Journal articles on the topic 'Corpus Monolog'

Scholars see dialogue as the primary natural form of language communication; monologue is recognized as secondary to dialogue. The purpose of this article is to analyze the texts of the genre ‘Letter to the Editor’ (LTE) in terms of material presence in them of “the otherˮ as a signal of the dialogic category manifestation in the monologic text. The hypothesis is that in LTE texts “the other” – the addressee, vis-à-vis of the LTE subject – is not only implied, but actually materially, verbally explicated. The novelty of the study is determined by the choice of the approach, which makes the dialogic category overt at the level of not only the deep, but also of the superficial structure. The choice of research material and methods in this study is conditioned by M. Bakhtin’s understanding of dialogue as a universal property of speech. In monologic speech one is met with dialogue in the broader sense of the word, which may be understood as the mutual relationship, interaction between the position of the addresser and the addressee. The material for the research was taken from the corpus of texts assigned to the LTE genre and published by British daily periodicals, The Times, The Daily Telegraph, and The Independent. LTE is an essential and integral part in the generic system of media discourse as it invites feedback from the recipient. In order to achieve the intended objective of this research project, the author identified dialogic markers in the monologic text at textual, grammatical and lexical levels, extrapolating distinctive linguistic features from the dialogic form of speech into the monologic form of speech. The study has shown that a wide range of endodialogic markers, from pretextual (morphological, syntactical, lexical) to textual (architectonic) levels, manifests the presence of “the otherˮ in the monologic text. The results of the study have theoretical significance for a number of related areas of modern linguistics and, above all, media discourse (in terms of projecting the institutional and role-specific aspects), linguistic genre studies (in relation to the genre-forming specificity of the addressee), linguistic pragmatics (the addressее factor in the light of situational conventions), etc. Practically, these research results may be used in teaching specialized courses of the university curricula.

The article is devoted to the description of the idiomatic potential of Russian colloquial speech, revealed on a voluminous corpus material. The observations and conclusions are based on the analysis of the material of two oral corps: Russian everyday speech (“One speech day”, mainly dialogues and polylogies of native speakers) and Russian monologue speech (“Balanced annotated text collection”). Both corps were created at St. Petersburg State University and allow multilevel analysis of both types of oral speech. In a broad sense, all the units that refer to idioms meet the criteria of stability, reproducibility, and also the integrity of the value of a unit, which cannot be reduced to the sum of the values of its components. As the analysis of the corpus material has shown, our speech is rich in such idioms: the maximum number of idioms per fragment of the record is 1.1% (the average share is 0.2–0.3%). For a minute of communication, the speaker (along with his interlocutors) is able to use up to 2 idioms. The article presents the results of the analysis of everyday Russian speech. The main array of idiomatics is not only the units recorded in dictionaries, but also colloquial neoplasms and everything that can be called the idiomatic potential of colloquial speech. A certain systematization of this potential is proposed in the article: (1) modifications (s polotencem napereves); (2) contamination (ni v koej zhizni); (3) occasional formations (golovu zakhlaml’at’ negativami); (4) generalized statements understandable to native speakers, but requiring comments in a foreign-language audience (kak razd l’ablondinok); (5) precedent texts, often modified (ikh jest ’u men’a); (6) speech formulas, or grammatical constructions-collocations (Pravda chto li?! pon’al net?); (7) prepositional-case combinations (forms-idioms) (bez nikakix). The criterion of idiomaticity in most cases can be the possibility of replacing a speech fragment with a unit-identifier.

The Dragonfly of Chicoutimi de Larry Tremblay (1995), oeuvre marquante de la dramaturgie québécoise des années quatre-vingt-dix, a fait l’objet de nombreuses études visant à dégager les spécificités de ce long monologue « in English ». Cette analyse jette un éclairage inédit sur une question très peu abordée dans les travaux portant sur l’ensemble du corpus dramatique québécois : l’inscription des référents du catholicisme. L’article montre comment cette oeuvre peut se lire comme une confession profondément travaillée par le registre de la culpabilité et comment le récit de rêve au coeur du monologue, par l’inscription des souvenirs renvoyant à l’époque du Canada français et par les intertextes liturgiques et bibliques qu’il déploie, donne à la confession de Gaston Talbot une résonance prophétique. Le passé catholique canadien-français et ses signifiants (refoulés) façonnent ainsi en profondeur l’énonciation au présent.

The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of exploring themselves and with a form of engaged theater. This textual corpus is studied in this article in a global way in order to contextualize feminist dramaturgies and in particular the dramatic proposals of Maribel Lázaro, who in 1986 wrote two monologues La fosa [The pit] and La defensa [The defense]. Therefore, we analyze the terminological problem around the concept of «monologue». Moreover, we reflect on the dramatic structure in which the denunciation, self-recognition and negation of the discourse of the female character coexist in a paradox that opens the path to a consolidation of the feminist theater in Spain.

This paper provides a corpus-based generic characterization of appointment-scheduling dialogues — a type of task-oriented conversation — by concentrating on the rhetorical and thematic choices made by the speakers that produce them. The analytical tools used for this study are Rhetorical Structure Theory (RST), the notion of Theme as defined in Systemic Functional Linguistics, and Thematic Progression (TP) patterns. The results of the corpus analysis revealed a generic structure consisting of three clear stages: Opening, Task Performance and Closing, realized by characteristic thematic and rhetorical patterns. These patterns are interpreted functionally as indicative of the genre under study, providing linguistic evidence of the generic structure that characterizes this type of conversations. The paper also shows the usefulness of analytical tools such as RST and TP patterns, typically applied to written monologue, for the characterization of dialogic genres.

The paper explores the functions and distribution of questions in the Lampeter Corpus of Early Modern English Tracts, a 1.1 million-word corpus of pamphlets written between 1640 and 1740. Pamphlets are a highly interactive medium with a mostly persuasive function. Thus it is not surprising that pamphlet authors exhibit a critical and inquisitive attitude, which shows itself also in the explicit posing of questions. The questions can be sorted according to function into six major groupings: (i) introducing new information, (ii) provoking reader involvement, (iii) marking authorial emphasis, (iv) getting or focusing attention, (v) supporting the argumentation (backed by a number of conducive features), and (vi) exerting control. Of these, argumentation is clearly the dominant function, while reader involvement enhances the persuasive effect. Statistical analysis reveals questions to be more common in pamphlets, in particular highly contentious religious and political tracts, than in most other monologic texts.

Les années 80 en Angleterre représentent un âge d’or pour le théâtre féministe, qui vise à briser les tabous. L’article tente de cerner les qualités dramaturgiques et théâtrales nécessaires à la problématisation des enjeux. Il explore parallèlement les différents aspects du féminisme, comment ils sont représentés dans les exemples choisis, en prenant le monologue et le travail du corps pour fils conducteurs.

Abstract This article examines the use and functions of questions in Latvian and Polish parliamentary debates from the perspective of comparative pragmatics. The research is based on a corpus of 200 utterances excerpted from transcripts of Latvian and Polish parliaments’ sittings from 2009. It uses the typology of questions in interaction developed by ILIE (1999). The paper suggests that differences in the frequency and functions of questions reflect different degrees of interactionality of a debate, which is a genre that combines monologic and dialogic features. On this basis, the discourse of Polish parliamentary debates is recognized as more interactional than its Latvian counterpart.

Individual speakers vary considerably in their rate of speech, their syntactic choices, and the organization of information in their discourse. This study, based on a corpus of monologue productions from native and non-native speakers of English and French, examines the relations between temporal fluency, syntactic complexity and informational content. The purpose is to identify which features, or combinations of features, are common to more fluent speakers, and which are more idiosyncratic in nature. While the syntax of fluent speakers is not necessarily more complex than that of less fluent speakers, it is suggested that they are able to deliver content more efficiently through a combination of less hesitant speech and of lexical and syntactic choices that allow them to package information more economically.

Este artigo analisa as diversas maneiras como cada orador (ethos) se apresenta em lives, em contexto universitário, as quais estão relacionadas ao caráter demonstrado pelo seu ethos, com evidências de prudência, virtude e benevolência. Centra-se na Retórica, a arte de convencer e persuadir o outro pelo discurso, no plano das ideias e das emoções. Esses e outros conceitos aqui discutidos fundamentam-se em Abreu (2009), Aristóteles (2011), Ferreira (2019) e (2015), Marcuschi (2008) e (2003), Meyer (2000) e (1994), Perelman e Olbrechts-Tyteca (2014) entre outros. Segue uma abordagem qualitativa, e sua relevância se dá por trabalhar um corpus diferenciado e por propiciar análises de diferentes manifestações do ethos (orador) na função monologal/dialogal quando expõe a temática proposta para um auditório universal e, na função dialogal, quando responde às questões provenientes dessa mesma temática, em um espaço previamente combinado, o Youtube, amparado pela difusão das redes sociais. Os resultados apontam para uma tendência de o ethos mostrar-se, inteligentemente, de modo geral, como sábio, poderoso, articulador das ideias e ardiloso, quando em situação monologal/dialogal, o que lhe é propiciado pelos artifícios retóricos como o argumento de autoridade, além de outros. Por outro lado, esse mesmo ethos se mostra flexível, cordato e calmo, ao responder perguntas acerca do tema ora discorrido pelo uso informal da sua linguagem, que se apresenta comumente modalizada, livre e espontânea.

