DOCSLIB.ORG

I Non-Binary Speech, Race, and Non-Normative Gender

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I Non-Binary Speech, Race, and Non-Normative Gender Non-binary speech, race, and non-normative gender: Sociolinguistic style beyond the binary Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Ariana June Steele, B.A. Linguistics Graduate Program The Ohio State University 2019 Thesis Committee: Kathryn Campbell-Kibler, Adviser Cynthia Clopper i Copyright by Ariana June Steele 2019 ii Abstract Non-binary speech is understudied in the realm of sociolinguistics. Previous studies on non- binary speech (Kirtley 2015; Gratton 2016; Jas 2018) suggest that non-binary speakers are able to make use of linguistic variables that have been tied to binary gender in novel ways, often dependent on social context and goals, though these studies are limited in scope, considering eight or feWer non-binary talkers in their studies. Research into sociolinguistic style (Eckert 2008; Campbell-Kibler 2011) emphasiZes the ways that multiple linguistic and extralinguistic variables can be employed simultaneously to construct coherent styles, leaving room for speaker race to be included in the stylistic context (Pharao et al. 2014). Zimman’s (2017) study on transmasculine speakers showed that speakers can employ binary gendered linguistic variables in speech styles to position themselves towards or against normative binary gender. The current study considers how tWenty non-binary speakers, stratified by sex assigned at birth and race, use /s/ and f0, variables which tied to gender in previous research, alongside clothing to construct non-binary gendered styles. Results further support that race is an important construct in understanding gendered speech, as Black non-binary speakers produce /s/ differently with respect to self-identified masculinity than do white non-binary speakers. Overall, non-binary speakers align with other speakers who position themselves with non-normative gender expressions through their use of /s/ and f0. i Acknowledgements I’d like to thank my adviser, Kathryn Campbell-Kibler, who not only has given me invaluable advice on my research and writing of this project, but has helped me look beyond my worries to the greatness in the work that I’m doing. I’d also like to thank Cynthia Clopper and Jian Chen, my QP1 committee members, for their feedback and support on the research and writing herein. The discussion group SoMean has been integral to my conceptualiZing of this research – I thank you all immensely for your comments. Last, but certainly not least, I’d like to thank my friends and family who have been there throughout this journey: Mom, Dad, Jayleen, Josh, and Javi. You have all given me the strength to make this happen, and I’m forever greatful. ii Vita 2012 ................................................... Thomas Jefferson High School 2016 ................................................... B.A. Linguistics & Cognitive Science, Northwestern University 2016 to 2017 ...................................... Graduate Enrichment Fellow, Department of Linguistics, The Ohio State University 2017 to 2018 ...................................... Graduate Teaching Associate, Department of Linguistics, The Ohio State University 2018 to present .................................. Fellow, National Science Foundation Graduate Research Fellowship Program Fields of Study Major Field: Linguistics SpecialiZation: Sociophonetics iii Table of Contents Abstract .................................................................................................................................. i Acknowledgements ............................................................................................................... ii Vita ........................................................................................................................................ iii List of Tables ......................................................................................................................... vi List of Figures ........................................................................................................................ vii Introduction ........................................................................................................................... 1 Literature RevieW .................................................................................................................. 3 Methods ................................................................................................................................. 16 Population & Participants ................................................................................................ 16 Gender Questionnaire ...................................................................................................... 17 Ethnographic IntervieW ................................................................................................... 18 Reading Passage .............................................................................................................. 19 Analysis ................................................................................................................................. 20 Phonetic Analysis ............................................................................................................ 20 Analysis of Styles ............................................................................................................ 21 Statistical Analysis .......................................................................................................... 25 Results & Discussion ............................................................................................................. 27 f0 Results ......................................................................................................................... 27 /s/ Results ......................................................................................................................... 30 Conclusion ............................................................................................................................. 34 iv References ............................................................................................................................. 38 Appendix A: Gender Questionnaire ...................................................................................... 41 Appendix B: IntervieW Guide ............................................................................................... 