Carrion's small 'i' is a self-consciously articulated, depersonalised, heteroglossic
voice and, as such, an example of Jacobson's referential shifter in which the 'now' and 'here' of the space of the page as well as the reiterated and reinforced visual analogue (Drucker 2007:164) of the book's whole are articulated.
If Boswell's Life of Johnson serves as example, we know that modern biography partakes more of the carnivalesque and heteroglossic
than of a calm and linear weave of accessible documents.
Milton's influence on Middlemarch is of course old news, but previous critics have tended to see Milton "as emblem of singularly authoritative discourse within a heteroglossic
Ruczaj proposes that "a reading of O'Brieds novel centred on the theme of the netherworld and realized by means of an analogy with Dante's Commedia makes it possible to resolve the inherent paradox between the heteroglossic
poetics of the novel and the dimension of the 'morality tale' at the heart of the text.
2), they are similar in their little use of heteroglossic
engagement resources, as Table 2 illustrates:
Such a conclusion clarifies the nature of the author function in the medium of comics, as well as helping to articulate the bivocal or heteroglossic
nature of the comics form.
In conclusion, by employing Bakhtin's heteroglossic
and dialogic functions of language, we are able to process information differently and so make new meanings.
The possession of Sierva Maria has its roots in the heteroglossic
voice of Afro-Hispanic Caribbean culture, a ubiquitous presence in 18th century Cartagena as Del amor y otros demonios makes clear, but certainly always a marginalized voice.
And--as it has been shown above--the same goes for the language of the text as well, with its "highly literal heteroglossic
mixtures of languages," (30) its shifting speaking positions that deconstruct traditional dichotomies, and the notion of any kind of fixed speaking position.
This is confirmed by such passages within the book as "McCulloch's writing is often heteroglossic
, containing two or three simultaneous levels of discourse for ironic purposes.
Native American / Indigenous film does not simply fit into or reject First Cinema (North American or Hollywood), Second Cinema (Independent or Art House cinema), Third Cinema (the cinema of the Third World), (3) or Fourth Cinema (cinema of Indigenous peoples); rather it is the referencing, morphing, and reaching across all or focusing on just one of these forms, historical periods and geographical demarcations in a heteroglossic
meta dialogue about Indigenous representation.
Our world is inherently heteroglossic
due to the often-conflicting coexistence of different discourses (Bakhtin, 1981).