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Diese Dissertation beschäftigt sich mit der Fragestellung, ob und wie Intersektionalität als analytische Perspektive für literarische Texte eine nützliche Ergänzung für ethnisch geordnete Literaturfelder darstellt. Diese Fragestellung wird anhand der Analyse dreier zeitgenössischer chinesisch-kanadischer Romane untersucht.
In der Einleitung wird die Relevanz der Themenbereiche Intersektionalität und asiatisch-kanadische Literatur erörtert. Das darauffolgende Kapitel bietet einen historischen Überblick über die chinesisch-kanadische Einwanderung und geht detailliert auf die literarischen Produktionen ein. Es wird aufgezeigt, dass, obwohl kulturelle Güter auch zur Artikulation von Ungleichheitsverhältnissen aufgrund von zugeschriebener ethnischer Zugehörigkeit entstehen, ein Diversifizierungsbestreben innerhalb der literarischen Gemeinschaft von chinesisch-kanadischen Autor:innen identifiziert werden kann. Das dritte Kapitel widmet sich dem Begriff „Intersektionalität“ und stellt, nach einer historischen Einordnung des Konzeptes mit seinen Ursprüngen im Black Feminism, Intersektionalität als bindendes Element zwischen Postkolonialismus, Diversität und Empowerment dar – Konzepte, die für die Analyse (kanadischer) Literatur in dieser Dissertation von besonderer Relevanz sind. Anschließend wird die Rolle von Intersektionalität in der Literaturwissenschaft aufgegriffen. Die darauffolgenden exemplarischen Analysen von Kim Fus For Today I Am a Boy, Wayson Choys The Jade Peony und Yan Lis Lily in the Snow veranschaulichen die vorangegangen methodischen Überlegungen. Allen drei Romanen vorangestellt ist die Kontextualisierung des jeweiligen Werkes als chinesisch-kanadisch, aber auch bisher vorgenommene Überlegungen, die diese Einordnung infrage stellen. Nach einer Zusammenfassung des Inhalts folgt eine intersektionale Analyse auf der inhaltlichen Ebene, die in den familiären und weiteren sozialen Bereich unterteilt ist, da sich die Hierarchiemechanismen innerhalb dieser Bereiche unterscheiden oder gegenseitig verstärken, wie aus den Analysen hervorgeht. Anschließend wird die formale Analyse mit einem intersektionalen Schwerpunkt in einem separaten Unterkapitel näher beleuchtet. Ein drittes Unterkapitel widmet sich einem dem jeweiligen Roman spezifischen Aspekt, der im Zusammenhang mit einer intersektionalen Analyse von besonderer Relevanz ist. Die Arbeit schließt mit einem übergreifenden Fazit, welches die wichtigsten Ergebnisse aus der Analyse zusammenfasst und mit weiteren Überlegungen zu den Implikationen dieser Dissertation, vor allem im Hinblick auf sogenannte kanadische „master narratives“, die eine weitreichende, kontextuelle Relevanz für das Arbeiten mit literarischen Texten aufweisen und durch einen intersektionalen literarischen Ansatz in Zukunft gegebenenfalls gewinnbringend ergänzt werden können.
Stress position in English words is well-known to correlate with both their morphological properties and their phonological organisation in terms of non-segmental, prosodic categories like syllable structure. While two generalisations capturing this correlation, directionality and stratification, are well established, the exact nature of the interaction of phonological and morphological factors in English stress assignment is a much debated issue in the literature. The present study investigates if and how directionality and stratification effects in English can be learned by means of Naive Discriminative Learning, a computational model that is trained using error-driven learning and that does not make any a-priori assumptions about the higher-level phonological organisation and morphological structure of words. Based on a series of simulation studies we show that neither directionality nor stratification need to be stipulated as a-priori properties of words or constraints in the lexicon. Stress can be learned solely on the basis of very flat word representations. Morphological stratification emerges as an effect of the model learning that informativity with regard to stress position is unevenly distributed across all trigrams constituting a word. Morphological affix classes like stress-preserving and stress-shifting affixes are, hence, not predefined classes but sets of trigrams that have similar informativity values with regard to stress position. Directionality, by contrast, emerges as spurious in our simulations; no syllable counting or recourse to abstract prosodic representations seems to be necessary to learn stress position in English.
