scholarly journals Character’s Inner Speech as Effective Way of Literary Discourse Organization (Novel “The Remains of the Day” by Kazuo Ishiguro)

2021 ◽  
pp. 92-112
Author(s):  
S. Yu. Lavrova ◽  
L. A. Ermakova
Keyword(s):  
Discourse Markers ◽  
Literary Text ◽  
Point Of View ◽  
Inner Speech ◽  
Literary Discourse ◽  
The Novel ◽  
Kazuo Ishiguro ◽  
Close Analysis ◽  
Discourse Organization

The article examines the protagonist’s verbalized  inner  speech  in  the   literary   text of the novel “The Remains of the Day” as a way of literary discourse organization by English novelist Kazuo Ishiguro. The  relevance of the study is explained by the interest in   the analysis of the inner speech of characters in a literary text, which differs from the natural inner speech of an individual in the ways of  linguistic  expression,  the  specifics   in the structure of the narrative. It is shown that the study of the inner speech of a character   of literary discourse using such parameters of its measurement as structural-compositional, semantic-conceptual, communicative, allows us to identify the features of the functional role of this type of speech. The novelty of the research lies in the substantiation of how the character's inner speech (introspection), being a significant unit of composition, correlates with prospection and retrospection of the text, acting as the main form of narration. The article elicits four basic concepts that organize the content of the character's inner speech. The authors of the article offer a close analysis of the rheme-theme correlation of the title of the novel and the main text as the basis of the author’s literary discourse. Particular attention is paid to the modality of the character's inner speech from the point of view of the pragmatic orientation of this type of speech towards the addressee-reader and discourse markers that influence the process of discourse interpretation.

scholarly journals БИЛВОСИТА НУТҚ — “ЛОЛАЗОР” РОМАНИДА БЕВОСИТА ПСИХОЛОГИЗМ КЎРИНИШЛАРИДАН БИРИ СИФАТИДА

2019 ◽  
pp. 195-203
Author(s):  
Mavlon Bobokhonov
Keyword(s):  
Literary Criticism ◽  
Point Of View ◽  
Inner Speech ◽  
The Novel ◽  
Direct Speech ◽  
Indirect Speech ◽  
Inner World

Мақолада ўзиники бўлмаган кўчирма гапнинг персонаж ички оламини тасвирлашдаги ўрни ўрганилган. Психологизм бевосита кўриниши ҳисобланадиган ички нутқнинг роман қаҳрамонлари руҳиятини очишдаги роли аниқланган. Ўзиники бўлмаган кўчирма гап адабиётшуносликда билвосита муаллиф нутқи сифатида қўлланилишига изоҳ берилиб, соҳа мутахассисларининг бу борадаги фикрларига муносабат билдирилган. Билвосита нутқнинг “Лолазор” романида бевосита психологизм кўринишларидан бири сифатида келиши исботланган. В статье изучается место несобственно-прямой речи в изображении внутреннего мира персонажа. Раскрывается роль этого вида внутренней речи, являющегося разновидностью психологизма. Разъясняется, что несобственно-прямая речь используется в литературоведении как косвенная речь, даётся собственная точка зрения по поводу того, как специалисты отностятся к этому явлению. Утверждается, что косвенная речь является разновидностью прямого психологизма в романе “Край, покрытый тюльпанами”. The article examines the place of indirect speech in the image of the character's inner world. The role of this type of inner speech, which is a kind of psychologism, is revealed. It is explained that improperly direct speech is used in literary criticism as indirect speech, and given own point of view about how specialists relate to this phenomenon. It is argued that indirect speech is a kind of direct psychologism in the novel “The Edge Covered with Tulips”.

scholarly journals The Author’s Proper Speech Sphere in the Novel of V. Domontovych «Doctor Seraphicus»

2020 ◽  
Vol 12 (2) ◽  
pp. 144-152
Author(s):  
Natalia Zubets
Keyword(s):  
Scientific Research ◽  
Literary Text ◽  
Point Of View ◽  
The Novel ◽  
Compositional Structure ◽  
Leading Role ◽  
The One ◽  
Definition Of ◽  
And Linguistics

The scientific research was realised on the basis of the existential and psychological novel of V. Domontovych «Doctor Seraphicus». The compositional structure of the literary text was examined by marking the distinction of main types of a speech – the one of the author and the one of the character. It is emphasized that the author’s point of view is most complete and explicitly manifested in the author’s proper speech, which plays a leading role in the formation of the concept of a work, characterized by evaluativity and modality. The principal approaches to the definition of the notion «author’s speech» from the perspective of psychology and linguistics were named. Since the complex functional textual speech unities – descriptions, narrations, reflections structure the author’s opinion, regulate its development and ensure its integrity and completeness, then, the role of each compositional speech form in interpreting the novel’s idea was established and revealed (presentation of the macrocosm and the microcosm of a man, transfer of the temporal sequence and conditionality, reflection of the author’s world perception). The special attention was paid to the form of reflection as a generalized representation of the author’s point of view which is universal and autonomous. The lexical-semantic, structural-syntactic and functional-stylistic features of compositional speech forms are analyzed in this work.

