In Sherzer's 1987 approach, verbally artistic language was given a privileged position in understanding the relationship of language and culture through discourse. By contrast, the language ideologies governing discourse in Western courtrooms seek to divorce language use from cultural context through the proposition that content can be transferred from one language to another without loss of meaning. However, courtrooms are also among the spaces in which Sherzer's discourse‐centered approach to language and culture are particularly consequential. This article considers communicative disjunctures arising in the context of Ixil Maya use of verbally artistic language during the 2013 trial of former de facto president of Guatemala, José Efraín Ríos Montt, for genocide of the Ixil people. As a domain in which the language‐culture relationship is heightened, verbally artistic language provides a context in which this disconnect between Ixil and non‐Ixil participants in the trial is especially evident. A failure to engage with the use of verbally artistic language becomes a significant site of exclusion that has been largely invisible in the courtroom. Verbally artistic language also provides an important lens for considering cross‐cultural communication in the courtroom more broadly.

中文翻译：

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语言，文化与正义：2013年危地马拉何塞·埃夫拉·里奥斯·蒙特的种族灭绝审判中的伊克塞尔·玛雅语言艺术

在谢尔兹（Sherzer）的1987年研究方法中，语言艺术语言在通过话语理解语言与文化的关系方面享有特权。相比之下，西方法庭管辖话语的语言意识形态试图通过主张内容可以从一种语言转移到另一种语言而又不失去意义的主张，来将语言使用与文化背景相分离。但是，在法庭上，舍尔兹（Sherzer）对语言和文化的以话语为中心的方法也特别重要。本文考虑了在2013年危地马拉前事实上的总统JoséEfraínRíosMontt因伊克西尔人种族灭绝而受审时，伊克西尔玛雅人使用语言艺术语言引起的交际障碍。作为语言文化关系得到加强的领域，语言艺术语言提供了一个上下文，在该上下文中，试验中的伊克西尔和非伊克西尔参与者之间的这种分离尤为明显。不使用言语艺术语言会成为一个重要的排斥场所，在法庭上这是非常看不见的。语言上的艺术语言也为更广泛地考虑法庭上的跨文化交流提供了重要的视角。