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COMPARATIVE STUDY OF POSTFURRY DISCOURSE
Arnautova Alina Fedorovna, Pyatigorsk State Linguistic University, Pyatigorsk
E-mail: arnautovaalina@rambler. ru
Abstract. In the context of contemporary art performance, young adults can be faced with a postfurry discourse in which beastman is central. The article situates postfurry research in relation to CDA and 'imagined communities'- to analyse discursive practices of fandom by the American and the Russian 'self-identified' furry authors. It shows that mobility of anthropomorphic ideas, in the way it is perceived in their narratives, can be explained as a form of 'self-realization' and the discovery of
Keywords: postfurry, discourse analysis, imagined communities, genre,
text.
Introduction
Today scholars show more interest in subculture communities than ever before because it combines the tales and legends of the past times with a sense of viable part of modern culture. 'Imagined communities form the cultural standards of both the community and the individual' acknowledges Anderson [Anderson, 1983:35]. Furry art in the fandom is immensely rich in forms and meanings, and encompasses a vast period of history. It represents a multitude of regional, national and territorial features. An attempt has been made to show in this paper various aspects of the meaning and existence of furry fandom literature and to present it as an integrity including zoomorphic cultural code, as an art creating an anthropomorphic picture of the world. In the first part of our article we consider on the social contents of postfurry fiction, and examine various images and themes of its discourse. In the second part we focus on three devices: communicative models, various forms of linguistic specialisms, and the use of ideological structures. In this sense this paper builds on T.A. Van Dijk's 'Contextual knowledge management in discourse production: A CDA perspective', a work that shows how cultural processes cut across a wide spectrum of human endeavours [T.A. Van Dijk, 2005]. Just as postmodernists are having to count the discourse in terms of knowledge [Lyotard, Postmodern Literary Theories, 2011] and
difference.
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empirical practices [Post-Theory: New Directions in Criticism, 2013], so the postfurry needs to consider it in terms of unhuman nature and zoomorphic metaphor. For sure, researchers must engage their own views about these subjects.
Postfurry Fiction in the Social Context
Furry fandom has started to export some of its ideas to global community in 1980. In 2000 the Internet sites began to run subculture insights to ensure diversity in media. One problem with furry media coverage is that it relies on arbitrary limits. Newspapers in the United States achieve diversity in content to break into the various aspects of fandom lifestyle. Journalists represent a broad range of concerns and different descriptive styles. There are two layers to this. The first is cognitive: do the fandom's ideas are threatening alternative to western neoliberalism? The cocktail of views which these people deem 'different' contains nothing that is truly new. Such 'difference' gains its force from a false comparison with a beastman, namely a pure, furry model favouring animal intervention and virtually free game markets.
Second, at a deeper level certain ideological structures are appeared. Though their thinking is far from universal, it is certainly influential. A new intellectual self-confidence is emerging in Russia, among an array of writers, students, etc. What is new about it is that its adherents have accepted western subculture, and argue in a rationalist, western sort of way. These participants have a big Internet presence across its adjoining areas (Moscow, Sanct-Petersburg, Nizhniy Novgorod, Pyatigorsk, Ekaterinburg). In fandom, the competition of ideas could be fiercer over 'true furry' notion [Waldrip, 2012:1]. The data presented in this article forms a comparative case study involving language representation of furry in American and Russian variants of subculture in order to examine whether literary discourse reproduces language discrimination and outline conceptual and methodological frame of this study. Furry fanzine fiction is a neglected area of language performance in discursive studies. To compare American and Russian novels in order to understand their explicit and implicit meanings we treat them as text. The study employs both quantitative and qualitative analysis of the data. First, the quantitative analysis establishes how many narrative structures had references to furry characters. Then all furry characters were coded according to the following categories: linguistic features (subculturemes), social (sex, occupation), narrative importance (main, secondary or minor character), narrative evaluation (positive, negative, mixed, neutral) [T.A. Van Dijk, 2009].
In order to determine what characters fall under the category of representing furry the following characteristics were considered: characters that spoke and understood Furspeak, personages that had furry lifestyle, and characters that had furry names and were referred to as being of furry origin. The representation of furry characters was analyzed from the following aspects: the description of their appearance, actions, mental state, and the way they were addressed. Additionally, the
study examined the words used by furry characters in relation to other characters, as the way characters speak is a fundamental aspect of their characterization. The qualitative analysis of the data is underpinned by Critical Discourse Analysis Approach. The term 'literary discourse' is defined 'in terms of the role of literary discourses in processes of socio-cultural interaction' [T.A.Van Dijk, 1980:144]. The present article aims at linguistic examination of discourse ideologies that underline socio-cultural difference.
