Suchergebnisse

ResumenEn el ámbito de los estudios irlandeses se ha estudiado con profusión el inesperado fracaso del fenómeno teatral encabezado por W.B. Yeats y en el que John Millington Synge se llevó la peor de las partes. La subversión que sus personajes implicaban a todos los niveles explica el rechazo de los mismos por parte del público que acudía en masa al Abbey Theatre solo para silbar y patalear durante alguna de sus representaciones (Kilroy 1971). Un análisis detallado de la forma en la que hace que se expresen apunta en esta dirección. La incorrección verbal es una seña característica del teatro de esta figura clave de la literatura irlandesa. Partiendo de ahí, en el presente trabajo se aplica el principio de cortesía lingüística (Brown y Levinson 1987) a tres de las obras más destacadas de este dramaturgo: In the Shadow of the Glen, The Tinker's Wedding y The Well of the Saints. Con la intención de refutar los resultados de trabajos anteriores (Hidalgo-Tenorio 1999) y demostrar la validez de este modelo en la investigación de textos de ficción, se comprueba que esas mujeres, que rompen con la norma social y conversacional una y otra vez, en casos muy excepcionales hacen un uso magistral de todas las estrategias posibles de cortesía. Las razones son tan diversas como las que se darían en cualquier transacción conversacional del mundo real. Este artículo se proponer desgranarlas como uno de sus objetivos.Palabras clave: Pragmática, principio de cortesía, género, teatro irlandés, J.M. Synge.English title: "Good Evening to You, Lady of the House": Considerations on the Politeness Principle in J.M. Synge's DramaAbstract: In the field of Irish studies, scholars have considered extensively the failure of the theatrical experience led by W.B. Yeats and J.M. Synge, who bore the brunt of popular criticism. The subversion embodied in Synge's characters explains their rejection by the public, who flocked to the Abbey Theatre just to whistle and stamp their feet during some of his performances. One in January 1907 caused a particularly furious reaction from the press and political nationalists (Kilroy 1971). Since verbal impropriety (Bousfield and Locher 2008, Culpeper 2011) is their most outstanding characteristic, the analysis of how this major literary figure makes them express themselves can shed light on a phenomenon of much sociological relevance. Accordingly, here I apply the politeness principle (Brown and Levinson 1978, 1987) to four of his most well-known plays: The Well of the Saints, The Tinker's Wedding, In the Shadow of the Glen and The Playboy of the Western World. Apart from demonstrating the validity of this model in the exploration of fiction, I will show that those women, who regularly break social and conversational norms, make use of all politeness strategies in very exceptional cases. The reasons are as diverse as those articulated in any real-world transaction, and this article aims to disentangle them. Thus, it will be easier to tackle the issue of gender role construction (Holmes 1995, Weatherall 2002, Litoselitti 2006), which is definitely one of the grounds on which Dublin's dismissal of the Irish Dramatic Movement was based (Hidalgo-Tenorio 1999).Keywords: Pragmatics, politeness theory, gender, Irish Theatre, J.M. Synge.

ResumenEn el ámbito de los estudios irlandeses se ha estudiado con profusión el inesperado fracaso del fenómeno teatral encabezado por W.B. Yeats y en el que John Millington Synge se llevó la peor de las partes. La subversión que sus personajes implicaban a todos los niveles explica el rechazo de los mismos por parte del público que acudía en masa al Abbey Theatre solo para silbar y patalear durante alguna de sus representaciones (Kilroy 1971). Un análisis detallado de la forma en la que hace que se expresen apunta en esta dirección. La incorrección verbal es una seña característica del teatro de esta figura clave de la literatura irlandesa. Partiendo de ahí, en el presente trabajo se aplica el principio de cortesía lingüística (Brown y Levinson 1987) a tres de las obras más destacadas de este dramaturgo: In the Shadow of the Glen, The Tinker's Wedding y The Well of the Saints. Con la intención de refutar los resultados de trabajos anteriores (Hidalgo-Tenorio 1999) y demostrar la validez de este modelo en la investigación de textos de ficción, se comprueba que esas mujeres, que rompen con la norma social y conversacional una y otra vez, en casos muy excepcionales hacen un uso magistral de todas las estrategias posibles de cortesía. Las razones son tan diversas como las que se darían en cualquier transacción conversacional del mundo real. Este artículo se proponer desgranarlas como uno de sus objetivos.Palabras clave: Pragmática, principio de cortesía, género, teatro irlandés, J.M. Synge.English title: "Good Evening to You, Lady of the House": Considerations on the Politeness Principle in J.M. Synge's DramaAbstract: In the field of Irish studies, scholars have considered extensively the failure of the theatrical experience led by W.B. Yeats and J.M. Synge, who bore the brunt of popular criticism. The subversion embodied in Synge's characters explains their rejection by the public, who flocked to the Abbey Theatre just to whistle and stamp their feet during some of his performances. One in January 1907 caused a particularly furious reaction from the press and political nationalists (Kilroy 1971). Since verbal impropriety (Bousfield and Locher 2008, Culpeper 2011) is their most outstanding characteristic, the analysis of how this major literary figure makes them express themselves can shed light on a phenomenon of much sociological relevance. Accordingly, here I apply the politeness principle (Brown and Levinson 1978, 1987) to four of his most well-known plays: The Well of the Saints, The Tinker's Wedding, In the Shadow of the Glen and The Playboy of the Western World. Apart from demonstrating the validity of this model in the exploration of fiction, I will show that those women, who regularly break social and conversational norms, make use of all politeness strategies in very exceptional cases. The reasons are as diverse as those articulated in any real-world transaction, and this article aims to disentangle them. Thus, it will be easier to tackle the issue of gender role construction (Holmes 1995, Weatherall 2002, Litoselitti 2006), which is definitely one of the grounds on which Dublin's dismissal of the Irish Dramatic Movement was based (Hidalgo-Tenorio 1999).Keywords: Pragmatics, politeness theory, gender, Irish Theatre, J.M. Synge.

