scholarly journals THE IMPORTANCE OF ARTICSIC DETAIL AS A FACTOR OF PROSE POETICALNESS IN THE SGORT STORIES OF THE CONTEMPORARY AMERICAN AND CANADIAN WRITERS

2021 ◽  
pp. 20-24
Author(s):  
O. YEMETS ◽  
A. ZAKHARCHUK
Keyword(s):  
Short Stories ◽  
Literary Text ◽  
Special Importance ◽  
Flash Fiction ◽  
Alice Munro ◽  
Emotional Effect ◽  
Poetic Function ◽  
Final Text

The article considers the role and functions of artistic detail in the contemporary short stories. The investigation involved the flash fiction stories by the American writers written after the year 2020 and several short stories by the outstanding Canadian writer Alice Munro. The aim of the research is determining the major devices of prose poeticalness in these texts and revealing the role of artistic detail in creating poeticalness.Prose poeticalness is defined as such property of a prose text which involves the priority of poetic function and envisages the introduction of poetical features into prose – stylistic convergence, phonetical repetitions, parallelism, rhythm. Stylistic convergence can be considered the most foregrounded device of poeticalness as it involves the accumulation of different stylistic devices which add expressiveness to each other (M.Riffaterre). Our investigation shows that convergences function in strong positions of texts- the initial or final text fragments. Artistic detail is the object or some feature of the object which acquires special importance in the literary text (V.A.Kukharenko). Artistic detail is usually associated with metonymy or synecdoche, but unlike these tropes, it embraces the whole text. In the flash fiction stories and the short stories by A.Munro the major artistic details are objects like a coin (L.Wilson), a brooch (A.Munro), a glove (D.Shea) or a feature of appearance like a bruise (S.Dybek). These details characterize people’s behavior, their dreams and aspirations. Therefore, they symbolize love, friendship, sympathy and give polysemantic character to the narration. Another result of our investigation is determining the metaphoric detail (G.Paley) in the description of the woman, the mother of the defendant. Thus, the emotional effect of the artistic detail is realized in the metaphoric similes comparing the woman to the faded flower. These artistic details in combination with stylistic convergence create the impression of the texts as modern parables. The theoretical novelty of our research lies in the analysis of artistic details from the viewpoint of poeticalnees as well as in revealing the significance of emotional effect for prose poeticalness.The prospects of further research lie in the investigation of poeticalness in other genres of modern prose.

scholarly journals Pragmatic and stylistic aspects of expressing tolerance in modern American short stories

2018 ◽  
Keyword(s):  
Short Stories ◽  
Quantitative Aspect ◽  
Flash Fiction ◽  
Qualitative Aspect ◽  
Emotional Effect ◽  
Stylistic Device ◽  
American Short Stories

In the article, the aspects and types of such stylistic device as foregrounding are investigated in the short stories of contemporary American writers. The quantitative aspect of foregrounding prevails in flash fiction stories which is realized by means of stylistic convergence and parallelism. Convergences are mainly used in strong positions, especially in the endings, as in the stories by J. Updike, D. Galef, D.Eggers. The qualitative aspect of foregrounding is expressed with the help of tropes such as metaphor, simile and oxymoron which are also present in strong positions – titles, beginnings, endings (the stories by G. Paley, D. Galef, J. Updike). The idea of tolerance, sympathy, understanding is dominant in many flash fiction stories. Foregrounding, especially in the strong positions of the stories, emphasizes this idea, thus producing a strong pragmatic, emotional effect. Due to such device in the endings many flash fiction stories can be called modern parables of life, love, justice.

scholarly journals Language Means of Revealing Postmodern Ludic Absurd in English Literary Text

wisdom ◽  
2021 ◽  
Vol 20 (4) ◽  
pp. 166-179
Author(s):  
Oksana BABELYUK ◽  
Olena KOLIASA ◽  
Valeriia SMAGLII
Keyword(s):  
Short Stories ◽  
Ad Hoc ◽  
Literary Text ◽  
Cognitive Mechanisms ◽  
Func Tions ◽  
Way Of Thinking ◽  
Stylistic Device

