Language Creativity in Everyday Conversation

Language Creativity in Everyday Conversation Transcribe the extract from CD-ROM1, Band 6: Kitchen Floor. Using this data and relevant concepts and theories from E301, discuss the extent to which language creativity can be identified in everyday conversation in English. Undid the paper ((laughter)) and (like) (.) put a little bit of salt on and I handed them to him you know and he looked at me and he didnt DARE say anything so he had to SIT and eat it with his fingers ((laughter)) which he HATES (.) But I was going to make a point of the fact that I was not going to put it on a plate and do the whole BIT and make a (his tea) [and that [like Charles when I was doing the kitchen floor you seeà ¢Ã¢â€š ¬Ã‚ ¦ [he totally // was the one who started it // said that I was mad to take on the job (.) I wouldnt do it (.) (Yeah) and he wasnt gonna help (.) LEANING on the door while he said that ((laughter)) (speech inaudible) (.) He said (1.0) Im not gonna help you with this (.) If youre gonna do it youre doing it on your own // yeah // (.) I said yeah okay (.) Theres nothing I like more than a challenge (.) [did he actually SAY it like that (.) And he actually DID do that (.) He actually stood and LEANED // yeah // against the door (.) (*inaudible*) on the other side of the kitchen telling me (.) he was depressed (.) ((laughter)) Im sweating away ((laughter)) he was off his sleeping tablets he was going to take ((laughter)) (speech inaudible) he was gonna do it on the floor ((laughter)) and meanwhile ((xxxxxxxxxxx)) ((laughter)) Its awful isnt it (.) Im laughing too much ((xxxxxxxxxxx)) Transcription conventions: (( )) = background noises (.) = brief pause [ = interruption // = speech overlap (1.0) = pause longer than half a second CAPS = emphasis Xxxxxxxxxxx = inaudible speech In this assignment, I will try to discuss relevant ideas that have come up in the course materials so far, particularly in Carters book, analyse features of this language data and in conclusion summarise my own views on creativity that are found in everyday language with reference to the data sample. First I shall attempt to analyse the transcript from the E301 audio material and later explain how this fits in with the ideas of Carter. From what I can tell, the transcript is basically a chit-chat between three women, who seem to be more than colleagues, so actually three friends. What they are talking about was rather hard to understand because firstly, they all sound the same and secondly as it is informal talk the facilitating of turn-taking is not put very clearly and instances of interruption and laughter add to the confusion. Spoken creativity may be more prevalent in certain types of social context and within certain types of interpersonal relationship. (Carter p. 147) I will also research Carters idea on the CANCODE corpus that he has linked to creativity in verbal repetition and a wide range of figures of speech like idiom, proverbs and hyperbole. According to Carter, it is not possible to define creativity an a wholly formalist way because in spoken interaction, what counts as creative use can vary according to the dynamic established as part of the dialogue. But Sacks argues that ordinary talk has to be achieved and is a human, social and creative accomplishment which is far from being ordinary. Some speech figures pass unnoticed as normal, routine and even pre-formulated units and in some cases, the same figures are drawn to the attention of the speakers. The purpose of creative language in everyday common speech is highly varied and may include: offering a new way of seeing the content of a message; making humorous remarks; underlining what is communicated; expressing a particular attitude; including negative and adversarial attitudes; making the speakers identity more manifest; playing with language form to entertain others; ending one bit of talk and starting another or simply oiling the wheels of the conversation. (Carter, p.148) Creativity almost always depends on interpretation of intentions and inferences of the participants. It is perhaps best to start by explaining how Carters model of literariness is used for the analysis because the results reveal that speech is dependant on itself and includes examples of stylistic and lexical features, words of contrast at text and sound level, parallelism, evocative descriptive language and cross-sentential repetition. The Greece Tourist Guide for example is dependant on medium and carries examples of archaic and syntactic features, emotive action words, evocative descriptive language, polysemy and displaced interaction. To put it bluntly, it is very hard, not to say difficult to measure which text is more literary except if the two texts have an identical genre. At this point I am now going to give a definition of literary language or literariness. Literary language refers to a particular language or language variety used in literature and also refers to a type of language a style or mode of expression associated with literary genres such as poetry, narrative fiction or drama, whilst literariness refers to the quality of literature or literary language. If used to refer to language in more everyday context, these terms will tend to focus on continuity with literature, such as Carters argument about a cline of literariness. (Carter, 2004) There is something in literariness known as clines. This term has a similar meaning to continuum and refers to relations along a particular dimension that are a matter of degree rather than having discrete cut-off points. Therefore this would suggest then that literariness is a matter of degree. However there is a problem suggesting that these are gradations or degrees of literariness in texts and how to measure it. As far as linguistic forms, it would seem unreasonable just to total the number of creative features used in a particular text. Whether the text is considered to be literary will not derive from the presence of more or fewer literary features and the concept of a cline or sets of clines may suggest a level of precision in the identification of literariness that is not able to be attained in practice. I now turn to Carters models of literariness. Discussing the relationship between everyday linguistic creativity and literary language brings forward the question what literary language actually is. Carter (1999) has identified three models: two established models to which he refers to as an inherency model and a socio-cultural model and more recently, a cognitive model. The inherency model sees literariness as embedding in certain properties of language: so literary language is distinct from more practical uses of language where language itself is highlighted. Jakobson (1960:356) has perceived this as the poetic function of language which focuses on the message for its own sake. This will be termed self-referential language and is language that will be referring partly to itself and not simply to entities in the external world that are the object of