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Este artículo propone que el fenómeno de la prosa y, más específicamente, el de prosa novelística como forma literaria moderna y sus posibilidades de uso (affordances) guarda una relación con la noción de prosaísmo, entendida como un espectro de experiencias derivadas de las condiciones de vida producidas por la modernidad en Occidente. Dentro de este espectro de experiencias destacan las tensiones entre individuo y colectividad, especialmente la colectividad en la forma de multitudes anónimas en un entorno urbano. Así pues, primeramente se aborda la cuestión del prosaísmo moderno en relación con la prosa literaria. A continuación, se lleva a cabo una revisión de algunas posturas teórico-críticas relacionadas con las posibilidades de uso de la novela que le han permitido a ésta dramatizar la posición contradictoria del individuo liberal y evocar la forma de su subjetividad a través de recursos como la caracterización, el estilo libre indirecto, la focalización, entre otros. Finalmente, se ofrece una lectura del personaje Sydney Carton de A Tale of Two Cities en su relación nocional con el modelo de individuo.

Free indirect discourse (FID) is a discourse presentation pattern of third-person narration, and it is often employed as a common narrative strategy to present characters’ consciousness in literary works. Given its ambiguous link with both the narrator’s and character’s discourse, we may feel confused about how to distinguish FID from other discourse when reading a text. After introducing the basic definition of this notion, this paper will interpret several signals which can help to distinguish FID passages in the text. Most importantly, this paper will look at how FID passages in Western literary works were translated into Chinese in early works, and then explore the development of FID in early Chinese fiction, investigating the transition of FID in Chinese.

This essay argues for the power of free indirect discourse in the third-person narrative perspective to serve as a collective voice, encompassing a diversity of perspectives, through a reading of two novels by Olga Tokarczuk, Bieguni (Flights) and Księgi Jakubowe (Books of Jacob). Both novels investigate the challenges inherent in the project of providing an image of the world, and alongside various interventions on the level of content, each examines the kind of world-image that different approaches to narrative voice can produce. In Flights, the narrator's striving to arrive at a more expansive and synthetic knowledge of the world is accompanied by an effort to go beyond the first-person voice, to a broader perspective. The novel subtly demonstrates the impossibility of such efforts, but, the essay argues, Books of Jacob continues this project, albeit from the opposite direction, examining the affordances of the third-person voice. Its innovative use of free indirect discourse produces a perspective that, while appearing to be a single voice, contains multiple, contradictory points of view.

EnglishStarting from the Divine Mimesis, published posthumously but started in 1963, Pasolini seeks a different approach to literature, rejecting the conventional value of the narrator to seek a more direct contact between author and reader. As also emerges in Teorema but especially in Petrolio, Pasolini's authorship assumes the characteristics of a "flesh-and-blood narrator", which does not limit itself to proposing a "narrative machine that works alone in the reader's imagination" but becomes a concrete point of reference for a real dialogue. Given the abundance of Pasolinian materials, on the basis of that "knowledge for quotations" dear to Benjamin, a great effort is made to let the author be the main voice, with the critical contribution being relegated to the commentary on the passages that are quoted. An analysis of Pasolini's final narrative works reveals a clear desire to renew his narrative style not so much in an aesthetic, but rather in an ethical way: Pasolini does indeed abandon the socio-cultural mimesis of free indirect discourse, which was typical of his previous work, to give greater depth to the figure of the self, who, while posing as a narrator, does not cease to be Pier Paolo Pasolini himself. The path traced by Pasolini, substantially anti-experimental and anti-poetic, does not seem to have had many supporters even if it certainly brought its message to the provocative and communicative vertices of the last years of his life. The Italian writers, if anything, have been appended to the Calvinian style, so elegant and pleasant, and yet abstract and fleeing reality. Perhaps only Saviano has been able to re-propose, at least in Gomorra, the Pasolinian "narrator in the flesh". italianoA partire dalla Divina Mimesis, pubblicata postuma ma iniziata nel 1963, Pasolini cerca un diverso approccio alla letteratura, rifiutando il valore convenzionale del narratore per cercare un contatto piu diretto fra autore e lettore. Come emerge anche in Teorema e soprattutto in Petrolio, l’autorialita pasoliniana assume i caratteri di un «narratore in carne ed ossa», che non non si limiti a proporre una «macchina narrativa che funziona da sola nell’immaginazione del lettore», ma diventi un punto di riferimento concreto per un dialogo reale. Data l’abbondanza dei materiali pasoliniani, sulla scorta di quella «conoscenza per citazioni» cara a Benjamin, si e cercato di lasciar parlare soprattutto l’autore, relegando l’apporto critico al commento dei brani citati. Dall’analisi delle ultime opere narrative di Pasolini, emerge la chiara volonta di rinnovare il proprio stile narrativo non tanto in funzione estetica, ma piuttosto etica: Pasolini anzi abbandona la mimesi socioculturale del discorso libero indiretto, tipica della produzione precedente, per dare maggior spessore alla figura del se, che mentre si atteggia a narratore non cessa di essere Pier Paolo Pasolini. La via tracciata da Pasolini, sostanzialmente antisperimentale e antipoetica, se ha certo portato il suo messaggio ai vertici provocatori e comunicativi degli ultimi anni di vita, non sembra aver avuto molti sostenitori. Gli scrittori italiani si sono semmai accodati allo stile calviniano, tanto elegante e piacevole, quanto tendenzialmente astratto e in fuga dalla realta. Forse solo Saviano ha saputo riproporre, almeno in Gomorra, il «narratore in carne ed ossa» pasoliniano.