The fiction politics of contemporaneity reflects diversified patterns of language forms and their func- tions. This has brought to life experimental (postmodernist) writing the key principles of intertextuality, fragmentation, destruction, play. Postmodernist aesthetics caused a blurring of traditional genre canons that led to contamination of syncretic genre compounds through a grotesque transformation of traditional genre models and created an „estrangement? effect. The phenomenon of ludic absurd is viewed in three as- pects: 1) linguo-philosophical; 2) cognitive; 3) poetic. The present study focuses on the analysis of ludic absurd; the role of graphic, phonetic, morphemic, word-forming, syntactical, semantic mechanisms, based on the intentional deviation of language norm, play on words; cognitive mechanisms, generated by ad-hoc way of thinking. The conducted linguopoetic analysis of American postmodern short stories suggests that ludic absurd as a stylistic device of postmodern poetics manifests itself at all language levels (lexical, syn- tactic, semasiological, and textual) and is realized via the semantic asymmetry of lexical units, using illog- ical, but grammatically correct syntactic constructions, syntactic mismatch of sentences and whole text fragments. Prospects for further studies consist in clarifying the pragmatic role of ludic absurd in the postmodern literary text; expanding the taxonomy of lexico-semantic, stylistic, and syntactic and paragraphemic means of ludic absurd.

scholarly journals VOCABULARY OF THE COLLECTION OF NOVELS BY YU. M. MUSHKETIK «GREEN RYE»

2021 ◽  
Vol 1 (193) ◽  
pp. 343-347
Author(s):  
Olena Ilina ◽  
Keyword(s):  
Short Stories ◽  
National Identity ◽  
Literary Text ◽  
Second World War ◽  
World War ◽  
The Times ◽  
Historical Past ◽  
Second World ◽  
Linguistic Means

Ukrainian literature is famous for a lot of creative personalities who are the spiritual and moral leaders of the nation. Their work is designed to awake the highest values, national identity in each person. The article provides information about the vocabulary of a collection of short stories by the outstanding Ukrainian master of words Yu. M. Mushketyk. It is emphasized that the author uses the expression of colloquial vocabulary, as well as outdated vocabulary, introduces dialectisms and professionalisms into the text, mostly in order to create the appropriate color, give the character or terrain relief. Thematic groups of archaisms, historicisms, dialectisms are singled out, the artistic role of individual author's innovations is clarified. The master of the word appeals in works to the time of Antiquity, writes about the times of Kievan Rus, describes Koliivshchyna, the Second World War, and he also writes about the present. Yu. M. Mushketyk can be considered as an artist of philosophical depth. The main topics to which the author appeals are the connection of the historical past with the present, war, the problem of choice, the formation of national identity, the unity of Ukrainian lands, the formation of a harmonious personality, and so on. The author does not hide his position, his likes or dislikes. The writer’s opinion is expressed either directly or it follows from the very concept of the literary text. The main linguistic means used by the writer include the use of outdated vocabulary (historicisms and archaisms), the introduction into the text of individual authorial phraseology.

scholarly journals Communication of Emotions by Characters in a Flash Fiction (Based on Short Stories by Thomas Mann)

2018 ◽  
Vol 50 ◽  
pp. 01006
Author(s):  
Tatiana V. Akasheva ◽  
Nuria M. Rakhimova ◽  
Tatiana V. Emets
Keyword(s):  
Short Stories ◽  
Literary Work ◽  
Literary Text ◽  
Thomas Mann ◽  
Literary Texts ◽  
Flash Fiction ◽  
Continuous Sampling ◽  
Text Interpretation ◽  
Text Cohesion ◽  
The Given

