Japan today is haunted by the ghosts its spectacular modernity has generated. Deep anxieties about the potential loss of national identity and continuity disturb many in Japan, despite widespread insistence that it has remained culturally intact. In this provocative conjoining of ethnography, history, and cultural criticism, Marilyn Ivy discloses these anxieties—and the attempts to contain them—as she tracks what she calls the vanishing: marginalized events, sites, and cultural practices suspended at moments of impending disappearance. Ivy shows how a fascination with cultural margins accompanied the emergence of Japan as a modern nation-state. This fascination culminated in the early twentieth-century establishment of Japanese folklore studies and its attempts to record the spectral, sometimes violent, narratives of those margins. She then traces the obsession with the vanishing through a range of contemporary reconfigurations: efforts by remote communities to promote themselves as nostalgic sites of authenticity, storytelling practices as signs of premodern presence, mass travel campaigns, recallings of the dead by blind mediums, and itinerant, kabuki-inspired populist theater.
This book explores the fascinating role that language plays in the construction of non-verbal objects by mapping out the ontological meaning of the specialised concepts and the domain-specific knowledge embedded in them. In doing so, it provides a comprehensive linguistic insight into the discourse of professional domain-specific communities and hence, into the communication practices and procedures of those communities. In this respect, the book offers a response to the claims made by many of the most influential applied linguists today, such as Vijay Bhatia (1993, 2004), John Swales (1990, 2004) or Ken Hyland (2002), among others, who have consistently defended the need for applied linguistic research into the textual, generic and social perspectives on the under-researched interrelatedness of the discoursal and professional practices of a discipline. Specifically, this book provides readers with an integrative multi-perspective approach to the study of professional, domain-specific discourses. While it mainly draws on the tenets of genre theory and discourse semantics, it also nurtures from the theoretical and empirical foundations of applied linguistics, cognitive linguistics, corpus linguistics and ontological engineering. The book starts from the analysis of domain specific texts as final written products with specific lexico-grammatical, semantic and rhetorical features to later enquire into the written products as textual artefacts closely linked to the social context of production and interpretation of the text. This integrative approach provides fresh new insights into the way the processes of writing are affected by the community-specific, institutional and socio-historical circumstances in which domain-specific texts are produced.
English for Law (also called Legal English Teaching) is a big challenge for EFL/ESL teachers worldwide. Multimodal teaching and learning may engage law students with legal content and the English language by using multiple communication modes and mediums. But what are the multi-modes and multi-mediums specific to the ESP (English for Specific Purposes) course? How would teachers deal with that complicated multimodal information? How would teachers intrigue students' interest, focus their attention, and guide them to follow, respond, analyze, extend, and comment? And how would teachers build students' critical thinking skills and shape international elites' dispositions? This book would discuss more in-depth the above questions. The new analysis framework of MDIP (Multimodal Discourse Information Processing) could decode classroom participants' interactive intentions from their multimodal presentation discourses, could focus LCTA (Legal Critical Thinking Abilities) as the primary training purpose of Legal English Teaching, and could provide Legal English Teaching with discursive, cognitive, and communicative information strategies. With the help of MDIP strategies, teachers are clearer at how to extract the legal documents' genres, how to create the lecture schemata, how to generate visualized tree discourses, how to build hierarchies among multimodal information, how to allocate teaching, learning, and assessing tasks in classroom instruction, etc. As a result, Legal English Teaching's course design will become much less challenging for EFL/ESL teachers.
The Comedy of Philosophy brings modern debates in continental philosophy to bear on the historical study of early cinematic comedy. Through the films of Mack Sennett, Buster Keaton, Charlie Chaplin, Harold Lloyd, and the Marx Brothers, Lisa Trahair investigates early cinema's exploration of sense and nonsense by utilizing the contributions to the philosophy of comedy made by Freud and Bataille and by examining significant poststructuralist interpretations of their work. Trahair explores the shift from the excessive physical slapstick of the Mack Sennett era to the so-called structural comedy of the 1920s, and also offers a new perspective on the importance of psychoanalysis for the study of film by focusing on the implications of Freud's theory of the unconscious for our understanding of visuality.
"This definitive work offers a new approach to the period film at the turn of the twenty-first century, examining the ways in which contemporary cinema recreates the historical past. This book explores the relation between visual motifs and cultural representation in a range of key films by James Ivory, Martin Scorsese and Jane Campion, among others. Looking at the mannerist taste for citation, detail and stylisation, the author argues for an aesthetic of fragments and figures central to the period film as an international genre. Three key figures - the house, the tableau and the letter - structure a critical journey through a selection of detailed case studies, in relation to changing notions of visual style, melodrama, and gender. This seeks to place this popular but often undervalued genre in a new light and to rethink its significance in the context of key debates in film studies."--Publisher's website.
Although post-structuralism has highlighted the importance of what is offstage, lost, forgotten, hidden or discarded, silent or silenced, the poetics and politics of absence (much like its ethics and aesthetics) have rarely been discussed across media or disciplines. The book conceptualizes 'radical absence' to describe a certain tradition of resistance to ontology, predication, and representation, contesting their reliance on a metaphysics of presence. Apophatic speech, empty signifiers, and figural voids are some of the figures through which radical absence becomes apparent, with unprecedented intensity, in 20th-century theory, literature, film, and the arts. Phantasmatic and outrageous, such figures play with creative strategies of de-materialization, irony, and other forms of discursive undoing. Therefore, absence becomes more than a simple theme; it reflects back on the medium and the meaning-making conditions under which it operates. Elusive and imprecise as an object of study, absence is in need of more subtle and flexible epistemological frameworks. The author proposes to think it not only as a counter-concept for presence, but also - perhaps more productively - as infinite spacing, deferral, fragmentation, and displacement.