Linguistic Representation of the Concept «Truth» in the Novels by D. Brown, an American Writer

2020 ◽  
pp. 86-101
Author(s):  
Tatyana Vorontsova ◽  
Yelena Skugareva
Keyword(s):  
Da Vinci ◽  
Literary Text ◽  
Literary Texts ◽  
Main Function ◽  
Linguistic Representation ◽  
American Writer ◽  
Scientific Discourses ◽  
Individual Style ◽  
The Way

The article deals with the peculiarities determining the linguistic presentation of the concept «Truth» in the novels «The Da Vinci Code», «The Lost Symbol», «Angels and Demons» by D. Brown, a famous American writer. The plot of these novels is based on the dichotomy of the religious and scientific spheres which is revealed in the interaction of religious and scientific discourses. The concept «Truth» is a borderline area characterizing «intersection» of religious and scientific discourses. Emphasis is laid upon the analysis of the linguistic representation of this concept, as well as the study of interdiscoursiveness in literary texts and peculiarities of the author’s individual style. A reader usually comes across combination and interaction of different discourses in literary texts that is characteristic of literary texts. It is the way of combining different spheres of knowledge in order to perform the main function of the literary text such as incarnation of the author’s ideas. The literary worldview in D. Brown’s novels is based on the dichotomy of religious and scientific spheres. Religious and scientific discourses are presented by corresponding lexemes verbalizing a particular concept; thereby it creates the literary worldview presented by the author.

scholarly journals Cognitive Metaphor in the Work of L. S. Petrushevskаya

2021 ◽  
Vol 6 (1) ◽  
pp. e3378
Author(s):  
Viktoria Vyacheslavovna Radchenko ◽  
Oksana Vasilievna Sizykh ◽  
Anastasiya Egorovna Alekseeva ◽  
Anna Sofronovna Starostina
Keyword(s):  
Short Stories ◽  
Literary Text ◽  
Literary Texts ◽  
Artistic Style ◽  
Cognitive Metaphor ◽  
The World ◽  
Way Of Thinking ◽  
Individual Style

The paper dwells on functioning of cognitive metaphor in the literary texts. The metaphor in literary text is the active creative mechanism. Many researches focused on the analysis of the development of metaphorical relations, images, concepts that evolve from myth to symbol. The metaphor in the literary text is not just a means of expression, but a way of thinking and knowing the world. The academic novelty of the paper consists in the study of the author’s perception of reality through conceptual images that expand the boundaries of the metaphorical space of the text. The study reveals the ways cognitive metaphors function in the short stories by Lyudmila Petrushevskaya, also describing the author’s individual style, the manner of understanding reality, the peculiarity of author’s thought, her contribution to the development of metaphorization, and the expansion of the metaphorical space of the text. The author’s interpretation of already known symbols, images, concepts is of great importance. A substantive base that forms a metaphor in the work of Petrushevskaya is also relevant, together with the factors that influence the development of metaphorical relations, those events or phenomena that are an incentive for the development of a metaphor in the writer’s work. The paper identifies algorithms of metaphorical transformations, as well as metaphorical structure of cognitive metaphor, typical of author’s way of thinking and individual artistic style.  

scholarly journals A Pragmatic Study of Emotional Expressions in Selected Literary Texts

2021 ◽  
Vol 11 (3) ◽  
Author(s):  
Abeer Nabiel Rashad ◽  
Prof. Dr. Abdulkarim Fadhil Jameel
Keyword(s):  
Speech Act ◽  
Literary Text ◽  
Literary Texts ◽  
Emotional Expressions ◽  
Linguistic Study ◽  
Feeling State ◽  
Theoretical Account ◽  
Expression Of Emotions ◽  
Pragmatic Study ◽  
The Way