The article is focused on the study of forms used to convey reported speech in the French epistolary novel of the 18th–20th centuries. The study is based on the novels Les Liaisons dangereuses by Pierre Choderlos de Laclos, Mémoires de deux jeunes mariées by Honoré de Balzac, and Les jeunes filles by Henry de Montherlant, which are prominent examples of the epistolary novel of the respective epochs. Proceeding from duality of the epistolary novel, i.e., a combination of the form of a letter andthe genre of the novel, the French epistolary novel is defined by its special structure and composition, which determine perception of the information delivered in the novel. The form that conveys reported speech is aligned with writer’s intention. A descriptive variant of presenting dialogues prevails, while the use of direct speech in decisive moments of narration results from the pursuit of credibility. When the credibility is not more important, the reported speech is used to describe the characters and cover their characterisations. Indirect speech is used in an epistolary novel more often, but free indirect speech is virtually absent, which is explained by the absence of narrative speech that is usually interpreted via free indirect speech.

Followed by a temporal noun, past can be synonymous with last, but not with non-deictically anchored previous (e.g., ‘I've not been feeling very well for the past/last/*previous few days’). Most dictionaries provide examples in which past occurs with the present perfect, giving the impression that past is incompatible with other tenses. A close examination of the token past retrieved from the Brown Corpus, the Frown Corpus, and the Corpus of Contemporary American English (coca), however, has revealed that it is not uncommon for past to occur with the simple past or even with the past perfect (e.g., ‘His wife had left him the past year for a wealthy Wall Street broker’) and that past occurring with the past perfect can be explained as instances of free indirect style, discourse freezing or difference in reality (i.e., the three discourse principles allowing a shift in viewpoint with last). Research on temporal reference has thus far been ‘strongly biased towards certain devices’ such as tense, Aktionsart, and aspect ( Klein, 2009 : 41). This study shows that our understanding of how time is encoded in language can benefit from research studies dealing with the relationship between tense-aspect, temporal adverbials and discourse principles.

In Eimear McBride’s debut novel, A Girl Is a Half-formed Thing, point of view is generally focalised through the protagonist-narrator, yet the free indirect discourse of her environment overtakes h...

This paper examines a little studied type of perspective shift that I call protagonist projection (PP), following Holton (J Pragmat 28(5):625–628, 1997). (Other names for what is arguably the same phenomenon include non-reflective conscioussness, represented perception, viewpoint shift, etc.) PP is a way of describing the mental state of a protagonist that conveys, to some extent, her perspective. Similarly to its better known cousin free indirect discourse (FID), the shift in perspective is achieved without an overt operator. Unlike FID, PP is not based on a presumed (possibly silent) speech-act of a protagonist. Rather, it gives a linguistic form to pre-verbal perceptual content, sensations, feelings or implicit beliefs. I propose to analyse PP in a bi-contextual framework, extending Eckardt’s (The semantics of free indirect discourse: How texts allow us tomind-read and eavesdrop, Brill, Leiden, 2014) approach to FID. Under the resulting analysis, FID and PP are two instances of a more general category of perspective shift.

Woolf’s work has been the object of several studies concerned with her experimental use of techniques of speech, thought and consciousness presentation. These investigated the way in which different perspectives coexist and alternate in her writing, suggesting that the use of such techniques often results in ambiguous perspective shifts. However, there is hardly any empirical evidence as to whether readers experience difficulty while reading her narratives as a result of these narrative techniques. This article examines empirically readers’ responses to extracts from Woolf’s two major novels – To the Lighthouse and Mrs Dalloway – to provide evidence for whether Woolf’s techniques for the presentation of characters’ voices, thoughts and perspectives represent a challenge for readers. To achieve this, a mixed-methods approach that combines a stylistic analysis with a detailed questionnaire has been employed. Selected extracts that were hypothesised to be complex due to the presence of free indirect style and/or interior monologue were modified by substituting these with less ambiguous modes of consciousness presentation, such as direct speech or direct thought. Readers’ responses to the modified and unmodified versions of the same extracts were compared: results show that the presence of free indirect style and/or interior monologue increases the number of perspectives identified by readers, suggesting that this technique increases the texts’ difficulty, laying a more solid ground for future investigations.

Cognitive Grammar analyses the semantics of linguistic features in relation to human cognition; Free Indirect Style allows authors to represent their characters’ cognition with language. This article applies Cognitive Grammar to the analysis of a character’s mind that is represented with Free Indirect Style. In the tradition of mind style analysis, it aims to use linguistics to reveal some of the underlying cognitive processes and proclivities at work in the character’s psychology. The character in question is the protagonist in Malcolm Lowry’s Under the Volcano, an alcoholic who is largely characterised by his drunken behaviour and ideation. This article therefore focuses on the linguistic features that serve to represent his inebriated state of mind. It analyses the semantic effects of those features primarily in terms of attentional focus, drawing on Cognitive Grammar concepts, such as objective construal, specificity, scope, profile and domain, and relating these to the protagonist’s cognitive proclivities for solipsism, partial awareness, delayed reaction, attenuated experience and self-delusion. The article also discusses the theoretical background for mind style analysis, arguing for the continued importance of focusing on the relationship between the text and a character’s mind, alongside the focus on the reader’s mind that has come to dominate cognitive stylistics.