43 Appendix C: /s/ and f0 Word Lists ........................................................................................ 46 Appendix D: Participants’ Visibility Scores and Self-Descriptions of Their Clothing on the Day of Their IntervieW .......................................................................................................... 48 v List of Tables Table 1. Participant information ............................................................................................ 17 Table 2. Indexical markers from participant descriptions of clothing styles noted in Phase I of style coding ....................................................................................................... 22 Table 3. Indexical markers of visibility levels with number of participants in each style. .............................................................................................................................. 24 Table 4. Linear mixed effects regression model results of demographic predictors for CoG in HertZ ................................................................................................... 27 Table 5. Linear mixed effects regression model results of visibility predictor for CoG in HertZ. ......................................................................................................................... 28 Table 6. Linear mixed effects regression model results of demographic predictors for f0 in HertZ. ...................................................................................................... 30 vi List of Figures Figure 1. Femininity ratings by masculinity ratings for all speakers. ................................... 26 Figure 2. CoG by masculinity for Black and white speakers. ............................................... 28 Figure 3. CoG by visibility level. .......................................................................................... 29 Figure 4. Boxplot of f0 by sex assigned at birth. ................................................................... 31 Figure 5. f0 by femininity. ..................................................................................................... 32 Figure 6. f0 by femininity ratings with sex assigned at birth. ............................................... 33 vii Introduction In linguistics, the speech of people who align themselves against normative gender and race is severely understudied, and especially so in sociolinguistics/sociophonetics. As Gaudio (1994) said on cisgender gay men’s speech before it had been thoroughly studied, “in linguistics… we have barely left the earlier days of enforced invisibility and negative stereotypes” (pp. 30). In the current study, I aim to lessen the gap in understanding of and garner greater visibility for speakers who fit in neither normative genders nor majority racial identities. Through focusing on non-binary speakers and equally centering Black and white non-binary speakers, this study adds to growing sociolinguistic research that suggests that gender is not expressed in
Load more

Recommended publications
  • On the Rise and Decline of Wulitou 无厘头's Popularity in China
    The Act of Seeing and the Narrative: On the Rise and Decline of Wulitou 无厘头’s Popularity in China Inaugural dissertation to complete the doctorate from the Faculty of Arts and Humanities of the University of Cologne in the subject Chinese Studies presented by Wen Zhang ACKNOWLEDGEMENTS My thanks go to my supervisors, Prof. Dr. Stefan Kramer, Prof. Dr. Weiping Huang, and Prof. Dr. Brigitte Weingart for their support and encouragement. Also to the Faculty of Arts and Humanities of the University of Cologne for providing me with the opportunity to undertake this research. Last but not least, I want to thank my friends Thorsten Krämer, James Pastouna and Hung-min Krämer for reviewing this dissertation and for their valuable comments. TABLE OF CONTENTS INTRODUCTION ...................................................................................................................................... 1 0.1 Wulitou as a Popular Style of Narrative in China ........................................................... 1 0.2 Story, Narrative and Schema ................................................................................................. 3 0.3 The Deconstruction of Schema in Wulitou Narratives ................................................... 5 0.4 The Act of Seeing and the Construction of Narrative .................................................... 7 0.5 The Rise of the Internet and Wulitou Narrative .............................................................. 8 0.6 Wulitou Narrative and Chinese Native Cultural Context ..........................................
    [Show full text]
  • Patricia Highsmith's Queer Disruption: Subverting Gay Tragedy in the 1950S
    Patricia Highsmith’s Queer Disruption: Subverting Gay Tragedy in the 1950s By Charlotte Findlay A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2019 ii iii Contents Acknowledgements ………………………………………………………………..……………..iv Abstract……………………………………………………………………………………………v Introduction………………………………………………………………………………………..1 1: Rejoicing in Evil: Queer Ambiguity and Amorality in The Talented Mr Ripley …………..…14 2: “Don’t Do That in Public”: Finding Space for Lesbians in The Price of Salt…………………44 Conclusion ...…………………………………………………………………………………….80 Works Cited …………..…………………………………………………………………………83 iv Acknowledgements Thanks to my supervisor, Jane Stafford, for providing always excellent advice, for helping me clarify my ideas by pointing out which bits of my drafts were in fact good, and for making the whole process surprisingly painless. Thanks to Mum and Tony, for keeping me functional for the last few months (I am sure all the salad improved my writing immensely.) And last but not least, thanks to the ladies of 804 for the support, gossip, pad thai, and niche literary humour I doubt anybody else would appreciate. I hope your year has been as good as mine. v Abstract Published in a time when tragedy was pervasive in gay literature, Patricia Highsmith’s 1952 novel The Price of Salt, published later as Carol, was the first lesbian novel with a happy ending. It was unusual for depicting lesbians as sympathetic, ordinary women, whose sexuality did not consign them to a life of misery. The novel criticises how 1950s American society worked to suppress lesbianism and women’s agency. It also refuses to let that suppression succeed by giving its lesbian couple a future together.
