ELEMENTS OF SCIENTIFIC DISCOURSE AS A MEANS OF REALIZATION OF COMIC EFFECT IN THE SPACE OF ENGLISH LITERARY TEXT

2020 ◽  
pp. 231-238
Author(s):  
D. A. Kozhanov ◽  
Keyword(s):  
Literary Text ◽  
Scientific Discourse ◽  
Literary Texts ◽  
Literary Discourse ◽  
Expressive Function

The article is devoted to interpretation activity of the reader of the literary text in the context of discursive interactions in the text space. The author pays special attention to heterogeneous character of the literary text space that is reflected in the presence of numerous elements of other discourses considered as donors for literary discourse. The author points out the significance of the expressive function of these units that manifests itself in their ability to create various stylistic effects. The author analyses comic effect in the context of discursive interactions on the basis of English literary texts.

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.

scholarly journals Rosencrantz and Guildenstern Meet Edward II

2003 ◽  
Vol 9 ◽  
Author(s):  
Boldizsár Fejérvári
Keyword(s):  
Literary Criticism ◽  
Literary Text ◽  
Human Behaviour ◽  
The Other ◽  
Literary Texts ◽  
Symbiotic Relationship ◽  
The Real ◽  
Edward Ii

It is a common fashion in literary criticism, or 'Lit Crit,' to treat reality, human behaviour, communication, and everything else as though they were 'texts to be read.' This paper proposes to go the other way: it interprets literature (or, more precisely, one literary text, Tom Stoppard's Rosencrantz and Guildenstern Are Dead) as a part of reality in which several other layers of the real combine, such as linguistics, science, or other literary texts, most notably Hamlet. While Edward II is not generally considered a direct source for Stoppard's play, this paper shows how, in the wider perspective of 'interreality,' Marlowe's tragedy might interact with Rosencrantz and Guildenstern. At the same time it is proved that Rosencrantz and Guildenstern Are Dead, contrary to the critical conception of many, is not a parasitic work 'feeding off' Elizabethan playwrights, but a play that enters a symbiotic relationship with its host (as defined by Hillis Miller).

scholarly journals Środki retoryczne, liryka, glottodydaktyka – o zastosowaniu poezji na lekcji języka obcego

Neofilolog ◽  
1970 ◽  
pp. 157-166
Author(s):  
Dorota Szczęśniak Dorota Szczęśniak
Keyword(s):  
Foreign Language ◽  
Literary Text ◽  
Language Teachers ◽  
Literary Texts ◽  
Language Awareness ◽  
Rhetorical Devices ◽  
Teaching Language

This paper discusses the importance of working with a literary text (especially poetry) in the context of the foreign language (FL) classroom. In order to facilitate FL teaching, language teachers are encouraged to use poetry and rhetorical devices occurring in such texts (e.g. rhymes, alliteration, metaphor etc.). The paper offers some teaching procedures and techniques based on rhetorical devices, which may prove valuable in raising FL students’ motivation and language awareness while having fun analyzing quality literary texts.

scholarly journals Бытие и небытие смерти в смысловой картине реально- сти и художественного текста на материале романов Леонида Леонова Дорога на Океан и Максима Горького Жизнь Клима Самгина

2018 ◽  
Vol 167 ◽  
pp. 375-383
Author(s):  
Valentyna Gerasymchuk
Keyword(s):  
Semantic Space ◽  
Literary Text ◽  
Transcendental Philosophy ◽  
The Other ◽  
Literary Texts ◽  
Human Being ◽  
Ontological Status ◽  
Physical Time ◽  
Existence And Nonexistence ◽  
The One