In the article examples of free indirect discourse ( FID ) in the novel «In the First Circle» by O. Solzhenitsyn, which characterize the heroes , are analyzed . The definition of this type of narrative and its free indirect speech (F IS ) implementer is considered. The monologic nature of such discourse within the framework of dialogical microtext is noted, its polyphony consisting of individual voices of the narrator's characters under the the author’s control, who intervenes in another's narrative through philosophical insertions, aphoristic cues, subject lines, often labeled with ironic elements. Emphasis is also placed on the conceptual component of the FID , which, according to the author's intentions and storytelling strategy, is represented in the IDS of the novel characters. In addition, it turns out that within the linguistic stylistic analysis of the novel «In the First Circle» are noted such components as autobiographical, thematic, personal, conceptual, textual (speech). They are investigated not only to reveal the specifics of the word-aesthetic and structural-stylistic organization of the work, but also to provide a fuller and more accurate understanding of its ideological and artistic content. This is due to the author's orientation to the reader's understanding and his associative perception, which places his novel among the most outstanding in the Russian literature. It is concluded that the form of the IDS characterizes not only the inner world of the narrator - character, but also the author's narrative strategy and, in general, the writer's idiocy. Key words: O. Solzhenitsyn, novel, character, author, narrator, story, FID, IDS, monologue, psychological characteristic .

Modernism is a very interesting and important movement in literature, characterized by a very self-conscious break with traditional ways of writing, in both poetry and prose fiction. However, the most important literary genre of modernism is the novel. Although prewar works by Henry James, Joseph Conrad, and other writers are considered Modernist, Modernism as a literary movement is typically associated with the period after World War I. Other European and American Modernist authors whose works rejected chronological and narrative continuity include Virginia Woolf, Marcel Proust, Gertrude Stein, and William Faulkner. After First World War a lot of developments took place, new inventions opened up the mind of artists in the 1920s, one of them was Virginia Woolf, a very specific novelist. So, this paper deals with Virginia Woolf’s novel, Mrs. Dalloway, and the main focus is on the elements of modernism in this masterpiece. It is a modern novel which has also most of the features of modernism, or we can say that there are several ways in which one can see Mrs. Dalloway as a Modernist novel. The most dominant characteristic is the content and the narrative style. Virginia Woolf overstepped the traditional writing by describing characters not only superficially but also their inner thoughts. Rather than having a straightforward narrative with a beginning and end and a narrator who knows it all, with Mrs Dalloway we have several narrators, flashbacks, stream-of-consciousness style, and a totally fragmented story. Also there is a connection of the author and her characters; she putted a piece of herself in each one of them. This is how you can find about the author’s life path and how her sufferings, mental illness affected into her writing. Thus, Virginia Woolf is considered an iconic modernist writer and pioneer not only of the stream of consciousness narrative technique, but of the use of free indirect speech, psychological as well as emotional motives of characters. Nevertheless, the unconventional use of figures of speech also makes a great characteristic and a symbol of her novels. Stream of consciousness writing allows readers to “listen in” on a character's thoughts. This will make you explore yourself in ways you have never thought before. Specifically, in Clarissa Dalloway’s preparations to host a party that evening Virginia Woolf records all her thoughts, remembrances and impressions, as well as the thoughts of other characters. There is no actual story, no plots or sub-plots, in fact, there is no action in the traditional sense in this novel, except from the “myriad of impressions” created by Virginia Woolf’s new style of writing.

Peter Carey’s short story American dreams (Carey 1994 [1974]) presents a recalibration of consciousness as a small Australian town gradually becomes Americanized. The text foregrounds epistemological concerns by demonstrating a clear tendency toward delayed understanding. For this reason, I argue that the story is an instance of modernist fiction: a label not previously applied to Carey’s stories. In contrast with popular modernist techniques such as free indirect discourse and stream of consciousness, the techniques presented in the text appear to be covert, which may at least partially explain why the story has managed to avoid being labelled modernist by literary critics until now. Using analytical tools grounded in systemic functional grammar and appraisal categories, I demonstrate how linguistic analysis can lay bare the covert modernist techniques at work in the story, indicating that such an approach can be a useful complement to non-linguistic literary criticism.

Partiendo de la Crítica Literaria, y utilizando como base la Narratología, en el artículo se analizan los recursos que utiliza Muñoz Molina en «La poseída» para transformar un acontecimiento real en una obra ficcional. El más importante es la elección del punto de vista. Así, la focalización interna fija sobre un personaje apocado de imaginación febril convierte un hecho vulgar, por su desgraciada repetición, en una aventura llena de equívocos en cuyas trampas cae el lector. A ello contribuye el uso del estilo indirecto libre, que muestra estados internos y ahonda en el desvarío del personaje. Frente a ello, el autor implícito desliza indicios que insinúan otro sentido para la historia mientras organiza verosímilmente la visión del personaje. Además, la acumulación de referencias temporales muestra un tiempo sicológico que hace más apremiante y sorprendente el final de la historia que, en el desenlace, se entiende en sentido contrario a como se muestran los hechos.

