Linguistic Determinism - Role in Literary Theory

Role in Literary Theory

Linguistic determinism is a partial assumption behind a number of recent developments in rhetoric and literary theory. For example, Jacques Derrida's project of deconstruction aims to break apart the terms of "paradigmatic" hierarchies. (In language structures, some terms exist only with antonyms, such as light/dark, and others exist only with subordination, such as father/son and mother/daughter. Derrida's targets are the latter.) If one breaks apart the hidden hierarchies in language terms, one can open up a "lacuna" in understanding, an "aporia," and free the mind of the reader/critic. Similarly, Michel Foucault's New Historicism posits that there is a quasi-linguistic structure present in any age, a metaphor around which all things that can be understood are organized. This "epistem" determines the questions that people can ask and the answers they can receive. The epistem changes historically: as material conditions change, so the mental tropes change, and vice versa. When ages move into new epistems, the science, religion, and art of the past age look absurd. Some neo-Marxist historians have similarly looked at culture as always encoded in a language that changes with the material conditions. As the dialectic struggle of economic forces clash and synthesize, so too do the language constructs.

Read more about this topic:  Linguistic Determinism

Famous quotes containing the words role in, role, literary and/or theory:

    If women’s role in life is limited solely to housewife/mother, it clearly ends when she can no longer bear more children and the children she has borne leave home.
    Betty Friedan (20th century)

    Such is the role of poetry. It unveils, in the strict sense of the word. It lays bare, under a light which shakes off torpor, the surprising things which surround us and which our senses record mechanically.
    Jean Cocteau (1889–1963)

    I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.
    Cyril Connolly (1903–1974)

    There never comes a point where a theory can be said to be true. The most that one can claim for any theory is that it has shared the successes of all its rivals and that it has passed at least one test which they have failed.
    —A.J. (Alfred Jules)