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By AA Khalafallah

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14 Multilingual America representation . . is relatively independent of the objective (verbal and extraverbal) facts as viewed and established by scientific inquiry” (235). That amounts to saying that the artistic success of linguistic representation is independent of the “linguistic reality” being represented. For Sternberg, “linguistic reality” matters less than do “the model(s) of that reality” provided by the work, the work’s literary tradition, and the work’s readers reading within a given cultural framework.

What Wai Chee Dimock calls “a synthesis of the verbal and the nonverbal . . central to AfricanAmerican poetics in general, and to Caribbean poetics in particular,” in Through Other Continents: American Literature Across Deep Time (Princeton: Princeton University Press, 2006), p. 156. All Introduction: techniques, methods, theses 19 That ambition can also be accomplished in numerous ways. The works cited above as examples of “vehicular matching” make good use of one of them, and it is certainly part of my purpose here to make a case for that strategy.

This view seems to me wrong. It artificially limits our real power as readers, and it is sharply at odds with our ordinary experience of reading and judging. 26 With regard to linguistic facts in particular, there are two sorts of questions to ask. The first bears on how accurately a particular language is being represented; the answers to that question affect, both positively and negatively, our trust in a writer’s expertise. For a positive example, consider some passages in W. G. Sebald’s Austerlitz.

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A Descriptive Grammar of sa̲ei:di, Egyptian colloquial Arabic by AA Khalafallah

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