Grammatical stylistics and stylistic grammar Linguistic analyses of the function(s) of grammatical constructions can both strengthen stylistic analyses by providing these with a firm basis, and derive support from them as well, to the extent that the grammatical analysis helps explain stylistic observations. Another potentially fruitful connection between grammatical and stylistic research lies in their complementary perspectives. Grammatical semantic analyses are usually semasiological: given a grammatical construction, the question is what its function is. Stylistic research provides an onomasiological perspective: given some content to be conveyed, the question is what difference it makes to express it in one way or another. These ideas are elaborated here for the domain of speech and thought representation (STR) in Dutch narrative texts. Stylistic differences between a number of translations of the same biblical story provide the starting point for a renewed investigation of the precise linguistic tools and mechanisms that are put to use in STR in Dutch, with a focus on the position and syntagmatic and paradigmatic properties of reporting clauses. A corpus study shows a number of sometimes subtle distributional and semantic differences, including different constraints on reported clauses. Preposed reporting clauses exhibit a preference for relatively neutral fillers of the predicate slot and occur only with direct speech; this pattern is therefore labelled Citation construction. Parenthetical and postposed reporting clauses, on the other hand, show a higher incidence of subjectively evaluating predicates and combine more easily with various forms of less-than-direct representation of a character’s utterance or thought; this variant is labelled Inquit-construction. The traditional narratological three-way distinction between Direct and Indirect Discourse and the ‘mixed’ form Free Indirect Discourse, is thus replaced by a set of combinations of linguistic features, which are finally shown to be involved in stylistic differences as well as similarities between two famous modern Dutch novels.

In this article we sought to comment on some of the most important formal resources used in Gustave Flaubert’s Sentimental Education: the use of a negative hero, a weak plot, free indirect speech and, especially, the pre-conceived idea. One of the aims of this article is to discuss the distance that separates the Sentimental Education, which narrates a story of a young man in the French capital, from other novels written by his romantic predecessors.

Populism is a “thin ideology” characterized by a prominence of self and emotional expression over argumentation. In this respect, populist politicians are most likely to project an image of themselves as “being close to” or even “being part of” the people, in order to establish a sort of empathic connection with the potential voters and present themselves as the “spokespersons” of the people. The analysis of a bilingual corpus built from Farage’s and Le Pen’s tweets has enlightened the presence of several discursive markers that contribute to create this connection on a micro-level (deictic expressions) as well as on a macro-level, in terms of discursive structures (storytelling and free indirect speech).

Jane Austen’s Emma is famous for being among the earliest and most sophisticated expositions of free-indirect discourse which is used to represent ironically a match-making heroine of 21 years whose judgements are usually faulty. It is also famous as a brilliant courtship romance or love story, much imitated in recent years. Less often noticed is that it is a fiercely satiric comedy about the rise of the middle class and the penetration of genteel English society with the language and values of market capitalism. Drawing inspiration from John Bender’s Imagining the Penitentiary and Karl Polanyi’s The Great Transformation this essay proposes that the author’s use of free-indirect discourse constructs Emma as a subject who does not comprehend her own subjectivity, and whose need to be taught to see herself objectively, thanks to the tutelage of Mr. Knightley, opens a paradox in which the subject and its subjectivity need to comprehend themselves objectively as exchangeable objects within a capitalist market society. This paradox is identified as coming to prominence in Adam Smith’s Theory of Moral Sentiments, and, for those who refuse to learn regulation, in the Panopticon penitentiary advocated by Jeremy Bentham. Emma, le roman de Jane Austen, est connu comme l’un des premiers textes à utiliser le discours indirect libre avec une grande finesse, pour représenter avec ironie les jugements souvent erronés d’une héroïne de 21 ans qui joue les entremetteuses. Il est de plus célèbre comme un brillant roman d’amour, ayant donné lieu récemment à de nombreuses imitations. Mais il contient aussi une satire féroce de l’émergence de la classe moyenne et de la pénétration du langage et des valeurs du capitalisme marchand dans la société bourgeoise anglaise. S’appuyant sur les thèses de John Bender (Imagining the Penitentiary) et de Karl Polanyi (The Great Transformation), cet essai s’attache à montrer que l’utilisation du discours indirect libre permet à Austen de construire Emma comme un sujet ne comprenant pas sa propre subjectivité, devant apprendre à se percevoir objectivement sous la férule de Mr. Knighley. Ce paradoxe selon lequel le sujet et sa subjectivité doivent se percevoir eux-mêmes objectivement comme des objets interchangeables dans une société capitaliste émane de The Theory of Moral Sentiments d’Adam Smith et, pour ceux qui refusent d’apprendre à s’autoréguler, du panoptique pénitentiaire de Jeremy Bentham.

This chapter explores whether Suite francaise is a polyphonic novel and, if so, whether this definition can be reconciled with the novel’s explicit Tolstoyan influence. The point of departure is twofold: the novel’s unfixed narrative voice, and archival evidence that corroborates Nemirovsky’s desire to be an impartial narrator of France’s debacle. In dialogue with Bakhtin’s work on dialogism, and addressing his ambiguous stance on Tolstoy’s work—“monolithically monologic” yet “determined by heteroglossia”—the chapter argues that Nemirovsky’s techniques, her vast use of irony, satire and free indirect discourse, are the marks of a resolutely heteroglot, multivoiced, hence polyphonic novel.