AbstractVideo blogs are a form of CMC (computer-mediated communication) that feature speakers who talk into a camera, and thereby produce a viewer-directed performance. Pointing gestures are part of the resources that the medium affords to design vlogs for the absent recipients. Based on a corpus of 40 vlogs, this research categorizes different kinds of common pointing actions in vlogs. Close analysis reveals the role multimodal factors such as gaze and body posture play along with deictic gestures and verbal reference in the production of a viewer-directed monologue. Those instances where vloggers point at referents outside the video frame, e.g., elements of the Web site that represent alternative modes of communication, such as written comments, receive particular attention in the present study, as they require mutual knowledge about the shared virtual context the vlog is situated in.

Notre objectif dans cet article est de découvrir les pratiques bilingues qui caractérisent les échanges naturels en français cadien (FC) et en anglais cadien (AC) et de déterminer leur rôle sociolinguistique dans cette communauté. Les données pour cette étude proviennent du corpus de français/anglais cadien représentant 131 locuteurs. L'échantillon utilisé pour notre étude est composé de 30 entrevues de la paroisse d'Avoyelles, d'une durée d'environ 90 minutes pour le FC et de 45 minutes pour l'AC. En nous inspirant de la méthodologie de Poplack (1993), nous distinguons trois types de mélange de langues : l'emprunt d'unités lexicales, l'alternance de code et ce que nous avons appelé l'« alternance de discours », c'est-à-dire la combinaison de plusieurs phrases créant un long monologue discursif. Nous montrerons qu'il existe une divergence frappante dans l'usage des pratiques bilingues entre le FC et l'AC et que le facteur sexe influence fortement leur production en FC.

This article explores the socio-discursive competence of young children in Galician pre-schools. In particular, it deals with the way in which children – aged from 2;10 to 4;05 years – combine embodied actions and verbal resources to co-narrate stories with peers and adults. Using an audiovisual corpus of naturally occurring interactions, we have conducted a qualitative and multimodal analysis, observing how children react to diverse footings and negotiate participation frameworks in multiparty interactions. The findings suggest three progressive stages in the development of socio-discursive competence in which children use different strategies: (a) the stage of interactive proto-narrations, (b) the stage of collaborative narrations and (c) the stage of polyphonic monologue narrations. Our detailed examination reveals (a) a progressive increase in the diversity of the participation frameworks represented by children, as well as in the complexity of the multimodal resources they use, and (b) a rise in children’s grammatical repertoire linked to an improvement in children’s (meta)pragmatic skills.

ABSTRACTRecent linguistic studies have proposed that verb morphology has evolved to serve particular functions inherent to discourse. In this paper, an attempt is made to apply this proposal to the development of verb morphology in the spontaneous speech of a child from 1;10. 16 to 2;0.2. The question asked was whether there were any aspects of the child's discourse which may have been in part responsible for her differential use of verb morphology. To answer this question, a distributional analysis is presented of the child's speech in two different speech contexts: dialogue vs. crib-monologue. Despite the exiguous amount of data in the corpus, the analysis yields striking patterns of co-occurrences involving verb morphology and forms of self-reference. The patterns were interpreted as provisional evidence that the child may have been sensitive to discourse factors in her selective use of verb morphology. The data is analysed into four developmental phases. It is suggested that the semantic-level meanings of Phase IV are due in part to the type of discourse use to which the morphology is put in the earlier phases.

This study focuses on developing a framework to identify dialogic interaction in English-medium science lectures in a small faculty of a Sri Lankan university. In Sri Lanka, English-medium instruction was introduced with an objective of developing language proficiency of students along with the content delivery. It is asserted that teacher-student interaction in ESL content classes would help develop language proficiency of students. However, generally, lectures in English-medium undergraduate courses in Sri Lanka tend to be monologic, leaving the language development a question. The lecture delivery style, along with other reasons, affects students’ language development in English-medium classes. Although increased dialogic interaction could help change this situation, few studies have examined the occurrence of dialogic interaction in tertiary-level ESL science classes. The main objective of this study is to develop a framework by analysing the lectures given at the faculty in a method that contextually suits the lecture delivery style in the Asian countries. Data were collected from transcribed recordings of 12 hours of lectures, involving four lecturers. The interactional episodes in the lectures were the basis of developing the analytical framework, which refines and extends the MICASE corpus interactivity rating in a contextually-focused way, was especially designed to categorise the lecture discourse along a monologic-interactive/dialogic continuum. This paper also suggests how this framework could be adopted to analyse the lecture deliveries from a practitioner’s point of view. Within the scope of this paper it is explained how this framework was designed focusing attention to interactional episodes. It can be envisaged that the proposed framework can make a concrete contribution to teaching and learning in higher education, mainly to the concept of developing language through dialogic lecture delivery at tertiary level ESL content classes.

This paper aims to demonstrate studies of pragmatic particles in Indonesian vernacular languages. Given the fact that Indonesia ranked second most populated language in the world after New Guinea, we would expect a huge number of studies discussing Indonesian local languages. Review to studies of pragmatic particles in Indonesian language is therefore considered salient to carry out to shed light on how different authors examine different particles, what kind of method they employ to describe meaning and functions, and what potential implication this study could contribute in this field. Besides, it also enriches the cross-linguistic study of pragmatic particles in general. Following Macaro et al’s. (2017) guideline of systematic review, this study employed linear process of procedure by deciding keywords, screening title, reviewing abstract, examining full text, and drawing conclusion. The corpus of pragmatic particles employed in reviewed studies ranges from colloquial, spoken, dialogue, and monologue data. Some approaches were used to reveal the pragmatic meanings, such as conversation analysis approach, pragmatics, morpho-syntactic, and even phonological approach. This discussion in the present paper may be fruitful for researchers who are working on pragmatic particles or vernacular languages and suggests that more studies in local languages should be outstripped to sustain national linguistic identity in the global arena. AbstrakThis paper aims to demonstrate studies of pragmatic particles in Indonesian vernacular languages. Given the fact that Indonesia ranked second most populated language in the world after New Guinea, we would expect a huge number of studies discussing Indonesian local languages. Review to studies of pragmatic particles in Indonesian language is therefore considered salient to carry out to shed light on how different authors examine different particles, what kind of method they employ to describe meaning and functions, and what potential implication this study could contribute in this field. Besides, it also enriches the cross-linguistic study of pragmatic particles in general. Following Macaro et al’s. (2017) guideline of systematic review, this study employed linear process of procedure by deciding keywords, screening title, reviewing abstract, examining full text, and drawing conclusion. The corpus of pragmatic particles employed in reviewed studies ranges from colloquial, spoken, dialogue, and monologue data. Some approaches were used to reveal the pragmatic meanings, such as conversation analysis approach, pragmatics, morpho-syntactic, and even phonological approach. This discussion in the present paper may be fruitful for researchers who are working on pragmatic particles or vernacular languages and suggests that more studies in local languages should be outstripped to sustain national linguistic identity in the global arena.

Abstract This study investigates the uses and functions of laughter and humour in a corpus of nine PhD defences/vivas. The data include the PhD defences in their entirety, including monologic and dialogic talk by participants from a variety of research cultures. The defences were video-recorded and transcribed, and laughter episodes analysed according to who laughed, who the source of “the laughable” was, what the reason for laughing was and at what point laughter occurred. The analysis reveals that a majority of laughter was non-humorous, produced by one person, and had the function of mitigating face threats to speakers and others. Humorous laughter was usually produced by more than one person and had the function of relieving tension, creating a non-adversarial atmosphere and building a community. These results are connected to the communicative purposes of the participants; the participants’ mutual aim is to examine an academic work and confirm the candidate’s membership in their chosen specialisation, which requires cooperation from all parties. Furthermore, although the participants come from different research cultures where humour can have a different presence and function, this study shows that laughter and humour are frequent and fill an important function in ELF interactions in high-stakes academic situations.

Cyclooxygenase (COX) is a two-step enzyme that converts arachidonic acid into prostaglandin H2, a labile intermediate used in the production of prostaglandin E2 (PGE2) and prostaglandin F2α (PGF2α). In vertebrates and corals, COX must be N-glycosylated on at least two asparagine residues in the N-(X)-S/T motif to be catalytically active. Although COX glycosylation requirement is well-characterized in many species, whether crustacean COXs require N-glycosylation for their enzymatic function have not been investigated. In this study, a 1,842-base pair cox gene was obtained from ovarian cDNA of the black tiger shrimp Penaeus monodon. Sequence analysis revealed that essential catalytic residues and putative catalytic domains of P. monodon COX (PmCOX) were well-conserved in relation to other vertebrate and crustacean COXs. Expression of PmCOX in 293T cells increased levels of secreted PGE2 and PGF2α up to 60- and 77-fold, respectively, compared to control cells. Incubation of purified PmCOX with endoglycosidase H, which cleaves oligosaccharides from N-linked glycoproteins, reduced the molecular mass of PmCOX. Similarly, addition of tunicamycin, which inhibits N-linked glycosylation, in PmCOX-expressing cells resulted in PmCOX protein with lower molecular mass than those obtained from untreated cells, suggesting that PmCOX was N-glycosylated. Three potential glycosylation sites of PmCOX were identified at N79, N170 and N424. Mutational analysis revealed that although all three residues were glycosylated, only mutations at N170 and N424 completely abolished catalytic function. Inhibition of COX activity by ibuprofen treatment also decreased the levels of PGE2 in shrimp haemolymph. This study not only establishes the presence of the COX enzyme in penaeid shrimp, but also reveals that N-glycosylation sites are highly conserved and required for COX function in crustaceans.