    [Show full text]
  • Art. Music. Games. Life. 16 09
    ART. MUSIC. GAMES. LIFE. 16 09 03 Editor’s Letter 27 04 Disposed Media Gaming 06 Wishlist 07 BigLime 08 Freeware 09 Sonic Retrospective 10 Alexander Brandon 12 Deus Ex: Invisible War 20 14 Game Reviews Music 16 Kylie Showgirl Tour 18 Kylie Retrospective 20 Varsity Drag 22 Good/Bad: Radio 1 23 Doormat 25 Music Reviews Film & TV 32 27 Dexter 29 Film Reviews Comics 31 Death Of Captain Marvel 32 Blankets 34 Comic Reviews Gallery 36 Andrew Campbell 37 Matthew Plater 38 Laura Copeland 39 Next Issue… Publisher/Production Editor Tim Cheesman Editor Dan Thornton Deputy Editor Ian Moreno-Melgar Art Editor Andrew Campbell Sub Editor/Designer Rachel Wild Contributors Keith Andrew/Dan Gassis/Adam Parker/James Hamilton/Paul Blakeley/Andrew Revell Illustrators James Downing/Laura Copeland Cover Art Matthew Plater [© Disposable Media 2007. // All images and characters are retained by original company holding.] dm6/editor’s letter as some bloke once mumbled. “The times, they are You may have spotted a new name at the bottom of this a-changing” column, as I’ve stepped into the hefty shoes and legacy of former Editor Andrew Revell. But luckily, fans of ‘Rev’ will be happy to know he’s still contributing his prosaic genius, and now he actually gets time to sleep in between issues. If my undeserved promotion wasn’t enough, we’re also happy to announce a new bi-monthly schedule for DM. Natural disasters and Acts of God not withstanding. And if that isn’t enough to rock you to the very foundations of your soul, we’re also putting the finishing touches to a newDisposable Media website.
    [Show full text]
  • Straight Man in a Gay World”
    The Qualitative Report Volume 21 Number 6 Article 12 6-27-2016 Becoming the Change Witnessed: Strategic Use of Empathy in Morgan Spurlock’s “Straight Man in a Gay World” Michael W. Tumolo California State University - Stanislaus, [email protected] Jennifer Biedendorf California State University, Stanislaus, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/tqr Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Quantitative, Qualitative, Comparative, and Historical Methodologies Commons, Social Statistics Commons, and the Speech and Rhetorical Studies Commons Recommended APA Citation Tumolo, M. W., & Biedendorf, J. (2016). Becoming the Change Witnessed: Strategic Use of Empathy in Morgan Spurlock’s “Straight Man in a Gay World”. The Qualitative Report, 21(6), 1178-1192. https://doi.org/10.46743/2160-3715/2016.2278 This Article is brought to you for free and open access by the The Qualitative Report at NSUWorks. It has been accepted for inclusion in The Qualitative Report by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Becoming the Change Witnessed: Strategic Use of Empathy in Morgan Spurlock’s “Straight Man in a Gay World” Abstract This essay examines the strategic use of empathic communication that fosters a loving struggle for Existenz in “Straight Man in a Gay World” (2005), an episode of Morgan Spurlock’s documentary-styled television program 30 Days. The show functions as a persuasive discourse designed to influence the heterosexual participant and, by extension, the implied audience. This essay offers an overview of key terms in the study of empathy and analyzes key moments of empathic communication in the episode.
    [Show full text]
  • Research Commons at The
    http://waikato.researchgateway.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. FROM 'AMBIGUOUSLY GAY DUOS' TO HOMOSEXUAL SUPERHEROES: THE IMPLICATIONS FOR MEDIA FANDOM PRACTICES A thesis submitted in fulfilment of the requirements for the degree of Master of Arts in Screen and Media At The University of Waikato By GEMMA CORIN The University of Waikato 2008 Abstract Despite traversing the fine line between homosocial and homosexual (Brooker, 2000) in his controversial text Seduction of the Innocent, Fredric Wertham’s (1954) description of Batman and Robin as a ‘wish dream of two homosexuals living together’ (Lendrum, 2004, p.70) represents one of the first published queer readings of superhero characters. This text can also be interpreted as the commencement of, and subsequent intense interest in the way superhero characters often portray a ‘camp’ sensibility (Medhurst, 1991) representative of a queer performative identity (Butler, 1993).