Yirminci yüzyılın başlarında, modernist yazarlar gerçekliğin geleneksel temsili ifade biçiminden uzaklaşarak yeni deneysel anlatım teknikleri ile karakterlerin iç dünyalarına ve içsel düşünce akışlarına yönelmişlerdir. Modern İngiliz edebiyatında kullanılan anlatım teknikleri yazarlar tarafından hem benzer hem de farklı biçimlerde sunulmaktadır ve bu da her yazara özgün yazım teknik ve yöntemi kazandırmaktadır. Karşılaştırmalı yöntem kullanan bu çalışma modern romanın en önemli iki özgün yazarı olan Woolf ve Joyce’un romanlarını kullandıkları anlatım teknikleri türleri açısından inceleyerek bir sentez sunmaktadır. Woolf’un duyarlı, döngüsel ve sarmal kadın anlatımı ile Joyce’un sınırlı noktalama işaretleriyle, rasyonel, doğrusal ve sinematik anlatımı bu ayrıma birer örnektir. Ayrıca Woolf’un varolma anlatı tekniği Joyce’un tezahür (epifani) tekniği ile hem benzeşir hem de ayrışır. Her iki yazar da farklı üslup, stil ve yöntem aracılığıyla tıpkı bir nehir gibi akışkan olan zamanda ileri ve geri giderek tek bir güne sığan anlatıları ile karakterlerin ruhsal deneyimlerini, duygu ve bilinç akışlarını ortaya çıkartırlar. Bu bağlamda bu makale modern İngiliz edebiyatında bilinç akışı, iç monolog, serbest dolaylı söylem, tezahür (epifani), varolma anları gibi modern anlatım tekniklerini ustaca kullanan iki öncü yazar olan Virginia Woolf ve James Joyce’un yazı tekniklerindeki benzerlikler ve farklılıkları karşılaştırmayı amaçlar., At the beginning of the twentieth century, modernist writers moved away from the traditional expression of realityand explored the inner worlds and inner thought flows of characters with new experimental narrative techniques.The narrative techniques used in modern English literature are presented by the authors in both similar and differentforms, which gives each author unique writing technique and method. This study, using a comparative method,presents a synthesis by examining the novels of Woolf and Joyce, the two most important authors of the modernnovel, in terms of different types of narrative techniques they use. Woolf‟s sensitive, cyclical, and spiral femalenarrative and Joyce‟s rational, direct, and cinematic narration with limited punctuation marks are examples of thisdistinction. In addition, Woolf's existing narrative technique both resembles and differs with Joyce's epiphanytechnique. Both authors reveal the spiritual experiences, emotions and flows of consciousness of the characters withtheir narratives that fit into a single day, going back and forth in a fluid time like a river through different styles,styles and methods. In this context, this article aims to compare the similarities and differences in the writing style ofVirginia Woolf and James Joyce, two pioneering writers skillfully using modern narrative techniques such as thestream of consciousness, interior monologue, free indirect speech, epiphany, and moments of existence in modernEnglish literature.

Preface. Acknowledgements. Part 1: Foundations 'Taking a Poem to Pieces' John Sinclair. 'Stylistics' David Lodge. 'Linguistic Function and Literary Style: An Inquiry into the Language of William Golding's The Inheritors' Michael Haliday. 'On the Deviance of Literary Discourse' Henry Widdowson. 'Applying Linguistics' Elizabeth Closs Traugott and Mary Louise Pratt. 'Linguistic Criticism' Roger Fowler. 'Metre' Geoffrey Leech. 'Discourse Analysis and Drama' Mick Short. Part 2: Developments 'Poem, Reader, Response: Making Sense with 'Skunk Hour' Michael Toolan. 'Style and Interpretation in Hemingway's "Cat in the Rain"' Ron Carter. 'Changing the Guard at Elsinore' Walter Nash. 'But what is Literature?: Toward a Descriptive Definition of Literature' Willie van Peer. 'Deixis and the Poetic Persona' Keith Green Bakhtin. Addressivity, and the Poetics of Objectivity' Alison Tate. 'Teach Yourself Rhetoric: An Analysis of Philip Larkin's "Church Going"' Katie Wales. 'World Enough and Time: Deictic Space and the Interpretation of Prose' Paul Werth. 'Making the Subtle Difference Literature and Non-Literature in the Classroom' Guy Cook. Part 3: New Directions 'Educating the Reader: Narrative Technique and Evaluation in Charlotte Perkins Gilman's Herland' Jean Jacques Weber. 'Satirical Humour and Cultural Context: With a Note on the Curious Case of Father Todd Unctuous' Paul Simpson. (Sur)real Stylistics: From Text to Contextualizing' Peter Stockwell. 'Feeling Moved by Metaphor' Ray Gibbs. 'Point of View in Drama: An Analysis of Brimstone and Treacle' Dan McIntyre. 'Conrad in the Computer: Examples of Quantitative Stylistic Methods' Michael Stubbs. ''Split Selves" in Fiction and in Medical 'Life Stories'' Catherine Emmott. 'Too Much Blague? The Text Worlds of Barthelme's Snow White'' Joanna Gavins. 'A Cognitive Stylistic Approach to Mind Style in Narrative Fiction' Elena Semino. 'Connectives in Free Indirect Style: Continuity or Shift?' Violeta Sotirova. Part 4: Coda 'Stylistics: Retrospect and Prospect' Peter Stockwell and Ron Carter. Index