The narrative structure of furry novels consists of a set of binary oppositions, which includes not only oppositions between characters but also oppositions between ideologies and different values. The qualitative analysis of the data demonstrates that furry discourse displays bias against humans, which is manifested textually through a number of linguistic indicators. Of course, novels are opened to a variety of readings which cannot be restricted to textual analysis alone. Discourses are open ways to interpretations. The study of postfurry discourse could benefit from, for example, an integrated/sociolinguistic/historical/cultural approach to novel analysis. The analysis of narrative discourse could be father enriched if analysed from 'cultural-power-inequality character, dimension, or action' [Shi-xu, 2005: 488]. Subculture already has a big presence across its research field [Scollo, 2011; T.Van Dijk, 2008; Adorno, 2011]. Discourse approach to language and power T.Van Dijk ties to cultural domination. The focus of CDA on the cultural aspects of the text is based on the following items:
- text is linked with cultural context;
- the CDA has a strong research record in revealing social context;
- methodological tools are promoted in heuristics and cultural codes;
- ideological categories of culture are expected to play central role in dominant discourse.
At the first stages of its development CDA was referred to modern knowledge on social interaction. The role of culture and its various technological types was discussed later in R.A. Brookey works (Brookey, 2010). The development of approaches to technology and culture as complex multimedial systems is developed in works by R. Brookey, N.Carpentier. From the conceptual point of view T.A. Van Dijk provides new central ideas in the form of management by objectives. The complex nature of technological cultures has become the main topic of so-called theories. The concept of communication context (analysis of situation, situation-based approach, calculated potential to change) was introduced. Summarizing the relationship between CDA and technological studies, one of the leading scholars in the field of digital culture research D. Murphy mentioned 'Digital rights management ignores an important aspect of digital game culture that corresponds to broader shifts in digital culture' [Murphy,2013:44]. The complex methods of cultural research by means of discourse theory were discussed in works by N. Carpentier, G. Brown, Shi-xu, and
T.A.Van Dijk.
In the sphere of literature the communicative turn and the postmodern theories describing the social reality [Simons, 1999; Swidler,1986] contributed to the set of ideas concerning the problems of communicative nature of technological processes as well as role of discourses in formation of cultural identity.
Postfurry fandom represents discourse that engage animals as anthropomorphic characters. Almost invariably, its creation gains recognition 'as a very fashionable art with a specifically marketed products' (see e.g. Wikifur). The term 'furry' is an inter-American subculture, creating furry genre works. The Internet makes it lawful with the formation of furry international tribes (America, UK, Australia, France, Germany, Russia, Holland etc.) and communities, especially important component of furry lifestyle being member conventions (furcons), and informal meetings (furmeets). This give birth to an epidemic of sites on queer culture: 'As MiDFur (Melbourne in December Fur meet) publicist Kyle Evans explains, furrydom is 'a very sub subculture - it's in between sci-fi and various geek cultures'(see e.g. Melbourne in December Furmeet). In December 2009 a convention held in titled "MidFur" provided a cross-training 'Melbourne in December Furmeet: Anthropomorphic selves' (see e.g. Melbourne in December Furmeet). Middle furriers introduce their livelihoods here: 'Furry can be summed up in one of three ways,
1) a non-human being possessing a combination of animal and human characteristics, or 2) someone who is a fan of stories, movies, comics or other media which prominently feature creatures as described in part 1, or 3) a person who identifies strongly with a non-human creature such that they act like the animal in question and/ or describe themselves as being such a creature"(see e.g. Melbourne in December Furmeet).
The expansion of gay culture practice inside the fandom is creating opportunities for scholars in these areas. Many of the CDA approaches come with a gay or lesbian label. V. Koller examines in her book 'Lesbian Discourses: Images of a Community' 'typically lesbian way of using language' [Koller,2008:45]. Koller's omission of transgender and bisexual identities features a state of the lesbian art rather than its interpretation. Various CDA scholars construct diverse models of specific national cultures [e.g. Adorno, 2011; Anderson, 1983].