Résumé À partir d'un bref fragment représentatif (une diatribe de Bérénice), cet article se propose de cerner la dimension polémique de L'Avalée des avalés de Réjean Ducharme. La technique argumentative bérénicienne concilie en effet les deux stratégies constitutives de la polémique : elle allie en permanence la persuasion au discours disqualifiant, le « raisonnement » à un lyrisme du refus, de la révolte et de la négation. L'analyse montre, dans un premier temps, comment la disqualification de la cible, du « Titan » dévorant que constitue le corps social, se fait par l'exploitation de la réfutation, ainsi que par l'emploi d'injures, de menaces et de métaphores dévalorisantes. Puis elle s'intéresse à la constitution des valeurs béréniciennes, qui se mettent en place par le biais du marquage et du renversement axiologiques, également typiques du discours polémique. Enfin, elle fait ressortir la dimension dialogique particulière du monologue bérénicien. Ce dialogisme est en même temps présent et désavoué : l'Autre, convoqué dans le discours, est aussitôt déprécié : « la doxa », retournée en para-doxe. Le paradoxe (dans tous les sens de ce terme) est sans doute l'une des techniques privilégiées de la rhétorique bérénicienne. Il permet de caractériser la figure même de la narratrice, avaleuse et avalée tout à la fois, être clivé par excellence chez qui s'unissent les contraires.

The article discusses unprepared reading in a non-native language and shows it to have all the signs of spontaneity that are traditionally considered integral characteristics of any spontaneous speech: hesitation pauses, both physical (ɭ) and filled with non-speech sounds (uh, m-m), word breaks, reading the whole word or part of it by syllables, vocalization of a consonant, and so forth. The material for the analysis included 40 monologues of reading the story by M. Zoshchenko Fantasy Shirt and a non-plot excerpt from V. Korolenko’s story The Blind Musician recorded from 20 Chinese informants. All the monologues are included in the block of Russian interfering speech of the Chinese as part of the monologic speech corpus Ba­lanced Annotated Text Library. As the analysis showed, it is more often that there is not one sign of spontaneity but a whole complex of such signs, and together they fill hesitation pauses, help the speaker to control the quality of speech or correct what was said, etc. In addition, the occurrence of various signs of spontaneity in the course of unprepared reading is closely related to the individual characteristics of the speaker/reader. In general, we have found that there are more signs of spontaneity in the speech of men (3,244 cases; 40.7 %) than in the speech of women (2,049; 27.7 %), in the speech of informants with a lower level of proficiency in Russian B2 (2,993; 37.9 %) than in the speech of informants with a higher level C1 (2,300; 30.8 %), in the speech of extroverts (1,521; 38 %) than in the speech of ambiverts (1,694; 35,2 %) and introverts (2,078; 31,7 %). As to the type of the source text, there turned out to be more signs of spontaneity in monologues of reading a plot text than in monologues of reading a non-plot text (3,031; 40.3 vs 2,283; 31 %). The paper concludes that reading should be recognized as a spontaneous type of speech activity.

In this article the short story of A. P. Platonov “The Impossible” (1921) is considered as a multidimensional wholeness, with a complex structure – at the level of genre and of narration. We highlight biography, scientific article, elements of a philosophical essay, lyric and philosophical poem in the genre structure. In addition to a neutral background, we highlight the lyrical monologue, scientific and publicistic discourse at the narrative level. The genre and stylistic heterogeneity of this short story did not allow researchers to unambiguously determine its genre dominant for a long time. It was not by chance that at first in earlier studies “The Impossible” was classified as a publicistic genre. Only in the first volume of the Scientific publication of Collected works this story is included in the corpus of Early Short Stories of Platonov. In a certain perspective, this work can indeed be read as a publicistic article containing the author’s reflection on philosophical, scientific concepts in the specific manner of Platonov, with overstepping beyond the boundaries of one genre. The focus on the addressee, declared at the beginning of “The Impossible”, activates its communicative function. The inclusion of his own technical developments by Platonov in this story introduces an element of scientific autobiography. At the same time, “The Impossible” is the life story of the “new saint”: the embodiment of the image of the “new human”, whose life, if it did not end so suddenly, could open the way to the Mystery of the World – the main metaphysical problem that occupied the mind of the young Platonov. At the same time it is the lyrical narration about the “sobbing” beauty of the world and the incredible, “impossible” love of the hero – the narrator’s alter ego to his beloved Maria. Using the technique of duality, the author is able to express his most intimate experiences through the image of the “other”, to expose his own soul to the reader. The unifying layer that maintains the integrity of this story is the motive structure with such basic components as the motives of the Mystery, the transfiguration of the world in the version of rebellion into the universe, light, impossible, silence, music, love, death and immortality, etc.

This study examines the grammatical errors in Japanese university students’ dialogues over an academic year. The L2 interactions of 15 Japanese speakers were taken from the JUSFC2018 corpus (April/May 2018) and the JUSFC2019 corpus (January/February 2019). The corpora were based on a self-introduction monologue and a three-question dialogue; however, this study examines the grammatical accuracy found in the dialogues. Research questions focused on a possible significant difference in grammatical accuracy from the first interview session in 2018 and the second one the following year, specifically regarding errors in clauses per 100 words, the frequency of global errors and local errors, and the five most frequent kinds of errors. Results showed that error-free clauses/100 words decreased slightly from 8.78 clauses to 7.89, while clauses with errors/100 words increased by nearly one clause, from 3.16 to 4.05 clauses. Global errors showed a remarkable decline from 22 to 15, but local errors increased from 76 to 112. A t-test confirmed there was not significant difference between the two speech corpora in regard to global and local errors. The five most frequent errors were (a) lexical phrasing (71), (b) article omissions (41), (c) plural errors (19), (d) preposition omissions (19), and (e) verb usage (9). This data highlights the difficulty in having students self-edit themselves. 本研究は、日本人大学生の英会話における文法上のエラーを、1学年間追跡調査したものである。15名の日本語話者の第2言語でのやり取りは、JUSFC2018コーパス(2018年4月/5月)と JUSFC2019 コーパス(2019年1月/2月)から取得された。これらのコーパスは、自己紹介の独白と３つの質問に答える会話に基づいているが、本研究は会話における文法上の正確さに焦点を当てて調査をした。研究課題は、2018年の最初のインタビューと翌年の2回目のインタビューとの間に、文法上の正確さにおいて有意な相違があるかどうかに焦点を当てた。特に、100単語ごとの節におけるエラー、グローバル・エラーとローカル・エラーの頻度、そして最も頻度の高い５つのエラーに注目した。調査結果は次の通りである。100単語ごとのエラーのない節は、8.78 節から7.89節へと若干減少した一方、100単語ごとのエラーのある節は1節以上増加し、3.16節から4.05節となった。グローバル・エラーは22から15へと著しく減少し、ローカル・エラーは76から112へと増加した。t-テストによると、グローバル・エラーとローカル・エラーに関しては、2つのスピーチコーパスに有意差は認められなかった。５つの最も頻度の高いエラーは次の通り、語彙の言葉づかい(71)、冠詞の省略(41)、複数形の間違い(19)、前置詞の省略(19)、そして動詞の使い方(9)、である。このデータは、学生が彼ら自身で校正することの難しさを浮き彫りにしている。

The present corpus study aims to contribute to the debate regarding the lexical or non-lexical status of filled pauses. Although they are commonly associated with hesitation, disfluency, and production difficulty, it has also been argued that they can serve more fluent communicative functions in discourse (e.g., turn-taking, stance-marking). Our work is grounded in a usage-based and discourse-functional approach to filled pauses, and we address this debate by examining the multiple characteristics of euh and eum in spoken French, as well as their co-occurrence with discourse markers. Combining quantitative and qualitative analyses, we analyze their distribution across different communication settings (prepared monologs vs. spontaneous conversations) and levels of language proficiency (native vs. non-native). Quantitative findings indicate differences in frequency, duration, position, and patterns of co-occurrence across corpora, and our qualitative analyses identify fine-grained differences, mainly two distinct patterns of distribution (initial position clustered with a discourse marker vs. medial position clustered with other hesitation markers), reflecting the different “fluent” and “disfluent” uses of filled pauses. We thus argue for a dual status of euh and eum based on formal, functional, and contextual features.

AbstractAn important priority for the English Profile programme is to incorporate empirical evidence of the spoken language into the Common European Framework (CEFR). At present, the CEFR descriptors relating to the spoken language include references to fluency and its development as the learner moves from one level to another. This article offers a critique of the monologic bias of much of our current approach to spoken fluency. Fluency undoubtedly involves a degree of automaticity and the ability quickly to retrieve ready-made chunks of language. However, fluency also involves the ability to create flow and smoothness across turn-boundaries and can be seen as an interactive phenomenon in discourse. The article offers corpus evidence for the notion of confluence, that is the joint production of flow by more than one speaker, focusing in particular on turn-openings and closings. It considers the implications of an interactive view of fluency for pedagogy, assessment and in the broader social context.