Chapter One is a study of Joseph Conrad’s first novel, Almayer’s Folly, and it concentrates on the first two words of the novel, neither of which are in English. The chapter approaches the novel through the filters of these words’ racial and colonial sound effects, which become a basis for reappraising canonical tropes of voice in narrative theory, media theory, and the phenomenology of reading. Conrad’s novelistic writing becomes critical when read in relation to emergent sound technologies, the phonograph and ethnography, both of which simultaneously depended on the oral while superseding it through a different mode of technological mediation. But the novel, as a form, only becomes a “modern” technology of voice in its discovery of free indirect discourse, which is premised upon an exclusion of the colonial sonic traces of sexual violence. The chapter concludes with Chantal Akerman’s adaptation of Conrad using lip-sync as a postcolonial strategy.

This article argues that Karan Mahajan’s The Association of Small Bombs and Kiran Desai’s The Inheritance of Loss depart from conventional literary representations of the suffering of neoliberal subjects because they focus on collective rather than individual experiences of abjection. Emphasizing the breakdown in state services, the rise in insurgent groups, and the monetization of human life, the novels consider the possibility of empathy in a society structured by self-preoccupation and extreme inequality. The article compares how the two novels imagine coping with the condition of abjection, and focuses on their shared narrative technique of free indirect discourse as a means of encouraging empathy with characters.

Resumo : Este ensaio tem como ponto de partida a observacao de uma tensao significativa entre as preocupacoes constantemente declaradas pelo escritor norte-americano David Foster Wallace em seus romances e ensaios e o seu uso de certos procedimentos narrativos que em ultima instância remontam aos becos sem saida do discurso indireto livre de matiz flaubertiano, tal como analisado por Moretti. Atraves do contraste entre as leituras de Moretti e de Ranciere sobre as transformacoes sociais expressadas pela forma narrativa de Flaubert, defendo a hipotese de que Wallace busca transmitir por meio de sua ficcao um aprendizado da atencao – na base da respiracao narrativa da prosa do seculo XIX –, que entra em dissonância com as transformacoes sofridas pela tecnica no decurso do processo historico desde entao. Palavras-chave : David Foster Wallace; The Pale King; efeito de real; ficcao contemporânea. Abstract : This essay starts with the consideration of a significant tension between thematic constantly asserted by the writer David Foster Wallace throughout his fictions and essays and his usage of certain narrative procedures that ultimately lead back to the dead ends of the Flaubertian free indirect discourse, as discussed by Moretti. Through a contrastive reading between Moretti’s and Ranciere’s analyses of the social changes that are given expression through Flaubert’s narrative form, this work explores the hypothesis that Wallace seeks to transmit through his fiction a kind of learning of attention – which forms the basis of Realist prose – that ultimately goes against the very transformations undergone by narrative technique in the course of the historical process. Keywords : David Foster Wallace; The Pale King; reality effect; contemporary fiction.

“I’m going down and get that kitty,” the American wife said.“I’ll do it,” her husband offered from the bed.“No, I’ll get it. The poor kitty is out trying to keep dry under the table.”The husband we...

Sommario This article deals with a comparison between Matilde Serao’s short story “Checchina’s Virtue” (1884) and the homonymous unpublished theatrical script written by Massimo Franciosa (1995), of which a summary is provided. The comparison between the source text and the adaptation draws on the debate about the narrativity of drama in which many scholars have engaged in the last decades: Richardson (1987), Chatman (1990), Jahn (2001), Fludernik (2008) and Nünning & Sommer (2008). The analysis focuses on two forms of diegetic narrativity that appear in the short story, i. e. free indirect discourse and the iterative mode, in order to see how the theatrical script deals with them. The analysis shows that the script preserves the narrative contents of the source text and highlights how diegetic and mimetic narrativity collaborate to the reworking and redistribution of those contents.

Stories can and often do build surprises by encouraging audiences to attribute certain assertions, presuppositions, and evaluations to an “objective” or base-level perspective, only to reveal later on that these elements should be attributed only to the mistaken or deceptive viewpoint of a particular character. This paper presents a comparison of sound design and viewpoint phenomena in Francis Ford Coppola's film The Conversation (1974) with similar narrative twists in prose and with other perspective shifts in film. It shows how viewpoint blends, shifts, and distinctions between the “viewpointed” and “non-viewpointed” status of elements in the visual and auditory stream in film can work together to create this kind of re-evaluation surprise, and discusses how these are and are not analogous to similar effects in prose.

This article analyzes the drawings that Pier Paolo Pasolini made for his short film, La terra vista dalla luna, in 1967. Pasolini originally intended to publish his sketches in a comic book that, in the end, he did not complete. These drawings eschew any clear-cut definition. They are an attempt at a comic book, but they also visualize Pasolini’s screenplay so closely that they could be the film’s storyboard. Whether they are functional to the film or conceived to tell the same story in a different medium, these drawings represent a residual text that sheds light on Pasolini’s conversion to the figurative arts. His hand-drawn images investigate the function of colour, while exemplifying Pasolini’s observations on linguistic contamination, the merging of high- and lowbrow expressive forms, free indirect style and the new literary monstra represented by hybrid narrative structures.