Newcomers of the furry who constitute the culture are welcomed. Artists, writers, computer specialists promote cognitive models of the anthropomorphic beasts, such as Lion King or Wolves. Therians set clear identity, believing that they are animals trapped in a human body. A minority are vorophils, persons erotically mixed in their animal identity.
Their blogs and on-line newsgroups were deleted by Yahoo, because of pornographic content. The construction of the image of the stereotypical American furry relies greatly on use of fursuit, deviant sexual addiction, abnormal identity [Redford,
2012:1].
The April 2000 updated Wikifur in Russian language (one of the top sites about furries on Google) listed a glossary of popular media places that cover furries, including the TV-shows 'Russia-1', site 'The Furnation.ru', and, specially, on MTV. The most controversially was a broadcast in 2012 by the TV show 'Queery Subcultures: Dressed like Animals'. Russia-1 staged an episode on furries that made it seen like furries are interested primarily in fursuits, deviant behavior, and plushiephilia, an evaluation condemned by furry fandom.
Some communities (Moscow furries) prefer to review the state of the fandom and to propose new holiday 'The InterRussian Day of Furry' on the 1st of July in 2008. Sanct-Petersburg site of fandom [see e.g. Sanct-Petersburg Furry Site] offers many links to furry e-zines in English and Russian languages. Other links are to Furry Novel list, Furry Films list, and a list of Japanese animation movies featuring furry. Participants argue that popular culture has hunted their culture because sex makes money, Pushistye (in Russian) becoming victims of sensationalism. According to glossaries and essays dressing up like as an animal is not all that common and is not considered obligatory even within the community [Waldrip, 2011].
One webmaster of a furry e-zine 'The Tai-Pan' has elaborated rules for deciding who can or cannot be a furry media contributor. The glossary begins with a definition of 'shared universe' as: 'Stories or novels written by different people but sharing a similar setting and story' [see e.g. Wikifur]. He then goes on to elaborate on the varieties of heroes, plot, and technology.
Diversity of content is more likely to be achieved if it is easy for newcomers to break into various media furry markets. So ensuring ease of access and stimulating competition should be among the most important aims of ideological expansion. Digital compression will vastly increase the number of furry channels that can be broadcast. They have Furry radio, Internet sites, TV-serials.
That, after all, usually takes account of the public need to decide, whether furry media should be measured by revenue, or some vague concept, such as influence. The most durable furry rules will be those that define market as widely as possible; that support readily measured concepts, such as pet love and animal protection. These fundamentals enable subculture to convert young audience.
Data and methodology
We depart from the concepts of 'imagined communities', from Benedict Andersen. Our aim is to bring light to the construction of postfurry view of the world, and how that construction is transposed to youth discursive practices. The theoretical focus approach to the field is often based in envisaging 'subculture consciousness' variations from one culture to another. Three key concepts are the pillars of our article: cognitive models, postfurry world, and narrative. We consider imagination as creative
force and adopt the concept 'imagined community' as the meeting point of postfurry perspective. We define the concept of imagination in the sense that is related to the ability and readiness to engage with people with zoomorphic identity. Having started with new research methods such as participatory observation, narrative analysis, and CDA.
Building on these methodological innovations, this article explores furry art as mobility discourse research. Since the early 1990s, CDA research has developed as a distinct field of study [T.A. Van Dijk, 2005]. Making discourse is taken to be a form of doing research and the works of art that result from that research are presented as a form of knowledge [Wodak, Chilton, 2006]. Practical testing is allowing scholars to decide on everything from models and techniques to organizing the flow of approach. Art is beginning to produce not only aesthetic experience, but also its knowledge claim [Swidler,1986]. However, the chief problem with techniques is cultural domination for artistic practice, this development undermines the modern dichotomy of autonomy and instrumentalism, thus breaking away from the alleged 'otherness' of art as a societal domain that has clear boundaries and can be separated from science [T.A. Van Dijk, 2008].
Anthropomorphic rights and legal freedoms provide the most frequent battlegrounds. The authors engage furries and other subcultures in exotic view about these subjects. But fanzines speak up for themselves. Furry are motivated by a desire to create alternative world and to establish the best traits of a man and a beast. Furry world is an operational pattern that promotes future design of human society. Detective plots of novels, computer games, and manga are designed to bring furry and men together in order to collectively solve social troubles. Their narrative takes place in a self-contained environment. To foster collective interaction and freedom of movement, fanzines use variety kinds of media. Blog posts, print, comic cartoon characters, and conventional genres are all potential avenues for distributing information about the furries.
