Discourse and Text

This article discusses tense and aspect in the context of attested forms of discourse and text. The emphasis is on the semantic, pragmatic, textual, and stylistic functions of tense in context, taking into account linguistic features in the surrounding discourse, as well as the importance of factors such as medium (spoken or written), register (degree of formality), text type (literary vs. journalistic vs. conversational etc.), and discourse mode (narrative vs. report vs. description, etc.). Thus, tense and aspect are analyzed not purely as part of a linguistic “system” as such, but in the context of particular texts or forms of discourse. The article also explores the concept of “markedness” through two case studies: the narrative present and the narrative imperfect. Finally, it assesses the roles played by tenses in conveying particular points of view in texts, including shifts and/or ambiguities in point of view; Segmented Discourse Representation Theory; internal focalization and the French imperfective past tense; and textual polyphony.

Music, Magic, and the Mythic: The Dynamics of Visual and Aural Discourse in Souleymane Cissé’s Yeelen

The 1980s saw a wave of African films that aimed to represent, on both local and international screens, a sophisticated pre-colonial Africa, thus debunking notions of the continent as primitive. Toward this aim the films inscribed the conventions of oral performance within their visual styles, denying spectator identification with the protagonists and emphasising the presence of the narrator. However, some critics argued that these films exoticised Africa, while their use of oral performance’s distancing effect echoed the ‘scientific’ distance structured by the ethnographic film, in which African societies were represented as ‘the other’. Souleymane Cissé’s Yeelen exemplifies this tension, transposing into cinematic form oral storytelling techniques in the depiction of a power struggle within the covert cult of the komo, a Bambara initiation society unfamiliar to most non-Bambara viewers. This paper demonstrates how the film negotiates this tension via music, which interpellates the international spectator by eliciting a greater identification with the protagonists than that determined at a visual level, while encoding a verisimilitude to rituals that may otherwise be read as the superstitious practices of ‘the other’. In this way, music and image in Yeelen operate as parallel, though often overlapping, discourses, bridging the gap between the film’s culturally specific narrative and formal components, and its international spectators.

The Housing Triangulation: A discourse on Quality, Affordability and Lifestyles in India

Since 1991 with the advent of globalization and economic liberalisation, basic conceptual and discursive changes are taking place in housing sector in India. The new changes suggest how housing affordability, quality and lifestyles reality is shifting for various segments of the population. Such shift not only reflects structural patterns but also stimulates an ongoing transition process. The paper highlights a twin impetus that continue to shape the ongoing transition: expanding middle class and their wealth - a category with distinctive lifestyles, desires and habits and corresponding ‘market defining’ of affordable housing standards - to articulate function of housing as a conceptualization of social reality in modern India. The paper highlights the contradictions and paradoxes, and the manner in which the concept of affordability, quality and lifestyles are embedded in both discourse and practice in India. The housing ‘dream’ currently being packaged and fed through to the middle class population has an upper middle class bias and is set to alienate those at the lower end of the middle-and low-income population. In the context of growing agreement and inevitability of market provision of ‘affordable housing’, the unbridled ‘market-defining’ of housing quality and lifestyles must be checked.