The concept of plagiarism, as used both in considerations of academic writing and in international negotiations over intellectual copyright, assumes a model of communication based on autonomous, rational, individuals who behave as originators of their own discourses. But studies of communication, beginning with Goffman's concepts of production format and footing – and also including the concepts of enactment, social role, face, politeness pragmatics, metaphors of self and communication, and innatist/social concepts of knowledge – indicate that such a unified, autonomous, and original communicative identity presupposes an oversimplified model of communication, centrally based in the ideology of the rational, autonomous individual which has been dominant in Europe since the Enlightenment. The concept of plagiarism masks the assertion of this ideological position. (Plagiarism, ideology, identity, intercultural discourse)

Schiffrin 1984 has claimed that there is a speech activity called “sociable argument,” characterized by the presence of discursive features such as vulnerability of argumentative frames and cooperative strategies. Although a form of talk aptly labeled “sociable argument” undoubtedly exists, Schiffrin's analysis is problematic; the features she identifies as characteristic of this discursive category also show up in argument that is serious and non-sociable. This raises general questions about the nature of the criteria applicable to the definition of forms of talk. (Discourse analysis, argument, conflict, conversation, cooperation, rhetoric)

Analysis of two versions of a long fairy tale, “The Green Man of Knowledge,” as narrated by the same storyteller on two separate occasions, shows considerable variation in the use of performance features, especially the historic present tense. One narration is in “additive” style, with the historic present as the norm; the other shows a gradual “breakthrough to performance,” with the historic present dominant in certain segments. There are more patterns in the use of this tense, and more factors affecting it, than have hitherto been acknowledged; it may be instructive to see how it co-occurs with other performance features. The discussion raises questions about the usefulness of quantitative analysis, and about issues of meaning, genre, audience, and the individuality of the storyteller. (Folklore; Scots; narratology; genre; rhetoric; qualitative analysis)

Southern Chinese dialects – Cantonese, Taiwanese, and Hakka – have received little official support from the governments of the nations where Chinese is spoken; they are not mutually intelligible with Mandarin, and are often deeply stigmatized. Although China's language wars have paralleled cold war hostilities, unofficial forces in the 1990s are rapidly enhancing dialect prestige, as an economic boom increasingly links the “Greater China” of the People's Republic, Taiwan, Hong Kong, and Singapore. (Chinese dialects, Mandarin, Cantonese, Min, Hakka, bilingualism, Hong Kong, Taiwan, official language)

Code-switching from the Fijian language into a variety of Hindi is commonly used for joking among indigenous Fijians. Examples of this codeswitching are described here, and its role in Fijian joking relationships is outlined. A survey of code-switching used for humor in other societies shows that code-switching may be a signal for joking, that the switching itself may be considered humorous, and that the variety to which one switches may be used for humorous mockery or parody. Three different psychological approaches to the study of humor throw some light on why code-switching into Hindi is funny to Fijians. A final discussion examines code-switching in relation to both unintegrated borrowing and style-shifting. (Code-switching, borrowing, humor, joking, Fijian, Hindi)