Degrees of Redundancy in Double Introductions of Direct Speech in Gregory of Tours

2021 ◽  
pp. 1-32
Author(s):  
Jana Mikulová
Keyword(s):  
2015 ◽  
Vol 12 (2) ◽  
Author(s):  
Vidya Dwi Amalia Zati ◽  
Sumarsih Sumarsih ◽  
Lince Sihombing

The objectives of the research were to describe the types of speech acts used in televised political debates of governor candidates of North Sumatera, to derive the dominant type of speech acts used in televised political debates of governor candidates of North Sumatera and to elaborate the way of five governor candidates of North Sumatera use speech acts in televised political debates. This research was conducted by applying descriptive qualitative research. The findings show that there were only four types of speech acts used in televised political debates, Debat Pemilukada Sumatera Utara and Uji Publik Cagub dan Cawagub Sumatera Utara, they were assertives, directives, commissives and expressives. The dominant type of speech acts used in both televised political debates was assertives, with 82 utterances or 51.6% in Debat Pemilukada Sumatera Utara and 36 utterances or 41.37% in Uji Publik Cagub dan Cawagub Sumatera Utara. The way of governor candidates of North Sumatera used speech acts in televised political debates is in direct speech acts, they spoke straight to the point and clearly in order to make the other candidates and audiences understand their utterances.   Keywords: Governor Candidate; Political Debate; Speech Acts


2018 ◽  
Vol 5 (2) ◽  
pp. 50-60
Author(s):  
Manuela Svoboda ◽  
Petra Zagar-Sostaric

Abstract In this article a closer look will be taken at the issue of inaccurately using a foreign language, i.e. German in this particular case, in a crime novel or thriller. Of course, in fiction the author has complete artistic freedom to invent and present things as he/she intends and it doesn`t necessarily have to be realistic or legitimate. But what happens when it comes to an existing language being quoted in fiction? For this purpose David Thomas’ thriller “Blood Relative - How well do you know the one you love?” is analysed regarding parts in which German quotes are used. As the plot is located partly in England and partly in former East Germany (GDR) and the protagonist’s wife is of German origin, direct speech, titles and names are used in German. Subsequently, they are translated into English by the author in order to be understood by the English reader. However, there are many grammar, spelling and semantic mistakes in these German expressions and common small talk quotes. This begs the question, is it justified to disregard linguistic correctness with regards to artistic freedom given the fact that we are dealing with a fictional thriller, or is it nevertheless necessary to be precise concerning foreign language usage? How far may one “test” their artistic freedom in this particular case? In order to answer these questions a detailed analysis of the thriller is performed, concerning artistic freedom and modern literature/light fiction as well as the German language used in quotes and direct speech.


Author(s):  
G. O. Hutchinson

The Battle of Carrhae gives Plutarch his real opportunity to rival Thucydides on Sicily: a striking example of the second Life outdoing the first. The Life of Crassus is marked by dense passages which are particularly prolonged and amassed. They involve a moment of greatness for Crassus which outdoes a similar moment for Nicias (see ch. 13); it presents direct speech, after the death of Crassus’ son. These especially heightened passages in the Life form an arc, from initial terror at the Parthians, to noble death and acceptance of death; but the detail complicates this structure. The comparison of father and son is also important to the design; so too ethnography and Plutarch’s treatment of the Parthians. Cassius Dio’s later non-rhythmic account provides a foil.


2019 ◽  
Vol 70 (1) ◽  
pp. 105-122
Author(s):  
Davide Mastrantonio

Abstract In this paper we deal with a specific subset of direct speech markers, to which little or no attention has been given so far: the expressions which codify the ending of the direct speech (“marcatori conclusivi del discorso diretto”). We analyse these markers in Old Italian texts, comparing them with their Latin and, in some cases, Old French equivalents. In the introduction (§1), we take into account various general issues related to ancient texts, namely the practice of spoken-word reading and the lack of systematic punctuation marking that helps text segmentation. After that (§2), we classify the different strategies ancient writers had at their disposal to signal that a direct speech is over, hence that what follows has to be interpreted as the narrator voice; the markers are organized in a range from most explicit to most implicit (disse > quando ebbe detto > a queste parole > allora > [Ø]). Thereafter (§3), we focus on two specific markers, the participial marker (detto questo) and the “connector + finite tense” marker (quando ebbe detto questo) in a corpus of nine texts. Though these two markers are roughly synonymic, their occurrence is not uniform among the analysed texts. The explanation of their unequal distribution is that they belong to different discourse traditions (Diskurstraditionen): “quando + finite tense” is a typical expression attested in Romance narrations (the so-called “quand-Satz”), whereas detto questo appears to be dependent on Latin tradition.


2018 ◽  
Vol 13 (4) ◽  
pp. 633-648
Author(s):  
Kobi Peled

A striking feature of Palestinian oral history projects is the extensive use that interviewees make of direct speech to communicate their memories—especially those born before the 1948 Arab–Israeli war. They do so irrespective of whether or not they participated in or actually heard the dialogues they wish to convey. This article seeks to characterize and explain this phenomenon. In the interviews conducted by the author—an Arabic-speaking Jew—as well as in other projects, this mode of speech is marked by ease of transition from character to character and between different points in time. It clearly gives pleasure to those engaged in the act of remembering, and it grades readily into a theatrical performance in which tone of speech and the quality of the acting become the main thing. This form of discourse sprang up from the soil of a rural oral culture and still flourishes as a prop for supporting memory, a vessel for collecting and disseminating stories, and a technique for expressing identification with significant figures from the past.


2015 ◽  
Vol 1 (1) ◽  
Author(s):  
Kashmiri Stec ◽  
Mike Huiskes ◽  
Gisela Redeker

AbstractWe investigate direct speech quotation in informal oral narratives by analyzing the contribution of bodily articulators (character viewpoint gestures, character facial expression, character intonation, and the meaningful use of gaze) in three quote environments, or quote sequences – single quotes, quoted monologues and quoted dialogues – and in initial vs. non-initial position within those sequences. Our analysis draws on findings from the linguistic and multimodal realization of quotation, where multiple articulators are often observed to be co-produced with single direct speech quotes (e.g. Thompson & Suzuki 2014), especially on the so-called left boundary of the quote (Sidnell 2006). We use logistic regression to model multimodal quote production across and within quote sequences, and find unique sets of multimodal articulators accompanying each quote sequence type. We do not, however, find unique sets of multimodal articulators which distinguish initial from non-initial utterances; utterance position is instead predicted by type of quote and presence of a quoting predicate. Our findings add to the growing body of research on multimodal quotation, and suggest that the multimodal production of quotation is more sensitive to the number of characters and utterances which are quoted than to the difference between introducing and maintaining a quoted characters’ perspective.


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