Existence and nonexistence of death in the semantic picture of reality and artistic text on the material of romans Leonid Leonov Road to the Ocean and Maxim Gorkogo The Life of Klim SamginIn this article the problem of death is unfolding in the semantic space of its ontological and existential conception in reality and a literary text. On the one hand, death as the concept of being is presented as its continuation, spiritual content, confirmation. On the other hand, death as a concept of non-being is considered as nothingness, rejection of being and its spiritual content.In reality the concept of death becomes an issue of the questionary and transcendental philosophy, that takes place in the physical time and metaphysical space of thought and expression. When the matter concerns the death of human being, his death acquires an ontological status of being, a status of spiritual significance. In the contrary case, it is possible to consider death and even life in terms of the concepts of being and nothingness. In literary texts the concept of death is also considered to be being or non-being, but taking into account constitutive characteristics of the text, its figurative and notional polysemant, the concept of death acquires not only aesthetic but also conceptual focus. In the article the main points of the topic of death, its being and non-being, are illustrated on the examples of specific literary texts. Буття і небуття смерті в смисловій картині реальності і художньому текстіПроблема смерті у статті розгортається в смисловому просторі онтологічного і екзистенціалістського її розуміння в реальності і в художньому тексті. З одного боку, смерть — поняття буття — постає як його продовження, його духовна наповненість, його стверждення. З другого — смерть — поняття небуття — розглядається як ніщо, як заперечення буття і його духовної наповненості.У реальності поняття смерті стає проблемою запитальної, трансцендентальної філософії, що розгортається у фізичному часі і метафізичному просторі думки і слова. І якщо йдеться про смерть буттюючої особистості, то і її смерть набуває онтологічного статусу, статусу духовної значущості, інакше можна говорити про смерть і навіть життя у поняттях небуття і ніщо. У художніх текстах поняття смерті також розглядається як буття і небуття, проте з урахуванням конститутивних особливостей тексту, його образної і смислової багатозначності, образ смерті набуває, крім онтологічної, ще й естетичну спрямованість.

scholarly journals To the question of transformation of literary texts into stage version (“Three Years” of A. P. Chekhov in theatrical interpretation of S. V. Zhenovach)

Litera ◽  
2020 ◽  
pp. 33-41
Author(s):  
Daria Savinova
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
The Novel ◽  
Action Identification ◽  
Unpublished Manuscript ◽  
Complex Process ◽  
Authorial Intent ◽  
Stage Direction ◽  
New Type ◽  
Theatre Studies

This article is dedicated to the question of text transformation from authorial intent to stage impersonation. Despite the established tradition of studying the questions of recoding of literary text into theatrical, there is yet no theoretical-literary substantiation. Recoding is considered a complex process of creating a new type of text by the theatre director for staging a play. Therefore, an attempt is made to analyze the elements of transformation of literary text into its stage version, using the example of S. V. Zhenovach’s unpublished manuscript for stage direction based on A. P. Chekhov’s novella “Three Years”. The novelty of this research consists in determination of the patterns in transformation of literary text into stage version. The tools and means of expression applied in theatre and literature are different. If in literature it is possible to set several task and solve them all within the framework of the novel, then in theatre, it must be one ultimate task that organizes the action. Identification of the key peculiarities of existence of such type of text as “stage direction” on the example of transformation of the novella “The Years” from the authorial intent to stage impersonation demonstrated its significance for not only theatre studies, but also the theory of literature.

scholarly journals Megametaphor as a coherence and cohesion device in a cycle of literary texts

2015 ◽  
Vol 57 (2) ◽  
pp. 31-40 ◽  
Author(s):  
Zoya Rezanova ◽  
Konstantin Shilyaev
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
Jack London ◽  
Frame Structures ◽  
Source Domain ◽  
Arts And Sciences

Abstract Zoya Rezanova & Konstantin Shilyaev. Megametaphor as a coherence and cohesion device in a cycle of literary texts. The Poznań Society for the Advancement of Arts and Sciences, PL ISSN 0079-4740, pp. 31-39 The present study is concerned with the notion of megametaphor and its role in the cohesion and coherence of the text, as well as its intertextual function. We discuss the method of identifying and structuring megametaphor in a literary text and apply it to four novels by Jack London that have dogs as their protagonists. The megametaphor DOG IS A MAN is shown to organize the texts both conceptually - via a coherent set of frame structures of the source domain - and linguistically, by way of applying a network of metaphorical lexemes to the description of a dog.

Common Strategies Among EFL Students Reading Literature

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Shirin Shafiei Ebrahimi ◽  
Zaidah Zainal
Keyword(s):  
Data Collection ◽  
Meaning Making ◽  
Literary Text ◽  
Literary Texts ◽  
Significant Tendency ◽  
New Ideas ◽  
Efl Students

This study is to introduce the most common strategies that EFL students use while they read a piece of literature in English. To identify these strategies a questionnaire is employed as the instrument of data collection. The interesting result shows a significant tendency of EFL students to creativity and construction of new ideas in meaning making of the literary text just the same way as any other type of texts; however, the detected strategies help the readers to realize that strategies only help in the functionality of each text in a different way. This conclusion can assist the students to have a deeper understanding of literary texts and the teachers to facilitate the process of reading for the students.