AbstractIn ELF research, ample evidence has been collected to show that communication in (dialogic) ELF interactions works and that it does so in intriguingly creative ways. In a questionnaire survey and an in-depth interview study, simultaneous conference interpreters present a less optimistic view with regard to (monologic) mediated multilingual settings, which are increasingly shaped by a growing number of non-native English-speaking participants. Moreover, the interpreters put the adverse effects of ELF speaker output on their cognitive processing down to the speakers' restricted power of expression. This is paralleled by empirical evidence from ELF speakers in TELF (the Tübingen English as a Lingua Franca corpus and database), who put into perspective their general feeling that they can cope in ELF interactions (which is in line with the ELF study findings mentioned above) by voicing dissatisfaction with their restricted capacity of expressing what they want to convey with the required or desired degree of precision.In a theoretical discussion, the

Abstract Academic communication crucially involves readers, or hearers, buying into an argument. The audience has to be hooked, involved and led to a desired conclusion, and this is perhaps no more urgent than in a Three Minute Thesis presentation (3MT). In this competitive environment, doctoral students present their research using only one static slide in just 180 seconds. Speakers are advised to tell a ‘story’ but they must still draw on familiar ways of ensuring their hearers can make connections in their presentation and be willing to accept their argument. In this paper we apply Hyland (2005a) engagement framework to a corpus of 120 3MT presentations to explore how academics establish interpersonal rapport with non-specialist audiences. We find engagement to be a useful analytical tool in this monologic speech context and discover disciplinary preferences in the use of engagement features. Our findings have important implications for postgraduate speaking and for EAP teachers preparing students to orally present their research.

Corpus Christi, Corpus Delicti: A new narrative contract. Władysław Pasikowski’s Aftermath (2012) and the invalidation of the category of the Polish Witness to the HolocaustWładysław Pasikowski’s 2012 feature film Aftermath recapitulates and works through the existing resources in documentary cinema that deals with the Polish context of the Holocaust (Claude Lanzmann, Paweł Łoziński, Marian Marzyński, Agnieszka Arnold). It is also founded on the knowledge amassed in the wake of the countrywide debate about the 1941 Jedwabne massacre (2000–1). As such, it rejects the majority narrative of the Holocaust, one told under the banners of the Righteous Among the Nations (the paradigm of innocence), the Polish witness to the Holocaust (triggering an unjustified identification of the Jaspersian paradigm of unimputable, metaphysical guilt with unwarranted guilt), and the alleged collective Polish trauma of the Holocaust.Aftermath is analyzed as a treatise on antisemitism which problematizes and narrativizes phantasms that are central to this socio-cultural pathology, visualizing the mechanism whereby the phantasm of the Jew is constructed and imposed on actual individuals. It also touches upon the Christian roots and identitarian dimension of antisemitism, alongside its central figure: the Crucifixion. Antisemitism is a matter of religion as a doctrine but also religion as an institution.By displaying a plexus of discourses and practices, attitudes and behaviors, Pasikowski defends the great quantifier as a legitimate category to describe the Polish context of the Holocaust. He debunks the essential differentiation between pre-modern and modern antisemitism (including notions about the secondary nature of Polish antisemitism in relation to the German Nazi exterminatory projects targeted at the Jews).The film convincingly portrays antisemitism as dominating the experience and its representation to such an extent that antisemitic culture loses the ability to reflect on the human condition. Where a non-antisemite sees the irreducible strangeness that is inherent to individual existence, the antisemite sees a Jew, etc. The long duration of violence and exclusion has turned the phantasmic and alternative reality of antisemitism into reality tout court, as it produces a materiality of its own, up to and including the materiality of the atrocity (stolen property, looted corpses, etc.).The text offers an extensive discussion of the essential conflict between Aftermath and the system of Polish culture. The aesthetic is political. The juxtaposition of two genre films (the thriller and the Western) and a plebeian protagonist with a domain that is perceived as proper to the intelligentsia provoked widespread shock and rejection. Accusations of kitsch, exaggeration, improbability, and a colonial gaze enabled critics to sidestep, if not invalidate, the director’s argument. A study of the reception of Aftermath is a study of class distinction in action.Pasikowski’s film portrays antisemitism as a problem of an antisemitic culture and an antisemitic society. This entails a radical invalidation of the notion of antisemitism as an inter-group conflict, thus exposing the fiction and falsehood of such constructs as “dialogue” and “reconciliation.”Despite its pessimistic diagnosis, Aftermath raises the possibility of change and the emancipatory potential of self-empowerment. By considering the cultural and social implications of our knowledge about antisemitism and the Polish context of the Holocaust, the film reveala systemic challenge posed by the imperative to revise culture and reject its toxic models. From this perspective, a new narrative becomes possible as a critique of narratives. Corpus Christi, corpus delicti – nowy kontrakt narracyjny. Pokłosie (2012) Władysława Pasikowskiego wobec kompromitacji kategorii polskiego świadka ZagładyFilm fabularny Pokłosie (2012) Władysława Pasikowskiego przynosi rekapitulację i przepracowanie dotychczasowych zasobów kina dokumentalnego dotyczącego polskiego kontekstu Zagłady (C. Lanzmann, P. Łoziński, M. Marzyński, A. Arnold). Ufundowany jest także na wiedzy narosłej po debacie jedwabieńskiej (2000) oraz na odrzuceniu dotychczasowych dominujących większościowych narracji o Zagładzie: spod znaku Sprawiedliwych (paradygmat niewinności) i spod znaku polskiego świadka Zagłady (paradygmat Jaspersowskiej winy niezarzucanej oraz zbiorowej polskiej traumy Zagłady).Tekst proponuje spojrzenie na Pokłosie jako traktat o antysemityzmie, który problematyzuje i narratywizuje fantazmaty oraz mechanizmy kluczowe dla tej społeczno-kulturowej patologii. Wizualizacja obejmuje mechanizm konstruowania fantazmatu Żyda i nakładania go na realne podmioty. Nie omija też chrześcijańskich korzeni i tożsamościowego wymiaru antysemityzmu z centralną figurą Ukrzyżowania. Antysemityzm jest sprawą religii jako doktryny, ale też instytucji.Unaoczniając splot dyskursów i praktyk, postaw i zachowań, Pasikowski broni wielkiego kwantyfikatora jako zasadnej kategorii opisu polskiego kontekstu Zagłady. Obala też istotowe rozgraniczenie między antysemityzmem przednowoczesnym i nowoczesnym (w tym wyobrażenie o podrzędności polskiego antysemityzmu względem niemieckiego nazistowskiego przedsięwzięcia eksterminacyjnego wymierzonego w Żydów).Film w przekonujący sposób pokazuje, że antysemityzm do tego stopnia zawładnął doświadczeniem i jego reprezentacją, że kultura antysemicka straciła możliwość dostępu do namysłu nad ludzką kondycją. Tam, gdzie nieantysemita widzi nieredukowalną obcość przyrodzoną jednostkowej egzystencji, antysemita widzi Żyda etc. Długie trwanie przemocy i wykluczenia sprawia, że z rzeczywistości fantazmatycznej i alternatywnej antysemityzm staje się rzeczywistością tout court. Wytwarza bowiem własną materialność, do materialności zbrodni włącznie.Tekst obszernie omawia istotowy konflikt Pokłosia z systemem kultury polskiej. Estetyczne jest polityczne. Połączenie kina podwójnie gatunkowego (thriller, western) oraz plebejskiego bohatera z domeną uchodzącą za inteligencki monopol wywołało w większości szok i odrzucenie. Zarzuty – kiczu, przesady, braku prawdopodobieństwa, kolonialnego spojrzenia – pozwoliły w dużym stopniu wyminąć, jeśli nie unieważnić, rozpoznania reżysera. Studium recepcji Pokłosia to studium dystynkcji klasowej w działaniu.Film Pasikowskiego pokazuje antysemityzm jako problem kultury antysemickiej i antysemickiego społeczeństwa. Oznacza to radykalną kompromitację wyobrażenia antysemityzmu jako konfliktu międzygrupowego, czego konsekwencją jest obnażenie fałszu i fikcji konstruktów takich, jak „dialog” i „pojednanie”.Mimo pesymistycznej diagnozy społecznej, Pokłosie wskazuje na możliwość zmiany i potencjał emancypacji tkwiący w samoupodmiotowieniu. Podejmując refleksję nad tym, co wynika dla kultury i społeczeństwa z wiedzy na temat antysemityzmu i polskiego kontekstu Zagłady, film wskazuje na wyzwanie systemowe w postaci imperatywu rewizji kultury i odrzucenia jej toksycznych wzorów. W tym świetle nowa narracja staje się możliwa – jako krytyka narracji.

El objetivo de este artículo es caracterizar la composición discursiva del género de texto debate a partir de relevar la distribución de los tipos de discursos y de las secuencias textuales en un corpus de debates auténticos conformado por las intervenciones de los participantes del programa televisivo “El Debate en la Televisión Pública” y por las textualizaciones orales de estudiantes de tercer año de la escuela secundaria “Superior de Comercio Libertador General San Martín” de Rosario. Nuestro análisis demostró que la infraestructura general de este género oral institucionalizado combina los tipos de discursos del orden del exponer (teórico, interactivo y mixto) con las secuencias textuales dialogal y argumentativa según las restricciones que detentan los roles sociales y finalidades de los participantes que co-gestionan la producción del debate (moderador y argumentadores). Específicamente, los participantes que argumentan despliegan un razonamien-to lógico-argumentativo, en combina-ción con uno interactivo-dialogal, en el marco de una configuración artificial de interacción dialógica o diálogo monologal que es regulado por un moderador.