The Limit Situation And The Narrative Of War (On The Material Of The Novel “My Lieutenant” By Daniil Granin)

2020 ◽  
Vol 6 (1) ◽  
pp. 90-104
Author(s):  
Anatoly S. Kuprin ◽  
Galina I. Danilina
Keyword(s):  
20Th Century ◽  
Scientific Work ◽  
Point Of View ◽  
Continuous Limit ◽  
The Novel ◽  
Term Limit ◽  
Abstract Author ◽  
The Third ◽  
Definition Of

The purpose of this study is the analysis of limit situation in the narrative of war. The material of the study is the novel of Daniil Granin “My Lieutenant” and related texts. In the first part of the paper, the authors explore existing approaches to the term “limit situation” and similar concepts into scientific and philosophical traditions; limits of its applicability in literary studies and its relation to the categories of “narrative instances” and “event”. Proposed a literary-theoretical definition of the limit situation, which can be used in the analysis of fiction texts. Existing approaches to the examination of the situation of war are analyzed: philosophical-existential, psychoanalytic, sociological, literary. In the second part of the paper, the authors propose their method for analyzing limit situations in texts about war, which basis on existing approaches and preserves the text-centric principle of studying the structure of the story. Two interrelated areas of research have been identified: the study of war as a continuous limit situation in the intertextual aspect (the discourse of war); the study of limit situations (death, suffering, guilt, accident) in the narrative of war as part of a specific text. In the third part of the scientific work,the analysis of war as a continuous limit situation results in the study of the concept of “limit” (border) in a fiction text. The role of “limit” (border) concept in the texts about the war is studied, the possible types of limits in the discourse of war are examined. Limit situations in the narrative of war are analyzed on the basis of the novel “My Lieutenant” by Daniil Granin. A review of journalistic and scientific works about the novel revealed both the continuity and the differences between the novel and the “lieutenant” prose of the 20th century. An analysis of the limit situations in the novel revealed their key position in the narrative. These situations are independent of the fiction time, of the fluctuation of the point of view’; the function of the abstract author is to build the narrative as a “directive” immersion of the hero and narrator in these situations.

scholarly journals The Logical Basis of a Literary Text, or What Does Porfiry Petrovich Hide in F. M. Dostoevsky’s “Crime and Punishment”?

2020 ◽  
Vol 27 (1) ◽  
pp. 239-259
Author(s):  
Valentina E. Vetlovskaya
Keyword(s):  
Literary Text ◽  
Crime Fiction ◽  
The Novel ◽  
Crime And Punishment ◽  
Logical Basis ◽  
The Aesthetic ◽  
The Individual

<p>The article explores the role of logical connections in an epic text. It is these connections, according to the author of the article, that connect the individual components of the narrative (motifs, complexes of motifs) and make up in the reader&rsquo;s perception for the missing elements. The reticence and failures to mention, common in fiction, appear in the narrative for various reasons. Sometimes due to the aesthetic principles of the writer who prefers ambiguity to a completed statement depriving readers of the opportunity to finish thinking over a vague idea. And sometimes, due to the author&rsquo;s conviction that there is no need to explain the idea implied by what has been earlier said. But it also happens that the omissions in the narrative are engendered by the requirements for the presentation of a chosen topic, for example in crime fiction. But these reasons may go together as it occurs in Crime and Punishment. These ideas are illustrated by the analysis of one of the themes of the novel Crime and Punishment.</p>

COGNITIVE FOUNDATIONS OF IMPLEMENTING NOVEL GENRE CHARACTERISTICS (based on the analysis of “Never Let Me Go” by Kazuo Ishiguro)

2021 ◽  
pp. 5-20
Author(s):  
N.N. Boldyrev ◽  
◽  
B.S. Zhumagulova ◽  
D.T. Kurmanbayeva ◽  
◽  
...  
Keyword(s):  
Dominant Role ◽  
Matrix Analysis ◽  
The Novel ◽  
Theoretical Assumption ◽  
Matrix Space ◽  
Cognitive Approach ◽  
Kazuo Ishiguro ◽  
Close Relationship ◽  
Individual Interpretation