    [Show full text]
  • Comedic Devices Exercise.Pdf
    Name ________________________________________________________ Teacher’s Name ______________________________________________ English ____ – Period _____ __________________________________________ Date Month Year Devices of Comedy Part I. DEVICES OF COMEDY. Consider each of the devices of comedy listed below, and then try to come up with examples that you know from television, film, or literature that illustrate these terms. We will go over each term and then try to generate modern examples as a class. ANACHRONISM - Something is anachronistic if it is out of sync with a time period. For instance, if there were a television in the set of an otherwise entirely historical production of a Shakespearean play, that television would serve as an anachronism. In a “Moonlighting Atomic Shakespeare” adaptation of the Taming of the Shrew, Petruchio arrives on his horse with a BMW symbol painted on the rear of his horse just as flying ninjas come bounding through the air (utterly out of place) into the midst of swordplay. ELEVATED LANGUAGE – Language that is overblown, flowery, or lofty (particularly juxtaposed to a more base version of the same language) is said to be “elevated.” Students might think of someone like the brother Nigel on the sitcom “Frasier” who had difficulty speaking to everyday people; in Twelfth Night, the actor playing Malvolio very likely enunciates his words as if he is just a bit more high-brow than his station actually allows. In The Taming of the Shrew, Sly, a drunkard can hardly understand the noblemen who find it hysterical to pretend that Sly is one of them when he so obviously is not—not in station, not in vocabulary, not in diction.
    [Show full text]
  • Terminology Packet
    This symbol recognizes that the term is a caution term. This term may be a derogatory term or should be used with caution. Terminology Packet This is a packet full of LGBTQIA+ terminology. This packet was composed from multiple sources and can be found at the end of the packet. *Please note: This is not an exhaustive list of terms. This is a living terminology packet, as it will continue to grow as language expands. This symbol recognizes that the term is a caution term. This term may be a derogatory term or should be used with caution. A/Ace: The abbreviation for asexual. Aesthetic Attraction: Attraction to someone’s appearance without it being romantic or sexual. AFAB/AMAB: Abbreviation for “Assigned Female at Birth/Assigned Male at Birth” Affectionional Orientation: Refers to variations in object of emotional and sexual attraction. The term is preferred by some over "sexual orientation" because it indicates that the feelings and commitments involved are not solely (or even primarily, for some people) sexual. The term stresses the affective emotional component of attractions and relationships, including heterosexual as well as LGBT orientation. Can also be referred to as romantic orientation. AG/Aggressive: See “Stud” Agender: Some agender people would define their identity as not being a man or a woman and other agender people may define their identity as having no gender. Ally: A person who supports and honors sexual diversity, acts accordingly to challenge homophobic, transphobic, heteronormative, and heterosexist remarks and behaviors, and is willing to explore and understand these forms of bias within themself.
    [Show full text]
  • Between Boys: Fantasy of Male Homosexuality in Boys' Love, Mary Renault, and Marguerite Yourcenar by Jui-An Chou Graduate Pr
    Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar by Jui-an Chou Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Anne F. Garréta, Supervisor, Chair ___________________________ Robyn Wiegman, Co-Chair ___________________________ Rey Chow ___________________________ Anne Allison Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2018 ABSTRACT Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar by Jui-an Chou Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Anne F. Garréta, Supervisor, Chair ___________________________ Robyn Wiegman, Co-Chair ___________________________ Rey Chow ___________________________ Anne Allison An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2018 Copyright by Jui-an Chou 2018 Abstract “Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar” examines an unexpected kinship between Boys’ Love, a Japanese male-on-male romance genre, and literary works by Mary Renault and Marguerite Yourcenar, two mid-twentieth century authors who wrote about male homosexuality. Following Eve Sedgwick, who proposed that a “rich tradition of cross- gender inventions of homosexuality” should be studied separately from gay and lesbian literature, this dissertation examines male homoerotic fictions authored by women. These fictions foreground a disjunction between authorial and textual identities in gender and sexuality, and they have often been accused of inauthenticity, appropriation, and exploitation.
