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

The poetic mind: a producer-oriented approach to literature and art

2015 ◽  
Vol 44 (1) ◽  
Author(s):  
Patricia Kolaiti
Keyword(s):  
Mental State ◽  
Causal Relation ◽  
Literary Text ◽  
Literary Texts ◽  
Ontological Status ◽  
Linguistic Study ◽  
Object A ◽  
Per Se ◽  
Action Process ◽  
Oriented Approach

AbstractThis paper aims to shift theoretical attention from the reception to the production end of literature, and from the literary text per se to the action-process of which it is an outcome. It focuses on the internal activities that bring about literary, or more generally, artistic behavior and suggests that a certain action-process is literature – and the resulting object a literary text – when it stands in a causal relation to a specialised type of creative mental state. This state will be termed the artistic thought state. The idea that literary texts are causally linked to artistic thought states may help provide answers to some persistent ontological questions in literary and art study (e.g. about the ontological status of literary objects as opposed to their linguistic ‘mere thing’ equivalents), and delineate new potential for research in the linguistic study of literature.

scholarly journals Empathy as an expression of emotions and mood in English lingvoculture

2021 ◽  
Vol 7 (6) ◽  
pp. 506-510
Author(s):  
Gulnoza I. Narmurodova
Keyword(s):  
Social Relations ◽  
Speech Act ◽  
Cultural Factors ◽  
Verbal Expression ◽  
The World ◽  
Expression Of Emotions ◽  
Social And Cultural Factors ◽  
English Culture ◽  
The Way

This article provides information on the expression of feelings in expressing sympathy in English culture. There are a lot of emotions. The way they are expressed is special and unique for each culture and is influenced by various historical, social, and cultural factors. Therefore, as there are people in the world, there are as many ways to express sympathy. Each person chooses for himself how to express joy, sorrow, compassion, or simply remain silent and stay on the sidelines. The study of the verbal expression of sympathy allows us to assert that a sympathetic attitude can induce a person to the following speech actions - the expression of sympathy or condolences. Various factors influence the choice of a specific speech act. Emotions such as sympathy and condolence are aimed at establishing speech contact and maintaining speech and social relations with the interlocutor, at regulating them.

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.

Emotions in tweets: From instantaneity to preconstruction

2015 ◽  
Vol 54 (4) ◽  
pp. 455-469 ◽  
Author(s):  
Georgeta Cislaru
Keyword(s):  
The Body ◽  
Emotional Expressions ◽  
Expression Of Emotions ◽  
Emotional Lexicon ◽  
Selection Of ◽  
The Way

This article deals with the expression of emotions in tweets. The aim is to observe the way users formulate their feelings in a technologically constrained yet expressively free communicative environment, in a context of written instantaneity which leaves place for the selection of context-adapted linguistic formulae. Comparison between emotional expressions involved in hashtags and the emotional lexicon used in the body of the messages shows some topical discrepancies and, more particularly, different degrees of denotational power. It also reveals a constructivist dimension of emotional expressions.

scholarly journals A Pragma-Stylistic Study of Some Selected Fantasy Novels

2019 ◽  
Vol 9 (1) ◽  
pp. 516
Author(s):  
Dunya Muhammed Miqdad I'jam ◽  
Zahraa Kareem Ghannam Farhan Al-Mamouri
Keyword(s):  
Speech Acts ◽  
Speech Act ◽  
Literary Text ◽  
Speech Act Theory ◽  
The Other ◽  
Conversational Implicature ◽  
Fantasy Novels ◽  
Figure Of Speech ◽  
The Difference ◽  
The Way

The present study tries to investigate the field of pragma-stylistics in literary text in general, and fantasy novels in particular. Therefore, it tries to attest how pragmatic theories are employed stylistically to achieve the aims of the literary writers and to reflect their perceptions. The present study tries to achieve the following aims: Specifying the most dominant categories of speech acts used by characters and the narrator in the two novels to achieve some stylistic effects. Showing how the non-observance of the maxim yield effects on the two levels of interaction, and presenting the most dominant non-observed maxim in the selected fantasy novels. Clarifying the way the difference in the writing period of each novel can affect the readers pragmatically and stylistically through finding out what is the most dominant figure of speech at the character-character level as well as the narrator-reader level of interaction and whether they are employed stylistically or not. The present study is limited to two theories of pragmatics: speech act theory and Grice maxims. And the data of the analysis is limited to the children’s fantasy novels, one is written in the 1950’s, the other in 2000’s. After analysing the data, it is concluded that the most dominant SA that is used is the representative SA. Flouting the maxims yield effects on the two levels of interaction, generating conversational implicature. Finally, the difference in the writing period of each novel affect the readers pragmatically and stylistically through finding out the most dominant figure of speech, which is irony, at the character-character and the narrator-reader level of interaction.

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.

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.

Religious Language after J. L. Austin

1972 ◽  
Vol 8 (1) ◽  
pp. 55-63
Author(s):  
James M. Smith ◽  
James WM. Mcclendon
Keyword(s):  
Speech Act ◽  
Philosophy Of Religion ◽  
Religious Language ◽  
Recent Philosophy ◽  
Linguistic Action ◽  
The Way

John L. Austin believed that in the illocution he had discovered a fundamental element of our speech, the understanding of which would disclose the significance of all kinds of linguistic action: not only proposing marriage and finding guilt, but also stating, reporting, conjecturing, and all the rest of the things men can do linguistically.2 We claim that the illocution, the full-fledged speech-act, is central to religious utterances as well, and that it provides a perspicuity in understanding them not elsewhere provided in the work of recent philosophy of religion. In particular we hold that understanding religious talk through the illocution shows the way in which the representative and affective elements are connected to one another and to the utterance as a whole. There may, further, be features in such an analysis which can be extended to other forms of discourse than religious.

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.

Uses and functions of the Romanian marker dar and its English equivalent but in professional spoken interaction. A contrastive corpus analysis

2020 ◽  
Vol 13 (62) (Special Issue) ◽  
pp. 153-168
Author(s):  
Cristina STAN
Keyword(s):  
Speech Act ◽  
Corpus Analysis ◽  
Comparable Corpora ◽  
The Past ◽  
Cultural Requirements ◽  
Spoken Interaction ◽  
English Equivalent ◽  
The Way

"Based on two comparable corpora of professional spoken interaction CIVMP2 and ITICMC3 and on the idea that in the past hundred years, the way in which researchers conceived communication has changed, this paper analyzes the ability of speakers to control their behavior, actions and attitudes in the process of communication in the workplace, in an attempt to demonstrate that language is an instrument of doing things. Moreover, based on Fraser's classification (1996), this paper also analyzes two contrastive markers, but and dar, trying to show that they may be seen as equivalent. Following Schiffrin (1987), I began my inquiry by paying attention to their distribution in discourse. Thus, in the corpora I have analyzed, but and its Romanian equivalent dar have the following functions: to express a contrastive value, to continue an idea, to signal the personal correction of the speaker, to insert an objection or a reaction to the previous speech act, to emphasize a discursive idea, an obligation etc. In addition, according to the analysis on the corpora, it could be said that speakers seem to constantly adapt to the conditions imposed by the interactional, social, ideological and cultural requirements of the context, as shown by Măda (2009)."

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