scholarly journals Transition and Translation of Free Indirect Discourse in Chinese Literature

2021 ◽  
Vol 11 (9) ◽  
pp. 983-989
Author(s):  
Yixin Liu
Keyword(s):  
Chinese Literature ◽  
Basic Definition ◽  
Literary Works ◽  
Narrative Strategy ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Chinese Fiction ◽  
Third Person ◽  
Definition Of

Free indirect discourse (FID) is a discourse presentation pattern of third-person narration, and it is often employed as a common narrative strategy to present characters’ consciousness in literary works. Given its ambiguous link with both the narrator’s and character’s discourse, we may feel confused about how to distinguish FID from other discourse when reading a text. After introducing the basic definition of this notion, this paper will interpret several signals which can help to distinguish FID passages in the text. Most importantly, this paper will look at how FID passages in Western literary works were translated into Chinese in early works, and then explore the development of FID in early Chinese fiction, investigating the transition of FID in Chinese.

Free Indirect Discourse in the Translation into Finnish

Target ◽  
2000 ◽  
Vol 12 (1) ◽  
pp. 109-126 ◽  
Author(s):  
Tarja Rouhiainen
Keyword(s):  
Comparative Analysis ◽  
Spoken Language ◽  
Past Tense ◽  
Source Text ◽  
Narrative Technique ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Person Reference ◽  
Mental Language ◽  
Third Person

Abstract Free indirect discourse (FID) is a narrative technique which purports to convey a character’s mental language while maintaining third-person reference and past tense. This paper deals with the problems the use of FID may create for Finnish translators of English literary narratives. A comparative analysis of D.H. Lawrence’s Women in Love and its translation into Finnish shows that the translator’s treatment of the pronouns he/she may shift the viewpoint from the character’s consciousness to the narrator’s discourse. The article concludes with the question of what stylistic norms could explain the translator’s avoidance of the spoken-language simulation typical of the source text.

Two Paths for the Big Book: Olga Tokarczuk's Shifting Voice

Genre ◽  
2021 ◽  
Vol 54 (1) ◽  
pp. 67-87
Author(s):  
Katarzyna Bartoszyńska
Keyword(s):  
The Novel ◽  
Free Indirect Discourse ◽  
The Third ◽  
Indirect Discourse ◽  
Narrative Perspective ◽  
The World ◽  
Third Person ◽  
Single Voice ◽  
The Third Person ◽  
World Image

This essay argues for the power of free indirect discourse in the third-person narrative perspective to serve as a collective voice, encompassing a diversity of perspectives, through a reading of two novels by Olga Tokarczuk, Bieguni (Flights) and Księgi Jakubowe (Books of Jacob). Both novels investigate the challenges inherent in the project of providing an image of the world, and alongside various interventions on the level of content, each examines the kind of world-image that different approaches to narrative voice can produce. In Flights, the narrator's striving to arrive at a more expansive and synthetic knowledge of the world is accompanied by an effort to go beyond the first-person voice, to a broader perspective. The novel subtly demonstrates the impossibility of such efforts, but, the essay argues, Books of Jacob continues this project, albeit from the opposite direction, examining the affordances of the third-person voice. Its innovative use of free indirect discourse produces a perspective that, while appearing to be a single voice, contains multiple, contradictory points of view.

FREE INDIRECT DISCOURSE AND POSSIBLE WORLDS IN IAN MCEWAN’S THE CHILD IN TIME

2019 ◽  
Vol 12 (3) ◽  
pp. 123-132
Author(s):  
Adriana Diana Urian ◽  
Keyword(s):  
Speech Acts ◽  
Possible Worlds ◽  
The Novel ◽  
Possible World ◽  
Free Indirect Discourse ◽  
Postmodern Fiction ◽  
Indirect Discourse ◽  
Subsequent Discussion ◽  
Third Person ◽  
Narrative Syntax

The paper discusses the nature of free indirect discourse and the manner in which it appears within postmodern fiction, more precisely in Ian McEwan’s novel The Child in Time, through the modality of possible world semantics. First it explains how free indirect discourse should be understood in this context, outlining the theoretical introduction and justification of this particular approach. The subsequent discussion focuses on speech acts and how they can be understood theoretically and in a fictional universe. It then showcases how free indirect discourse works in Ian McEwan’s The Child in Time, which offers an excellent case study for this type of analysis, given the fact that the novel is a third person narrative, an indirect account of events, and a reported story, and thus a perfect sample of free indirect discourse in fiction. Finally, by blending these perspectives within the narrative universe and observing how they render a structural matrix of fiction upon which worlds of possibility can be modally distinguished, the paper will prove that the analysis of free indirect discourse completes the picture of narrative syntax within possible world determinism.