'The Tag' magazine was recognized as one of the online magazines and was used to promote the world founded by furry fandom. Multiplayer Online Social Game 'Furcadia' was an attempt to introduce the audience to the science fiction world in which the furries were divided into three genders: male, female, and unspecified. Players can customize their avatars by choosing colours from palette. The walkabout has a basic walking animation with the ability to stand, sit, or lie down. Each character can also have a brief description, which can include character details, external links to websites, and internal links to private dreams. Some players choose to link to third-party websites to extend their description beyond the character-limit the standard Furcadia description allows. The primary focus of Furcadia is user-generated content. To this end, the Furcadia game download includes an art editor, a map creating program, a skin editor, and a script editor. Users are encouraged to create their own
virtual worlds, called Dreams, using these free tools. These worlds can be uploaded to the Furcadia server for free and used for the variety of purposes, examples being text base role playing, a place to hang out with friends, or playing multiple games and quests with other users. Dreams remain open to the public area in which they are uploaded, so long as it is inhabited. Furcadia hosts a variety of roleplaying dreams, ranging from strict-continuity roleplay (in which the dream is its own independent world) to fursona play. Roleplaying dreams also come in a number of different forms, ranging from feral (wild animal) to furry (anthropomorphic animal) to human. Many dreams revolve around fantasy plots and themes based on popular books, television programs, ancient mythology, or original creations of Furcadia players.
Gameplay 'Dust' takes place in fictional world of Falana, inhabited by anthropomorphic animals. Gameplay is presented on a 2D side-scrolling plane. The player controls the titular main character, Dust. Dust wields a sentient sword, the Blade of Ahrah, as his main weapon. Fidget, the sword's guardian, acts as a companion for Dust and can use magical attacks. As the player travels the world, they can acquire power-ups that permanently alter gameplay, such as the ability to double jump or climb to previously unreachable areas. Incorporating of role-playing games, Dust can gain experience points by defeating enemies, and in turn may level up. Games distribute important data about furries using Furspeak. This game became the ideal instrument of social communication. Every week furries receive missions based on fandom Falana problem. Missions represent food inequality, water pollution, or war attacks. Each player here has earned a high distinction- the Gold Award of Exellence-only after participating in a vigorous competition, and being chosen by an international panel of masters. Multimedia applications feature an innovative design that dramatically improves the accuracy and furriness in parts for the players. By participating in games, discursive strategies are developed in the form of collaboration, unification, segregation, for example: "Find the best furry partner and go to the max level; we are animals; growl- to get true dragon respect" [e.g. The Tai-Pan].
In addition there are various types of anime series created by writers and artists. The most prominent example is "Wolf's rain" produced by Bones Studio. It was directed by Tensai Okamura and featured characters designed by Tashihiro Kawamoto with a soundtrack produced and arranged by Yoko Kanno. It focuses on the journey of four lone wolves who cross paths while following the scent of the Lunar Flower and seek for paradise. "Wolf's rain" figures out twenty-six television episodes, with each episode running approximatively twenty-four minutes. The series was originally broadcast in Japan on Fuji TV. The complete thirty episodes series is licensed by Bandai Entertainment and in Region 4 by Madman entertainment. The series was adapted into a short two volume manga series written by Keiko Nabumoto and illustrated by Tashitsugu Ida. The manga which was released while the series was
airing is a retelling of the story rather than a straight adaptation.
K.Nabumoto hopes on a new version of a database program, known as Furry Muck. That program content is based on the eschatological story about paradise lost. At first sight, the virtues of team game look obvious. Teams make players happier, by giving them the feeling that they are shaping their own identities. And, in principle, they enable a game to draw on the skills and imagination of a whole workforce, instead of relying on specialists to watch out for mistakes and suggest improvements.
