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THEORY: John Austin
actions performed by the use of language (both direct and indirect). Looks at the effectiveness of speaker to thinker/character to audience and other characters. (warning, informing, urging, etc) |
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| the PERFORMATIVE FORCE of an utterance |
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| the EFFECT of an utterance |
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| when an utterance requires some authority (or something). These conditions need to be fulfilled for a speech act to be successful. |
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unsuccessful speech act either due to a
misfire-where the speech act does not occur
or an
abuse-where it occurs but is uttered insincerely (a promise you don't intend to keep) |
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WITTGENSTEIN
the belief that language is a form of personal interaction governed by a set of SOCIALLY DEFINED RULES. To understand language is to be able to play a variety of language games (ex. oral exam, courting, etc).
the importance of the word is its USE (contextually), not its MEANING |
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our socially determined existence!
utterances are understood in relation to larger language games are understood in relation to larger forms of life (eg."can i buy you a drink?")
language HAS NO FUNCTION when removed from the social form!! |
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GRICE
We assume that a speaker/author is trying to cooperate with us and, in doing so, will follow these four maxims to present a clear and affective idea/speech/whatever:
1) Maxim of Quality--speak truthfully
2) Maxim of Relevance--stay on topic and provide info based on that topic to support your point
3) Maxim of Quantity-relates to 2nd maxim--do not say irrelevant things (stay on topic)
4) Maxim of MANNER-be clear and concise |
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| To FLOUT a maxim is to violate it on purpse to imply an unspoken reason for this violation (sarcasm, etc) |
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refers to the understanding of one idea, or conceptual domain, in terms of another
some metaphors are DEAD, meaning you use them so much you don't even recognize you are anymore (ex. emotions as temperatures) |
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the SOURCE domain is the conceptual domain from which we draw metaphorical expressions
the TARGET domain is the conceptual domain that we try to understand
ex. in cognitive science the mind (target domain) is like a computer (source domain) |
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LEVI-STRAUSS
a chart used to map SIMILARITIES between stories, myths, etc. from different cultures to find underlying meaning/significance.
WITHIN A SINGLE WORK OF LITERATURE: you would make a transformation set of plotlines (like lives of Gloucester and Lear) |
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| patterns that apply to genetically distinct traditions with significantly greater frequency than chance could account for (ex. origin stories) |
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| Romantic Tragi-Comedy Narrative |
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a UNIVERSAL narrative genre. Narrative is typically:
LOVE-->INHIBITION (often paired with assistance of some sort)-->SEPARATION (spatially or existentially)-->RESOLUTION/REUNION-->DEFEAT OF RIVAL-->FAMILY REUNION |
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Russian Formalists were concerned with understanding the unique or distinctive characteristics of poetic language.
They thought this was the best form of language because it had the most formal refinement and was least like everyday speech.
Poetry acts to MAKE THINGS STRANGE--it opens your eyes to the world and makes "defamiliarizes" us (as does ART!)
JAKOBSON: while ordinary communication places emphasis on the verbal/nonverbal context, POETIC LANGUAGE emphasizes the MESSAGE ITSELF!! In writing poetry, you are very concerned with the FORM of expression. (formal devices contribute to theme, etc) |
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antithesis of formalism!
concerned with and valued those literary works that encompassed what he saw as the diversity and and vitality (energy) of ordinary language! (valued literature for its incorporation of and into DIALOGUE!) |
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the UNQUESTIONABLE discourse of dominant people and dominant ideas (religious, moral, scientific, etc)
linked with THE EPIC (have a definite, fixed meaning that has exact, definite limits) |
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| Internally Persuasive Discourse |
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a discourse that convinces us not because of some supposedly authoritative origin, but BECAUSE OF WHAT IT SAYS.
A discourse with which we INTERACT, not one imposed from above.
We are continually bringing it into struggle with other internally persuasive discourses so it does not BECOME AUTHORITATIVE/dogmatic. Ultimately this determines our internal discourse/"internal voice"
THIS IS THE NOVEL! (an endlessly changing genre with a living present, not a distant and inaccessible past) |
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dialogism--a function of any unstifled speech within a community
interaction-we are constantly engaging in this with what we are reading, who wrote it, who theorized about it, etc. |
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| related to dialogism. A dialogic incorporation of that which is LINGUISTICALLY OR CULTURALLY different or outside (The diversity of voices/varieties of discourse) |
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GREIMAS
part of structuralism
SEMANTIC THEORY--focuses on actual words in speech
signified (concept) and signifier (sound) together make a sing (word/idiom)
Language is contextual! |
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a series of elements (ex. semes for man would include "male" and "human")
FALL INTO TWO CATEGORIES:
1) semantic core-central, definitional semes. "Male" and "human" for man.