    [Show full text]
  • Straight Identity Power Jake Beardsley, College of William and Mary
    1 Straight Identity Power Jake Beardsley, College of William and Mary Abstract: By adapting Miranda Fricker’s concept of identity power, I develop the concept of Straight Identity Power, which is available to persons who are perceived as heterosexual and cisgender. Although it is possible for queer and feminist activists to use Straight Identity Power to further some political ends, doing so is ultimately detrimental, as it necessarily reinforces heterosexist and patriarchal mores. Queer feminists should instead challenge core heterosexist ideals holistically, by employing Queer Identity Power. __________________________________________________________________ In her book, Epistemic Injustice, Miranda Fricker defines identity power as a “form of social power” which requires “imaginative social co-ordination” relating to social identity.1 Using a modified version of this concept, I will propose the concept of Straight Identity Power (SIP), or identity power which is available to certain people because of the perception that they are heterosexual and cisgender. I will demonstrate that access to SIP2 is contingent not on a stable sexual or gender identity, but on a person’s ability to perform cisheterosexuality in a given context. Although cautiously relying on SIP may aid some queer or feminist activists in achieving their most immediate political goals, doing so is necessarily detrimental to the advancement of gender equality. To oppose heteropatriarchy successfully, activists must target heteropatriarchal mores without relying on SIP. Part I. Terms SIP is social power which is available to a person because of the perception that they are heterosexual and cisgender. Rather than conferring any particular goods onto those who possess it, SIP grants a limited range of power to enforce cisheterosexual mores, and also to improve one’s own standing within a heterosexist framework.
    [Show full text]
  • Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy.
    [Show full text]
  • Effeminacy and Expertise, Excess and Equality
    Effeminacy and Expertise, Excess and Equality: Gay Best Friends as Consumers and Commodities in Contemporary Television © Copyrighted Material Introduction: Selling and Buying the Gay Best Friend Chapter 7 In December 2003 Vanity Fair Heat Wave’. Featuring the stars of American series Will & Grace Queer Eye for the Straight Guy cover celebrated what seemed a milestone in mainstream media: at least nine gay-centric television shows in prime time, in a period of unprecedentedSusie Khamis and Anthony Lambert visibility for gay and lesbian characters and personalities. This was, to a certain extent, an unexpected side effect of the cultural focus on gay men after the spread of AIDS in the West in the 1980s: While the AIDS crisis claimed many lives, it served as a catalyst to open conversations about sexuality and gender that had heretofore been difficult if not impossible and, consequently, the turn of the millennium ushered in a newfound examination of what had been defined as ‘‘gay,’’ and perhaps not so positively, this queered space began to make ‘‘gay’’ a commodity. Interestingly, it would only be 10 years after the height of the AIDS crisis in America that magazine dedicated its front cover to ‘TV’s Gay © 2015 the number one television sit-com would highlight the lives of two ‘‘gay’’ men (2003–2007) and From Alison Hulme (ed.), Consumerismand two ‘‘straight’’on TV: Popularwomen (all whiteMedia and from‘‘upper-middle-class’’) the 1950s to in thea manner Present , published by Ashgate Publishing.that captured See: many http://www.ashgate.com/isbn/9781472447562 of the stereotypes historically associated with gays and the women who adore them (Poole, 2014: 280).
    [Show full text]
  • The Necessary Experience of Error
    The Necessary Experience of Error By Carla Billitteri Delirium, Hybridity, Error Carla Harryman’s work has been found “intelligent, sardonic, and elliptical to the point of delirium,” and to this list I would add picaresque and joyful (Ziolkowski n.p.). For “delirium” in its root meaning is “to go out of the furrow,” an act of wandering, of digressing, of going astray and going wrong, and one can tell from the frequency with which Harryman uses the word “delight” (etymologically, “to lure away,” to allure) that she takes joy in such delirium, in acts of writing that willingly depart from the furrows of the ordinary, the expected, the normative. Delirium manifests itself as continuous, restless movement, and it is only fitting that three of Harryman’s most recent works (The Words, Gardener of Stars, and Baby) are picaresque tales of textual errancy suffused with the delight of moving across categorical boundaries, whether of gender, space, time, or human embodiment. These movements are affirmed or reinforced compositionally by Harryman’s penchant for continuous migrations across boundaries of literary genres. Shifting swiftly and artfully from prose to poetry, from poetry to fable, from fable to drama, from drama to critical commentary, Harryman’s works are hybrid texts in Bakhtin’s sense, not fusions of genres in which new forms are created and in which old forms are changed beyond recognizability, but heterogeneous mixtures “belonging simultaneously to two or more systems” (Bakhtin 429). Through her particular approach to hybridity, Harryman demonstrates that her delight in the picaresque experience of textual errancy is not simply a crossing of genres, but of cognitive boundaries, for each literary genre defines and can in turn be defined as a 1 delineation of cognitive expectations.
    [Show full text]