discussion. Even though the poetic function is quite evident in many of the examples, the researcher from whom I got this information from is of the opinion that it is the dominant, determining function of verbal art. A socio-cultural model sees literariness as socially and culturally determined; meaning it would be drawing attention to the fact that conceptions of literature vary historically and culturally. According to Eagelton, (1996) there is nothing distinctive about literary language and any text can be seen as literature if it declared by institutions or if people read it as such. Anthropological studies of literary performances in various cultural contexts also tend to take a socio-cultural view on literariness. Many studies focus on the performance in its traditional literary or theatrical sense in order to include public displays to artistic activity that are responded to aesthetically by an audience, like story-telling, song, dance or drama. However the notion is not uncommonly extended to more everyday activity in recognition of the fact that there are certain parallels between everyday and literary performance: that this notion of performance can also describe what often is found in the most ordinary of encounters, like when social actors exhibit particular attention in the delivery of a message. Cognitive models relate literary language to mental processes and according to Tannens suggestion (1989) that linguistic repetition derives from a basic human drive to repeat as a kind of cognitive argument. Cook (1994) claims that literary texts have an effect on the mind and help us to think in new ways and refresh and change our mental representations of the world: But such benefits are not confined to established literature and Cook has similar thing to say about everyday creativity or language play. In addition, Gibbs (1994) claims that human language and human understanding often are metaphorical, concluding that literary metaphor carries on and extends everyday metaphorical notions. For Carter (1999) there was some value in both inherency and socio-cultural models, and in the case of his own examples is identifies formally and in this sense is close to an inherency model. However, there is one way to find examples of verbal art in his corpus, and that is to search for instances of laughter. What people respond to as artful is consistent with a socio-cultural model and in Carters view; a cognitive model is beneficial by helping explain the prevalence of creativity in everyday language. The argument is that literariness should be seen as a cline or a series of clines and is appropriate to see texts as more or less literary rather than in terms of an opposition between literary and non-literary language. There are two main levels of creative interactions. The first is the pattern re-forming feature which is more overt, has presentational uses of figures of speech, open displays of metaphoric invention, punning, uses of idioms and departures from expected idiomatic formulations. The second pattern-forming feature is less overt, may have subconscious and subliminal repetition; parallelisms, echoes and related matchings which often result in expressions of affective convergence in implicit signals of intimacy and symmetries of feelings. Linguistic creativity is less likely to occur in contexts which involve a one-way process of information provision or professional interaction in which the main purpose is transactional and where relations between participants in a particular context might be more asymmetrical. Mapping out probabilistic in creativity onto social context is not easy to capture diagrammatically and it does not seem to allow exceptions. So it is likely that creativity will occur in informal situations. Like when colleagues working together in a department store while decorating a window together or when one discovers that the intimacy of the relationship lighten the task until the discourse becomes more populated with wordplay and creative uses of language. So, what does this tell us about creative language? It tells us four main points. Firstly, creative language use cant be captured or described or evaluated wholly by formalistic definitions. Creative functions will vary according to speakers evolving relationships, the nature of the external task demands and the changing character of social context and speech genres. Secondly, creativity is probabilistic. Creative language is more likely to occur in some contexts and in some kinds of interpersonal contact rather than in others. It would be defined with reference to an account of forms and functions but its purposes and uptake depend on a dynamic of locally negotiated processes and specific instances. These can be seen as from the outside but their meaning can only be speculated upon. This means that paradoxically, creativity is a definitely emergent, instantial category of language. Thirdly, we recognize that creativity in context is valuable but there are also many factors which constitute a context and different contextual frames which are able to work within a single context. For example humour can be a significant strategic figure which crosses over into other categorial boundaries. And fourthly, this would mean that creativity is best captured and discussed with the mind fixed on clines and continua with many points of overlap. Like in the example of the CANCODE corpus: generally speaking it is lacking in examples of language used in a working environment and in the context of business organisations. Humour is used to challenge particular practices and the role of people who have a higher position in a company. The way it works is by allowing a potentially literal statement to be made by non-literal means. But in a preliminary observation, CANCODE and pattern forming is a more female characteristic. Compared to men, women are more spontaneously creative in talk but this need to be researched more as women are not seen as to be openly contestive, adversarial or pattern-reforming in language use or to strategically use humour. As we can see, there are many ways we can identify creativity in spoken language, whether it is chit-chat between friends or in literature or even in literary contexts, creativity had many faces. Creativity can also be seen as a method on how we learn something new, for example in order to remember a progression of numbers you simply recall it by turning it into a song like Mary Had A Little Lamb. That way for example, a child from primary school would be able to remember the number progression of the number 4 by singing the tune of Mary Had A Little Lamb in his head. This method of creativity was made up for me by my mom who tried to help me in my math studies in primary school as it was my worst subject in my entire school career. Needless to say, I passed the math test with that method in primary school and even find myself using similar methods for my Open University study even today, even though it has changed a bit, but the effect has remained the same.

