![]() Basingstoke and New York: Palgrave Macmillan. About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy & Safety How YouTube works Test new features NFL Sunday Ticket Press Copyright. The language of evaluation: appraisal in English. Martin, James R., and White, Peter R.R.2005. Frame analysis: an essay on the organization of experience. ![]() Framing: toward clarification of a fractured paradigm. On heroes, hero-worship and the heroic in history. The study explores these issues using Martin and White’s Appraisal Framework (2005) to analyse the evaluative patterns used in describing the deeds of some notorious bandits in American song, with examples taken from, amongst others, Bob Dylan and Woody Guthrie. Judgements are therefore seen to depend on point of view, with popular culture offering mediated interpretations that contrast with more ‘institutional’ positions. S/he possesses, in fact, ‘heroic’ qualities, in Carlyle’s sense (Carlyle 2006). In order for a bandit or outlaw figure to achieve widespread popularity, I argue, s/he must be seen not as subverting traditional ethical norms, but rather as embodying these. Speech: Friends, Romans, countrymen, lend me your ears BY WILLIAM SHAKESPEARE (from Julius Caesar, spoken by Marc Antony) Friends, Romans, countrymen, lend me your ears Friends, Romans, countrymen, lend me your ears I come to bury Caesar, not to praise him. Entman (1993: 52) summarised Goffman’s well-known (1974) work on frames as the selection of aspects of reality to make these more salient thus guiding, among other things, the ‘moral evaluation’, by the receiver, of whatever is described. The noble Brutus: Hath told you Cæsar was ambitious If it were so, it was a grievous fault, And grievously hath Cæsar answer’d it. The evil that men do lives after them, The good is oft interred with their bones 55: So let it be with Cæsar. He also informed me that our principal associate would be another boy whom he. Friends, Romans, countrymen, lend me your ears I come to bury Cæsar, not to praise him. How, then, can writers make actions such as robbery with violence, murder and so on - which society rightly abhors - not only acceptable but, in some way, heroic? The answer, I suggest, is connected to the interpretative frames established by the author, and the patterns of evaluative language used to construct these. Robin Hood, King Arthur, and other legendary characters who remain a vital. The evil that men do lives after them The good is oft interrèd with their bones. I come to bury Caesar, not to praise him. Friends, Romans, countrymen, lend me your ears. The law exists to protect society from criminal behaviour a bandit, by definition, is one who has committed such acts. (I owe you a favor back) You gentle Romans. ![]() Although elements of romance make stories of this type eminently suitable for such media, there are problems in the sphere of ethics for the bandit’s would-be chronicler. "Abstract Latterday Robin Hoods? The bandit in popular song The bandit has been an important figure in many cultural traditions, from serious literature to lighter manifestations in poetry, ballads, and popular song.
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