The paper is devoted to the issue of nonverbal explication of emotions in literary texts of a flash fiction. Nonverbal means of communication are studied in several directions. There are works reflecting this problem from the perspective of semiotics, linguistics, sociolinguistics and psycholinguistics. A number of scientists is engaged in lexical description of paralinguisms. The study of linguostylistic problems of paralinguisms in literary works presents a special interest. The appeal to this problem is explained by the fact that adequate interpretation of a literary text is impossible without the corresponding reader’s understanding of nonverbal means of emotional expression since this requires nontrivial intellectual operations and a certain breadth of knowledge. The study is based on the analysis of three short stories by a famous German writer Thomas Mann: Der kleine Herr Friedemann (1898), Tobias Mindernickel (1898) and Tristan (1902). The rationale of the study is caused by the immaturity of this subject in German. The novelty is defined by the study of paralinguistic units in literary texts of T. Mann. The purpose of the paper is to describe nonverbal means and to define their functional yield in a literary text. To achieve this purpose, the paper deals with continuous sampling methods, contextual analysis and interpretation. The study showed that Thomas Mann uses paralinguisms to describe the main characters generally applying characterizing, evaluation, text-forming and forecast functions. Paralinguisms ensure text cohesion, integrity of its perception and are always aimed to implement the author’s plan and create the fictitious world of a literary work and consequently, contribute to the expression of an idea and a subject. The materials of the given paper may be used in theoretical courses of German lexicology, stylistics and in practical classes on literary text interpretation.

scholarly journals Lie and truth in flash fiction by N.S. Leskov of 1870–1880s

2019 ◽  
Keyword(s):  
Short Stories ◽  
Literary Criticism ◽  
The Other ◽  
Flash Fiction ◽  
Absolute Truth ◽  
What Is Said ◽  
Transitional Phenomenon ◽  
Life Itself ◽  
The Subject

The relevance of the subject is determined by the growing interest of contemporary literary criticism to the problem of the playful features, the role of experiment and the innovation the Leskov’s art. The article describes the peculiarities of the writer's understanding of the problem of the power of frozen ideas that cause a person to think and act according to the standard, clashes between the carriers of various "truths" on the material of the stories "The iron will" (1876), "The Kolivanian man" (1888), "The little mistake" (1883) and "The Story about Devil's Grandma" (after 1886). These works are distinguished by genres and time of writing. On the other hand, the motives of deception, switch, power of stereotype over "devil doll" unites these novels. The replacement of names is repeated many times in Leskov’s novels and begins to mean the replacement of the essence itself. A chance and fate denote living life itself, free, unpredictable; stubborn characters do not believe in it, and it leads them to a tragicomic ending. In addition, Leskov comes close to the constant theme for Chekhov's works of falsity of views, which seem to their bearers to be the absolute truth, power over a person of dogma and stereotypes, a clash between bearers of different "truths". In the legend, this important for Leskov problem is formulated directly, in novels and short stories – with the irony inherent in the author, "narrative provocations", with the discrepancy between what is said and what it means, what the author thinks about. As a whole, researched motives, methods, the poetics of game and the experiments with the genre show us Leskov’s artistic innovation, "transitional" phenomenon in the literature of the end of 19 century. Either it shows us certain convergences with New Prose of the turn of 19 and 20 centuries.

scholarly journals LEXICAL REPETITION OF A COHESIVE AND COHERENT TOOL IN AN ARTISTIC TEXT

2019 ◽  
pp. 491-499
Author(s):  
V. M. Finiv
Keyword(s):  
Interpersonal Communication ◽  
Literary Text ◽  
Literary Texts ◽  
Flash Fiction ◽  
Communicative Strategies