The Yellow Wallpaper Analysis

The Yellow Wallpaper Analysis As I started reading this short story, it clearly introduced who the characters are and where it took place. The narrator is a woman; she has no name, remains anonymous throughout the story. She lives with her husband John in a house. This house is isolated from society, since the short story indicates that it is far from village, roads or any means of communication. It also contains locks and gates throughout. The woman is ill and this illness has placed her in a weak position with her husband and everything around her.We know that she likes to write, but her husband doesn’t let her, so she does it in secret. Although this type of writing is mainly to show mild personality disorder in dealing with life, at the same time I believe it shows how each person expresses their illness and how it builds up with certain outcome. Here the author shows how the woman expresses her illness through the circumstances of the yellow wallpaper such as dreaming and fantasying through the paper, which led to her breakdown. At first, the narrator describes the yellow wallpaper as ?It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide–plunge off at outrageous angles, destroy themselves in unheard of contradictions  .? It shows how the narrator dislikes the yellow wallpaper and she elaborates her feelings towards it. This quote explains a lot about how she feels, and also points out how suppressed and weak she is. When it said ? follow the lame uncertain curves? t refers to the husband that may lead the narrator to commit suicide because of the way she listens and obeys him. Although he seems to say the things that would make her better and assure her that she is getting better, he is not really letting her do what would make her better, which is what she wants. As a physician who recog nizes and treats his wife’s condition, it would appear to be that he understands her best, but he does not seem to realize how severe her state is. Neither does he have an adequate way of treating it, like not letting her do what she wants like for instance writing.I believe he underestimates the state of her mind, and he has a lot to do with the outcome of her condition. This leads to her obsession with the wallpaper. At first the narrator hated it, and then she got used to it. She started letting her imagination wander about this wallpaper, she saw in her mind's eye people, scenes: ? there is a beautiful shaded lane that runs down there from the house. I always fancy I see people walking in these numerous paths and arbors, but John has cautioned me not to give way to fancy at least.?By focusing on these fantasies or dreams, I believe it expresses her feelings and makes her more confident. Despite what John thinks about her fantasies, she continues to imagine things. He thin ks she is getting better in spite of her speculations, she knows she is getting better because of these speculations, her illness has its own certain effect and it even develops. John warns her several times that she must use her self-control to rein in her imagination, which he fears will run away with her. Of course, the narrator’s eventual insanity is a product of the  repression  of her imaginative power, not the expression of it.She is constantly longing for an emotional means, even going so far as to keep a secret journal, which she describes more than once as a â€Å"relief† to her mind. This illness progresses in a way that lets her see a woman in the wallpaper. She sees the same woman in different places and she thinks that the woman only gets out in daytime. She says, ? It is the same woman, I know, for she is always creeping along, and most women do not creep by daylight.? Lori Voth explains this part in a way that I totally agree with.She says that the woman who for some time is hidden in the background of the paper symbolizes the main character’s fear of presenting herself and her opinion. I agree that it is a symbol of fear because the narrator is a reflection of the hidden woman behind the wallpaper, which relates much to her. She is hiding in this house away from society, scared to say what she feels or what she wants. In my opinion, I think that this is one of the things that led to her depression, if the narrator was able to express herself from the beginning and not let her husband or anyone control her, as a result she may be in a better condition.Reaching the end, she doesn’t really care much about what anyone thinks. She starts showing certain actions that may confirm that she going insane, like peeling off all the paper, locking the door and throwing the key in the front path. On one hand it seems that she is gone insane, on the other hand, I think she is getting out of her cage, expressing what has been t here all along may be in a certain way that only satisfies her.In my own view as I discussed it before, each individual has a certain way of expressing their illness or more likely their feelings, and it comes with different ways of behaviour (outcome) depending on the person. This story takes the reader’s mind