ExploringInvisibleSpeechinRitualArt_Cultural-LinguisticLandscape.pdf (2.77 MB)
Exploring Invisible Speech in Ritual Art: Cultural-Linguistic Landscape
Version 2 2019-04-12, 19:09
Version 1 2019-04-12, 18:57
journal contribution
posted on 2019-04-12, 19:09 authored by BN DashBN Dash, SK PrustyThe goal of Linguistic Landscape (LL) has been restricted to be the specification and explanation of the human competence to use as linguistic means for standard purposes, with a constructive system of rules. Though many researchers usually refer to the definition of LL circumscribed by Landry and Bourhis, however, there is no precise consensus on the definition of LL. In Landry and Bourhis (1997: 25) “public road signs, advertising billboards, street names, place names, commercial shop signs” are attested components of LL.
Despite the historical depth in the discipline’s development, a perpetual discussion has taken place to outline the new goals for LL. Fundamental to this debate is an underlying question – what about the community arts and pictures that are drawn without the use of language as these communicate some speech or stories nonverbally?
Thus, this article offers a curious take on LL scholarship,
exploring the invisible speech of holy signs in the analysis of a particular landscape in India. The study relies on qualitative description of ritualistic artistic and cultural artifacts, namely jhoti, chitā and muruja used as the ritualistic practice which has not yet been well discussed. Moreover, these artforms and hidden stories behind them led to study the limitation of LL coterminous with Cultural Landscape (CL). The paper argues that such artifacts convey meaning as the way of traditional linguistic signs constituted in the linguistic analysis of private landscape. The paper concludes the goal to derive the invisible speech in order to “reconceptualise the visual forms” by hyphenation into Cultural-Linguistic Landscape (CLL) and provides a framework to facilitate the change in focus and future avenues in this area.