The Second Language Acquisition of English Non-Finite Complement Clauses – A Usage-Based Perspective
(2022)
One of the most essential hypotheses of usage-based theories and many constructionist approaches to language is that language entails the piecemeal learning of constructions on the basis of general cognitive mechanisms and exposure to the target language in use (Ellis 2002; Tomasello 2003). However, there is still a considerable lack of empirical research on the emergence and mental representation of constructions in second language (L2) acquisition. One crucial question that arises, for instance, is whether L2 learners’ knowledge of a construction corresponds to a native-like mapping of form and meaning and, if so, to what extent this representation is shaped by usage. For instance, it is unclear how learners ‘build’ constructional knowledge, i.e. which pieces of frequency-, form- and meaning-related information become relevant for the entrenchment and schematisation of a L2 construction.
To address these issues, the English catenative verb construction was used as a testbed phenomenon. This idiosyncratic complex construction is comprised of a catenative verb and a non-finite complement clause (see Huddleston & Pullum 2002), which is prototypically a gerund-participial (henceforth referred to as ‘target-ing’ construction) or a to-infinitival complement (‘target-to’ construction):
(1) She refused to do her homework.
(2) Laura kept reading love stories.
(3) *He avoids to listen to loud music.
This construction is particularly interesting because learners often show choices of a complement type different from those of native speakers (e.g. Gries & Wulff 2009; Martinez‐Garcia & Wulff 2012) as illustrated in (3) and is commonly claimed to be difficult to be taught by explicit rules (see e.g. Petrovitz 2001).
By triangulating different types of usage data (corpus and elicited production data) and analysing these by multivariate statistical tests, the effects of different usage-related factors (e.g. frequency, proficiency level of the learner, semantic class of verb, etc.) on the representation and development of the catenative verb construction and its subschemas (i.e. target-to and target-ing construction) were examined. In particular, it was assessed whether they can predict a native-like form-meaning pairing of a catenative verb and non-finite complement.
First, all studies were able to show a robust effect of frequency on the complement choice. Frequency does not only lead to the entrenchment of high-frequency exemplars of the construction but is also found to motivate a taxonomic generalisation across related exemplars and the representation of a more abstract schema. Second, the results indicate that the target-to construction, due to its higher type and token frequency, has a high degree of schematicity and productivity than the target-ing construction for the learners, which allows for analogical comparisons and pattern extension with less entrenched exemplars. This schema is likely to be overgeneralised to (less frequent) target-ing verbs because the learners perceive formal and semantic compatibility between the unknown/infrequent verb and this pattern.
Furthermore, the findings present evidence that less advanced learners (A2-B2) make more coarse-grained generalisations, which are centred around high-frequency and prototypical exemplars/low-scope patterns. In the case of high-proficiency learners (C1-C2), not only does the number of native-like complement choices increase but relational information, such as the semantic subclasses of the verb, form-function contingency and other factors, becomes also relevant for a target-like choice. Thus, the results suggests that with increasing usage experience learners gradually develop a more fine-grained, interconnected representation of the catenative verb construction, which gains more resemblance to the form-meaning mappings of native speakers.
Taken together, these insights highlight the importance for language learning and teaching environments to acknowledge that L2 knowledge is represented in the form of highly interconnected form-meaning pairings, i.e. constructions, that can be found on different levels of abstraction and complexity.
This socio-pragmatic study investigates organisational conflict talk between superiors and subordinates in three medical dramas from China, Germany and the United States. It explores what types of sociolinguistic realities the medical dramas construct by ascribing linguistic behaviour to different status groups. The study adopts an enhanced analytical framework based on John Gumperz’ discourse strategies and Spencer-Oatey’s rapport management theory. This framework detaches directness from politeness, defines directness based on preference and polarity and explains the use of direct and indirect opposition strategies in context.
The findings reveal that the three hospital series draw on 21 opposition strategies which can be categorised into mitigating, intermediate and intensifying strategies. While the status identity of superiors is commonly characterised by a higher frequency of direct strategies than that of subordinates, both status groups manage conflict in a primarily direct manner across all three hospital shows. The high percentage of direct conflict management is related to the medical context, which is characterised by a focus on transactional goals, complex role obligations and potentially severe consequences of medical mistakes and delays. While the results reveal unexpected similarities between the three series with regard to the linguistic directness level, cross-cultural differences between the Chinese and the two Western series are obvious from particular sociopragmatic conventions. These conventions particularly include the use of humour, imperatives, vulgar language and incorporated verbal and para-verbal/multimodal opposition. Noteworthy differences also appear in the underlying patterns of strategy use. They show that the Chinese series promotes a greater tolerance of hierarchical structures and a partially closer social distance in asymmetrical professional relationships. These disparities are related to different perceptions of power distance, role relationships, face and harmony.