In the key to the study of literary texts, it is important to highlight the role of the inner form of the word as the transponder of the explicit and implicit layers of the content of the literary text, the means of conceptualization (pregnancy) in the blocks of interpersonal communication. This is determined by the relevance of the chosen topic. Since most scholars emphasize the motivation of the IF word, in this work we will use the following definition: IF words – this is a motivational sign fixed in the word that is the bearer of imagery and contributes to the disclosure of the associative-figurative potential of the artistic text, the expression of intentions and communicative strategies and tactics in interpersonal communication. In our work, it is important to disclosure the role and functions of in-form nominations, repeated in the blocks of strategic tactical interaction of characters of flash fiction or in the author's speech. The material of the research makes it possible to draw the following discussion: repeated intraformal nominations used in the speech of characters of artistic texts of small prose are explicants of target-oriented communicative intentions, strategies and tactics, additional exponents of character characteristics, means of internal connectivity, and the internal form of such lexical units contributes to the expansion of the content boundaries of the text, the emergence of new associative-shaped shades, the actualization of new pragmatic meanings.

The Many Voices of Lydia Davis

2016 ◽  
Author(s):  
Jonathan Evans
Keyword(s):  
Short Stories ◽  
Marcel Proust ◽  
Gustave Flaubert ◽  
Maurice Blanchot ◽  
Literary Production ◽  
American Writer ◽  
Michel Leiris ◽  
The Many

The Many Voices of Lydia Davis shows how translation, rewriting and intertextuality are central to the work of Lydia Davis, a major American writer, translator and essayist. Winner of the Man Booker International Prize 2013, Davis writes innovative short stories that question the boundaries of the genre. She is also an important translator of French writers such as Maurice Blanchot, Michel Leiris, Marcel Proust and Gustave Flaubert. Translation and writing go hand-in-hand in Davis’s work. Through a series of readings of Davis’s major translations and her own writing, this book investigates how Davis’s translations and stories relate to each other, finding that they are inextricably interlinked. It explores how Davis uses translation - either as a compositional tool or a plot device - and other instances of rewriting in her stories, demonstrating that translation is central for understanding her prose. Understanding how Davis’s work complicates divisions between translating and other forms of writing highlights the role of translation in literary production, questioning the received perception that translation is less creative than other forms of writing.

POLIVARIABILITY OF THE BASTARD MOTIF IN THE SHORT STORIES BY GUY DE MAUPASSANT: CHARACTER IN SEARCH OF SELF-IDENTIFICATION

2018 ◽  
pp. 20-27
Author(s):  
Oksana Galchuk
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Social Institutions ◽  
Point Of View ◽  
Guy De Maupassant ◽  
Traditional Values ◽  
The Social ◽  
Role Of It ◽  
Structural Methods

The theme of illegitimacy Guy de Maupassant evolved in his works this article perceives as one of the factors of the author’s concept of a person and the plane of intersection of the most typical motifs of his short stories. The study of the author’s concept of a person through the prism of polivariability of the motif of a bastard is relevant in today’s revision of traditional values, transformation of the usual social institutions and search for identities, etc. The purpose of the study is to give a definition to the existence specifics of the bastard motif in the Maupassant’s short stories by using historical and literary, comparative, structural methods of analysis as dominant. To do this, I analyze the content, variability and the role of this motive in the formation of the Maupassant’s concept of a person, the author’s innovations in its interpretation from the point of view of literary diachrony. Maupassant interprets the bastard motif in the social, psychological and metaphorical-symbolic sense. For the short stories with the presentation of this motif, I suggest the typology based on the role of it in the structure of the work and the ideological and thematic content: the short stories with a motif-fragment, the ones with the bastard’s leitmotif and the group where the bastard motif becomes a central theme. The Maupassant’s interpretation of the bastard motif combines the general tendencies of its existence in the world’s literary tradition and individual reading. The latter is the result of the author’s understanding of the relevant for the era issues: the transformation of the family model, the interest in the theory of heredity, the strengthening of atheistic sentiments, the growth of frustration in the system of traditional social and moral values etc. This study sets the ground for a prospective analysis of the evolution the bastard motif in the short-story collections of different years or a comparative study of the motif in short stories and novels by Maupassant.

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