Your Artistry (Article)

They say that some people make art, whilst other individuals are art. That "Art should comfort the disturbed and disturb the comfortable." [Cesar Cruz/Banksy]. "To restrict the artist is a crime. It is to murder germinating life." [Egon Schiele]. Someone told me the other day that its been a long time since I had written poetry, since I created a picture with soft pastels or paints or since I sat and wrote a piece of my own. So i thought that I might have a try this evening, instead of aimlessly brooding over things so much that will not matter tomorrow anyway.

My boyfriend, categorically, is an artist. The inability to see the world just as it is, comes alongside the passion and appreciation he has for everything art. To pick up a pen and see the universe differently to everybody else is his gift. Occasionally, with some help from mild narcotics, which he claims assists with the concentration of the soul and the mind when participating in art based activities, he creates unique and individually stunning pieces on a day to day basis without the need of force from others. The line in which he carries across every page makes no sense to those who can't see what he is seeing at the given time, but is visually appealing with every aspect of the phrase. What saddens him most is for others, who can't seem to grasp the beauty of the topic, to shun a piece that has been delicately crafted throughout a number of days without a second thought. Whether it's a simple cinematographic composition, an undemanding illustration that requires minimum effort but a great understanding or a life drawing that has been composed using every visual shape exposed, his passion never fluctuates but stands alone with a somewhat proud stance and screams picturesqueness without too much boastfulness to be off putting. 

The way a person see's art is obviously going to be undeniably different from the next. From stunning paintings of the medieval era, to Shakespearian plays and modern day poetry; Some people get some forms, some people don't. Others may rasp in the romance of a novel constructed over decades by authors unknown; some may savour the eloquence of a marble statue, 9 feet tall and all forms of genitalia included; some may feel moved by a modern piece, so unelaborate yet garnished without elaboration it may be a question of whether it should be there or not. Either way, everybody, whether they know it or not, can see art in one way or another. And not just literally. Because, your handwriting, the way you jot notes down, the china patterns you admire, it all shows your artistry. Everything is a self portrait and everything is a personal sketch book. 

Language and Power (Text analysis)

Q) With reference to text CC and relevant ideas from language study, explore how language is used to assert power.

The way language is used to assert power is shown heavily throughout the entirety of text CC- a transcript of a speech (presumably a phone call) between two females. In this Text, Fairclough’s strategy is shown persistently as there is a clear dominant [participant J] who dominates the speech by her assumed and suggested tone of voice and bold on record strategy, as well as the way she approaches [participant M] in terms of flouting conversational strategies such as greetings, which immediately suggests an unequal encounter as this can sometimes be deemed as ‘socially rude’. Additionally the way that [P-J] flouts [P-M]’s greeting; “Maureen (.) hold on a mo” can be seen as a face threatening act as [P-M]’s status is automatically lowered. Additionally, there is more than one use of competitive overlap lead by [P-J]. The use of these competitive interruptions are a clear way to assert power and bring the conversational power back to [P-J] when it seems to be getting more equal between the pair. These competitive overlaps are often followed with a suggested aggressive tone from [P-J], who is then answered to by [P-M] who uses suggested nervous unvoiced paused and ‘stuttered’ fillers in response to her other party. Not only this but [P-M] also uses repair to stop herself from saying something that [P-J] might see as face threatening for herself which may cause conflict. For example; [P-M]:”We can’t go (.) unless you ask that guy you know (.) do you (.) can you?” [P-J]: “I don’t know (.) he’s like really busy (…)” Although both the participants use regular unvoiced pauses, the reason for use is obviously different as it seems as if [P-M] is using an unintentional negative face strategy as [P-j] is continuously bold on record, therefore concluding that [P-J]’s unvoiced pauses are possibly only used to intimidate [P-M]. Whilst [P-M]’s unvoiced pauses are possibly used because she feels intimidated and so has to think about her response before it is said to avoid any possible conflict. Throughout the Text, there is only one circumstance where [P-M] has more power. This is shown where [P-J] is waiting to hear whether [P-M] has “got the tickets?” and although [P-M] responds in such a way where [P-J] still has all the conversational power, there could’ve been several ways in which she could’ve responded, which could have changed the way in which the conversation was lead altogether. 

Grouping Task continued

The second set of groupings contain texts C and E. These two texts are both strong inclusions of dominant participants effecting non-fluency features and informal colloquial language in the text including the regularly used voiced/unvoiced pauses and simple conjunctions. To begin with, I looked at text C- a transcript of a magazine interview between two well-known celebrities. I explored the way in which each individual asked and answered questions in an informal structure; meaning there was seemingly no set structure. However it is clear that [person 2] was possibly the more dominant participant within the conversation as they not only began the interview but also answered the asked questions with the least hesitation and the least amount of fillers, which may mean that [person 2] was more prepared and therefore more confident in asking and answering questions directed at [person 1]. As well as this, [person 2] answered these questions in a polite positive face. This clearly follows Fairclough’s unequal encounters strategy and this strategy continues throughout. In terms of voiced and unvoiced pauses, fillers and colloquial use of language, the usage is regular throughout between both participants. But surprisingly is shown more in [person 1] who is ostensibly the interviewee. For example: Person 2: “Which number do I have then?” Person 1: “(laughs) well erm….” This use of the above non-fluency features may suggest that there is a dominant participant within the two individuals or it may suggest/define an age group in to which each participant falls. Therefore affecting their overall use of language and informal colloquialisms. As both celebrities share the same profession, it is less likely that this would affect the spoken language. However the length of time that each individual has been in the given industry is different, which may cause [person 1] to feel inferior to [person 2]. Which in turn, would affect the language used.  This is also shown heavily throughout text E- a transcript of a speech between two females. However, the use of language is significantly more competitive and shows a heavier use of dominant/non dominant strategy in comparison to Text C. Nevertheless, as shown in Text C, Fairclough’s strategy is definite again as there is a clear dominant [participant J] who leads the speech by her assumed and suggested tone of voice and the way she approaches [participant M]. Additionally, there is more than one use of competitive overlap lead by [P-J], which were not in Text C. These competitive overlaps are often followed with a suggested aggressive tone from [P-J], who is then answered to by [P-M] who uses suggested nervous unvoiced paused and ‘stuttered’ fillers in response to her other party. For example; [P-M]:”We can’t go (.) unless you ask that guy you know (.) do you (.) can you?” [P-J]: “I don’t know (.) he’s like really busy (…)” Although both the participants use regular unvoiced pauses, the reason for use is obviously different as it seems as if [P-M] is using an unintentional negative face strategy as [P-j] is continuously bold on record, therefore concluding that [P-J]’s unvoiced pauses are possibly only used to intimidate [P-M]. Whilst [P-M]’s unvoiced pauses are possibly used because she feels intimidated and so has to think about her response before it is said to avoid any possible conflict.