Over 1400 flowering records of 135 species were recorded from over 125visits to more than 20 sites in Antigonish County, Nova Scotia from November2005 to January 2006, when the growing season is normally over. The speciesidentified were primarily herbaceous dicots; however, there were four speciesof woody plants (Cornus sericea, Spiraea latifolia, Symphoricarpos albusand Salix sp.) and one monocot (Allium schoenoprasum). The number ofspecies flowering declined linearly as fall progressed, as did the amountof flowering for each species. Nevertheless, over 40 species were still inflower in early December, and over 20 species flowered in January. Thefinal flowering date was 21 January, when ten species were found. Thiswork builds on a previous study in 2001, when 93 species were recordedin flower during November-December. In addition to the 30% increase inrecorded species in 2005, almost 50% of the species found in 2005 werenot recorded in 2001. This study provides an expanded baseline againstwhich changes in flowering phenology can be evaluated with respect tosubsequent regional climate change.Key Words: Antigonish, flowering, Nova Scotia, phenology, climate change

rpieces remain timeless and his influence on the world of literature and artare greatly felt. The way typographical poetry, which is a kind of visual poetry orcalligram, is presented is extremely interesting and this article intends to describethe relation between the meaning of the words in the calligram and its pictorialform in one of Apollinaire's poems in the form of a calligram titled “La Cravate etLa Montre.”The term calligram means “Belle Ecriture”, that is, “beautiful writing”,coming from the Greek words kallos, meaning “beautiful”, and gramma, meaning“writing'. So a calligram work of art, also called visual poetry and typographicalpoetry, is a poem or poetic lines or lines of poetic words arranged in such a way thata picture is formed. To comprehend, enjoy, and appreciate well a poetical work,one needs to examine its various aspects. A poem in the form of a calligram needsto be structurally and semiotically analyzed. By means of such analysis, its fullmeaning could be obtained and it can be comprehended as a work of art with poeticvalues.The poem concerned here is a monologue coming from “I” to “you”. Thisis strengthened by the presence of the subject on, meaning “we”, the phrase monCoeur, meaning “my heart”, and the phrase ton corps, meaning “your body”. “I”intends to deliver an important message to mankind about life as a journey towardsdeath. One's life time in this world is extremely short so that one should spend thetime doing useful things. So a happy person is someone who makes use of time toenjoy life with freedom from strict rules. Life should not be burdened with manyrules that bind freedom. In Latin such a view is expressed in the phrase CarpeDiem, which corresponds to the French Mets à profit le jour présent. This isreflected in the tie and clock shapes of the poem. A tie worn on the neck causes aconstricted feeling making one feels unable to breathe freely so that it must betaken off. The clock shape is used to refer to the passing of time illustrating life as ajourney towards God and death.Keywords: calligram, typographical poetry, iconicity


 
 
 ‘Artists are replicants who have found the secret of their obsolescence.’ (Brian Massumi)
 
 
 The critical reception to British writer Iain Sinclair’s most recent novel Dining on Stones (or, the Middle Ground) frequently focused on the British writer’s predilection for intertextual quotation and allusion, and more specifically, on his proclivity for integrating material from his own backlist. A survey of Dining on Stones reveals the following textual duplication: an entire short story, “View from My Window”, which was published in 2003; excerpts from a 2002 collection of poetry and prose, White Goods; material from his 1999 collaboration with artist Rachel Lichtenstein, Rodinsky’s Room; a paragraph lifted from Dark Lanthorns: Rodinsky’s A to Z, also from 1999; and scenes from 1971’s The Kodak Mantra Diaries. Moreover, the name of the narrator, Andrew Norton, is copied from an earlier Sinclair work, Slow Chocolate Autopsy. Of the six aforementioned inter-texts, only Rodinsky’s Room has had wide commercial release. The remainder are small press publications, often limited edition, difficult to find and read, which leads to the charge that Sinclair is relying on the inaccessibility of earlier texts to obscure his acts of autoplagiarism in the mass market Dining on Stones. Whatever Sinclair’s motives, his textual methodology locates a point of departure for an interrogation of textual doubling within the context of late era capitalism. 
 
 At first approximation, Dining on Stones appears to belong to a postmodern literature which treats a text’s confluence, or dissonance of innumerable signifiers and systems of signification as axiomatic and intra-textually draws attention to this circumstance. Thematically, the heteroglot narrative of Dining on Stones frequently returns to the duplication of textual material. The book’s primary narrator is haunted by doubles, not least because Andrew Norton periodically functions as a textual doppelganger for Sinclair. Norton’s biography constitutes a cut-up of episodes copied from Sinclair’s personal history and experience as it is presented in his non-fiction and quasi-autobiographical poetry and prose like Lights Out for the Territory and London Orbital. Like his creator, Norton is ontologically troubled by a fetch, or two, who may or may not be the products of his writer’s imagination. He claims that someone is ‘stealing my material. He impersonated me with a flair I couldn’t hope to equal, this thief. Trickster.’ (218) A ‘disturbing’ encounter with ‘Grays’, an uncannily familiar short story by another writer Marina Fountain, reveals a second textual poacher copying Norton’s work. 
 
 She hadn’t written it without help, obviously. The tone was masculine, sure of itself, its pretensions; grammatically suspect, lexicologically challenged, topographically slapdash. A slash-and-burn stylist. But haunted: by missing fathers – Bram Stoker, S. Freud and Joseph Conrad. Clunky hints… about writing and stalking, literary bloodsucking, gender, disguise. … But it was the Conrad aspect that pricked me. Fountain had somehow got wind of my researched (incomplete, unpublished) essay on Conrad in Hackney. Her exaggerated prose, its shotgun sarcasm, jump-cuts, psychotic syntax, was an offensive parody of a manner of composition I’d left behind. (167)
 
 
 When ‘Grays’ is later reprinted in full in the novel (141-65), it is a renamed double of a previous Sinclair piece, ‘In Train for the Estuary’ (Sinclair, White Goods, 57-75). This doubling is replicated with another Sinclair story ‘View from My Window’ also being attributed to Fountain (313-341). Neither the style, nor the content of Sinclair’s previous works have been discarded: they have been reproduced and incorporated in Dining on Stones’ retrospective of Sinclair’s earlier work. Thus, Norton’s review of Fountain’s writing as ‘a manner of composition I’d left behind’ doubles as Sinclair’s self-conscious recognition of the text as an artefact produced from diverse inter-texts – including his own. 
 
 In contrast to Sinclair’s dialogic doubling, Fountain’s double is of a monologic disposition. It is mechanical ‘echopraxis,’ a neologism coined in Dining on Stones which is defined as the ‘mindless repetition of another person’s moves and gestures.’ (192) Its mercenary dimension, enacted without regard for the integrity of the inter-text, is underscored with the epithet ‘slash-and-burn stylist.’ The monologic double possesses the text, drains it of its vitality. It entails necrosis, mortification. Fountain’s appropriation of Norton’s story is close to Fredric Jameson’s characterisation of pastiche which, he says, shuts down communication between texts (202). For Jameson, pastiche is the exemplary postmodern literary ‘style’. It is inert, static, a textual aporia. Jameson’s verdict is harsh: pastiche is cannibalism, text devouring text with an appetite that corresponds to the cupidity of consumer culture. Textual cannibalism vanquishes dialogism. It is the negation of the textual Other because cannibalism is only possible when the Other no longer exists. 
 
 So how does Sinclair distinguish his doubling of his own text from Fountain’s monologic doubling as it is depicted in the novel’s narrative? A clue can be detected in one of the stories stolen by Fountain. ‘In Train for the Estuary’ is a re-writing of Dracula, and takes its cue from Karl Marx’s famous analogy between capitalism and vampirism: ‘capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.’ (342) Sinclair’s vampire doubles as an academic (or is it the other way round?) who obsessively and compulsively stalks her quarry/object of study, Joseph Conrad. 
 
 First, she had learnt Polish. Then she tracked down the letters and initiated the slow, painstaking, much-revised process of translation. She travelled. Validated herself. Being alone in an unknown city, visiting libraries, enduring and enjoying bureaucratic obfuscation, sitting in bars, going to the cinema, allowed her to try on a new identity. She initiated correspondence with people she never met. She lied. She stole from Conrad. (Sinclair, White Goods, 58)
 
 
 The woman’s identity is leeched from the work of Conrad. Sinclair describes unethical activity in appropriating text: lying, stealing, sucking the blood from the corpus of Conrad. A compulsive need to maintain the ‘validation’ of this poached identity emerges, manifesting itself as addiction. The addict is an extreme embodiment of the (ir)rationality of consumption: consumed by the need to consume. The woman’s lust for text is commensurate with the twin desires—blood and real estate—of her precursor, Bram Stoker’s Dracula. Sinclair’s narrative of addiction doubles as a meta-critique on the compulsive desire to reproduce text and image that characterizes postmodern textualities as well as the apparatuses that produce them. 
 
 The textual doubling in Dining on Stones, which is published by the multinational Penguin, seems to enact a reterritorialisation of a deterritorialised minor literature. However, Sinclair’s allegorical rewriting of the vampire legend and its subsequent inclusion in the mainstream novel’s narrative, reveal that capitalism’s doubles are simulacra in the Aristotelian sense because they are copies for which there is no original. The ostensible ‘original’ is the product of different material conditions and thus cannot be duplicated by the machinery of capitalism. The capitalist reproduction of text produced within an alternative cultural economy is an uncanny double (with an infinite capacity to be doubled over and over again) whose existence, like that of Sinclair’s academic in White Goods, is parasitical. The capitalist simulacrum necessitates that the original be destroyed, or at the very least, theorised out of existence so that restrictions based on its own premise of individual property rights can be circumvented. 
 
