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<p class="MsoNormal"><span style="font-family:'times new roman';color:blue"><a href="http://rep.ucpress.edu/content/137/1"><b><span style="color:blue;text-decoration:none">LANGUAGE-IN-USE AND

THE LITERARY ARTIFACT</span></b></a><b><span></span></b></span></p>

<p class="MsoNormal"><span style="font-family:'times new roman';color:rgb(42,42,42)">a special issue of <a><span style="font-family:'times new roman';color:red;text-decoration:none">Representations</a><span style="font-family:'times new roman';color:rgb(42,42,42)"> <span style="font-family:'times new roman';color:rgb(42,42,42)">(no.

137, Winter 2017) <span></span></span></p>

<p class="MsoNormal"><span style="font-family:'times new roman';color:rgb(42,42,42)">Free for a limited

time on </span><a href="http://rep.ucpress.edu/content/137/1"><span style="font-family:'times new roman';color:blue;text-decoration:none">Highwire</span></a><b><span style="font-family:'times new roman';color:rgb(42,42,42)"><span></span></span></b></p>

<p class="MsoNormal"><b><span style="font-family:'times new roman';color:rgb(42,42,42)"><span> </span></span></b></p>

<p class="MsoNormal"><span style="font-family:'times new roman'">Literary critics and theorists often shy away from talking about writers

and readers as people who put language to use. Instrumentalized reason,

positivism, and other watchwords warn against turning a literary artifact into

mere data or information, or making it part of an exchange of language that is

not exclusively aesthetic in nature. At the same time, when critics seek praxis

in literature, speak about the performative attributes of a text, or discuss

how to do things with words, they usually treat whatever text they are

considering as a stable object. The contributors to this special issue of <i>Representations</i> are all interested in

language-in-use as it applies to different kinds of linguistic artifacts and to

text understood as the dynamic product of an interactive process. –<i>from the introduction<span></span></i></span></p>

<p class="MsoNormal"><span style="font-family:'times new roman';color:rgb(42,42,42)"><span> </span></span></p>

<p class="MsoNormal"><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)">MICHAEL LUCEY and TOM M<span style="font-variant:small-caps">c</span>ENANEY<span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/1"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">Introduction:

Language-in-Use and Literary Fieldwork</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

<p class="MsoNormal"><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)">MICHAEL SILVERSTEIN<span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/23"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">The

Fieldwork Encounter and the Colonized Voice of Indigeneity</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

<p class="MsoNormal"><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)">TRISTRAM WOLFF<span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/44"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">Talking

with Texts: Hazlitt’s Ephemeral Style</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

<p class="MsoNormal"><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)">JILLIAN R. CAVANAUGH<span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/68"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">The

Blacksmith’s Feet: Embodied Entextualization in</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/68"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">Northern

Italian Vernacular Poetry</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

<p class="MsoNormal"><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)">AARON BARTELS-SWINDELLS<span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/88"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">The

Metapragmatics ofthe “Minor Writer”: Zoë Wicomb,</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/88"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">Literary

Value, and the Windham-Campbell Prize Festival</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

<p class="MsoNormal"><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)">NICHOLAS HARKNESS<span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/112"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">Transducing

a Sermon, Inducing Conversion:</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/112"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">Billy

Graham, Billy Kim, and the 1973 Crusade in Seoul</span></a><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)"><span></span></span></p>

<p class="MsoNormal"><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)">TOM M<span style="font-variant:small-caps">c</span>ENANEY<span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/143"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">Real-to-Reel:

Social Indexicality,Sonic Materiality,</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/143"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">and

Literary Media Theory in Eduardo Costa’s Tape Works</span></a><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)"><span></span></span></p>

<p class="MsoNormal"><span style="font-size:10pt;font-family:'times new roman';color:rgb(42,42,42)">TRISTRAM WOLFF<span></span></span></p>

<p class="MsoNormal"><a href="http://rep.ucpress.edu/content/137/1/167"><span style="font-size:10pt;font-family:'times new roman';color:blue;text-decoration:none">Afterword</span></a><span style="font-size:10pt;font-family:'times new roman';color:blue"><span></span></span></p>

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