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All fields Title Creator / Publisher Keyword Year AND OR AND NOT All fields Title Creator / Publisher Keyword Year AND OR AND NOT All fields Title Creator / Publisher Keyword Year AND OR AND NOT All fields Title Creator / Publisher Keyword Year AND OR AND NOT All fields Title Creator / Publisher Keyword Year Sort by creator [A → Z]' creator [Z → A]' publishing year ↑ (asc)' publishing year ↓ (desc)' title [A → Z]' title [Z → A]' Simple Search Hits 1 – 7 of 7 1 Dantean Journeys: The Motif of Meeting the Dead in Modern Poetry ... Triggs, Jeffery A.. - : Rutgers University, 2022 BASE Show details 2 R.S. Thomas and the Problem of Welsh Identity ... Triggs, Jeffery A.. - : Rutgers University, 2022 BASE Show details 3 Doing Other Things with Texts: The Use of Electronic Resources in Revising the OED ... Triggs, Jeffery A.. - : Rutgers University, 2022 BASE Show details 4 Raising the Titanic: Prospects for Reviving the Century Dictionary ... Triggs, Jeffery A.. - : Rutgers University, 2022 BASE Show details 5 Understanding Dictionaries ... Triggs, Jeffery A.. - : Rutgers University, 2022 BASE Show details 6 Exploring the Edward J. Bloustein dictionary collection ... Triggs, Jeffery A.. - : Rutgers University Libraries, 2005 BASE Show details 7 The Legacy of Babel: Language in Jean Renoir's Grand Illusion Triggs, Jeffery A.. - 1988 Abstract: It has become fairly commonplace to assert that film, like music, transcends the nationality of its audience.1 Stanley Kauffmann has argued that film “is the only art involving language that can be enjoyed in a language of which one is ignorant.” This depends, of course, on the role language plays in a particular film, the extent to which it functions as an integral part of a film’s meaning, and the way it functions with the film’s other constituents. In some films a foreign language provides a real barrier to full appreciation, while in other films the language may play a relatively insignificant role (as in opera) and do little to hinder the viewer’s appreciation beyond focusing his attention on other, perhaps more important, elements. In polyglot films the issue of language is seemingly most transparent. We are exposed to languages as we encounter them in life. Awash in such a Babel, we are frustrated not by an artistic barrier but by the conditions of life itself.In fact, the polyglot text is a conscious artistic strategy feigning linguistic nat- uralism, and we should attend carefully to its motive and function. The polyglot text of Jean Renoir’s Grand Illusion, for instance, is the central constituent of the film’s meaning. ; Peer reviewed ; This essay first appeared in The New Orleans Review 15.2 (Summer 1988). Keyword: 1914-1918; film; foreign language; Grand illusion (Motion picture); Language and languages; Motion pictures; World War URL: http://hdl.rutgers.edu/1782.1/rucore30127000001.Manuscript.000064713 BASE Hide details

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