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For example, the word dude functions at the n -th order as a stance marker to create friendliness e. Argot and slang became indexical of certain ethnic, racial, and social groups, and they not only identified deviant persons both real and imagined but also served as a means of controlling and excluding said persons from the physical and intellectual domains of the upper classes.
Although Sue does not give an explicit definition of argot , he consistently associates the term with the criminal classes and the Parisian underworld. The incipit of the novel and first sentence of the text in the feuilleton reads as a dictionary entry: The characters that participate in the villainous dealings of the bas-fonds are the ones who use argot and always in a physical location that is befitting of such speech.
In The Flash Press: Although it is mainly the British characters engaged in seedy activities who use flash, like Jack Circle and his gang, who are initially described by the language that they use, 54 there are also characters like Frank Hennock, who retains an aversion to flash despite shady dealings and association with the likes of Jack Circle. The fact that the only text Frank owns containing flash is a dictionary also highlights this bizarre presentation of an anti-language as a codified and standardized way-of-speaking.
The reader is receiving two conflicting indexical messages: Disgust may still be the socially appropriate response, but now the anti-language seems more bourgeois in appearance. Far from its dwellings in the urban underground, flash has made its way into upper-class terrain and is now presenting itself under the guise of legitimate reference works.
When the reader first enters the orphanage run by Master Sponge the description begins with the presence of an unrecognizable voice: First, Sue, Buntline, and Lermina make a point of distinguishing argot and slang from Standard English or French through the use of footnotes, italics or parentheses. Definitions of slang words are embedded directly within the text, provided in a footnote or, in the case of Buntline, organized in a glossary.
As a result, a kind of codification of slang takes place via this formal classification.
As sociolinguists Lesley Milroy and James Milroy state with regards to how codification happens: The inclusion of in-text translations of argot and slang terms is a move towards the codification that Milroy and Milroy discuss. When slumming aristocrats Tom and Sarah enter the cabaret of the Lapin-Blanc, their physical appearance reveals that they do not frequent such shady establishments: Their clothing and their manners suggested that they never frequented such plebeian taverns as this one.
From their preoccupied and anxious expressions, it was not hard to guess that they had good reasons for coming to this neighborhood. When Tom addresses le Chourineur the Slasher in the hopes of getting information about Rodolphe, his proper manner of speaking hinders communication and le Chourineur must translate his argot into standard French. Rodolphe was leaving his place, surely? What does that mean? He sells contraband goods. However, although socially powerful, the character from the privileged class, Tom, is unable to recognize argot, which leads to a linguistic power shift.
It is the character from the criminal class, le Chourineur, who not only speaks argot, but who also stands in a position of power, linguistically speaking, since he controls the information being relayed to Tom. Indeed, it was knowledge that only through a process of initiation could those of the upper classes successfully acquire it.
Mop said again, taking pity on this ignorance of slang or the crude language of the land … he is drunk like a Kentuckian]. Again, it is the character from an under-privileged social class who exercises a more powerful role linguistically. Mop and Doggy have complete reign over the information at hand, and Effie must acknowledge the limitations of her own social class. These limitations speak to a reversal of the typical relationship between those of the dominant classes and those of the dominated ones in which those from the dominant classes have more cultural power due to their educational and economic status.
But within the context of a society constructed by the dominated classes, the cultural symbols of their upper-class counterparts loses value and are replaced with different symbols that are not easily accessible to the dominant class.
It seems that there is a constant tension between dominant and dominated in both social contexts, i. When Frank takes Mr. Precise slumming, Precise asks his guide if there is any potential danger:. However, Buntline is not without his exceptions. When Big Lize attempts to explain to her cousin Angelina what a panel house is, Angelina needs the flash terms defined for her. One refers to criminal action while the other refers to a physical place where criminals are found. The association is clear: For him, behavior and language are not necessarily class-bounded.
You speak the lingo like one of us. In this way, Sue creates such a contrast that the reader becomes aware of the topsy-turvy indexical orders at play and can therefore properly establish which indexical orders should go with which characters based on their class background. These writers continuously play with the indexical orders that relate class-to-language-to-morality in a way that disrupts the social expectations of the reader. Additionally, there exists a similar connection between the setting and the kind of language that the characters use.