 Postmodernism’s attendant theory is an over-determined repetition of poststructuralist tenets such as the instability of texts, the polysemous signifier and the impossibility of self as empirical subject. Images and meaning are no longer anchored, and free to be reproduced. Paradoxically, this proliferation of signification has the effect of constricting the originary text, compressing it under the burden of competing meanings, so that it is almost undetectable. Writes Brian Massumi (doubling Jean Baudrillard), ‘postmodernism stutters. In the absence of any gravitational pull to ground them, images accelerate and tend to run together. They become interchangeable. Any term can be substituted for any other: utter indetermination.’ The postmodern project’s effacement of the centred subject and the self has as its consequence, according to Jameson, a ‘waning of affect’ which is superseded ‘by a peculiar kind of euphoria.’ (200) The euphoria to which Jameson refers is not that of the poststructuralist textasy. Instead, it is postmodernism’s return to the idealism of Hegelian dialects, a euphoria achieved from the fusion of contradictions. Postmodernism’s doubles are a utopian attempt to synthesize antinomy and unity in a simultaneity that assimilates the fragmentation of modernity and the modern subject, with the cohesion of the commodity and its closed system of cultural logic. As such, the postmodern double is a rejection of modernist engagements with technical reproducibility. Modernism’s literary assemblages are, in Victor Shlovsky’s words, the laying bare of the device, an exposition of the seams through techniques such as collage, bricolage and montage. These linguistic (and at times visual) conjunctures of disparate elements do not attempt to elide material and thematic disjuncture. As Walter Benjamin stresses, this type of textual methodology has the potential, through the disruption of spatial and temporal logic and the creation of anachrony, to rupture the linear representations and formations of order favoured by capitalist political economies (Benjamin, ‘On the concept of history’).
 
 Postmodernism, which doubles (following Jameson’s formulation) as the cultural logic of late capitalism, reiterates that texts can be undone, and then reassembled, rearticulated anew, rendered useful to a commodity culture over and over again. Consequently, postmodernism’s copies are analogous, at the level of cultural production, to capitalism’s ceaseless appropriation of discourse, practice, and production. This is the alchemical project of capitalism. It strives to transform everything that it has doubled into the gold of the commodity. The inherent dangers of unrestrained reproduction are for Jameson exemplified in the treatment of Van Gogh’s Pair of Shoes (1885):
 
 If this copiously reproduced image is not to sink to the level of sheer decoration, it requires us to reconstruct some initial situation out of which the finished work emerges. Unless that situation—which has vanished into the past—is somehow mentally restored, the painting will remain an inert object, a reified end-product, and be unable to be grasped as a symbolic act in its own right, as praxis and as production. (194)
 
 
 Jameson’s reading of Van Gogh’s shoes reminds us of the fate of Alberto Korda’s 1960 photograph of revolutionary Che Guevara. Appropriated by the media, inscribed on T-shirts, mugs, even door mats, Che’s portrait is an emblem of the degradation Jameson describes. Like Van Gogh’s painting, Korda’s photograph was once a ‘symbolic act in its own right, as praxis and as production,’ saturated with the potential and spirit of revolution. Over time, the iconic image has leaked meaning. The signifying chain that anchored it to its original significance is broken each time it is reproduced and decontextualised through the process of commodification, until Che’s image is unrecognisable, a mere ornament. 
 
 Refuting Benjamin’s concerns in ‘The Work of Art in its Age of Technical Reproducibility’ postmodern theory argues that technologies enabling reproducibility have led to a democratisation of text and textual production, and by extension, have liberated the multitude from a hierarchy of value that privileges the singular. Mass reproduction and the accompanying pressure for texts to be accessible results in altered attitudes regarding the preservation of intellectual property rights and ‘fair use’. In an economy of signs where use-value has become synonymous with exchange-value, then the text which has no exchange value due to it being ‘freely’ available—‘free’ in its double sense, as something exempt from restriction, or cost—can be copied without economic or ethical restraint, without permission. The quotation marks can be scrapped. According to postmodern logic, the double is a transposition with a legitimacy equalling, even rivalling the original. Clearly, Jameson’s lament that postmodernism represents ‘the end of the distinctive individual brushstroke (as symbolized by the emergent primacy of mechanical reproduction)’ cannot escape an association with elitism because technical reproducibility indubitably enables greater access. However, the utility of technologies of reproduction to the capitalist empire of structures and signs cannot be underestimated. It enables the ceaseless reproduction of ideologemes inscribed with the logic of capitalism; in other words, it enables capitalism to reproduce itself relentlessly. 
 
 Postmodern cultural production is self-aware; it acknowledges its role as commodity and reproduces the ideology of the commodity form in its material form. In this manner, it functions as an ideologeme. Sinclair’s doubles cannot be understood according to the schema of postmodernism because he subverts postmodernism’s political and aesthetic symbiosis with capitalism. Moreover, the double in Sinclair travels beyond rehearsing a self-conscious hyphology (Barthes, 39). He defies postmodernism’s occultation of the author through his reiteration of the author’s authority over their own work. In contrast to the reductive manner postmodern texts duplicate other texts, Sinclair’s texts propose a typology of the double which advocates a dialogic duplication. Sinclair’s doubling refuses postmodernism’s return to the idealism of Hegelian dialects, and its synthesis of contradictions in the service of its unified material and aesthetic program: the commodification of literature. Consequently, Dining on Stones’ textual doubling is a critique of the epistemic shift to the monologic double which Jameson claims typifies a large portion of contemporary textual duplication.
 
 References
 
 Barthes, Roland. “Theory of the Text.” Untying the Text: A Post-Structuralist Reader. Ed. Robert Young. Boston: Routledge and Kegan Paul, 1981. Benjamin, Walter. “On the Concept of History.” Selected Writings: Volume 4, 1938-1940. Trans. by Edmund Jephcott. Eds. Michael W.Jennings & Howard Eiland. Cambridge, Mass. & London, England: Belknap Press, 2003. ––– . “The Work of Art in the Age of Technical Reproducibility.” Selected Writings: Volume 3, 1935-1938. Trans. by Edmund Jephcott. Eds. Michael W.Jennings & Howard Eiland. Cambridge, Mass. & London, England: Belknap Press, 2003. Jameson, Fredric. “Postmodernism, or the Cultural Logic of Late Capitalism.” The Jameson Reader. Eds. Michael Hardt and Kathi Weeks. Oxford: Blackwell, 2000. Massumi, Brian. “Realer than Real: The Simulacrum According to Deleuze and Guattari.” 12 May 2005. http://www.anu.edu.au/HRC/first_and_last/works/realer.htm>. Marx, Karl. Capital, Volume 1. Trans. by Ben Fowkes. Vintage Books edition. New York: Random House, 1976. Sinclair, Iain. Dark Lanthorns: Rodinsky’s A-Z. ––– . Dining on Stones. London: Hamish Hamilton, 2004. ––– . Lights Out for the Territory. London: Granta 1997. ––– . London Orbital. London: Granta, 2002. ––– . Rodinsky’s Room. London: Granta, 1998. ––– . View from My Window. Tonbridge: Worple Press, 2003. ––– . White Goods. Uppingham: Goldmark, 2002. Sinclair, Iain, and Dave McKean. Slow Chocolate Autopsy. London: Phoenix, 1997.
 
 
 
 
 Citation reference for this article
 
 MLA Style
 Seale, Kirsten. "Doubling: Capitalism and Textual Duplication." M/C Journal 8.3 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0507/08-seale.php>. APA Style
 Seale, K. (Jul. 2005) "Doubling: Capitalism and Textual Duplication," M/C Journal, 8(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0507/08-seale.php>. 