The article analyses the role of chronotope in implementing genre characteristics of different types of novels within the frame of one novel in a cognitive approach perspective. The authors proceed from the theoretical assumption that the content of any novel represents a multidimensional knowledge of the matrix format comprising various types of conceptual domains as specific cognitive contexts. These contexts refer to the knowledge not only about the plot and the composition of the novel, but also about its genre characteristics and their individual interpretation by the author of the novel. Accordingly, they choose cognitive matrix analysis as the methodological basis of the research. Particular attention is focused on the analysis of general principles and mechanisms of the author's individual interpretation and implementation of the concept of chronotope, suggested by M.M. Bakhtin, within the framework of a specific novel. In relation to the novel under discussion the authors of the article model chronotope in the form of the cognitive matrix SPACE-TIME CONTINUUM and analyze its conceptual structure as it is seen by the author of the novel, as well as his choice of means of its representation in language. The results of the cognitive matrix and linguistic analysis lead to the conclusion that typical genre features of the novel are implemented through characteristics of the basic concepts of the respective conceptual domains and means of their linguistic representation. The article also argues close relationship between all of these characteristics and the dominant role of some of them in relation to the others.

Semantic agents, syntactic subjects, and discourse topics

2000 ◽  
Vol 24 (2) ◽  
pp. 277-317 ◽  
Author(s):  
David Beck
Keyword(s):  
Point Of View ◽  
Surface Form ◽  
Space And Time ◽  
Discourse Organization

The Salishan language Lushootseed has been claimed to lack both syntactic subjects and morphosyntactically transitive clauses, a problematic stance from a universalist/typological point of view. This paper offers evidence both for the syntactic role of subject in Lushootseed and the existence of transitive clauses, and examines the sentence- and discourse-level properties of Lushootseed subjects that make them essential for the grounding of events and discourse in both space and time. Their centrality to the discourse-organization of the language, and hence their recoverability, allows their frequent — and, in transitive clauses, obligatory — elision from the surface form of sentences.

scholarly journals The semantics of Lermontov's poetic myth of the Demon N. S. Leskov’s “The Islanders”

Litera ◽  
2021 ◽  
pp. 1-9
Author(s):  
Vurgun Georgievich Mekhtiev
Keyword(s):  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Semantic Transparency ◽  
Special Contribution ◽  
Romantic Poetry ◽  
The Subject ◽  
Literary Myth ◽  
The Demonic

The subject of this research is the negative-axiological, satirical layers of the novel &ldquo;The Islanders&rdquo;, associated with the image of the demonic character, which M. Y. Lermontov turned into the archetype and poetic myth in the Russian literature. The object of this research is the stylistic techniques and ideological motifs of N. S. Leskov underlying &ldquo;desacralization&rdquo; of the romantic myth. The author meticulously examines the following aspects: 1) role of Lermontov's poem &ldquo;The Demon&rdquo; and romantic poetry of the 1840s in creation of the myth of the demonic character; 2) semantic deformations that led Leskov to wander from the conventional meanings of the myth ; 3) satirical modus used as the key technique in creation of the the image of Istomin. Particular attention is given to Leskov&rsquo;s satire in its function of &ldquo;recoding&rdquo; of the myth. The conclusion is made that the image of the painter Istomin is appointed with the task to dispel the romantic myth. Therefore, the axiological-emotional lexis, as well as elements of satire that reflect the point of view of the &ldquo;subjective&rdquo; narrative are arrayed around him. All of that imparts semantic transparency to the character, which contradicts the &ldquo;mysterious code&rdquo; of the myth of romanticism. The author&rsquo;s special contribution consists in the establishment of correlation between the myth of about the demon and the myth of Prometheus, which is important for assessing the complexity and multifacetedness of the semantic core of the phenomenon under review. The novelty of this research lies in revelation of underlying motif of the satirical style of N. S. Leskov. Its point is not to create a &ldquo;myth about the myth&rdquo; or an &ldquo;anti-myth&rdquo;; the novel forms the &ldquo;non-myth&rdquo; to achieve complete elimination of the literary myth of the demonic character. The writer uses satire for typification, rather than individualization of the character.

scholarly journals Poetics of descriptions in the novel “A Hero of Our Time” by M.Yu. Lermontov in Literature classes

2020 ◽  
pp. 77-89
Author(s):  
E.N. Kolokoltsev
Keyword(s):  
Literary Criticism ◽  
Art Criticism ◽  
Literary Text ◽  
Object Image ◽  
The Novel ◽  
Time Line ◽  
Aesthetic Development ◽  
Spatial Image ◽  
Figure Of Speech