Emotional expressions are perceptible verbal and nonverbal practices that communicate an inner emotional or full of feeling state. Emotions give sense to our exists and let us care for ourselves and others. They make us human. Without emotion, we would be like machines that work to serve a purpose but without any definite meaning. Emotions are one of the most vital aspects of our lives. They give meaning to life and the way in which we communicate with the individuals around us. The emotional expressions are (Happiness, Sadness, Fear, Disgust, Contempt, Surprise, Anger, Acceptance, Anguish, Interest, Shame ,Shyness, Guilt, Anticipation). The present research is a linguistic study that aims at revealing and studying the pragmatic perspectives of emotional expressions in selected literary texts . The study presents a clear theoretical account of the notion of emotion, its types, polarity, intensity and the way it can be conceptually analyzed. The research also offers some other related concepts that pertain to pragmatics, speech act. So, the purpose of this study to answer the questions: What are the emotional expressions used in the literary texts? and,?, investigating the variant types, the polarity and intensity of these emotional expressions. Because it creates the situations for the largest functional presentation of their pragmatic potential, a literary text was chosen as the source of emotional expressions. To realize the aims, Ekman(1992) as a model of emotions is used to analyze four literary texts that selected randomly . The research found that emotional expressions help to better comprehension of the speaker’s illocution and that linguistic factors determine the severity (intensity) of illocution. The expression of emotions clarifies the speaker’s intent and enhanced the pragmatic results. Moreover, it has been shown that the context discovers the exact intention. In addition, this study reveals that literary texts employ the anger as the major emoti

Warum die Aussage »Text T ist unzuverlässig erzählt« nicht immer interpretationsabhängig ist. Zwei Argumente

2018 ◽  
Vol 12 (1) ◽  
pp. 113-126
Author(s):  
Thomas Petraschka
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
Majority Opinion ◽  
Theoretical Assumptions ◽  
The Status ◽  
Universal Quantification ◽  
Definition Of ◽  
Theories Of Meaning ◽  
The Way

Abstract This essay asks whether the attribution of unreliability to the narrator of a literary text is always dependent upon interpretation. The bulk of narratological research answers with »yes«. Yet the content of the term »interpretation-dependent« is understood in radically different ways. As a minimal consensus, it is commonly accepted that the attribution of unreliability cannot be described as »interpretation-neutral«, in the way that, for instance, the statement »The narrator in text T is a homodiegetic narrator« is interpretation-neutral. Following a few preliminary explanatory remarks on terminology, I propose two arguments for why this majority opinion is false. I argue that the statement »Text T is unreliably narrated« is not always interpretation-dependent. Within the framework of the first argument, I attempt to show that the criterion of »interpretation neutrality« depends upon some meta-theoretical assumptions. If one assumes that basic linguistic characteristics are valid independent of their interpretation and argues that a sentence such as »Call me Ishmael« establishes a homodiegetic narrator because the word »me« signals that he belongs to the narrated story, then one implicitly excludes as inadequate certain idiosyncratic theories of meaning that would ascribe a different meaning to »me«. That is not problematic in and of itself. But it shows that there are conditions of adequacy for theories of meaning that are fundamentally negotiable. And the set of statements which can be attributed the attribute of being »interpretation-neutral« can vary depending upon how these conditions of adequacy are defined. In a corresponding adaptation of the conditions of adequacy for theories of meaning and interpretation, it is therefore inherently possible that even statements about the reliability of a narrator could be granted the status of being interpretation-neutral. The second argument focuses on the praxis of interpretation. I seek to reconstruct how exactly the qualification of a narrator as homodiegetic (an attribute that is usually considered as interpretation-neutral) and as unreliable (an attribute that is usually not considered as interpretation-neutral) can come about in a process of interpretation. There appear to be cases in which criteria commonly cited to qualify a statement as an interpretation-neutral description of a text are also applicable for the attribution of narrative unreliability. Such cases are literary texts like Agatha Christie’s The Murder of Roger Ackroyd or Ambrose Bierce’s An Occurrence at Owl Creek Bridge, in which the unreliability of the narrator is apparent. The knowledge that the narrators in these texts at least temporarily withhold facts relevant to the plot, tell lies, make mistakes, hallucinate, etc. can just as much be attained on the basis of an unreflective understanding of the linguistic meanings of words as can the knowledge that the narrators are part of the stories they tell. If one wishes to not relinquish the interpretation-neutral status of statements about the ontology of a narrator (the qualification, that is, of a narrator as homo- or heterodiegetic) to a relativism that includes linguistic interpretations, then one is forced in principle to also retain the status of interpretation neutrality for statements about the reliability of a narrator. Both arguments lead me to conclude that the universal quantification that all determinations of the reliability of a narrator are dependent upon interpretation is false. I propose that we limit ourselves to more modest existential quantifications and that we do not attribute the attributes »interpretation-dependent« and »interpretation-neutral« to entire literary categories or types of statements in general, but rather to individual statements. Moreover, I give a short and tentative definition of the criterion »interpretation neutrality« that follows from these considerations.