Literary text features as means for individual’s moral qualities formation at the Foreign Language classes in a comprehensive university

2019 ◽  
pp. 40-50
Author(s):  
Alfiya Mamleeva
Keyword(s):  
Foreign Language ◽  
Literary Text ◽  
Literary Texts ◽  
Cultural Patterns ◽  
Comprehensive University ◽  
Language Classes ◽  
Moral Qualities ◽  
Text Features ◽  
Personal Qualities ◽  
Sense Of Justice

We attempt to analyze the main features of a literary text as a means of moral qualities development in the process of a Foreign Language classes in a comprehensive university. Various moral qualities such as the ability to work in a team, flexibility, honesty, courage and tolerance, sense of justice, the desire for knowledge are highly valued on the labour market today. The potential of the “Foreign Language” discipline contains a unique combination of ideas of spiritual, moral and aesthetic education, through which students are introduced to the ideals of morality and cultural patterns. We aim to identify the essence of text interpretation concept, which includes the reflexive component, important for the development of the aforementioned personal qualities. It is shown that the literary texts contain philosophical information, examples of problematic life situations in which certain social skills, human qualities, decisions and actions are demonstrated. Various examples of life situations presented in the literary texts are deeply analyzed and interpreted by students.

scholarly journals Stages of the artistic realia introduction into english literary texts

2020 ◽  
Vol 12 (1) ◽  
pp. 7-16
Author(s):  
Maryna Chernyk
Keyword(s):  
Structural Analysis ◽  
Literary Text ◽  
Literary Texts ◽  
Time And Space ◽  
Points Of View ◽  
Illustrative Material

The article is devoted to the differentiation of the stages of the artistic realia introduction into English literary texts based on the artistic communicative situations, taking into account the peculiarities of the communicants’ interaction, artworks actualisation, and realisation of time and space characteristics in the artistic discourse. The stage by stage differentiation of the artworks introduction into the literary text is developed based on the structural analysis of the artistic communicative situations. Accordingly, there are preintroductive, introductive, and postintroductive stages. The completeness of each stage representation is determined by the form of the artwork in the literary text and can be complete, compressed, or zero. In the article, the peculiarities of each stage are defined based on the analysis of the illustrative material. There are preintroductive (determining the time and space parameters of the communicative situation before artwork mentioning, introduction of the participants and description of their appearance and inner state), introductive (introduction of the artwork into the communicative situation, description of such components as form, meaning, artwork characteristics, and emotions connected with it), and postintroductive stages (reaction to the artwork after its perception, realised in the form of the verbalised or non-verbalised communication and capable of stimulating the discussion of the perceived information). Special attention is given to the peculiarities of the artworks introduction from the performer’s and the recipient’s points of view; the details and aspects of their descriptions are considered. Depending on the person who tells the story, the stages of introduction can be prerepresentational, representational, and postrepresentational (in the performer’s descriptions) or preperceptive, perceptive, and postperceptive (in the recipient’s descriptions).

scholarly journals Text and discourse models as knowledge formats

2021 ◽  
Vol 101 ◽  
pp. 03024
Author(s):  
Е.А. Ogneva ◽  
Е.N. Musaelian ◽  
D.E. Smirnova ◽  
I.A. Danilenko ◽  
M.O. Sushenok
Keyword(s):  
Literary Text ◽  
Literary Discourse ◽  
Conceptual Domain ◽  
Thematic Unity

Knowledge format is a construct for information storing, accumulating, transmitting. Text and discourse are studied as main knowledge formats. Previous studies have found the literary text is defined as a product of writer’s speech-thinking activity. Discourse is interpreted as a text immersed in a communicative situation. The construction specific features of text and discourse are revealed through their modeling as an objective way of knowledge formats architectonics visualising. Literary text is considered in the form of conceptual domain as a set of literary concepts wich are correlated with writer’s text world. There are two types of writer’s text world models such as monomodel and polymodel. It is proved that monomodel text world is the plot-thematic unity of all literary conceptual domain which the writer creates. The polymodel text world consists of the plot-thematic correlation of literary dominant concepts formed according to different themes. Both monomodel and polymodel text worlds are the base for literary discourse forming. Monomodel text world is the base for monomodel literary discourse. Polymodel text world is the base for polymodel one’s. The research of text and discourse models of knowledge formats is the optimal interpretative way to discover the patterns of knowledge existence.

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