The findings challenge existing stereotypes of Chinese, US American and German conflict management styles and emphasise the context-specific nature of verbal conflict management in every culture. Although cinematic aspects affect the conflict management in the fictional data, the results largely comply with recent research on conflict talk in real-life workplaces. As such, the study contributes to intercultural trainings in medical contexts and provides an enhanced analytical framework for further cross-cultural studies on linguistic strategies.
The present thesis is devoted to a construction which defies generalisations about the prototypical English noun phrase (NP) to such an extent that it has been termed the Big Mess Construction (Berman 1974). As illustrated by the examples in (1) and (2), the NPs under study involve premodifying adjective phrases (APs) which precede the determiner (always realised in the form of the indefinite article a(n)) rather than following it.
(1) NoS had not been hijacked – that was too strong a word. (BNC: CHU 1766)
(2) He was prepared for a battle if the porter turned out to be as difficult a customer as his wife. (BNC: CJX 1755)
Previous research on the construction is largely limited to contributions from the realms of theoretical syntax and a number of cursory accounts in reference grammars. No comprehensive investigation of its realisations and uses has as yet been conducted. My thesis fills this gap by means of an exhaustive analysis of the construction on the basis of authentic language data retrieved from the British National Corpus (BNC). The corpus-based approach allows me to examine not only the possible but also the most typical uses of the construction. Moreover, while previous work has almost exclusively focused on the formal realisations of the construction, I investigate both its forms and functions.
It is demonstrated that, while the construction is remarkably flexible as concerns its possible realisations, its use is governed by probabilistic constraints. For example, some items occur much more frequently inside the degree item slot than others (as, too and so stand out for their particularly high frequency). Contrary to what is assumed in most previous descriptions, the slot is not restricted in its realisation to a fixed number of items. Rather than representing a specialised structure, the construction is furthermore shown to be distributed over a wide range of possible text types and syntactic functions. On the other hand, it is found to be much less typical of spontaneous conversation than of written language; Big Mess NPs further display a strong preference for the function of subject complement. Investigations of the internal structural complexity of the construction indicate that its obligatory components can optionally be enriched by a remarkably wide range of optional (if infrequent) elements. In an additional analysis of the realisations of the obligatory but lexically variable slots (head noun and head of AP), the construction is highlighted to represent a productive pattern. With the help of the methods of Collexeme Analysis (Stefanowitsch and Gries 2003) and Co-varying Collexeme Analysis (Gries and Stefanowitsch 2004b, Stefanowitsch and Gries 2005), the two slots are, however, revealed to be strongly associated with general nouns and ‘evaluative’ and ‘dimension’ adjectives, respectively. On the basis of an inspection of the most typical adjective-noun combinations, I identify the prototypical semantics of the Big Mess Construction.
The analyses of the constructional functions centre on two distinct functional areas. First, I investigate Bolinger’s (1972) hypothesis that the construction fulfils functions in line with the Principle of Rhythmic Alternation (e.g. Selkirk 1984: 11, Schlüter 2005). It is established that rhythmic preferences co-determine the use of the construction to some extent, but that they clearly do not suffice to explain the phenomenon under study. In a next step, the discourse-pragmatic functions of the construction are scrutinised. Big Mess NPs are demonstrated to perform distinct information-structural functions in that the non-canonical position of the AP serves to highlight focal information (compare De Mönnink 2000: 134-35). Additionally, the construction is shown to place emphasis on acts of evaluation. I conclude the construction to represent a contrastive focus construction.
My investigations of the formal and functional characteristics of Big Mess NPs each include analyses which compare individual versions of the construction to one another (e.g. the As Big a Mess, Too Big a Mess and So Big a Mess Constructions). It is revealed that the versions are united by a shared core of properties while differing from one another at more abstract levels of description. The question of the status of the constructional versions as separate constructions further receives special emphasis as part of a discussion in which I integrate my results into the framework of usage-based Construction Grammar (e.g. Goldberg 1995, 2006).
