ABSTRACTThis article investigates deixis-based chronotopic framing across a corpus of 90 songs selected based on their top-ranking positions on the UK song charts over the period of 8 years. The present study combines some tools in linguistic approach to genre analysis and some concepts drawn from pragmatics and Critical Discourse Analysis, as an analytic framework. Quantitative and qualitative focus was laid on ideologically coded thematic leitmotifs and chronotopic interplay through spatio-temporal deictic patterns across the case-study lyrics. It was found that (...) there are significant points of commonality between the lyrics in terms of thematic strands as well as chronotope-bounded deictic features which warrants the classification of popular songs as a verbally distinct genre with its own ideologically charged discursive practices characterised by political apathy, and which can in part explain the target audience's uptake of this type of songs. (shrink)

This article intends to build bridges between two recent trends within Critical Discourse Studies as exemplified by cognitive linguistics and multimodality. Thus, the postulates of spatial cognition will be followed to do an analysis of the musical re-contextualization of Barack Obama's New Hampshire 2008 speech. In Will.i.am's music video ‘Yes, we can’, uploaded on YouTube under the username WeCan08, we can listen to a song whose lyrics are made of different extracts from Obama's speech. This type of communicative strategy results (...) in a multiple re-contextualization of the political speech. The effectiveness of the musical video can be explained by identifying it as a blended mental space incorporating elements of the text-world, the music-world and visual-world. (shrink)