“冒充公检法”诈骗中犯罪嫌疑人的身份建构：社会符号学视角

电信网络诈骗是一种非接触式犯罪,无论犯罪嫌疑人采用什么样的科技手段,主要的媒介是语言。社会符号学强调符号在社会行动和交际中的功能。犯罪嫌疑人调用相关话语资源与语言策略对身份进行选择与建构的动态过程,是符号在语境再构下的解释和再解释过程。在“冒充公检法”类诈骗中,犯罪嫌疑人运用语类模板中的话语资源编造虚假信息,构建虚拟语境,通过话语实践确立虚假身份,利用话语策略实现不同身份的多元转换。在话语交际过程中,犯罪嫌疑人一方面限制受话人对话语资源的权力与控制,另一方面拓展对话空间加强与受话人之间的协商与互动,将目标身份通过语言符号经由对方建构,在确立自身的“机构代表身份”和受话人的“违法者身份”后,达到获取受话人信任、骗取钱财的交际目的。     

Women In the Cut of Danger: Female Subjectivity,Unregimented Masculinity and the Pleasure/Danger Symbiosis from the Gothic Romance to the Erotic Thriller

Abstract: Through a comparison between Daphne du Maurier's 1938 novel Rebecca and Susanna Moore's 1995 novel In the Cut, this article considers the extent to which Franco Moretti's theory of the inevitable dissolution of literary genres is true, with specific regard to the genre of the gothic romance. In evaluating both novels' treatment of female subjectivity, unregimented masculinity and the symbiotic relationship between sexual pleasure and mortal danger, this article investigates the degree to which a contemporary novel such as In the Cut, which is generally acknowledged to be an ‘erotic thriller’, is heavily indebted to the gothic romance and may therefore be interpreted as a continuation of this more traditional genre, and, conversely, the means through which Moore's novel exhibits an overt and defiant resistance to the gothic romance, thereby signifying the dissolution of this particular genre within twentieth-century women's writing.     

The interplay of (semiotic) technologies and genre: the case of the selfie

ABSTRACT

The selfie is one of the most widely publicized, criticized, and debated visual phenomena of our time. However, formulating a definition of the selfie is not straightforward, as visual clues – be they representational or compositional – alone are not sufficient for identification. Recognizing an image as a selfie, rather than a portrait, often requires viewers to interpret the image in relation to the technological and sociocutural context in which the photo was taken and shared. In this paper, we consider the technological conditions that have shaped the evolution of the selfie as a visual genre. Central to our discussion is the premise that the selfie is not simply a genre for self-representation, but means of generating various perspectives: that of the selfie maker, the represented visual participant, and the viewer identification. This unique perspective-generating affordance of the selfie is both facilitated and constrained by the various technologies involved in selfie practices. On the one hand, the technological and physical constraints of the smart phone camera give rise to a specific form of “distorted” look which makes certain types of selfie possible. On the other hand, social media platforms facilitate the sharing of selfies, which results in increasingly stylized and creative ways in which perspectives of the self can be represented, negotiated, and, in the case of selfies manipulated via apps, augmented.     

Email Fraud: Language,Technology, and the Indexicals of Globalisation

This paper investigates a corpus of email messages known as “419 scams”: a form of financial fraud in which huge offers of money are being made to people provided they pass on bank details and other personal information to the perpetrators. This kind of message presents us with a typical instance of “globalized” communication: they are produced in the margins of the world (the term “419 scam” is Nigerian) and sent to other places; they are electronically mediated; and they are written in varieties of “world languages”, mostly English. In the messages, authors claim particular identities and relationships, and have to do so using specific, generically regimented forms of communication. Investigating such forms yields a complex view of what it takes to communicate in a globalized environment: at least three different forms of communicative competence seem to be blended. First, authors require technological competence, the capacity to control, explore and exploit the communicative opportunities offered by global email systems. Second, they require cultural competence: they need some awareness of genres and genre expectations among their addressees in order to stand a chance of success. And thirdly, they need linguistic competence: the capacity to actually produce linguistic messages that are congruent with the projected identities and relationships in the transaction. We see that whereas the first two forms of competence appear to be well developed, the third is often problematic, yielding rich indexical signals pointing towards fraud. The genre of email fraud thus yields insights into the changing nature of communication in the age of globalization.     

Translation and ideology

This article attempts to investigate, in depth, the concept of ideology in translation. That is to say, the extent to which ideology can influence the translator's style and choice of words that will, consequently, shape the receivers’ worldviews. In recent years the issue of ideological leanings and the implications of ideology on translation have received particular attention. Owing to the importance of this issue of ideology, and as an example of the issues that both the translating practitioner and theorist must deal with, this article provides a detailed, comparative analysis of a translation of the first, formal speech delivered by bin Laden on 7 October 2001 concerning the events of September 11 and his conflict with the United States. The analysis assesses the probability of a translator's ideological intervention in the text and other technical, linguistic problems.     

论亚里士多德共时态体裁理论

亚里士多德体裁理论研究的对象是作为美的艺术的诗,在注重科学性和系统性的前提下,侧重对古希腊时代的特定体裁现象作逻辑的共时水平上的比较和区分。具体做法是:首先在界定诗的性质的基础上对其进行分类,指出作为艺术的诗的一般性法则;然后,由对体裁一般性现象的研究进入到对个别体裁的探讨,论述各种体裁之间的关系,确立其价值;在此基础上,建构起多层次的、立体的体裁分类空间。     

Mediation and Genre

This paper examines the constitutive elements of the genre of melodrama and relates them to typical Western conflict stories. It demonstrates why a conflict narrative based on the genre of melodrama tends to work against the resolution of the conflict and proposes tragedy as a more constructive genre for a conflict narrative. The paper also discusses how the mediation situation itself can constrain the possible genres that can be constructed in the process and explores the implications of those constraints for people in conflict and for the mediators facilitating a resolution.     

30年代文学语言"口语化"运动与童话文体的发展

就1930年代思想潮流整体状况而言,是不利于童话文体的发展的,但当时的文学语言口语化运动却维持着童话的文体独立性,促进了童话文体的修辞建设,并影响着童话文体泛化的发展方向。对1930年代文学语言运动与童话文体的发展关系的揭示,有助于我们更好地理解文学语言变迁对于中国现代文学文体发生发展的决定性作用。