Die Dissertation illustriert die Entwicklung der angelsächsischen Sittenkomödie von den Theaterstücken der englischen Restoration Comedy der 1660er Jahre zu den Tonfilmen der Screwball Comedy in Hollywoods Glanzzeit der 1930er Jahre und deren Nachfolgern bis in das neue Jahrtausend. Zugleich wird die Genre-Evolution der hier erstmals so bezeichneten "Screwball Comedy of Manners" aufgezeigt und anhand zweier prototypischer Filmbeispiele (The Awful Truth, 1937 und Bringing up Baby, 1938) exemplarisch veranschaulicht. Die Arbeit entwirft also ein interdisziplinäres Panorama eines kommerziellen dramatischen Genres, dessen interkulturelle und intermediale Zusammenhänge bisher, insbesondere von der US-amerikanischen Filmgeschichtsschreibung, ignoriert oder als peripher abgewertet wurden. Die ungebrochene Aktualität und Attraktivität des Genres liegt im zentralen Sujet des Geschlechterkampfes begründet, der hier als spielerisches Kräftemessen zweier gleichberechtigter Gegner entworfen wird. Vor dem Hintergrund einer kultivierten, privilegierten Gesellschaft entfaltet sich das exzentrische Liebeswerben des elitären "gay couple" (des "heiteren", glücklichen Paares) als engagierter, nicht jedoch aggressiv-destruktiver "Wettkampf". Die "Kontrahenten" erleben ihren Antagonismus als Symptom, Motor und Basis des gegenseitigen Interesses - "Verlierer" sind nur die Rivalen des Paares, deren Mangel an Witz, Tempo und Flexibilität gnadenlos bloßgestellt wird. Die Transformationen, die die englischsprachige Sittenkomödie in mehr als drei Jahrhunderten naturgemäß durchläuft, sind jeweils Ergebnisse politischer, kulturhistorischer und medienästhetischer Gegebenheiten und widerlegen keineswegs eine literarhistorische Kontinuität des Genres. Interessanter als die offensichtlichen Unterschiede zwischen Restoration- und Screwball Comedy sind die frappierenden generischen Gemeinsamkeiten, die die Bezeichnung "Screwball Comedy of Manners" rechtfertigen. Das Genre bleibt für Zuschauer und Wissenschaftler nicht zuletzt ob seiner Fähigkeit interessant, sozio-kulturelle Konflikte (männliche vs. weibliche Dominanz, Individualität vs. Integration) scheinbar mühelos auszubalancieren. Liebe, Ehe, Partnerschaftlichkeit und Humor werden hier unsentimental, geistreich, psychologisch komplex und dennoch zutiefst optimistisch als untrennbare Komponenten individuellen und gesellschaftlichen Glücks präsentiert.
This doctoral dissertation examines two authors of German descent who are representatives for the development of Canadian literature and its regional focus on the prairies: Frederick Philip Grove (1879-1948) and Robert Kroetsch (*1927). Kroetsch, in his essays and talks, has repeatedly referred to Grove as one of his "literary ancestors". Although there exist monographs and numerous articles on both authors, the present study is the first-ever comparative approach. This study's main access is provided by the motif of disguise and masquerade, which plays a central role in the authors' works. Even if critics have looked at the traditional motif (cf. Homer's Odyssey, or many Renaissance plays) in Kroetsch's writing sporadically, and have used it to examine Grove's biography, no approach has attempted a larger contextualization within/among both writers' oeuvres. According to Lloyd Davis, however, the motif can be seen as "representing the cultural dialogism, rather than any particular thesis, of selfhood" (Davis 16). Hence, it helps interrogate a topic that within Canada - the former colony and current multicultural immigrant society - had and has a specific relevance. As an analytical tool, the motif allows for highlighting both the similarities and the differences between the œuvres of Grove and Kroetsch as key-figures of a (post)colonial literature of Western Canada on the one hand, and for general questions pertaining to the characterisation of figures, the definition of narrative positions and even of genres on the other hand. Following the preface, two theoretical chapters outline conceptions of identity and their deducible forms and functions of disguise and masquerade, including a discussion of John Richardson's Wacousta (1832), which is the first Canadian example for the motif's constitutive use. The second major section sketches, in two separate chapters, the poetics and mentalities (Mentalitätsgeschichte) of each writer within the context of their complete works by looking at biographical data as well as the critics' assessments. After immigrating into Manitoba in 1912, Grove soon became the first representative of a literary prairie-realism. Before, he had faked his suicide in 1909 and stripped off his 'original' identity as the German translator (e.g., Wilde, Wells, Flaubert) as well as modestly successful poet and novelist Felix Paul Greve to leave behind debts and a notorious lover and to reinvent himself in the New World. The protean role-plays of 'FPG' - decoded only 23 years after his death - are manifested in his creation of literary characters, in a "collectivity of identities" (Cavell 12) or number of metonymic personae that keep his critics busy to this date. Providing a different story, Kroetsch's family of German background immigrated into Canada in the mid-19th-century. Kroetsch has been thematizing his native province, Alberta, just as much as general national dispositions or questings in the course of his literary career spanning five decades now. His progressive and experimental writing has earned him, for instance, the label of "Mr Canadian Postmodern" by Linda Hutcheon (Canadian Postmodern 183). Particularly important among his specifically postmodern instruments is the principle of archaeology as derived from Foucault and employed as both metaphor and method; further methodological tools are Barthes' theories on reading/writing as an erotic act, Bakhtin's notion of (the) carnival(ization of literature) and a great sensibility for the myths as well as oral traditions of the North American Natives. If the third section analyzes two of FPG's novels to illustrate his transfer, or literal translation, from a German to a Canadian cultural context, the fourth section represents this study's core with three one-to-one comparisons of the two writers' central prose texts. In spite of all affinities between both authors, however, this section already indicates what section five further underlines: Kroetsch clearly transcends Grove's achievements (which ultimately reduce all his characters and texts to nothing but his own will- and wishful projections and identity-configurations); on the level of narrativity, genre and gender, Kroetsch not only goes far beyond parodying Grove, but proves to be an innovator whose mis-en-scène of the motif of disguise provides both more psychological depth and relevance for socio-historical contexts. This comparative study has been informed by research in the Special Archives and Collections at the University of Manitoba (Grove Papers) and at the University of Calgary (Kroetsch Papers), by related talks at Lund, Belfast and Winnipeg as well as by an occasional quotation from an interview I conducted with Robert Kroetsch as early as 1996.
