Hidden messages in (Pour un oui ou pour un non) of Nathalie Sarraute ( Les messages cachés dans "Pour un oui ou pour un non" de Nathalie Sarraute)

The implicit is the narrative technique used to give indirect hidden messages. To read between the lines means to understand the implicit meaning that is not directly indicated. This technique is expressed in two forms: the hypothesis and the implications of linguistic and non-linguistic rules. Nathalie Sarraute’s "Pour un oui ou pour un non" states this narrative method through her character’s verbal and non-verbal dialogue. The present paper discusses the implicit method and shows the reason behind which the author uses it in her play "Pour un oui ou pour un non". L'implicite est une façon de parler indirectement dont les locuteurs utilise afin de faire entendre ou laisser entendre des messages cachés dans le but de ne pas s'exprimer directement et de laisser les coénonciateurs capter ces informations cachées. Dans ce cas-là, l'interlocuteur a besoin de lire entre les lignes pour savoir les vraies intentions du locuteur. D'ailleurs, l'implicite se manifeste sous deux formes : les présupposés et sous-entendus qui obéissent aux règles linguistiques et extralinguistiques. "Pour un oui ou pour un non" de Nathalie Sarraute a incarné ce concept à partir les échanges verbaux et non verbaux de ses personnages. Cette recherche vise à montrer comment les implicites sont utilisés dans pour un oui ou un non et pour quelles raisons.

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F. Scott Fitzgerald's Tender is the Night Cons and Pros of the Narrative Method and Technique

Cihan University-Erbil Journal of Humanities and Social Sciences ◽

10.24086/cuejhss.v4n1y2020.pp65-68 ◽

2020 ◽

Vol 4 (1) ◽

pp. 65-68

Author(s):

Raad Sabr Rauf

Keyword(s):

Controversial Issues ◽

The Novel ◽

Narrative Technique ◽

Narrative Methods ◽

Great Gatsby ◽

Fictional Narratives ◽

Tender Is The Night ◽

The Great Gatsby ◽

Methods And Techniques ◽

Narrative Method

Most critics tackle Fitzgerald's works thematically, whereas what distinguishes his fictional narratives is his magnificent style, suggestive language and innovative narrative methods and techniques. This is quite evident in The Great Gatsby and other pieces like The Last Tycoon, "The Mountain as Big as the Ritz", the autobiographical piece The Crack Up, etc. Tender is the Night is among these masterpieces which is our major concern in this paper. Yet still, this novel witnessed some controversial issues in its narrative technique and method. The study of the narrative method and technique in Tender is the Night has no less significance in the literary world than it has in The Great Gatsby. In fact, Fitzgerald mounted his artistic maturity and craftsmanship in this novel despite all the controversial issues that surrounded the novel's first publication. The present study sheds light on the cons and pros of the narrative technique and method in both versions of Tender is the Night with necessary reference to the development of the events in the novel.

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Clarissa and Tom Jones

10.1093/oso/9780199580033.003.0034 ◽

2018 ◽

Author(s):

J. A. Downie

Keyword(s):

Subject Matter ◽

Samuel Richardson ◽

Henry Fielding ◽

Critical Dialogue ◽

Narrative Technique ◽

Ordinary Life ◽

Tom Jones ◽

The Subject ◽

Epistolary Form ◽

Narrative Method

This chapter further examines the creative and critical dialogue between Samuel Richardson and Henry Fielding. From the publication of the two original volumes of Pamela: or, Virtue Rewarded in November 1740 onwards, Fielding responded not only to the subject matter of Richardson's fiction, but also to what he regarded as shortcomings in his narrative technique. He takes particular note of Richardson's use of the epistolary form. According to Ian Watt, the private letter provides the ‘nearest record...in ordinary life’ of ‘this minute-by-minute content of consciousness which constitutes what the individual's personality really is, and dictates his relationship to others’. Yet this belief about letters tends to downplay, if not discount altogether, not merely the disadvantages of what one of Richardson's characters (Lovelace) calls ‘this lively present-tense manner’, but also the full complexity of his narrative method in Clarissa (1747–8).

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Linguistic Competence in Aphasia

Perspectives on Augmentative and Alternative Communication ◽

10.1044/aac17.3.87 ◽

2008 ◽

Vol 17 (3) ◽

pp. 87-92

Author(s):

Leonard L. LaPointe

Keyword(s):

Language Use ◽

Linguistic Competence ◽

Careful Study ◽

Feral Children ◽

Performance Factors ◽

Performance Loss ◽

Linguistic Rules ◽

Communication Goals ◽

Aphasia Treatment ◽

And Performance

Abstract Loss of implicit linguistic competence assumes a loss of linguistic rules, necessary linguistic computations, or representations. In aphasia, the inherent neurological damage is frequently assumed by some to be a loss of implicit linguistic competence that has damaged or wiped out neural centers or pathways that are necessary for maintenance of the language rules and representations needed to communicate. Not everyone agrees with this view of language use in aphasia. The measurement of implicit language competence, although apparently necessary and satisfying for theoretic linguistics, is complexly interwoven with performance factors. Transience, stimulability, and variability in aphasia language use provide evidence for an access deficit model that supports performance loss. Advances in understanding linguistic competence and performance may be informed by careful study of bilingual language acquisition and loss, the language of savants, the language of feral children, and advances in neuroimaging. Social models of aphasia treatment, coupled with an access deficit view of aphasia, can salve our restless minds and allow pursuit of maximum interactive communication goals even without a comfortable explanation of implicit linguistic competence in aphasia.

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