to different view of women. Women are usually known for being the quiet, sophisticated, and reasonable characters in society. This time the reader may be taken into the inner-most realms of women’s mind and experiences. The experience of the narrator in the ? The Yellow Wallpaper? hows that she is gone mad because her role in society is limited and her ability to express herself creatively is constricted. This inability for her to express herself in a meaningful way eventually leads her to associate herself with the woman in the wallpaper who looks to be, like the narrator, behind bars or in a cage. Some important feminine critics have seen the â€Å"The Yellow Wallpaper† not only an accurate representation of a situation of woman in a harsh culture but also a model for their own reading and writing practices (Davison 120).The yellow wallpaper represents several ideas and conditions and every time I read it a new view captures my eyes. Work cited * Voth, Lori. Article about ? The Yellow Wallpaper.? http://voices. yahoo. com/literary-analysis-yellow-wallpaper-charlotte-11251. html? cat=38.? Lori Voth, November 21, 2005. Web. October 29, 2012. * Davison, Carol Margaret.? Haunted House/Haunted Heroine: Female Gothic Closets in ? The Yellow Wallpaper.? Women’s studies 33. 1(2004):47-75. Academic search complete. Web. 6 November, 2012.

Essay on SHOCK INCARCERATION - 1734 Words

nbsp;nbsp;nbsp;nbsp;nbsp;Miranda Warnings nbsp;nbsp;nbsp;nbsp;nbsp;You have the right to remain silent, anything you say can and will be used against you in a court of law. You have the right to speak to an attorney, and to have an attorney present during police questioning, if you cannot afford an attorney, one will be appointed to you by the state. These words have preceded every arrest since Miranda v. Arizona 1966, informing every detained person of his rights before any type of formal police questioning begins. This issue has been a hot topic for decades causing arguments over whether or not the Miranda Warnings should or should not continue to be part of police practices, and judicial procedures. In this paper, the author†¦show more content†¦In other words, the suspect has been denied his right to protection from being unjustly deprived of life and liberty for failure to abide by due process of law (Ivers 2002). nbsp;nbsp;nbsp;nbsp;nbsp; The Constitution reserves several rights for suspects of a crime. One of the fears of the authors of the U.S. Constitution was that the government could act however it wanted to by saying that an individual was a suspected criminal. Just by a person being suspected of committing a crime doesn’t necessarily mean that their Constitutional rights are waived. The rights set forth by the Constitution and the Bill of Rights are designed to ensure that those accused of a crime are assured of those rights (Mount 2003). Years ago police were able to take advantage of the fact that not everyone knows their rights by heart. In fact, it is likely that most people could only name a few of their rights as accused criminals, but not all of them. Law enforcement’s position at the time was that if the accused, for example, spoke about a crime without knowing that they did not need to, that it was the persons fault for disclosing the information and not invoking their fifth amendment right (Frieden 1999). nbsp;nbsp;nbsp;nbsp;nbsp;Disclosing information without knowledge of his rights was the center of the issue in Miranda v. Arizona. In 1963, Ernesto Miranda was accused of kidnapping and raping an 18 year-old mentally challenged woman. He was taken in by authoritiesShow MoreRelatedShock Incarceration1779 Words   |  8 PagesMiranda Warnings You have the right to remain silent, anything you say can and will be used against you in a court of law. You have the right to speak to an attorney, and to have an attorney present during police questioning, if you cannot afford an attorney, one will be appointed to you by the state. These words have preceded every arrest since Miranda v. 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The Book Of Romans And Chapters 1-8 - 1028 Words

With an evaluation on the book of Romans and Chapters 1-8, there will be four specific areas to uncover which will include the natural world, human identity, human relationships, and culture. The author of the the book of Romans, Paul wrote this due cause of an imperfection, more so to address this break within the Roman culture and society. This happened because Paul observed this â€Å"break† within the culture of Rome and then proceeds to capture this as the center for the book of Romans. My personal world view would have to be described as this. The flaws that were present within the Romans, in the days of Paul occur still yet in present day. (Ecclesiastes 1:9) Within today’s society. I believe that humanity will never change for the better, also that each person requires salvation and the foundation of God, in order to getaway from the ways of the world. The natural world is of continuous sin, lust, and all evil doings. 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