The general who wins a battle makes many calculations in his temple ere the battle is fought. — Sun TzuWorld War II saw a proliferation of maps. From command posts to the pages of National Geographic to the pages of daily newspapers, they were everywhere (Schulten). The era also saw substantive developments in cartography, especially with respect to the topographical maps that feature in our selected films. This essay offers a preliminary examination of the battle-map as depicted in two films about the Second World War: Franklin J. Shaffner’s biopic Patton (1970) and Jack Smight’s epic Midway (1976). In these films, maps, charts, or tableaux (the three-dimensional models upon which are plotted the movements of battalions, fleets, and so on) emerge as an expression of both martial and cinematic strategy. As a rear-view representation of the relative movements of personnel and materiel in particular battle arenas, the map and its accessories (pins, tape, markers, and so forth) trace the broad military dispositions of Patton’s 2nd Corp (Africa), Seventh Army (Italy) and Third Army (Western Europe) and the relative position of American and Japanese fleets in the Pacific. In both Patton and Midway, the map also emerges as a simple mode of narrative plotting: as the various encounters in the two texts play out, the battle-map more or less contemporaneously traces the progress of forces. It also serves as a foreshadowing device, not just narratively, but cinematically: that which is plotted in advance comes to pass (even if as preliminary movements before catastrophe), but the audience is also cued for the cinematic chaos and disjuncture that almost inevitably ensues in the battle scenes proper.On one hand, then, this essay proposes that at the fundamental level of fabula (seen through either the lens of historical hindsight or through the eyes of the novice who knows nothing of World War II), the annotated map is engaged both strategically and cinematically: as a stage upon which commanders attempt to act out (either in anticipation, or retrospectively) the intricate, but grotesque, ballet of warfare — and as a reflection of the broad, sequential, sweeps of conflict. While, in War and Cinema, Paul Virilio offers the phrase ‘the logistics of perception’ (1), in this this essay we, on the other hand, consider that, for those in command, the battle-map is a representation of the perception of logistics: the big picture of war finds rough indexical representation on a map, but (as Clausewitz tells us) chance, the creative agency of individual commanders, and the fog of battle make it far less probable (than is the case in more specific mappings, such as, say, the wedding rehearsal) that what is planned will play out with any degree of close correspondence (On War 19, 21, 77-81). Such mapping is, of course, further problematised by the processes of abstraction themselves: indexicality is necessarily a reduction; a de-realisation or déterritorialisation. ‘For the military commander,’ writes Virilio, ‘every dimension is unstable and presents itself in isolation from its original context’ (War and Cinema 32). Yet rehearsal (on maps, charts, or tableaux) is a keying activity that seeks to presage particular real world patterns (Goffman 45). As suggested above, far from being a rhizomatic activity, the heavily plotted (as opposed to thematic) business of mapping is always out of joint: either a practice of imperfect anticipation or an equally imperfect (pared back and behind-the-times) rendition of activity in the field. As is argued by Tolstoj in War and Peace, the map then presents to the responder a series of tensions and ironies often lost on the masters of conflict themselves. War, as Tostoj proposes, is a stochastic phenomenon while the map is a relatively static, and naive, attempt to impose order upon it. Tolstoj, then, pillories Phull (in the novel, Pfuhl), the aptly-named Prussian general whose lock-stepped obedience to the science of war (of which the map is part) results in the abject humiliation of 1806:Pfuhl was one of those theoreticians who are so fond of their theory that they lose sight of the object of that theory - its application in practice. (Vol. 2, Part 1, Ch. 10, 53)In both Patton and Midway, then, the map unfolds not only as an epistemological tool (read, ‘battle plan’) or reflection (read, the near contemporaneous plotting of real world affray) of the war narrative, but as a device of foreshadowing and as an allegory of command and its profound limitations. So, in Deleuzian terms, while emerging as an image of both time and perception, for commanders and filmgoers alike, the map is also something of a seduction: a ‘crystal-image’ situated in the interstices between the virtual and the actual (Deleuze 95). To put it another way, in our films the map emerges as an isomorphism: a studied plotting in which inheres a counter-text (Goffman 26). As a simple device of narrative, and in the conventional terms of latitude and longitude, in both Patton and Midway, the map, chart, or tableau facilitate the plotting of the resources of war in relation to relief (including island land masses), roads, railways, settlements, rivers, and seas. On this syntagmatic plane, in Greimasian terms, the map is likewise received as a canonical sign of command: where there are maps, there are, after all, commanders (Culler 13). On the other hand, as suggested above, the battle-map (hereafter, we use the term to signify the conventional paper map, the maritime chart, or tableau) materialises as a sanitised image of the unknown and the grotesque: as apodictic object that reduces complexity and that incidentally banishes horror and affect. Thus, the map evolves, in the viewer’s perception, as an ironic sign of all that may not be commanded. This is because, as an emblem of the rational order, in Patton and Midway the map belies the ubiquity of battle’s friction: that defined by Clausewitz as ‘the only concept which...distinguishes real war from war on paper’ (73). ‘Friction’ writes Clausewitz, ‘makes that which appears easy in War difficult in reality’ (81).Our work here cannot ignore or side-step the work of others in identifying the core cycles, characteristics of the war film genre. Jeanine Basinger, for instance, offers nothing less than an annotated checklist of sixteen key characteristics for the World War II combat film. Beyond this taxonomy, though, Basinger identifies the crucial role this sub-type of film plays in the corpus of war cinema more broadly. The World War II combat film’s ‘position in the evolutionary process is established, as well as its overall relationship to history and reality. It demonstrates how a primary set of concepts solidifies into a story – and how they can be interpreted for a changing ideology’ (78). Stuart Bender builds on Basinger’s taxonomy and discussion of narrative tropes with a substantial quantitative analysis of the very building blocks of battle sequences. This is due to Bender’s contention that ‘when a critic’s focus [is] on the narrative or ideological components of a combat film [this may] lead them to make assumptions about the style which are untenable’ (8). We seek with this research to add to a rich and detailed body of knowledge by redressing a surprising omission therein: a conscious and focussed analysis of the use of battle-maps in war cinema. In Patton and in Midway — as in War and Peace — the map emerges as an emblem of an intergeneric dialogue: as a simple storytelling device and as a paradigmatic engine of understanding. To put it another way, as viewer-responders with a synoptic perspective we perceive what might be considered a ‘double exposure’: in the map we see what is obviously before us (the collision of represented forces), but an Archimedean positioning facilitates the production of far more revelatory textual isotopies along what Roman Jakobson calls the ‘axis of combination’ (Linguistics and Poetics 358). Here, otherwise unconnected signs (in our case various manifestations and configurations of the battle-map) are brought together in relation to particular settings, situations, and figures. Through this palimpsest of perspective, a crucial binary emerges: via the battle-map we see ‘command’ and the sequence of engagement — and, through Greimasian processes of axiological combination (belonging more to syuzhet than fabula), elucidated for us are the wrenching ironies of warfare (Culler 228). Thus, through the profound and bound motif of the map (Tomashevsky 69), are we empowered to pass judgement on the map bearers who, in both films, present as the larger-than-life heroes of old. Figure 1.While we have scope only to deal with the African theatre, Patton opens with a dramatic wide-shot of the American flag: a ‘map’, if you will, of a national history forged in war (Fig. 1). Against this potent sign of American hegemony, as he slowly climbs up to the stage before it, the general appears a diminutive figure -- until, via a series of matched cuts that culminate in extreme close-ups, he manifests as a giant about to play his part in a great American story (Fig. 2).Figure 2.Some nineteen minutes into a film, having surveyed the carnage of Kasserine Pass (in which, in February 1943, the Germans inflicted a humiliating defeat on the Americans) General Omar Bradley is reunited with his old friend and newly-nominated three-star general, George S. Patton Jr.. Against a backdrop of an indistinct topographical map (that nonetheless appears to show the front line) and the American flag that together denote the men’s authority, the two discuss the Kasserine catastrophe. Bradley’s response to Patton’s question ‘What happened at Kasserine?’ clearly illustrates the tension between strategy and real-world engagement. While the battle-plan was solid, the Americans were outgunned, their tanks were outclassed, and (most importantly) their troops were out-disciplined. Patton’s concludes that Rommel can only be beaten if the American soldiers are fearless and fight as a cohesive unit. Now that he is in command of the American 2nd Corp, the tide of American martial fortune is about to turn.The next time Patton appears in relation to the map is around half an hour into the two-and-three-quarter-hour feature. Here, in the American HQ, the map once more appears as a simple, canonical sign of command. Somewhat carelessly, the map of Europe seems to show post-1945 national divisions and so is ostensibly offered as a straightforward prop. In terms of martial specifics, screenplay writer Francis Ford Coppola apparently did not envisage much close scrutiny of the film’s maps. Highlighted, instead, are the tensions between strategy as a general principle and action on the ground. As British General Sir Arthur Coningham waxes lyrical about allied air supremacy, a German bomber drops its payload on the HQ, causing the map of Europe to (emblematically) collapse forward into the room. Following a few passes by the attacking aircraft, the film then cuts to a one second medium shot as a hail of bullets from a Heinkel He 111 strike a North African battle map (Fig. 3). Still prone, Patton remarks: ‘You were discussing air supremacy, Sir Arthur.’ Dramatising a scene that did take place (although Coningham was not present), Schaffner’s intention is to allow Patton to shoot holes in the British strategy (of which he is contemptuous) but a broader objective is the director’s exposé of the more general disjuncture between strategy and action. As the film progresses, and the battle-map’s allegorical significance is increasingly foregrounded, this critique becomes definitively sharper.Figure 3.Immediately following a scene in which an introspective Patton walks through a cemetery in which are interred the remains of those killed at Kasserine, to further the critique of Allied strategy the camera cuts to Berlin’s high command and a high-tech ensemble of tableaux, projected maps, and walls featuring lights, counters, and clocks. Tasked to research the newly appointed Patton, Captain Steiger walks through the bunker HQ with Hitler’s Chief of Staff, General Jodl, to meet with Rommel — who, suffering nasal diphtheria, is away from the African theatre. In a memorable exchange, Steiger reveals that Patton permanently attacks and never retreats. Rommel, who, following his easy victory at Kasserine, is on the verge of total tactical victory, in turn declares that he will ‘attack and annihilate’ Patton — before the poet-warrior does the same to him. As Clausewitz has argued, and as Schaffner is at pains to point out, it seems that, in part, the outcome of warfare has more to do with the individual consciousness of competing warriors than it does with even the most exquisite of battle-plans.Figure 4.So, even this early in the film’s runtime, as viewer-responders we start to reassess various manifestations of the battle-map. To put it as Michelle Langford does in her assessment of Schroeter’s cinema, ‘fragments of the familiar world [in our case, battle-maps] … become radically unfamiliar’ (Allegorical Images 57). Among the revelations is that from the flag (in the context of close battle, all sense of ‘the national’ dissolves), to the wall map, to the most detailed of tableau, the battle-plan is enveloped in the fog of war: thus, the extended deeply-focussed scenes of the Battle of El Guettar take us from strategic overview (Patton’s field glass perspectives over what will soon become a Valley of Death) to what Boris Eichenbaum has called ‘Stendhalian’ scale (The Young Tolstoi 105) in which, (in Patton) through more closely situated perspectives, we almost palpably experience the Germans’ disarray under heavy fire. As the camera pivots between the general and the particular (and between the omniscient and the nescient) the cinematographer highlights the tension between the strategic and the actual. Inasmuch as it works out (and, as Schaffner shows us, it never works out completely as planned) this is the outcome of modern martial strategy: chaos and unimaginable carnage on the ground that no cartographic representation might capture. As Patton observes the destruction unfold in the valley below and before him, he declares: ‘Hell of a waste of fine infantry.’ Figure 5.An important inclusion, then, is that following the protracted El Guettar battle scenes, Schaffner has the (symbolically flag-draped) casket of Patton’s aide, Captain Richard N. “Dick” Jenson, wheeled away on a horse-drawn cart — with the lonely figure of the mourning general marching behind, his ironic interior monologue audible to the audience: ‘I can't see the reason such fine young men get killed. There are so many battles yet to fight.’ Finally, in terms of this brief and partial assessment of the battle-map in Patton, less than an hour in, we may observe that the map is emerging as something far more than a casual prop; as something more than a plotting of battlelines; as something more than an emblem of command. Along a new and unexpected axis of semantic combination, it is now manifesting as a sign of that which cannot be represented nor commanded.Midway presents the lead-up to the eponymous naval battle of 1942. Smight’s work is of interest primarily because the battle itself plays a relatively small role in the film; what is most important is the prolonged strategising that comprises most of the film’s run time. In Midway, battle-tables and fleet markers become key players in the cinematic action, second almost to the commanders themselves. Two key sequences are discussed here: the moment in which Yamamoto outlines his strategy for the attack on Midway (by way of a decoy attack on the Aleutian Islands), and the scene some moments later where Admiral Nimitz and his assembled fleet commanders (Spruance, Blake, and company) survey their own plan to defend the atoll. In Midway, as is represented by the notion of a fleet-in-being, the oceanic battlefield is presented as a speculative plane on which commanders can test ideas. Here, a fleet in a certain position projects a radius of influence that will deter an enemy fleet from attacking: i.e. ‘a fleet which is able and willing to attack an enemy proposing a descent upon territory which that force has it in charge to protect’ (Colomb viii). The fleet-in-being, it is worth noting, is one that never leaves port and, while it is certainly true that the latter half of Midway is concerned with the execution of strategy, the first half is a prolonged cinematic game of chess, with neither player wanting to move lest the other has thought three moves ahead. Virilio opines that the fleet-in-being is ‘a new idea of violence that no longer comes from direct confrontation and bloodshed, but rather from the unequal properties of bodies, evaluation of the number of movements allowed them in a chosen element, permanent verification of their dynamic efficiency’ (Speed and Politics 62). Here, as in Patton, we begin to read the map as a sign of the subjective as well as the objective. This ‘game of chess’ (or, if you prefer, ‘Battleships’) is presented cinematically through the interaction of command teams with their battle-tables and fleet markers. To be sure, this is to show strategy being developed — but it is also to prepare viewers for the defamiliarised representation of the battle itself.The first sequence opens with a close-up of Admiral Yamamoto declaring: ‘This is how I expect the battle to develop.’ The plan to decoy the Americans with an attack on the Aleutians is shown via close-ups of the conveniently-labelled ‘Northern Force’ (Fig. 6). It is then explained that, twenty-four hours later, a second force will break off and strike south, on the Midway atoll. There is a cut from closeups of the pointer on the map to the wider shot of the Japanese commanders around their battle table (Fig. 7). Interestingly, apart from the opening of the film in the Japanese garden, and the later parts of the film in the operations room, the Japanese commanders are only ever shown in this battle-table area. This canonically positions the Japanese as pure strategists, little concerned with the enmeshing of war with political or social considerations. The sequence ends with Commander Yasimasa showing a photograph of Vice Admiral Halsey, who the Japanese mistakenly believe will be leading the carrier fleet. Despite some bickering among the commanders earlier in the film, this sequence shows the absolute confidence of the Japanese strategists in their plan. The shots are suitably languorous — averaging three to four seconds between cuts — and the body language of the commanders shows a calm determination. The battle-map here is presented as an index of perfect command and inevitable victory: each part of the plan is presented with narration suggesting the Japanese expect to encounter little resistance. While Yasimasa and his clique are confident, the other commanders suggest a reconnaissance flight over Pearl Harbor to ascertain the position of the American fleet; the fear of fleet-in-being is shown here firsthand and on the map, where the reconnaissance planes are placed alongside the ship markers. The battle-map is never shown in full: only sections of the naval landscape are presented. We suggest that this is done in order to prepare the audience for the later stages of the film: as in Patton (from time to time) the battle-map here is filmed abstractly, to prime the audience for the abstract montage of the battle itself in the film’s second half.Figure 6.Figure 7.Having established in the intervening running time that Halsey is out of action, his replacement, Rear Admiral Spruance, is introduced to the rest of the command team. As with all the important American command and strategy meetings in the film, this is done in the operations room. A transparent coordinates board is shown in the foreground as Nimitz, Spruance and Rear Admiral Fletcher move through to the battle table. Behind the men, as they lean over the table, is an enormous map of the world (Fig. 8). In this sequence, Nimitz freely admits that while he knows each Japanese battle group’s origin and heading, he is unsure of their target. He asks Spruance for his advice:‘Ray, assuming what you see here isn’t just an elaborate ruse — Washington thinks it is, but assuming they’re wrong — what kind of move do you suggest?’This querying is followed by Spruance glancing to a particular point on the map (Fig. 9), then a cut to a shot of models representing the aircraft carriers Hornet, Enterprise & Yorktown (Fig. 10). This is one of the few model/map shots unaccompanied by dialogue or exposition. In effect, this shot shows Spruance’s thought process before he responds: strategic thought presented via cinematography. Spruance then suggests situating the American carrier group just northeast of Midway, in case the Japanese target is actually the West Coast of the United States. It is, in effect, a hedging of bets. Spruance’s positioning of the carrier group also projects that group’s sphere of influence around Midway atoll and north to essentially cut off Japanese access to the US. The fleet-in-being is presented graphically — on the map — in order to, once again, cue the audience to match the later (edited) images of the battle to these strategic musings.In summary, in Midway, the map is an element of production design that works alongside cinematography, editing, and performance to present the notion of strategic thought to the audience. In addition, and crucially, it functions as an abstraction of strategy that prepares the audience for the cinematic disorientation that will occur through montage as the actual battle rages later in the film. Figure 8.Figure 9.Figure 10.This essay has argued that the battle-map is a simulacrum of the weakest kind: what Baudrillard would call ‘simulacra of simulation, founded on information, the model’ (121). Just as cinema itself offers a distorted view of history (the war film, in particular, tends to hagiography), the battle-map is an over-simplification that fails to capture the physical and psychological realities of conflict. We have also argued that in both Patton and Midway, the map is not a ‘free’ motif (Tomashevsky 69). Rather, it is bound: a central thematic device. In the two films, the battle-map emerges as a crucial isomorphic element. On the one hand, it features as a prop to signify command and to relay otherwise complex strategic plottings. At this syntagmatic level, it functions alongside cinematography, editing, and performance to give audiences a glimpse into how military strategy is formed and tested: a traditional ‘reading’ of the map. But on the flip side of what emerges as a classic structuralist binary, is the map as a device of foreshadowing (especially in Midway) and as a depiction of command’s profound limitations. Here, at a paradigmatic level, along a new axis of combination, a new reading of the map in war cinema is proposed: the battle-map is as much a sign of the subjective as it is the objective.ReferencesBasinger, Jeanine. The World War II Combat Film: Anatomy of a Genre. Middletown, CT: Columbia UP, 1986.Baudrillard, Jean. Simulacra and Simulation. Ann Arbour: U of Michigan Press, 1994.Bender, Stuart. Film Style and the World War II Combat Genre. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013.Clausewitz, Carl. On War. Vol. 1. London: Kegan Paul, 1908.Colomb, Philip Howard. Naval Warfare: Its Ruling Principles and Practice Historically Treated. 3rd ed. London: W.H. Allen & Co, 1899.Culler, Jonathan. Structuralist Poetics. London: Routledge & Kegan Paul, 1975.Deleuze, Gilles. Cinema 2: The Time-Image. London: Continuum, 2005.Eichenbaum, Boris. The Young Tolstoi. Ann Arbor: Ardis, 1972.Goffman, Erving. Frame Analysis. Cambridge, MA: Harvard UP, 1976.Jakobson, Roman. "Linguistics and Poetics." Style in Language. Ed. T. Sebebeok. Cambridge, MA: MIT, 1960. 350—77.Langford, Michelle. Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter. Bristol: Intellect, 2006.Midway. Jack Smight. Universal Pictures, 1976. Film.Patton. Franklin J. Schaffner. 20th Century Fox, 1970. Film.Schulten, Susan. World War II Led to a Revolution in Cartography. New Republic 21 May 2014. 16 June 2017 <https://newrepublic.com/article/117835/richard-edes-harrison-reinvented-mapmaking-world-war-2-americans>.Tolstoy, Leo. War and Peace. Vol. 2. London: Folio, 1997.Tomashevsky, Boris. "Thematics." Russian Formalist Criticism: Four Essays. Eds. L. Lemon and M. Reis, Lincoln: U. Nebraska Press, 2012. 61—95.Tzu, Sun. The Art of War. San Diego: Canterbury Classics, 2014.Virilio, Paul. Speed and Politics. Paris: Semiotext(e), 2006.Virilio, Paul. War and Cinema: The Logistics of Perception. London: Verso, 1989.