The purpose of the study is to actualize the role of descriptions in the novel by M. Yu. Lermontov “A Hero of Our Time” as an important constructive element of the narrative. The most common form of description in the novel is the descriptions of nature and descriptions of the characters’ portraits. The descriptions found a lively response in literature studies, literary criticism, in art criticism, which responded to the paintings of the poet-and-artist and illustrations for the novel. Naturally, it attracted the author’s attention to the study of the works of those scholars, who viewed the features of Lermontov’s narrative manner. In the stories that made up Lermontov’s novel, descriptions play an important compositional role: they accompany the narrative, the thoughts of the characters, and they are often motivated by the author. The article highlights a number of techniques that will allow students to specify ideas about the descriptions in the novel. The students’ comprehension of landscape descriptions can be supported by drawing up a plan that will reflect the spatial and time-line structure of the story “Bela”, which represents both “travel notes” and the novelette. The use of reproductions of Lermontov’s Caucasian landscapes, similar in the object image to its verbal descriptions in the novel, serves as a visible emotional aid in the nature descriptions comprehension by schoolchildren. Turning to Pechorin’s psychological portrait caused such ways of discovery of his portrait features as drawing up a stylistic map that assists students to focus on linguistic means that the narrator uses to relate the hero image with his potential ingrain. The image and words are closely intertwined in the art print that performs the function of figure of speech and gives a spatial image to the piece of writing. The illustration serves as a means of specifying the students’ perceptions of the characters’ portraits, descriptions of nature and the related plot situations. Ways to comprehend a literary text with the wide involvement of works of art assist students to learn about the peculiarities of Lermontov’s narrative manner and facilitate their aesthetic development.

scholarly journals Beckett between the Lines

2004 ◽  
Vol 10 ◽  
Author(s):  
Zsolt Sógor
Keyword(s):  
Samuel Beckett ◽  
Point Of View ◽  
The Novel ◽  
Long Time ◽  
Oriented Approach

This paper wishes to analyse two early novels by Samuel Beckett; Murphy and Watt. It takes a chronological point of view from which it argues that the later of the two, Watt, is closer to Beckett's mature voice, mainly due to its relation with language. This means, in other words, that though in Murphy quite a lot of emphasis is to fall on the role of language, in Watt, with a bit of exaggeration, there is hardly anything else to concentrate on but the language of the novel and language as such in general. The emphasis on language leads to considering Beckett's relation to languages. Since Watt was for a long time the last longer prose work that Beckett wrote in English, the paper regards this novel as a harbinger of the approaching change for French. Or rather, the approaching bilingual state, because, as it is argued, Beckett may be said to have been approaching an in-between state in, or beyond, the two languages of composition. Taking the author's bilingualism into consideration means, however, an author-oriented approach - this is what the paper undertakes to present; to find Beckett's fingerprints between the lines.

scholarly journals Lingual Aspects of Mystical Narration in V. Shevchuk’s Novel “The Beginning of Horror”

2020 ◽  
pp. 109-125
Author(s):  
Florij Batsevych
Keyword(s):  
Narrative Analysis ◽  
Narrative Structure ◽  
Point Of View ◽  
The Novel ◽  
Unreliable Narrator ◽  
Narrative Structures ◽  
Christian View ◽  
Flow Of Time ◽  
The Individual

In recent decades, the researchers of artistic stories have paid their attention to the narrative analysis of a set of weird texts of mystical and absurd content, works of “black humour”, fantastic (khymerna) prose created by a non-anthropic narrator or by an author in a changed state of consciousness. These texts serve the field of actualizing atypical and non-usual narrative structures, the sphere of meaningful changes within the bounds of narrative categories and, which is important, of forming special communicative senses of aesthetic nature. The basic problems of the linguistic analysis of “unnatural” stories are identifying the types of changes in the narration constituents, reasons of these changes and narrative categories (first of all, events, participants, objects, chronotope characteristics, points of view, moduses, modalities, etc.). The article analyses one of the texts of mystical content aiming at the revealing of some specificities of the structure and functioning of the so-called “unnatural artistic narrations”. The object of the research is V. Shevchuk’s novel “The Beginning of Horror”. The subject of the analysis is lingual means of the narrative structure formation, the author’s objectification of the mystical artistic sense and lingual “signals” of a reader’s perception of these senses. The most important semantic means of creating mystical atmosphere of the story are predicates that ascribe the names of their referents atypical dynamic and static features connected with the Christian view of the infernal world. It helps to form narrative events that root in weird situations, which cannot take place in reality. Non-dispositional nature of these situations correlates with the reference to the mystery that goes far beyond the bounds of a usual perceptive and psycho-mental background. Among the pragmatic means of creating mystical atmosphere of the main hero’s story as well as of the novel in general, we specify the individual inimitative perception of the flow of time and modality of “real unreality” formed by the role of an unreliable narrator and a vague point of view of the described event with its perceptive, ideological and time planes of objectification. Due to the increasing interest to various expressions of the esoteric, the increase of the number of artistic works of such content and growth of their popularity, we consider it topical to proceed in further investigations of lingual-narrative aspects of “unnatural” stories, in particular, the ones with the modus of mystical in them.

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