33.1664, Calls: Applied Linguistics, Ling & Literature/Tunisia

[The LINGUIST List]

LINGUIST List: Vol-33-1664. Wed May 11 2022. ISSN: 1069 - 4875.

Subject: 33.1664, Calls: Applied Linguistics, Ling & Literature/Tunisia

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Date: Wed, 11 May 2022 00:55:33
From: Sabiha Choura [sabiha.choura at flshs.usf.tn]
Subject: Rhythm: Actual and Virtual, Within and Without

 
Full Title: Rhythm: Actual and Virtual, Within and Without 

Date: 12-Oct-2022 - 14-Oct-2022
Location: Sfax, Tunisia 
Contact Person: Sabiha Choura
Meeting Email: sabiha.choura at flshs.usf.tn

Linguistic Field(s): Applied Linguistics; Ling & Literature 

Call Deadline: 31-Aug-2022 

Meeting Description:

The conference covers multidisciplinary areas of interest all of which
revolving around the ever-increasing importance of rhythm in all its
manifestations, actual and virtual, from within and from without.


Call for Papers:

Rhythm plays a crucial role in the functioning of our bodies as well as our
natural and social environments (Adhitya 2018). It is the core around which we
construct our own perceptions of time. In fact, our routines “give us the
rhythm of life. They both express and inform our identities”, says Alex Clark,
a psychosocial health researcher and professor in the University of Alberta.
We actually internalize rhythm, but we do not notice its importance until
something goes wrong. Then – and only then – could we realize how invaluable
the most casual of routines may become, a finding which thenceforth transforms
rhythm into something exceptional, highly worthy of consideration and real
care not only on the natural, biological, or social levels, but also on levels
touching all aspects of life within and without.

In the academic side of life, Rhythm represents a concept of high pertinence
as it pervades the works of classical as well as modern and contemporary
philosophers and thinkers. Plato, for instance, believes that rhythm is
inherent in man’s nature and that it is the tool capable of changing it. He
develops Eurhythmy (euruthmía) as a political, aesthetic and ethical theory of
rhythm that puts together the two concepts of time and form. In the same vein,
Friedrich Nietzsche goes further in establishing a philosophy of rhythm as “a
form of becoming.” As a philologist, he assumes that rhythm rests upon its
qualities of “multiplicity and becoming” to beautify art and, therefore, life.
Differently from these, however, modern French philosopher and poet, Henry
Meschonnic, develops a new theory of rhythm based on the assumption that the
study of rhythm must be basically a study of language. His theory tackles
rhythm outside its literary and artistic facets, assuming that it is a
politics in which Human Sciences can be brought together for its study.

Unsurprisingly, therefore, recent research has considered that Meschonnic’s
findings, among others, are valuable for the study of rhythm as a carrier of
thoughts in all types of discourse. For instance, rhythm is for Bassetti and
Bottazzi (2015) central to interaction and conversation. Indeed, they both
argue that, we – humans – feel the vibes and the synchrony when the audience’s
nods, movements and small gestures are in synchrony with our speech.

In this context, Allan Teger (2007) builds on earlier literature on rhythm in
interaction (Kendon, 1970; Condon and Sanders, 1983) and speaks of the
“interactional dance.” In literature and the arts, rhythm is a device that
controls the work through “strong and weak melodic and harmonic beats” (Hill
2021). In drama, for instance, rhythm decides the pace and timing of action
and speech sequences. As Courtney (1990) explains, “[g]reat theatre performers
are experts in pace and timing… Pace is the total patterning of rhythm, in
life on the one hand, and on the other in a play, an act, or a scene.” As far
as narratives are concerned, the rhythm may be strong in some novels and short
stories and weak in others since “the rhythm of a narrative can be determined
from the succession of the various basic forms of narration which comprise the
narrative part of a work” (Stanzel 1984). Understandably, then, as Adema
(2017) argues, speech and thought representation is one of the means for a
narrator to influence the rhythm of a narrative text.

Papers and/or presentations in this conference are thus expected to cover
multidisciplinary areas of interest all of which revolving around the
ever-increasing importance of rhythm in all its manifestations, actual and
virtual, from within and from without. These include, yet are not limited to,
the following topics:

- Rhythm: Poetics of Sound and/or aesthetics/ethics of form
- Rhythm and Self-knowledge
- Rhythm and Language: Speech, dialect, and communication 
- Syntax and Rhythm
- Semantics of Rhythm
- Pragmatics of Rhythm
- Rhythm and Pedagogy
- Rhythm and Advertising

For submission information, contact:
sabiha.choura at flshs.usf.tn




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