The centrality of mobility encompasses all named discourses (American and Russian). D. Window's novel ' A Step Aside from Furry Nightmares' (in Russian language) promoting mobility as the universal remedy of social organization of furry town. The author is searching for new sources of spiritual revival on furry fandom platform. In the social point of view postfurry discourse as a concept or paradigm can be described as 'mobility turn' [Brown, et.al.1998]. Throughout the story, the detective Coyote will investigate kidnapping affair, searching furry girl in the furry town. Furry town is a mobile metaphor for the anthropomorphic culture, but a metaphor that makes sense within the Russian cultural context. For example: 'But the furry world can seem as tribal as Russia itself, and Mr. Hare was itself a deliberate imitation of Drunken Hare, down to the table'. All five friends of Coyote bought his furry identity card to enter the town.
T.A. van Djik acknowledges discourse of novels as "artificial narratives" [T.A. Van Dijk, 1975: 56]. In doing so he deftly roots his work to structural analysis. T.A. Van Dijk also defines the term 'action structure of narratives' as the plot of the story.
In H. Myraias novel 'Snow Storm' - the author went for a fantasy world of postfurry narrative discourse, sliding events and actions painted with historical warriors, masked fantastic creatures and anthropomorphic characters. A Samoyed dog Drift, whose father long ago was murdered is out for blood: 'He stalked his prey through the shadows, ever searching, always just a hallway behind, a corner too late. He held a lutin blade in his hand, dripping blood. 'I know you're here!" he raged, echoes taunting him from the darkness. "You can't hide from me forever, murderer! I -will- find you, and when I do, I'll make you pay! Do you hear me?! I will -kill-you!!' [Myraias, 2011:1]. Hero's dream is a prolegomena to the consequences of narrative events. The narrative is predictable enough - the novel's end will not surprise - but what happens along the way is not predictable at all. Drift's friends are generally very precise about movement and advancement (black leopardman Xavier, fox Misha, ram Wolfram). The social actors in the 'Snow Storm' are accustomed to language fixed techniques, but Mr. Myraias is pushing them to make their own choices about how to act. The language divides intended plot lines, which involves sliding scenes of online discourse that opens to reveal other images. The heroine of the second line daedra, Alexastra follows the Drift's road, and works on mysterious adventures: 'The wolfs head turned and the two locked eyes. Both froze, shocked into momentary
paralysis by mutual recognition. "Of all the - You?! Damn it, I do not need more distractions!' Alexastra snarled, then fired her crossbow and leaped for the shelter of a sturdy writing desk. The wolf dodged the bolt and then lunged for her, but his delay had bought her a second's head start. She made the most of it, sweeping up the chair and smashing it across his face before diving under the desk, slapping open the hidden panel, and crawling as fast as she could into the escape tunnel' [Myraias, 2011: 45].
A popular Anglo-Saxon detective style is not so distant from the faux aristocratic 'knights of round table' style. For example, social actors interact with zoomorphic metaphors: "the leopard-man shook himself to throw off that train of thought; gesturing for the ram to be seated, the jackal-man leaned back in his chair; Xavier seized the samoyed's arm in a grip that threatened to hook him with claws" [Myraias, 2010: 5, 9,28].
Comparative analysis of both novels identifies some regularity in narratives regarding how novelists work on travelogue genre. These elements are described as on -line game narrative and are composed of five elements: the metaphor of way, converting heroes into furry lifestyle, the importance of identification (furry/humans), promoting alternative view of furry subculture, resisting of anthropolatreia stereotypes, breaking existing norms and notions. In our own research writers try to combain two major goals, the negative presentation of humans versus the positive presentation of furries. The point for the present discussion is that such interaction strategies are coded at many levels of discourse structure. Discourse structures of novels have a cognitive foundation in terms - scripts, frames, or models [Dubovsky,2010; Johnson-Laird,1983; Perloff,2012]. The analysis of novels featuring furry characters revealed that there are 160 characters that represent furries. Some of them appeared in novels across series Furpiled, Universe Tai. The examination of all fanzine series revealed that out of 160, 78 characters are male, 23 characters are female, and 59 characters are androgyns (shemale). A total of 27 characters play main part, 100 characters play secondary part, and 33 characters play minor part. All 160 characters were included in the analysis as 'all characters do language-ideological work, even minor ones whose linguistic choices primarily contribute to local colour rather than a characterization [Myraias, 2011;Window,2004].