Resumo : O objetivo deste trabalho e analisar como o discurso indireto livre se configura na obra A festa do bode , de Mario Vargas Llosa, especialmente com o personagem ditador da Republica Dominicana, de 1930 a 1961, Rafael Leonidas Trujillo. Em obra publicada em 2005, o critico literario Franco Moretti defende que o escritor peruano nos apresenta a mente de seu personagem sem que ela passe por filtros julgadores, gracas a maestria do uso do indireto livre, por meio do qual o “mal” do ditador e sublimado. Verificamos neste estudo que a afirmacao de Moretti parece nao proceder a luz de uma analise mais acurada. Palavras-chave : discurso indireto livre; romances de ditador; A festa do bode; Mario Vargas Llosa. Abstract : The objective of this article is to analyze how free indirect discourse is configured in Mario Vargas Llosa’s Festa do Bode, especially with the dictator of the Dominican Republic from 1930 to 1961, Rafael Leonidas Trujillo. In a paper published in 2005, the literary critic Franco Moretti argues that the Peruvian writer introduces us to the mind of his character without passing through judging filters, thanks to the mastery of the use of free indirect speech, by means of which the dictator’s ‘evil’ is sublimated. We verified in this study that Moretti’s statement does not proceed in a more accurate linguistic and literary analysis. Keywords : indirect free speech; dictator’s novels; A festa do bode; Mario Vargas Llosa.

Language, with the complexity of its structure, can be problematic in terms of interpreting works of literature. This essay discusses the problems perceived in the process of interpretation of free indirect discourse narratives in Jane Austens Pride and Prejudice and Emma, James Joyces A Portrait of an Artist as a Young Man and The Dead, and Maxine Hong Kingstons Tripmaster Monkey. Narratives with free indirect discourse opens up possibility of misinterpretation caused by the misconception of whose point of view the story is told. By looking at the works within the concept of narratology by Chatman (1978) and Prince (2003), such narrativeswhich apply the viewpoint of omniscient narratorscause ambiguity to the voice of external and internal focalisers. This is due to the fact that the use of such narratives blends the two types of focalisations. The findings of this research lead to an argument that through external focalisation, the view becomes objective. Yet through internal focalisation, the view tends to become subjective as it is infiltrated by the characters view. Such an argument then gives way to a conclusion that narratives with free indirect discourse gives effect to irony in the story-telling process of the works discussed. Keywords: free indirect discourse, narratology, focalisation

The concept of an unreliable third-person narrator may seem a contradiction in terms. The very act of adopting a third-person stance to tell a story would appear to entail an acceptance of a basic need for truth-telling, a commitment to what Wayne Booth terms the implied author’s “norms of the work.” Nonetheless, in the essay that follows, three of Katherine Mansfield’s short stories – “A Cup of Tea” (1922), “Bliss” (1918) and “Revelations” (1920) – will be examined in order to demonstrate how the strategic suppression of the distinction between the voice of the narrator and that of the central character can lead to a strong sense of unreliability. In order to read such narratives effectively, the reader must reappraise the value of certain other stylistic elements, including the use of directives involved with directly quoted speech, seemingly minor discrepancies between adjacent sentences and, perhaps most importantly, the structure of the fiction itself. We contend that Mansfield’s use of this form of unreliable third-person fiction is her unique contribution to the short story genre.

This essay explores the relationship between landscape representation and narrative point of view in Jane Austen’s Persuasion, arguing that her innovations with focalization and free indirect style are informed by her knowledge of Reverend William Gilpin’s work on the picturesque and her own travels and sketches. By examining the various spectatorial stances Austen’s characters assume in light of Peter de Bolla’s insights upon eighteenth-century visual practices, the essay demonstrates how Austen uses these narrative techniques to shift the locus of authority to those who were historically marginalized.

In part because of Henry James’s own emphasis on the “rigour” of his practice, the strict limitation of The Ambassadors to Strether’s point of view has dominated critical discussions of the novel’s narrative technique. This essay argues that authorial narration plays a more prominent role in The Ambassadors than has previously been recognized and that the narrator’s efforts to read and describe Strether’s consciousness parallel Strether’s own interpretive activity. Even during instances of free indirect discourse (FID), the narrator of The Ambassadors is a consistent presence, describing Strether’s consciousness in precise, evocative detail and modeling for the reader a posture of careful and responsive attention to otherness. (In this respect, the essay’s argument about narration bears on one of the central conceptual questions in the theory of FID—that is, whether the two subjectivities [narratorial and figural] evoked by FID coexist, with the figural subjectivity contained or framed by the subjectivity of the narrator—or whether, instead, narratorial subjectivity simply disappears in FID, replaced or superseded by figural subjectivity.) Finally, The Ambassadors is a sustained exercise in reading—reading the subtle grammar of the Jamesian sentence, reading delicate shifts in subjectivity or reference, reading the suggestions and intonations in dialogue—and its subject matter is Strether’s reading of the characters around him and his own cognition and perception. The novel’s narrative technique mirrors this preoccupation with reading—and with the ethical implications of reading—by incorporating the perspective of an attentive external reader or observer into the text, in the presence of the narrator.

The paper sets out to describe the “free indirect speech” of film, which the author chooses to cali “mediated subjective narrative”. Based on specific examples, the author characterizes the narrative devices which in a way are analogous to what literary studies define as “free indirect discourse”. The basic indicators of that textual figure include subjectivization of communication on a stylistic level and interference of internal and external focalization.

