3D Reconstruction of Tomographic Images Applied to Largely by Traina A.J.M.

By Traina A.J.M.

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Engaging with Évole’s style Thus far, the analysis of Évole’s style has revolved around his discursive performance during the April 28 Salvados show. In the current media ecology, where discourse communities engage with media texts across multiple media platforms, it is important to examine those other platforms too. How do members of these discourse communities ‘read’ Évole’s stylistic constructions? Do all aspects of Évole’s styling ‘work’ for all the discourse communities it reaches? If that is not the case, which aspects of his style are taken up by which discourse communities?

Nexus Analysis: Discourse and the Emerging Internet. London: Routledge. Silverstein, Michael. 2003. Indexical order and the dialectics of sociolinguistic life. Language & Communication 23: 193–​229. Stockwell, Peter. 2015. Poetics. ) Handbook of Cognitive Linguistics. Berlin: De Gruyter. 432–​452. Stuart-​Smith, Jane and Ichiro Ota. 2014. Media models, “the shelf,” and stylistic variation in East and West: Rethinking the influence of the media on language variation and 23 24 24 Introduction change.

G. “I imagine,” “I guess,” “I can only assume”). Évole’s body language co-​indexes such a stance: his eyebrows are raised, his forehead creases slightly conveying quizzical concentration, the palms of his hands face upwards, and his arms open up in a gesture that signals a keen willingness to understand. Évole also goes to considerable lengths to align viewers to his stance. g. “and I’m really wondering, as Spaniards do, we wonder, don’t know, how come did …”). Importantly, Évole’s ‘not knowing’ epistemic stance is keyed as ironic and draws upon hedging and stylistic dissonance.

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