By Julie Lindquist
Linguists became more and more attracted to interpreting how category tradition is socially developed and maintained via spoken language. Julie Lindquist's exam of the linguistic ethnography of a working-class bar in Chicago is a vital and unique contribution to the sector. She examines how commonplace consumers argue approximately political concerns so one can create a gaggle id established round political ideology. She additionally indicates how their political arguments are literally a rhetorical style, one that creates a fragile stability among crew unity and person id, in addition to a tenuous and ambivalent feel of sophistication id.
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Additional resources for A Place to Stand: Politics and Persuasion in a Working-Class Bar (Oxford Studies in Sociolinguistics)
Each of the chapters to follow has its own theoretical and interpretive focus. The chapters should be read individually as a series of ethnographic tales and collectively as a contiguous assemblage of views and interpretations of Smokehouse culture, language, and life. ” As such, it is a narrative account of people and place told from my vantage point as bartender. I present such a tale here not only in an eﬀort to orient the reader to the particularities of place and personae but to aﬃrm the truth that narrative is in some ways best suited to render phenomenological densities, to show how a ﬁeld of signiﬁcation shot through with contradictions coheres as a cultural text.
Smaller conversations around the bar die out; all attention is focused on the television and Alex Trebek’s game-show-host voice announcing the rules for Jeopardy! As the questions are asked, the men at the bar compete to see who can be the ﬁrst to yell out the answer. In the “Final Jeopardy” round, they up the ante by agreeing to buy a beer for the guy who gets the question right. As the regulars are shouting at the television, I take the opportunity to slip out to the kitchen to visit Arlen. Arlen stands in a ragged, dirty T-shirt, sweating, slapping barbecue sauce on slabs of pork with a big paintbrush.
I glare at him, but wait on him ﬁrst. “Thank you, baby. You know, I think you broads just don’t know how to move. ” He laughs. Bertha is Jack’s name for Roberta and is short for Bertha Butt. ) Jack always teases the women at the Smokehouse—tells them they’re fat, that they have big butts. He has a reputation as a prankster and a tease but is seen as no match for Roberta herself. (Lurene likes to tell a story about a time when Roberta took Jack out to his favorite German restaurant for his birthday.
A Place to Stand: Politics and Persuasion in a Working-Class Bar (Oxford Studies in Sociolinguistics) by Julie Lindquist