Bleibende Aufgaben einer phänomenologischen Literaturtheorie

2019 ◽  
Vol 23 (1) ◽  
pp. 265-273
Author(s):  
Eckhard Lobsien
Keyword(s):  
Literary Theory ◽  
Literary Text ◽  
Point Of View ◽  
Literary Texts ◽  
Radical Theory ◽  
Theory Of Reading ◽  
Phenomenological Point

Abstract What sort of object is a literary text? From a phenomenological point of view - phenomenology considered as both a radical theory of reading and a theory of radical reading - a range of answers arise, many of them tinged with deconstructive momentum. This paper aims at pointing out some basic issues in reading literary texts, offering ten theses on the enduring tasks of phenomenological literary theory.

Harriet Martineau’s Epistemology of Gossip

2014 ◽  
Vol 69 (2) ◽  
pp. 175-207
Author(s):  
Kristen A. Pond
Keyword(s):  
Ways Of Knowing ◽  
Main Function ◽  
The Novel ◽  
Domestic Novel ◽  
Forms Of Knowledge ◽  
The Way

Kristen A. Pond, “Harriet Martineau’s Epistemology of Gossip” (pp. 175–207) This essay is a fresh examination of Harriet Martineau’s only domestic novel, Deerbrook (1838). Though the novel seems like an interruption to those writings considered more typical of the author, and more successful, this essay traces the way in which Deerbrook’s preoccupation with epistemology connects it in important ways to the rest of Martineau’s oeuvre. While in most of her writing Martineau gives preference to what the Victorians considered to be empirical and rational ways of knowing, in Deerbrook she focuses on more typically feminized knowledge forms that rely on speculation and intuition, in particular the discourse of gossip. This essay argues that gossip’s main function in Deerbrook is not as plot device or didactic warning; rather, it functions as an epistemological category that challenges Enlightenment presumptions to certain knowledge. Read as a source of knowledge rather than a female vice, gossip becomes the tool through which Martineau raises the possibility of alternative forms of knowledge that might counter, or at least complicate, assumptions about what constitutes certain truth and right knowledge.

Alessandro Grandi: A Case Study in the Choice of Texts for Motets

1988 ◽  
Vol 113 (2) ◽  
pp. 274-305
Author(s):  
Jerome Roche
Keyword(s):  
Seventeenth Century ◽  
Sacred Music ◽  
Vocal Music ◽  
Literary Texts ◽  
Sacred Texts ◽  
The One ◽  
The Way ◽  
Musical Styles

It is perhaps still true that research into sacred types of music in early seventeenth-century Italy lags behind that into madrigal, monody and opera; it is certainly the case that the textual aspects of sacred music, themselves closely bound up with liturgical questions, have not so far received the kind of study that has been taken for granted with regard to the literary texts of opera and of secular vocal music. This is hardly to be wondered at: unlike great madrigal poetry or the work of the best librettists, sacred texts do not include much that can be valued as art in its own right. Nevertheless, if we are to understand better the context of the motet – as distinct from the musical setting of liturgical entities such as Mass, Vespers or Compline – we need a clearer view of the types of text that were set, the way in which composers exercised their choice, and the way such taste was itself changing in relation to the development of musical styles. For the motet was the one form of sacred music in which an Italian composer of the early decades of the seventeenth century could combine a certain freedom of textual choice with an adventurousness of musical idiom.