On the Margins of Modernism

2017 ◽  
Author(s):  
Christopher Rosenmeier
Keyword(s):  
Short Stories ◽  
Detailed Analysis ◽  
Chinese Literature ◽  
Popular Literature ◽  
Extensive Study ◽  
Wide Range ◽  
Chinese Fiction ◽  
Scant Attention ◽  
Narrative Techniques ◽  
Chinese Writing

Xu Xu and Wumingshi were among the most widely read authors in China during and after the Second Sino-Japanese War (1937–1945). Despite being an integral part of the Chinese literary scene, their bestselling fiction has, however, been given scant attention in histories of Chinese writing. This book is the first extensive study of Xu Xu and Wumingshi in English or any other Western language and it re-establishes their importance within the popular Chinese literature of the 1940s. Their romantic novels and short stories were often set abroad and featured a wide range of stereotypes, from pirates, spies and patriotic soldiers to ghosts, spirits and exotic women who confounded the mostly cosmopolitan male protagonists. Christopher Rosenmeier’s detailed analysis of these popular novels and short stories shows that such romances broke new ground by incorporating and adapting narrative techniques and themes from the Shanghai modernist writers of the 1930s, notably Shi Zhecun and Mu Shiying. The study thereby contests the view that modernism had little lasting impact on Chinese fiction, and it demonstrates that the popular literature of the 1940s was more innovative than usually imagined, with authors, such as those studied here, successfully crossing the boundaries between the popular and the elite, as well as between romanticism and modernism, in their bestselling works.

Temporal relations of free indirect discourse events

Linguistics ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Jakob Egetenmeyer
Keyword(s):  
Discourse Structure ◽  
Temporal Relations ◽  
Free Indirect Discourse ◽  
Indirect Discourse

Abstract In this article, we investigate the role free indirect discourse (FID) plays in temporal discourse structure. In contrast to the most widely accepted account of FID, which compares the content of FID to the surrounding content (two voices or two contexts), we take FID as a discourse entity and, thus, focus on the FID event. We follow a prominence-based approach to temporal discourse structure, through which we are able to describe the temporal relations the FID event maintains to the preceding and the following discourse in a precise manner. We can also account for the temporal developments that may be brought about by FID events. This becomes especially interesting in longer passages where FID events alternate with non-FID parts of discourse. The interaction involves the three levels which together make up our account of temporal discourse structure.

scholarly journals The Use of Terms and Definitions in the Study of Be Stars (Review Paper)

1987 ◽  
Vol 92 ◽  
pp. 3-21
Author(s):  
George W. Collins
Keyword(s):  
Review Paper ◽  
Be Stars ◽  
Basic Definition ◽  
The Subject ◽  
Definition Of ◽  
Incorrect Usage

AbstractIn this paper I shall examine the use and misuse of some astronomical terminology as it is commonly found in the literature. The incorrect usage of common terms, and sometimes the terms themselves, can lead to confusion by the reader and may well indicate misconceptions by the authors. A basic definition of the Be phenomena is suggested and other stellar characteristics whose interpretation may change when used for non-spherical stars, is discussed. Special attention is paid to a number of terms whose semantic nature is misleading when applied to the phenomena they are intended to represent. The use of model-dependent terms is discussed and some comments are offered which are intended to improve the clarity of communication within the subject.

Sympathy and Empathy

2021 ◽  
Author(s):  
Rae Greiner
Keyword(s):  
Prosocial Behavior ◽  
Literary Criticism ◽  
Moral Sense ◽  
Fair Share ◽  
Mental Processes ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Human Difference ◽  
Literary Techniques

Sympathy and empathy are complex and entwined concepts with philosophical and scientific roots relating to issues in ethics, aesthetics, psychology, biology, and neuroscience. For some, the two concepts are indistinguishable, the two terms interchangeable, but each has a unique history as well as qualities that make both concepts distinct. Although each is associated with feeling, especially the capacity to feel with others or to imaginatively put oneself “in their shoes,” the concepts’ sometimes shared, sometimes divergent histories reveal more complicated origins, as well as vexed and ongoing relations to feeling and emotion and to the ethical value of emotional sharing. Though empathy regularly is considered the more advanced and egalitarian of the two, it shares with sympathy a controversial role in historical debates regarding questions of an inborn or divine moral sense, prosocial behavior and the development of human communities, the relation of sensation to unconscious mental processes, brain matter, and neurons, and animal/human difference. In literary criticism, sympathy and empathy have been key components of aesthetic movements such as sentimentalism, realism, and modernism, and of literary techniques like free indirect discourse (FID), which are thought (by some) to enhance readerly intimacy and closeness to novelistic characters and perspectives. Both concepts have also received their fair share of suspicion, as the capacity to feel, or imagine feeling, the emotions of others remains a controversial basis for ethics.

scholarly journals Precedent Names in the Text Field of Marina Tsvetaeva from the Perspective of Free Indirect Discourse

2017 ◽  
Vol 13 (7) ◽  
pp. 142
Author(s):  
Daniya Abuzarovna Salimova ◽  
Olga Pavlovna Puchinina
Keyword(s):  
World Wide ◽  
The Other ◽  
Specific Character ◽  
Free Indirect Discourse ◽  
Personal Names ◽  
Text Field ◽  
Indirect Discourse ◽  
Marina Tsvetaeva ◽  
The World ◽  
The One

The present study is complied with the topical theme “name in the text” and devoted to the problems of how precedent names as the text-forming elements function in the poems and prose works of Marina Tsvetaeva within the framework of free indirect discourse. The authors study various methods and functions of personal names. The authors make conclusions concerning the frequency of precedent names and the specific character of intertextual elements in Tsvetaeva’s text, which, on the one hand, complicates the perception of the text, but on the other hand, promotes including both the poet and the reader into the world-wide cultural and spiritual environment. The ways of introducing the name and the persona, especially within free indirect discourse, specifies the further existence of the name / or its absence in the text.

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