Euphemism in Animated Films a Multimodal And
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Seeing the unseen: Euphemism in Animated Films A Multimodal and Critical Discourse Study by Dalia Abyd Asseel M.A. (Linguistics) A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in THE DEPARTMENT OF LINGUISTICS AND ENGLISH LANGUAGE LANCASTER UNIVERSITY, UK JULY 2020 Abstract Animated films are contemporary popular cultural products recreating the ‘real’ world and engaging massive worldwide audiences of adults and children. Children as the ostensible viewers of animated films may acquire their cultural and ideological knowledge and beliefs about the world from the representations in animated films. Although during the past decade animated films have increasingly been the focus of attention of researchers across different disciplines, including education, gender, sexuality and literacy, studies tackling the discourse and language of animated films are still in their early stages. More specifically, very few studies have investigated the use of euphemism as a major micro-level linguistic device reflecting macro-level discourse and extending to sociocultural structures. To this end, this thesis examines euphemism constructed through the discourse of animated films by employing the strategies of Critical Discourse Studies (CDS). Moreover, Multimodal Discourse Analysis (MDA) is employed to examine discursive strategies involving visual representations accompanying euphemism and what underpins those strategies, and to shed light on the multimodal relations between the representation of both. Euphemism is frequently associated with the notion of taboo. Consequently, new words or phrases are designated to refer to linguistic taboos as alternatives used by speakers to minimise the threat to the audience’s face as well as to their own. In addition, euphemistic occurrences represent a self-interested version of reality by pushing a topic into the background and highlighting instead a particular view of a topic. Therefore, euphemism is a speaker-oriented tool implying the reaction the speaker intends to prompt in the audience. This study shows that euphemism as a discursive linguistic tool has been used extensively in i animated films as a manifestation of the discursive role anthropomorphised characters play to transmit certain ideological and social representations. A data set comprising 176 euphemisms found in four full-length anthropomorphised animated featured films, AAFF, extracted from film scripts and online channels was collected. The study identifies the main types of euphemism used in films, drawing on a framework of types based on Warren (1992), Allan and Burridge (1991) and Crespo (2006). After the main types of euphemism have been identified, the data set is approached from the perspective of taboo and culturally repressed topics, such as sexuality, gender and race. Moreover, discursive strategies adapted from Reisigl and Wodak (2016) are applied in order to identify important categories for the analysis of euphemistic discourse. This approach forms the basis for an in- depth, qualitative analysis of several representative scenes extracted from the films under investigation. First, the analysis focuses on racial euphemisms targeting different races. Then, I analyse sexual euphemisms related to nudity and sexual body parts, as well as conceptual metaphoric representations of sexual euphemisms. Finally, I focus on gendered euphemisms targeting the representation of four female characters in the films. The analysis shows that animated films tend to use euphemism to camouflage various taboo areas and manipulate the viewers’ perceptions, such as those relating to sexuality, gender and race. Nomination strategies are used more frequently with euphemisms referring to race, sex and gender. Metaphors and conceptual metaphors are used more frequently with sexual euphemisms. Visual empowerment strategies of female characters to highlight their sexuality are used more frequently with gendered euphemisms. I argue that while the linguistic element attenuates an ideology by virtue of euphemism’s manipulative nature, the visual element, in turn, highlights and confirms the same ideology, values or stereotypes. ii Hence, animated films can articulate the ideological and social legitimation or normalisation of a particular view of race, sex or gender through the use of euphemism and visual discursive strategies. iii Declaration I declare that this thesis is my own work and has been submitted for a PhD degree from the Department of Linguistics and English Language at Lancaster University, UK. I also declare that it has not been submitted in substantially the same form for the award of a higher degree elsewhere. iv Acknowledgements First and foremost, all praise and thanks to Allah the Almighty, the Giver of bountiful blessings, among which is the successful completion of this thesis. I wish to express my sincere appreciation to my supervisor, Julia Gillen, whose continuous guidance and encouragement have helped me do the right thing, even when the going got tough. I could not imagine having a better advisor and mentor for my PhD study. To my sister and friend, Faizah. Thank you for being my caring, loving and supportive roommate, travel-mate and soulmate. I cannot thank you enough for our stimulating discussions, for the sleepless nights when we were working together to meet deadlines, for always listening to me, being there for me, and for all the fun and sadness we have shared during the last six years. The completion of this thesis could not have been achieved without the support and patience of my children. To Tamara and Tameem, thank you for your patience throughout the scholarship and the divorce. Thank you for allowing me time away from you to write my thesis. You have always been marvellous children. I am so proud of you. Your dream trips to Disney and Dubai are close to coming true! I am extremely grateful to my father, whose continuous prayers were the driver that kept me going. Thank you for implanting the love of learning in us, for encouraging us to read and be whom we are. I quote Disney’s famous line in Frozen, “true love is between siblings”. Therefore, I would like to thank my sister and my backbone, Suzan and her family, especially my brother- in-law Mr Fayez, her husband, and Lujain, my dearest niece. Your encouragement when the times got rough was and is much appreciated and will never be forgotten. It was a great comfort and relief to know that you were willing to care for my children during my hectic travels to the UK v while I completed my work. My heartfelt thanks. I extend my thanks to my sister, Dina, for her professional help with visual data and quantitative analysis. I just want to tell you, unlike what you think, you being away does not mean you are not always remembered because you are in our hearts. Thanks are due to my brothers, Nezar, Hussain and Hassan. I love you, guys. Thanks are due to my uncle, Mr Khalid, for his words of advice during the divorce and supportive words afterwards. Also, I am grateful to all my family - nieces, nephews, sisters-in-law, brothers-in-law, uncles, aunts and cousins. May Allah protect you all. No love can compare to the love of a family. Thanks are due to Allah for the blessing of my friends, the Al-Nasifyiah group, my friends always and forever. I think this is a good opportunity to thank you for being in my life for 35 years, all for one and one for all. To my good friends, Dr Enas Filimban, Dr Roaa Bati, Ms Etedal Baeshen and Ms Farah Hammad, thank you all for being there for me, for better or for worse. vi Dedication To my late Mom and my Dad, I dedicate this to you. To my sisters and brothers, I hope I have made you proud. To Tamara and Tameem, every single bit of this thesis, every single tear, all the pain it took to finish it, is totally worth it because this endeavour is pursued for you. vii Table of Contents Abstract ........................................................................................................................................ i Declaration................................................................................................................................. iv Acknowledgements .................................................................................................................... v Dedication ................................................................................................................................. vii Table of Contents .................................................................................................................... viii List of Figures ........................................................................................................................... xii List of Tables ............................................................................................................................. xii List of Extracts ......................................................................................................................... xiii List of Diagrams ....................................................................................................................... xiii List of Abbreviations ................................................................................................................ xiv Chapter One ............................................................................................................................. 15 Introduction .............................................................................................................................