multiple voices have been used to articulate the existing problems. And quite a few rhetorical approaches have been used to define 'what is said and what is meant. [ABSTRACT FROM AUTHOR]

Copyright of Íkala: Revista de Lenguaje y Cultura is the property of Universidad de Antioquia 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 Itinerarios (1507-7241) is the property of University of Warsaw 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.)

Given the ongoing need for a more rigorous theoretical underpinning for book arts discourse, this essay conjoins a critical explication of my artist’s book Speaking in Tongues: Speaking Digitally / Digitally Speaking, and the practice of making it, with selected foundational statements on the haptic experience of artists’ books by Gary Frost. These statements provide a framework across and through which I am able to weave the explication. In order to do this, however, a history of the call for a more critical underpinning of the field is first undertaken. Thereafter, selected relevant theoretical tropes that have been influential on my thinking and practice are drawn together, forming a ground upon which the explication can be undertaken, focusing particularly upon haptic theory. This explication of artist’s book practice acknowledges, and is predicated upon, the well-documented lack of a conclusive definition for such objects, and thus I attempt to foreground constituent concepts of bookness as critical and appropriate lenses for characterising and theorising the book arts. [ABSTRACT FROM AUTHOR]

The present study attempts to apply Bakhtin’s theories of voice to Virginia Woolf's Mrs. Dalloway and Zoya Pirzad’s I Turn off the Lights which is translated into English under a new title: Things We Left Unsaid. In the light of Bakhtinian reading, this paper carries out a comparative study of these two novels in order to specify the differences between the voices existing in the novels written by two women writers from two different cultures. For that purpose Bakhtin’s conceptualizations and theories on Heteroglossia and Polyphony are focused upon. Although these two novels have been analyzed by variety of frameworks related to different critics, the study on the characters identity in the light of Bakhtinian theoretical concepts seems new and the comparativeness side of the research adds to the importance of the present work. By comparing these two works, some cultural differences and similarities regarding both women writers are being revealed. It seems that the authorial intentions towards the role of the characters stem from the similar viewpoints although they have been created in different social and cultural discourses. In the novels written by two writers, the process of identity creation of each character which is the product of various existing voices that are linked to one another through the social nature of language, is examined and observed in the light of Bakhtinian theory.

From the lens of coloniality, monoglossic and hegemonic language ideologies and policies exist within public and private bilingual education in Colombia which oppress students’ and teachers’ diverse linguistic identities and languaging practices. This article draws on critical scholarship which recognizes the need to decolonize language education. As such, it includes a review of key literature from the fields of language ideologies, language policy, and classroom languaging practices to consider alternative approaches to bilingual education from a heteroglossic stance, including translanguaging and critical multilingual language awareness. The literature review suggests that within the Colombian context, hegemonic and monoglossic ideologies and practices are present within international private bilingual schools and through the National Bilingual Program. In addition, an underlying logic of coloniality exists in both public and private language education as both contexts hold foreign languages, expertise, and relationships as more valuable than their local equivalents. However, recent classroom-based research in Colombia indicates promising new heteroglossic approaches which not only acknowledge the benefits, but also support diverse linguistic identities and practices.

Attempts have been made in retelling Epics Ramayana and Mahabharata from the very inception of these works. Both epics are a reflection of Indian society. The retelling of epics also implies a political analysis and cultural analysis of the nation. The fascinating things about the retelling are that they give voices to the silenced characters, echoes the suppressed voices of the marginalised and peripheral people. Such reading of fiction based on the Epics invites us to engage in the politics of the text. The diversity of the voices found in the novels reminds the reader of the theories of Bakhtin. Each voice is valid, according to Bakhtin. While reading the retelling of Epic Characters, the reader finds the silenced men and women in the original text have found their voices in the present retelling. Bakhtinian theory of polyphony and heteroglossia can be used to analyse the politics of the past and present. Therefore this paper proposes polyphony as means of the sociopolitical analysis of the retelling of epics. [ABSTRACT FROM AUTHOR]

Professional development is increasingly considered key to school reform in many countries. This study was based on the experience of the author in Vietnam, where along with other teachers, the author has been engaged in the attempt to reform schools since 2006. The critical element of this work is for teachers to regularly observe and reflect on classroom practices with one another by focusing on students and their learning. While the author tended to use video recordings for reflection and analysis since the beginning of the collaboration, the teachers in those schools recently started to use their own video recordings on their mobile phones and tablets to share their reflections. This study aimed to discuss the meaning of this evolution from the actor-network theoretical perspective. It will be argued that (1) the right to edit visual evidence to support their narratives was decentralised from the international consultant to the local teachers and that (2) the potential emerged for observed lessons, and possibly joint reflection sessions, to become sites of 'heteroglossia' (multiple voices) and 'heteroopia' (multiple gazes), which allowed the teachers to diversify their understanding of the situation and of student learning and needs. [ABSTRACT FROM AUTHOR]