The last two decades have witnessed very important economic and legislative changes in the Republic of Ireland, which have contributed to both the reinforcement of national beliefs, and the restructuring of traditional values as well as social practices. In this context, the tendency for some extremist groups to attack minorities such as Asians or Eastern Europeans, along with the allegedly institutionalised exclusion of Travellers, contrasts very much with a slowly but increasingly overall positive perception of an already marginalised group such as the LGBT community. Bearing the latter in mind, in this paper we aim to reveal how otherness is represented in the Irish print media, and the extent to which more or less discriminatory viewpoints are reinforced in the public domain. In particular, we concentrate on the discursive construction of gayness, and the potential homophobic imagery veiled and revealed in a corpus of newspaper articles from the last years of, and after, the so-called Celtic Tiger era. To do this, the detection of topoi will be combined with metaphor analysis.

El 7 de noviembre de 2011 se emite el debate entre los cabeza de lista de los principales partidos a La Moncloa, Rajoy y Rubalcaba. 12 millones de espectadores pudieron ver dos estilos dispares a cuyo análisis nos dedicamos en este artículo. A tal fin, estudiaremos herramientas discursivas que tienen que ver con la estructuración del texto, y con cómo se articulan textualmente los mundos exterior e interior del hablante. Observaremos metáforas conceptuales y falacias de la argumentación; y exploraremos cómo la expresión facial complementa, refuerza o diverge de los significados codificados. La comparación entre ambos muestra diferencias respecto a su sinceridad, asertividad y grado de optimismo en su representación del país, que se pueden explicar por su estatus e ideología.

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- List Figures -- List of Tables -- List of Contributors -- Acknowledgements -- Introduction: Unravelling populist discourse -- Populism, a difficult concept to define -- Populism as a global phenomenon -- Types of populism -- The aims and contents of this edited volume -- References -- Part I Populism, politics and communication -- Chapter 1 The politics of authenticity in populist discourse: Rhetorical analysis of a parliamentary speech by Podemos -- Introduction -- The populist alternative to representative democracy -- The authenticity policy -- The emotional rhetoric of populism -- Populism as a rhetorical metaphor -- Methodology -- Results -- Conclusion -- Note -- References -- Chapter 2 The rise of populist parties in Italy: Techno-populism between neo-liberalism and direct democracy -- Introduction -- Do we need a definition? -- Neo-liberal discourse, emergent populism and depoliticisation -- Old and new populism: the emergence of techno-populism -- Notes -- References -- Chapter 3 Rewriting the news: The amphibious relationship between populist Podemos and print media in Spain -- Introduction: the journalist/politician hybrid -- Visibility: in league with the media -- Authenticity: at war with the media -- Efficacy? -- Conclusion -- Notes -- References -- Chapter 4 Populism and the media factor: A comparative perspective on the Portuguese presidential candidates -- Introduction -- Populism in democratic systems -- Methodology and objectives -- First stage of the analysis: non-partisan presidents and potentially populist candidates -- Second stage of the analysis: mediated populism in the Portuguese 2011 and 2016 presidential elections -- Concluding remarks -- Notes -- References.

Populist Discourse brings together experts from both linguistics and political science to analyse the language of populist leaders and the media's representation of populism in different temporal, geographical and ideological contexts, including Nazi Germany, Sweden, the Netherlands, Spain, Italy, Portugal, Austria, Greece, the UK, the US and South America. With17 contributions split into four sections, Populist Discourse covers a variety of approaches such as corpus-based discourse analysis, critical discourse analysis and political perspectives, making it a timely dissection for students and researchers working in linguistics, political science and communication.