Topics
Semantic macrostructures are 'an ordered set of macro-propositions that are derived from set of sequences of textually expressed propositions, so-called 'episodes'(T.A. Van Dijk, 1980). These macrostructures are merely expressed in text by way of titles, headlines, thematic sentences or paragraphs: "Alexastra rubbed her weary eyes and splashed water onto her face. As grateful as she was to Lady Nocturna for her protection and support, the Queen of Dreams' method of cross-plane communication left something to be desired. Certainly it saved on messengers, she
thought as she eyed her dripping visage in the mirror, but even a daedra needed rest when on the mortal plane, lest she lose her grip and be swept back to the Hells, and she wasn't getting much"(Myraias, 2011: 20). The concomitant script of travelogue includes travel, as we gave above. Knowledge of discourse schemata stresses for cognitive interpretations of words and clauses. The notion of discourse topic is furry lifestyle.
Postfurry mainstream novels appeal to audiences with a mental age of 15-25. Remakes, sequels, and ready-made genres are widely spread. 'Furpiled' is a sequel of the third version of dog and fox love-story. Moving up through the narrative resembles one level at a computer game.
Typically, postfurry novel is structured around the triumph of good over evil in an effort to confirm some type of meaning over discourse. As a result, writers transcend other discourses such as philosophic, scholastic, sexual, childish, and legal based on relative narrative episodes.
The analysis of furry lexis revealed that in relation to furry the most commonly used words are: the appearance characteristics, names of appetite quality, words related to age and history and sex practices. Furry characters are evaluated from the point of view of their appearance, mental state, temper, actions, and some distinctive features. Fantastic characters are addressed by their rank in military. They are usually described as tough and ruthless people who often act mad and psychotic. The integrity of furry male characters is determined by furriness sign. The evaluation of female characters is quite limited and based on their physical appearance. They are associated with fluff.
To summarize the results obtained from the quantitative analysis of language representation of furry subculture, Table 1 uses the most frequently used words and their occurrence through the novels.
Table 1
Occurence Translation English Russian
1 Personage of postfurry novel furry пушистик
2 Dog+ man samoyed самоед
3 gentle fluffy нежный
4 A child character babyfur бэбифур
5 erotica furotica хентай
6 pervert furvert зверофил
7 Wolf+ fox wolfox волколиса
8 Leopard+man Leopard-man леопардочеловек
9 werewolf were скороварник
10 voracious vorophil ворофил
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These words come from "Snow Storm" in an English version of Furspeak and "A Step Aside from Furry Nightmares", a book by Russian author of postfurry genre. These novels have implications for how American and Russian furry share the common future. The new fashion for animal history feeds the idea that America has a character of its own, and is not about to lose it. The history shows, Myraias says, that America always managed to combine superman power with animal traits (WomanCat, Spiderman, Batman, etc). American's response to a messy world comes at the moment from future transformation in biofurs. This era will improve the climate, health state, and sex behavior of all living beings.
Russian furries intend to sign the Human-Free Act. Human identity and behavior will be banned along with the whole world. The military furry began drawing up a new furry defense plan that concentrates on human-sized threats in different parts of the world.
The goals set out by fandom will govern the computer games, fanzines, films, cartoons, books. Computer games have gone even further in mixing the specialisms (subculturemes) represented in various furry groups. Its teams bring together therians, vorophiles, dragonmen, macrofurry, feline. At cultural sites players are fed furry information so that they can understand how their shared universe is motivating their lifestyle. And furries are growing more powerful as well as more numerous. If the secret of fandom advertising is to keep young audience captivated, then H.Myraias and D.Window are certainly succeeded.
Conclusion
The postfurry discourse could be seen as quite innovative and juvenile. The fandom added postmodernism to psychedelic vision. It is now experimenting with Furspeak, change words (furmeet (meeting), furfect (perfect), furpaws (gloves), furvert (pervert). Having started with component "fur-", the fashion for subculturemes has spread rapidly. Our research revealed that furry vocabularies make excitable use of words such as "therioside", "feral", "hermfriend" (third sex),furries usually change English or Russian words trying to meet the fandom's expectations. Design for a new being (animal/man) helps to improve entertainment products for several generations. There is a danger that fandom will impose a beast identity and stifle the cognitive qualities of young individuals.
Internet version of furry product changeover CDA as a tool during the transition from 'imagined' community to its real successor. And the zoomorphic cultural code makes ideological product simpler to manufacture juvenile ideology. CDA implements total-quality discursive practices to new context.
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