Abstract
This chapter deals with the co-dependent relationship that politics entertains with the media in the postmodern era of (meta)communication. The political series shows to what extent the accelerated rhythm of news circulation challenges politicians’ relation to the media and how the protagonist exploits the instantaneity of modern communicative outlets to his own benefit. The chapter details the manipulative techniques used by Underwood to control the public’s reading of events. The power of storytelling and fiction are exploited as means to make the words fit the worlds fabricated by the Underwoods and their spin doctors. Through the use of insinuation, counterfactuality, misinformation and metadiscursive deception, the protagonist manipulates the other characters’ pragmatic inferences to further his own personal agenda. Based on re-labelling and de-labelling processes, his linguistic rationalizations offer euphemized versions of the facts that aim at making illusion pose as reality.
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Notes
- 1.
The argumentum ad populum consists in playing on ‘emotion or prejudice to distract attention from the issue’ (Cockcroft & Cockcroft, 2014: 172), often by appealing to the vox populi rather than developing a rational argumentation.
- 2.
- 3.
The same attempt at manipulating perception through language is forcefully illustrated in a totalitarian context by Klemperer’s notebooks, published as The Language of the Third Reich: LTI, Lingua Tertii Imperii, which thoroughly report how Hitler managed to manipulate language into denying reality (namely, the German defeats on the Eastern borders) by giving the preference to words that gave the illusion of dynamism and action over stalemate, for instance. As Klemperer (1996: 294) indicates, the words ‘defeat’, ‘retreat’ or ‘escape’ were never part of Hitler’s language of defeat denial. The enemies never made breakthrough (durchbrüche) but only irruptions (Einbrüche) on the ‘elastic’ German front, for instance.
- 4.
Euphemisms are figures of speech that usually leave the speakers in no doubt as to what the non-euphemised reality is: ‘he is at peace’, for instance, veils the brutality of death without denying it. Indeed, like any figure of speech, euphemisms require a ‘critical’ attitude (‘une pointe critique’) in Ricœur’s terms that can pierce through the euphemistic veil. Although yielding to it, reality resists the euphemistic interpretation (Ricœur, 1975: 321, see also Sorlin, 2010a).
- 5.
Dystopias like Burgess (1972)’s A Clockwork Orange (1st ed. 1962) or Dick (2009)’s The Minority Report (1956) have similar totalitarian aspects in that they feature attempts at restricting individual liberties by convicting people before they really commit a crime. In Dick’s story, the ‘Precrime division’ kills murderous intentions in the bud by arresting people suspected of being future murderers (as foreseen by mutants called ‘precogs’). The ‘Ludovico treatment’ that the protagonist Alex is submitted to in Burgess’s novel produces unbearable feelings of sickness whenever the teenager has violent and lustful thoughts. Conviction thus takes place at the intentional level, which annihilates freedom of mere thoughts and desires. Orwell (1989)’s newspeak in Nineteen Eighty-Four (1st ed. 1949) similarly aims at linguistically rendering crime against Big Brother impossible (see Sorlin, 2010b).
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Sorlin, S. (2016). Concealing, Distorting and Creating Reality. In: Language and Manipulation in House of Cards. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-55848-0_3
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