heteroglossia


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het·er·o·glos·si·a

 (hĕt′ə-rō-glô′sē-ə, -glŏs′-)
n.
The existence, within a society or literary description of a society, of many varieties of a single language, such as regional dialects and varieties associated with class and gender, that are acted upon by social forces that compete to assimilate the varieties to a standard or to maintain or increase differentiation among them.

[hetero- + Greek glōssa, tongue, language; (translation of Russian raznorečie : raznyĭ, different, various + reč', speech + -ie, abstract n. suff).]
References in periodicals archive ?
Bakhtin's theories, the binaries of heteroglossia and monoglossia; and authorial and dialogic voices are central.
Bakhtin's notion of heteroglossia builds upon an understanding of language (and of the world) as social practice in diverse contexts, as opposed to the idea of language as a generic system of linguistic symbols.
Referring to Deborah Heath's 1992 article about clothing and heteroglossia, Kirby nonetheless interprets the fabric as part of a hierarchy of cloth.
Brioni interprets heteroglossia as intertextual and contests Deleuze and Guattari's suggestion that minor literature dialogues minimally with canonized texts of major literature.
Given the overarching verbal complexity of James Joyce's Ulysses, it is not surprising that many contemporary critics invoke Mikhail Bakhtin's theories of heteroglossia to untie its knotted linguistic surfaces.
Heteroglossia is meant to be a marker of the novel's "stylistic and linguistic variety, its openness to the world-in-process of the present" as opposed to the monologic structure of epic poetry (Dentith 1996: 46-47).
He then explores the notion of Aztlan as utopia, not in the sense promoted by Thomas More, but as a dialogic process along the lines of Mikhail Bakhtin's heteroglossia.
The study covers sections as follows: to define and identify the presentational elements commonly used in television news; to compare and describe the forms of those elements and their distribution, based on two contrasting television news programs, namely, BBC News at Ten and CCTV's News Simulcast; (2) and to analyze and discuss the potential implications for using different presentational forms and strategies between the two news programs by drawing upon Bakhtin's (1981) heteroglossia and Goffman's (1981) production format of talk.
They add that, "Utilizing postmodern polyphony in their screenplay, Norman and Stoppard not only problematize conventional notions of authorship through their usage of heteroglossia and various levels of metanarration, but also argue for the more hopeful, humanistic possibilities of postmodernity" (146).
This article will utilize Mikhail Bakhtin's theories about the interactions of images of languages, heteroglossia, on the linguistic boundary between protagonists or cultures to highlight the collaborative, interconnected nature of mutual perception between the self and others in the novel.
Characterized by "a diversity of social speech types" and "a diversity of individual voices, artistically organized," heteroglossia defines the authorial utterance and the character's speech as a territory for many voices to interfere and compete within ("Discourse" 262).
In his article, Evgeny Margolit explores "the problem of heteroglossia," or multilingualism, in the early 1930s.