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Linking actual instances of language use with structures of social power in francophone Belgium, Gross outlines the history and contemporary configuration of rod puppetry in Liège. The analysis of this working class performance art moves between what occurs on and off stage. As puppeteers speak in other voices, sometimes in Walloon and sometimes in French, they create a sociolinguistic model based on 19th century renditions of medieval texts, the voices of past puppeteers, and the language that surrounds them. The high level of linguistic reflexivity created by the regional language movement has led to frequent metalinguistic and metapragmatic commentaries within the puppet shows. This complex speech genre embedded in social context shows the influence of identity struggles: from local class oppositions to imperial designs abroad. Keeping a tight focus on language, Speaking in Other Voices examines the process of entextualization and recontextualization as stories of war and religion are transmitted to succeeding generations.

List of Photographs
List of Charts and excerpts from scripts, performances
and Walloon literature
Preface
Acknowledgements
Note on translations and transcriptions
1. Introduction
2. Heteroglossia in Liège
2.1. Language Change, Language Heterogeneity
2.2. Linguistic Heterogeneity in Liège Prior to the Belgian State
2.3. Metalinguistic Discourses in Belgium
2.4. Contemporary Spoken Varieties along the
French/Walloon Continuum
2.5. Social Factors Triggering the Use of Walloon
2.6. The Maintenance of Walloon in Verbal Art
3. Class and Culture in 19th century Liège and
the Rise of the Puppet Theater
3.1. Work and Leisure: Setting the Scene
3.2. Early Accounts of Puppetry
3.3. The Changing Material Conditions
3.4. Bourgeois Discovery of the Puppet Theater
3.5. Folklore and Nation
4. Manipulations and Transformations
4.1. Cultural Discourses
4.2. Work and Leisure
4.3. The Belgian Centennial
4.4. Who Speaks for the Puppets?: Joseph Maurice Remouchamps,
Rodolphe de Warsage and Thomas Talbot
4.5. Battles of Representation
4.6. Gaston Engels and Adrien Dufour: Speaking Through
Puppets Across Time
4.7. Changes in Form and Content
5. The Past in the Present and the Practice of Puppetry
5.1. Speaking Through Puppets: Genre, Tradition, and Style
5.2. Connection to the Past through Stories, Books and Puppets
5.3. Voices of the Master, or Becoming a Puppeteer 1
5.4. Performance Settings
5.5. Past and Present
6. Entextualization/Intertextuality
6.1. Writing Scripts
6.2. Script to Performance
6.3. Refractions of the Nativity
6.4. Li Naissance: Semantico-Referential Variations
6.5. Framing Performance
7. Closing Intertextual Gaps
7.1. Cultural Transmission
7.2. Unscripted Continuity
7.3. Rhythmic Continuity
8. Embodying Identities
8.1. Puppet Bodies and Voices: Semiotic Insights
8.2. The Sociolinguistics of Performance
8.3. Social Indexes in the Puppet Theater
8.4 Evaluating Puppet Voices
9. Religion and War
9.1. Mimesis in Religion and War
9.2. Religion and War in Official Discourse
9.3. The Racial Other
9.4. Religion, Race, and War in the Puppet Theater
10. The World of Puppets, The World of Puppeteers:
Politics in Performance
10.1. Gender and Class
10.2. Immigration and Work
10.3. Language Politics
10.4. Regional Language Politics in Performance
10.5. National Language Politics in Performance
Conclusion
Notes
Appendix
List of Published References
Archival Sources
Index
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