Mothers and Daughters: The Female English Bildungsroman, 1811-1915 This dissertation analyses the mother-daughter-relationship of five female apprenticeship novels. In the course of the study of Jane Austen's Sense and Sensibility (1811), Charlotte Brontë's Jane Eyre (1847), Elizabeth Gaskell's Wives and Daughters (1865), George Eliot's The Mill on the Floss (1860) and Virginia Woolf's The Voyage Out (1915) modern feminist, psychological, and psychoanalytical theories concerning the mother-daughter-conflict and female development are considered as well as autobio-graphic material and the authoresses' Œuvres. The historical context, the social and psychohistoric con-ditions, and changes in England during the 19th and beginning 20th century (especially concerning family, female socialisation and role training, motherhood, children's education) are studied and the features and achievements of the female Bildungsroman, that experiences an upswing during this time, emphasized. The dissertation shows the development of the female apprenticeship novel concerning its presentation of mother, daughter, and mother-daughter-relationship and also the enormous progressive-ness of this genre concerning the description of details of this relationship. The analysis demonstrates that all novels show complex and problematic mother-daughter-relationships, that for the daughters are on the one hand traumatic, but on the other hand lead to self-discovery and autonomy. The texts present the mother-daughter-relationship as highly ambivalent, oscillating between love, identification, aggression, rejection, rivalry, and rebellion. In this way they serve to correct the female doctrine and the ideological mother image of the Victorian period as much as the cliché of childhood as an idyllic condition without conflicts, and thus anticipate psychological discoveries and efforts of later periods. Furthermore, it becomes obvious that the authoresses put their own problematic mother-daughter-relationship into literary form and thus try to overcome it; that the fictitious mother-daughter-relation-ships often have a compensatory function. The fact that the analysed novels admit to the mother-daughter-relationship so early such an importance, constitutes their rank and justifies their place in the English literature and culture.
The study at hand deals with madness as it is represented in English Canadian fiction. The topic seemed most interesting and fruitful for analysis due to the fact that as the ways madness has been defined, understood, described, judged and handled differ quite profoundly from society to society, from era to era, as the language, ideas and associations surrounding insanity are both strongly culture-relative and shifting, madness as a theme of myth and literature has always been a excellent vehicle to mirror the assumptions and arguments, the aspirations and nostalgia, the beliefs and values, hopes and fears of its age and society. Thus, while the overall intent of this study is to elucidate some discernible patterns of structure and style which accompany the use of madness in Canadian literature, to investigate the varying sorts of portrayal and the conventions of presentation, to interpret the use of madness as literary devices and to highlight the different statements which are made, the continuity, variation, and changes in the theme of madness provide an informing principle in terms of certain Canadian experiences and perceptions. By examining madness as it represents itself in Canadian literature and considering the respective explorations of the deranged mind within their historical context, I hope to demonstrate that literary interpretations of madness both reflect and question cultural, political, religious and psychological assumptions of their times and that certain symptoms or usages are characteristic of certain periods. Such an approach, it is hoped, might not only contribute towards an assessment of the wealth of associations which surround madness and the ambivalence with which it is viewed, but also shed some light on the Canadian imagination. As such this study can be considered not only as a history of literary madness, but a history of Canadian society and the Canadian mind.