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SUMMARY:SAUTE AGM
DESCRIPTION:Originally scheduled for May 2020, but postponed due to COVID-1
 9\n\nAbstracts of the Two Plenaries\n\nThe pragmatics of fictional dialogue
 s in improvised performance\n\nDaniela Landert, University of Basel\n\nSpon
 taneous conversation bears many traces of the fact that it was produced wit
 hout options for revision and editing. They include, for instance, hesitati
 on markers, false starts, overlaps and repetitions. Such markers of spontan
 eous language production can also be found in the dialogues of scripted fic
 tion, despite the fact that, in this context, they are not due to the cogni
 tive constraints of real-time language production. Instead, they tend to be
  deliberately used to fulfil functions that are specific to literary genres
 , such as evoking a sense of authenticity, contributing to characterisation
 , creating humour, and marking authorial style. Despite a considerable body
  of linguistic research comparing markers of spontaneity in conversation an
 d fiction, the relation between these different sets of functions has not b
 een thoroughly explored yet. What are the processes through which linguisti
 c characteristics that are associated with spontaneous language production 
 acquire their functions in scripted fiction?\n\nIn a new research project, 
 funded for five years through an SNF PRIMA grant, we are addressing this qu
 estion. In this project, we analyse dialogues from improvised theatre and c
 ompare them to spontaneous conversation and scripted fiction. Improvised th
 eatre is spontaneously produced as well as fictional, which means that it s
 hares similarities with both spontaneous conversation and scripted fiction.
  As I will illustrate with the results from two case studies, this makes it
  possible to observe typical markers of linguistic spontaneity with either 
 of the two types of functions within one set of data. Moreover, improvised 
 theatre even includes instances of spontaneity markers that combine both ty
 pes of functions. By studying such instances, we are able to show how typic
 al functions of fictional discourse are developed out of spontaneous langua
 ge use.\n\nWar on Terror Fiction and the Politics of Fear: Writing the Post
 -9/11 Condition\n\nMichael C. Frank, University of Zurich\n\nThis talk prov
 ides a glimpse of my ongoing research into literary explorations of the pos
 t-9/11 condition, which is part of a larger research project on cultures of
  fear.\n\nShortly after the 11 September 2001 attacks, then US President Ge
 orge W. Bush notoriously declared a war on “terror.” The implication of thi
 s striking choice of terminology was that the war in question would attempt
  to eliminate the fear created by terrorist networks and their supporters. 
 From its inception, however, the “war on terror” was itself embedded in a p
 olitics of fear: while the military campaigns launched in the name of count
 ering terrorism ostensibly served to enhance domestic security, their accom
 panying discourse painted the threat of terrorism in the most lurid colours
  – and hence did everything to increase the prevailing sense of insecurity.
  This is reflected in Ian McEwan’s early 2005 novel Saturday, in which the 
 thoughts of London neurosurgeon Henry Perowne revolve around the likelihood
  of another terrorist attack.\n\nWhereas Saturday approaches the post-9/11 
 preoccupation with (in)security from the point of view of a highly privileg
 ed white Briton, more recent Anglophone fiction, such as Kamila Shamsie’s w
 idely celebrated 2017 novel Home Fire, focuses on those who find themselves
  on the receiving end of counterterrorism efforts. Home Fire, too, engages 
 with the culture of fear surrounding terrorism, yet it does so from the poi
 nt of view of those who are the object of that fear. As the novel demonstra
 tes, members of the “suspect community” of British Muslims bear the brunt o
 f anti-terrorism legislation. In this way, Home Fire complements earlier li
 terary explorations of the post-9/11 condition by giving a voice to a previ
 ously underrepresented “other” and throwing a critical light on contemporar
 y politics, which has used the war on terror to legitimise draconian measur
 es taken in the name of domestic security.\n\n\n\n
DTSTAMP:20200930T130605Z
DTSTART:20201030T130000Z
DTEND:20201030T170000Z
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