Poetic Language: Theory and Practice from the Renaissance to the Present

Leonardo ◽  
2015 ◽  
Vol 48 (3) ◽  
pp. 311-312
Author(s):  
Jan Baetens
Keyword(s):  
Theory And Practice ◽  
Language Theory ◽  
Poetic Language

Editorial. The Inescapability of Language: Theory and Practice for L-1 Educators

2012 ◽  
Vol 12, SI InescLang (Inescapability of language) ◽  
pp. 1-8
Author(s):  
B. Doecke ◽  
I Pereira
Keyword(s):  
Theory And Practice ◽  
Language Theory

Pseudo-revolution in Poetic Language: Julia Kristeva and the Russian Avant-garde

Slavic Review ◽  
1993 ◽  
Vol 52 (2) ◽  
pp. 283-297 ◽  
Author(s):  
Clare Cavanagh
Keyword(s):  
Language Learning ◽  
Julia Kristeva ◽  
Theory And Practice ◽  
Milan Kundera ◽  
Poetic Language ◽  
Avant Garde ◽  
Unnatural Death ◽  
Roman Jakobson ◽  
The Relationship

It is important to stress that these peculiar pseudo-revolutions, imported from Russia and carried out under the protection of the army and the police, were full of authentic revolutionary psychology and their adherents experienced them with grand pathos, enthusiasm, and eschatological faith in an absolutely new world. Poets found themselves on the proscenium for the last time. They thought they were playing their customary part in the glorious European drama and had no inkling that the theatre manager had changed the program at the last minute and substituted a trivial farce.–Milan Kundera, Life Is Elsewhere (1969)In the preface to her 1980 collection Desire in Language, Julia Kristeva acknowledged her ongoing debt to the pioneering linguistic theories of Roman Jakobson, a scholar who, in her phrase, "reached one of the high points of language learning in this century by never losing sight of Russian futurism's scorching odyssey through a revolution that ended up strangling it." Kristeva's statement takes us in two directions at once, both of which I will explore in this essay: it draws attention to Jakobson's sustaining roots in the avant-garde experimentation in poetic language that flourished in Russia in the early part of this century; and it tacitly underscores Kristeva's own ties to Russian avantgarde theory and practice. For Jakobson, Kristeva has suggested, the brief, febrile period of artistic experimentation that Marjorie Perloff has called "the futurist moment" continued to inform his writing in vital ways long after its unnatural death at the hands of the Soviet state. Certainly Jakobson, like Kristeva, is preoccupied throughout his work— from his exploration of Khlebnikov's "transsense" in "Recent Russian Poetry" to his 1980 study of Holderlin's schizophrenia—with the relationship between abnormal or "trans-normal" language and poetic language that lay at the heart of formalist theory and futurist practice in early twentieth century Russia.

Contrastive interlanguage analysis

2015 ◽  
Vol 1 (1) ◽  
pp. 7-24 ◽  
Author(s):  
Sylviane Granger
Keyword(s):  
Foreign Language ◽  
Theory And Practice ◽  
Language Theory ◽  
Popular Method ◽  
Learner Corpus ◽  
Current State ◽  
Wide Range ◽  
Learner Language

Since its introduction in 1996, Contrastive Interlanguage Analysis (CIA) has become a highly popular method in Learner Corpus Research. Its comparative design has made it possible to uncover a wide range of features distinctive of learner language and assess their degree of generalizability across learner populations. At the same time, however, the method has drawn criticism on several fronts. The purpose of this article is threefold: to provide a brief overview of CIA research, to discuss the main criticisms the method has faced in recent years and to present a revised model, CIA², which makes the central role played by variation in interlanguage studies more explicit and is generally more in line with the current state of foreign language theory and practice.

Sign in / Sign up

Export Citation Format

Share Document