In free indirect discourse (FID), the narrative discourse of a text incorporates the language and subjectivity of a character, including emotional coloring, deictics, judgments, and style, without an introductory attributing frame like “she thought that” and without shifts in the pronouns or the tense sequence to accord with the character’s perspective. By combining the immediacy of direct quotation and the flexibility of indirect discourse, FID allows for the seamless integration of a character’s thought or speech, with all of its distinctive markers, into the narratorial discourse. Because FID occurs in the context of narratorial discourse and allows for a fluid movement back and forth between narratorial and figural subjectivities, it characteristically entails a mixture or interplay of two voices—the narrator’s and the character’s—in the same utterance, as in parody or mimicry. The evocation of a character’s thought or speech through FID and its relation to narratorial commentary and report can be subtle and nuanced, and identifying and making sense of FID sentences requires significant interpretive activity on the part of the reader. FID has been a crucially important technique for the representation of consciousness in the English novel, particularly in the tradition which runs from Jane Austen through George Eliot to Henry James, Virginia Woolf, and James Joyce, which concerns itself increasingly with the imagined thought-lives of characters. Depending on the context, FID passages can be presented sympathetically, inviting the reader to immerse herself or himself unreservedly in the character’s thought or speech, or ironically, with the language of the character creating a dissonant effect against the background of the narrator’s discourse and the novel’s design. FID is also sometimes referred to as style indirect libre, free indirect style, represented speech and thought, or narrated monologue.

El “Corpus de Estilo Indirecto Libre en Español” (CEILE) es un conjunto de seiscientos cinco ejemplos de estilo indirecto libre, extraídos de siete obras representativas de la narrativa española contemporánea. La disposición y organización del corpus responde a fines investigadores en el ámbito de la Lingüística, aunque su utilidad no es exclusiva del mismo, sino extensiva a estudios de diferente índole., The “Corpus de Estilo Indirecto Libre en Español” (CEILE) is a set of six hundred and five examples of free indirect style, extracted from seven representative novels of contemporary Spanish. The disposition and organization of the corpus responds to researcher purposes in the field of Linguistics, although its usefulnessis not exclusive to it, but extensive to studies of different nature.

O objetivo é analisar a animação O menino e o mundo (2013), de Alê Abreu, levando-se em conta aspectos temáticos, narrativos e interpretativos. Trata-se, respectivamente, de: a) questionar as particularidades quanto à representação do campo e da cidade (BERNARDET, 1980); b) identificar uma estrutura narrativa com momentos lúdicos, de eclosão do estilo indireto livre (PASOLINI, 1989), onde os regimes de enunciação sofrem modificações; c) examinar o gesto artístico de O menino e o mundo, com seus vestígios de utopia transformadora, não sem ambiguidades, inserindo-o entre outros discursos que retomam o direito à cidade (HARVEY, 2013; LEFEBVRE, 1999), sob os ecos das jornadas de 2013.

Writing about Jane Austen's Persuasion (1818), Harold Bloom asserts: “each time I finish a rereading of this perfect novel, I feel very sad [….] It is not [the heroine's] sadness we feel as we conc...

Gustave Flaubert and Jane Austen died at opposite ends of the nineteenth century, on opposite sides of the English Channel, and almost at opposite ends of the moral spectrum. Consequently, their novels are in many ways very different and seldom the object of comparative studies. However, given that both novelists experimented with advanced narrative techniques usually known under the umbrella term free indirect discourse (FID) or style indirect libre (SIL), this study seeks to compare the ways in which each novelist used this technique in a selection of passages from their works.

Suzanne Keen’s response to Fletcher and Monterosso evaluates their contribution to cognitive narratology and the psychology of narrative impact. Arguing that “there is more than one possible function for FID,” Fletcher and Monterosso design a clever experiment manipulating textual samples by increasing the amount of discourse in free indirect style in contrast to thought report (psycho-narration) or externalized narration in the originals. Employing follow-up questionnaires about affective response, perspective taking and role taking on the one hand, and attitudes towards revenge on the other hand, Fletcher and Monterosso discover that while FID enriched samples aroused emotional engagement in some readers, the increased emotional response was felt for the victim’s suffering rather than inducing empathy with the revenger’s emotions and actions. Keen discusses the narratological component, free indirect discourse, the link to reader’s empathy, and the methodology of Fletcher and Monterosso’s textual manipulations. With a nod to Louise Rosenblatt’s transactional theory of reading, Keen notes that Fletcher and Monterosso’s work depicts active readers responding differently from one another. She offers cautions about the constitution of research subject pools, which should be as diverse as possible to arrive at persuasive observations about the impact of form. Keen affirms that narrative theorists can both contribute to and benefit from study of the various psychological responses to manipulations of narrative techniques.

Recent cognitive research has indicated that free-indirect discourse (FID) can promote empathy in readers. We broaden and refine this research by distinguishing between two formal features of FID: (1) its pivot from the third person into the first, and (2) its pivot back out of the first person into the third. We then suggest that a historical survey of literature provides grounds for hypothesizing that the second formal feature of FID might have a very different cognitive effect from empathy: an acceptance of alterity. We provide some supporting evidence for our hypothesis through an original psychology study and conclude by proposing that our identification of a second cognitive effect of FID reveals how scientific reduction might be used to develop multiple, even divergent, models of rhetorical function.