Apart from taking place in cities, the haunts in which characters use flash and slang are mostly in bars, brothels, poorhouses and soup houses, and the streets. These associations function to contextualize the language in the same way that class would, through the reinforced demarcation of certain physical spaces in relation to speech practices. And these barbarians are all around us. If we had not felt that the story you are about to read needed so urgently to be heard, we would have regretted placing it in such shocking surroundings.
Sexual and Social Politics in Victorian London , Seth Koven studies the popularization of slumming by the upper classes in late-nineteenth-century London: Edward Tannenbaum also comments on this collective bourgeois interest in a lifestyle that was completely foreign to them, but that remained within their geographical grasp nonetheless: The use of slang exoticizes the urban dwellings of the poor and criminal classes by creating linguistic and symbolic barriers between the barbaric and the bourgeois.
The physical and linguistic terrain function as one entity since the speakers cannot be separated, physically or metaphysically, from the locations they frequent. The fact that the argot found aurally in the tavern is now found scripturally on the building itself means that this language physically makes up part of the location, and not just in the abstract.
The indexical relationship between language and location is not only literal but binding as well; the destruction of the building means the destruction of the language, physically and metaphorically. The crude and barbaric way-of-life of hardened criminals is not far off from that of our pre-historic human ancestors with their rudimentary cave drawings and caveman speech. The resemblance between the criminal and the caveman, although historically removed from one another, functions in two ways.
Second, it socially distances the bourgeois reader from evildoers rendering the reader more akin to an anthropologist who observes from a removed social position.
From this objective standpoint, the upper classes are not only seen as biologically superior but are seemingly distanced from an imminent social threat. The crude drawings on the walls of the tavern reveal a kind of biological and linguistic primitivity with regards to both the language and the speakers, in addition to placing the reader in a position of objectivity.
Like the zoologists who can study their animal subjects behind the safety of fortified glass, the bourgeois public can study their criminal subjects behind the safety of a serial novel. Due to his mastery of argot and infiltration of criminal life, the aristocratic protagonist Rodolphe stands as the existential shape shifter par excellence.
The house acts as the headquarters of the va-et-vient of characters of various social milieus; as Knight points out: At the same time the house is a means for Sue to explore the considerable variations of life and attitudes in the lower-income levels We also hope to have inspired disgust, aversion, horror, and a healthy fear of all that is absolutely impure and criminal.
For the upper-class characters, do-gooding is a form of diversion. After asking la Louve if she is happy, la Goualeuse paints a vivid picture of a life previously unimagined by her friend p.
Nature permits the momentary escape from a reality littered with injustice, poverty, and moral anarchy. After Rodolphe describes for her what her life at the farm in Bouqueval would look like, she becomes captivated by her fantasy to such an extent that she enters an a-temporal space: Like the physical space itself, the imagined space of the fantasy cannot last and is always interrupted by either the physical or imagined present.
In any case, whether urban or rural, Sue uses language to infuse space with certain moral indexes, i. Like the Lapin-Blanc, the building itself is slang personified: He goes on to claim that:. The advantage is that the reader encounters no real physical danger moral, perhaps , but can still participate in a kind of literary slumming. The conversation between Charley and Big Lize on the streets of New York in the beginning of Part I is indecipherable to the uninitiated reader:. She then criticizes Charley for not being there to steal from them, a remark that prompts Charley to ask if anybody was there to assist her.
By placing the glossary in a separate section of the text, the reader becomes more aware of their dependence on such tools in order to comprehend what the characters are saying; in order for reading to occur, the reader must engage in the necessary work or else the text is meaningless. African Americans and European immigrants became synonymous with transgressive actions and behaviors.
The indexical relationship between speech practices and bodily movement implies additional relationships of class, ethnicity, and race that are not mentioned explicitly, but that are already present in the upper-class imaginary to such an extent that it goes without saying for lexicographers like Desrat.
These bodies are indeed chaotic, as revealed through their subversive dance and speech, and if uncontained, they could potentially violate prohibited physical boundaries in addition to the moral and social ones they have already crossed. However, by limiting the immoral behaviors of African-American and European characters to places such as brothels, dive bars, and prisons, Buntline reassures that reader that, even if immoral activities occur, spatial lines will not be crossed.
For example, when Frank takes Mr. Precise to The Tombs, a New York prison,its location is characterized by the music and dance in the surrounding buildings: In his initial impression of the bar, Precise immediately notices the music. Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping.
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