The Cambridge Introduction to Mikhail Bakhtin

2021 ◽  
Author(s):  
Ken Hirschkop
Keyword(s):  
Mikhail Bakhtin ◽  
Historical Context ◽  
Cultural Analysis ◽  
Literary Texts ◽  
The Way

In this introduction to Mikhail Bakhtin, Ken Hirschkop presents a compact, readable, detailed, and sophisticated exposition of all of Bakhtin's important works. Using the most up-to-date sources and the new, scholarly editions of Bakhtin's texts, Hirschkop explains Bakhtin's influential ideas, demonstrates their relevance and usefulness for literary and cultural analysis, and sets them in their historical context. In clear and concise language, Hirschkop shows how Bakhtin's ideas have changed the way we understand language and literary texts. Authoritative and accessible, this Cambridge Introduction is the most comprehensive and reliable account of Bakhtin and his work yet available.

‘Decoding’ a literary text. The commentary of Derveni

2018 ◽  
Vol 10 (2) ◽  
pp. 338-366
Author(s):  
Alberto Bernabé
Keyword(s):  
Literary Text ◽  
True Meaning ◽  
The Way

Abstract The author of Derveni Papyrus consider that the poem he commentates is like a riddle used by Orpheus to make it understandable to only a few. In our terms, he considers the poem an encoded text that he needs to decode in order to recover its true meaning. So he had to imagine a code in the text that once ‘decoded’ would yield the ‘true’ meaning that he wants to attribute to it. In the paper the way in which the commentator constructs the hypothetical process undertaken by Orpheus to express philosophical (presocratic) contents through a poetic mask is analyzed.

scholarly journals Orientalist Representation of Nepali People, Culture and Landscape: A Critical Discourse Analysis of Kincaid’s Among Flowers: A Walk in the Himalaya

2019 ◽  
Vol 1 ◽  
pp. 24-40
Author(s):  
Shuv Raj Rana Bhat
Keyword(s):  
Discourse Analysis ◽  
Critical Discourse Analysis ◽  
Jamaica Kincaid ◽  
Critical Discourse ◽  
Travel Narrative ◽  
Garden Of Eden ◽  
American Writer ◽  
Imperial Politics ◽  
The Himalaya ◽  
The Way

Partly drawing on postcolonial rhetorics and partly drawing insights from critical stylistics and critical discourse analysis, this paper basically explores how Antigua-born-American writer Jamaica Kincaid rhetorically constructs Nepal in a disguised form of a travel writer through her travel narrative Among Flowers: A Walk in the Himalaya. Even though Kincaid is best known as an anti-imperialist, the way she longs for the Garden of Eden and represents Nepali landscape, people, and culture posits that her travel to Nepal is threaded with the rhetoric of Othering, metropolitan culture, and imperial politics. In particular, she looks at the travelled places and people with an imperial eye: nomination, surveillance, negation, debasement, and binary rhetoric.

scholarly journals The reality of fiction in a literary world: on an excerpt from Stanisław Lem’s Solaris

2020 ◽  
Vol 11 (1) ◽  
pp. 101-107
Author(s):  
Y. Domanskii
Keyword(s):  
Physical Reality ◽  
Literary Text ◽  
Higher Order ◽  
Fictional World ◽  
Actual Reality ◽  
The World ◽  
The Way

Using an excerpt from Stanisław Lem’s Solaris, this article explores the idea that, in a literary text, a fictional world and the world of physical reality may interact to form such a reality that can paradoxically turn out to be more real than what we believe to be the actual reality. It is also shown that the fictional world realized in a literary text may bring the reader to certain conclusions about the world in which he or she lives. Thus, even if literature is in­capable of affecting reality, it can change the way the latter is perceived. A fictional world is not just a reality — it is a reality of a higher order.

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