2) contextual semes-possible means for a given term picked out by context ("scott showed he was a MAN")
There are series of rules governing the relation between elements. |
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| parallel oppositions (binary oppositions) |
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Relations between: A is to B as C is to D. level of semantic coherence within the text.
ex. life is to death as grief is to joy. |
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DERRIDA
development and criticism of structuralism and phenomenology. Examines the implications of a given theory, drawing them out until they undermine or contradict the theory itself.
In the case of structuralism, Derrida sets out to demonstrate the INSTABILITY OF A SYSTEM OF BINARY OPPOSITIONS. No term can be PRIMARY because a meaning can never be fixed.
These are faulty because meaning cannot be fixed! Example, light is opposed to dark but you cannot say what one IS. |
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| paradigmatic/syntagnatic axes |
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syntag-where the word lies in the sentence (relates to DEFERRAL)
paradig-your understanding of the word thus far based on other words that are similar or opposite (relates to DIFFERANCE) |
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| meaning is a product of a system of differences and a process of deferrel. it is a combination of these two terms. |
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| an absolute and definitive meaning. THIS DOES NOT EXIST! |
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the perceived tendency of western thought to locate the CENTER of any text or discourse. a constant search for truth/desire for the ULTIMATE PRINCIPLE OF TRUTH OR REASON.
hierarchical opposition here between: identity/presence VS absence (Derrida seeks to establish DIFFERANCE as the accepted, definitive term) |
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a specification of logocentrism. In this view, presence is manifest most fully in ORAL SPEECH making oral speech (or voice) the definite term. The other term is writing (or the absence of voice).
Thus, phonocentrism is the idea that oral cultures had contact with a direct, transcendental meaning that we have lost. (but words can always change meaning throughout time) |
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| andocentrism. The establishment of a hierarchy in which "man" is the primary term and "woman" is defined by difference from "man." |
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| the way in which the emotional state of the viewer fixes AND THEN shapes her attention |
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| what you expect when you go to see a film. Your emotions are open to signals that indicate threats/opportunities. Particular emotions are especially primed when going to see a genre film. |
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things we want/don't want to happen. relate directly to our HORIZONS of expectation.
where story developments mesh with these preferences, the response is euphoric. where they deviate/clash, the emotional response is dysphoric. |
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CARROLL
TEARJERKERS with topics that warrant crying.
Related States: SORROW and PITY
ADMIRATION--relates to motif of victim of melodramatic misfortune accepting her suffering to benefit another.
Involves SACRIFICE on character's part of something significant (life or relationship)
This leavening of pity with admiration is called BITTERSWEET. |
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FREELAND
1) call forth a characteristic conflict between certain feelings of PAIN and PLEASURE (evoke "raptuous terror")
2) feature an experience of something both GREAT and ASTONISHING
3) evoke ineffable/painful feeling that TRANSFORMS to pleasure/cognition
4) prompts moral reflection
shift from perspective WITHIN the film to perspective ABOUT the film |
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EITZEN
our pleasure from watching a film comes from intense emotion experience
MIRTH=emotion tied to laughter (expression)
HUMOR DRAWS ATTENTION TO ITSELF-typically interrupt the story and have no reason for being there
LAUGHTER IS SOCIAL AND ADAPTIVE-a socially motivated behaivor that functions in such a way as to promote social bonding and decrease social tension |
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| Motifs in Sentimental Movies/ Emotional Access |
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EMOTIONAL ACCESS-involves yielding to a situation and helplessness. Often involves crying. It becomes too overwhelming and you "give yourself over" to the emotions.
1) Justice in Jeopardy--no hope for justice and then it occurs
2) awe inspiration (brought into world where you feel tiny/insignificant)
3) separation/reunion theme-very common because it is one that we can all relate to at some level. |
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| Empathy (G) (Imaginative Identification) |
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GAUT
Involves I.I.-imaging the world from the character's physical and psychological perspective
empathy-imaging yourself in the position of the person suffering, having their memories/aspirations
(sympathy-imaging the situation from your own background) |
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| 4 aspects of identification |
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1) perceptual-imaging seeing from his point of view (seeing what he sees)
2) epistemic-imagining believing what he believes
3) affective-imagining feeling what he feels
4) motivational-imagining wanting what he wants |
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| you see (or don't) what happens and then you see the character's response. |
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| 2 didactic functions of film |
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1) experience a change a character goes through
2) depart from a character, understanding them but distancing yourself from their morality/decisions |
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PLANTINGA
facial closeup/SCENE OF EMPATHY |
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out mirror neurons fire when we see someone else's emotions active.
emotional contagion--occurs with oral and visual stimuli. when you "catch" someone else's emotions |
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elicitors-portions of the film to which one is responding
conditioners-variables that change this response such as viewing context and individual differences |
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| sequencing, timing and discourse |
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sequencing-the ORDER of images
timing-the duration/durational relationships (diff. durational relationships include slow/fast motion and freeze frame)
discourse-the WAY The story is told |
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