Search

Copyright of Études de Stylistique Anglaise is the property of Societe de Stylistique Anglaise and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Philological Review (00151807) is the property of University of Belgrade, Faculty of Philology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Fordítástudomány is the property of Faculty of Humanities ELTE, Department of Translations & Interpreting and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on Thomas More's "Declamation" an early work that highlights his view of a lawyer's role in politics and showcases the power of indirect speech.

The use of the present tense as the primary narrative tense has become a commonly encountered phenomenon in contemporary fiction. The textual effects of the use of the present narrative tense, however, have not yet been fully explored. This paper first reviews how the use of tenses contributes to constructing narrative worlds, focusing on three facets of narrative: the relationship between the narrator and the narrated, time frames within the narrative and characters' discourse embedded in narrative. Then, using corpus data which includes both present- and past-tense fiction, I will show that the boundaries and distinctions which are consistently taken for granted in past-tense narrative can be blurred, crossed within narratorial structures and partly expanded at a meta-textual level from written discourse to spoken discourse. [ABSTRACT FROM AUTHOR]

“Humour in the Polyphonic Town Space. A Reading of Hjalmar Bergman’s Novel The Markurells of Wadköping” The novelist as an accomplished artist is revealed, in Mikhail Bakhtin’s view, when the stamp of his/her voice and style is kept while interacting and intermingling with other voices and styles expressed in the novel, often taken from social, collective spaces such as the town. In addition, Bakhtin observes that a history of laughter can be read in the development of the novel as a genre. With its popular roots in carnival traditions, the novel takes place in streets and market squares, and creates an alternative social place which can overturn given social, political and economic hierarchies. Furthermore, the literary scholar Leo Spitzer shows how a novel’s narrator voice can borrow and mould the common voice of a whole community of speakers, as a sort of choir, for instance, in a village or a small town, through the use of free indirect speech (erlebte Rede). By following these stylistic clues, the article examines how comic, grotesque and fantastic effects are triggered in Hjalmar Bergman’s novel The Markurells of Wadköping, especially in case of ‘polyphonic’ scenes in which the small town participates as a unit, and as a receptive and collective conscience. When humour is in great style, it also contains a tragic dimension, as suggested by the philosopher Simon Critchley. Bergman’s humour is marked by pessimism, and the writer is ambivalent towards the apparently solid, bourgeois world prior to World War I which he comes from and depicts in his novel. The author feels close to this world and describes it with empathy, but at the same time he displays a critical distance as well as a need to part from it. The ‘polyphonic’ plurality of voices in this novel refers also to such an inner conflict. In the article, Hjalmar Bergman is considered as an interpreter of existential disharmony and shortcomings, but also as a writer who found in laughter a form of love for life despite everything.

This paper considers free indirect speech (FIS) in Croatian oral folk tales (fairy tales, legends, oral tradition and fables). Oral folk tales (folklore) from all parts of Croatia, and that in all three Croatian dialects (the Shtokavian, the Chakavian, and the Kajkavian) have been analysed. Special attention is paid to first-hand accounts according to authentic tellings in recent times. The types of FIS that are commonly attributed to the linguo-stylistic characteristics of modern art prose have been con[1]sidered. Additionally, some techniques that also indicate SNG have been analysed, which has neither been noticed nor described in the hitherto Croatian philological literature. It is concluded that FIS is a linguo-stylistic device which affects the way of delivering (creating) a story, but it is also a feature which distinguishes one tale from another.

The aim of this article is to substantiate the thesis that together with the development of the plot of Persuasion, the cognitive power of the principal heroine expands, and she becomes a highly sensitive reader of human minds. This thesis is supported by references to the new 'Romantic' psychology, emphasizing the close links between the innate aspects of the mind and the body. Psychological insight demonstrates the fragmentation of Anne Elliot's mind, the role of the unconscious, and the division between the interior and the exterior. There is also analysis of the significance of Anne's frequent change of transitory lodgings, along with interpretation of the narrative strategy, especially free indirect speech and mediated speech (the function of eavesdropping) and the important role of body language. [ABSTRACT FROM AUTHOR]

The authors of the article consider Marina Tsvetaeva's prose from the point of view of the relationship between the concepts of "norm" and "anomaly", one of the topical issues of contemporary linguistics. The authors stress the importance of the topic in question and the found language material in the text field of the really unique Russian poet - Marina Tsvetaeva. Several classifications of linguistic anomalies and their functions have been studied in the paper. Within the framework of this article, the authors analyse linguistic anomalies on different levels of the language by the example of complexes with free indirect speech, sampled in the prosaic texts of the great Russian poet and writer. They conclude that it is characteristic for Marina Tsvetaeva to experiment with lexis, syntax and punctuation. At the same time, such language incorrectness promotes reflecting the complexity and originality of the author's perception of the world, conflicts with contemporaries, personal and social drama. Another feature that makes the paper relevant is the choice of free indirect speech as the research target. This research work is the first attempt to study the problem of linguistic anomalies by the example of complexes with free indirect speech. [ABSTRACT FROM AUTHOR]

This essay identifies a series of shared media—drawings, riddles, alphabets, etc.—in Jane Austen's Emma that generate social networks by establishing public forums for intersubjectivity. These narrative media allow characters to broadcast their own fantasies about the community while refracting the interiorities of others. Observing this trend, I suggest that narrative media in the novel enable characters to participate in something like free indirect discourse (FID) alongside Austen's narrator, making authorship an extension of sociability. My claim is that social media in the novel both represent and stage the struggle for voice and narrative power between Emma and the novel's minor characters. Bringing together narrative theory, network theory, and contemporary writings about social media, I propose that we are now in a better position to sharpen our understanding of FID in Austen's late fiction because of our literacy in social media technologies and our increasing sensitivity to virtual storytelling. [ABSTRACT FROM AUTHOR]

Changes that free indirect speech underwent in English, American, and Russian literature during the 20th century were investigated. Both general and more specific (qualitative and quantitative) trends in the free indirect speech development were discussed. Free indirect speech was considered from a diachronic point of view, i.e., the study aims to identify a correlation between the patterns that could be relevant for literary translation from English into Russian and vice versa. Based on the results of the quantitative and qualitative analysis of free indirect speech contexts, it was demonstrated that free indirect speech has evolved. A notable increase in the degree of textual interference and in the variety of models employed was observed. Interestingly, the frequency of occurrence of free indirect speech structures in literary texts varies from decade to decade. Although there are some common trends in free indirect speech usage following the global tendencies in literature, its evolution depends on particular national literary traditions as well. The data obtained show that the most intense usage of free indirect speech segments is typical for the English literature. From the translation perspective, it is important that the general frequency and functional models of indirect speech usage can slightly differ even in texts of the same period or among the writers.

The article presents a comparative analysis of the relationship between the narrator and the main character in the structure of flash fiction by A.P. Chekhov and J. Joyce. The authors conclude that there are typological similarities in the relationship between the narrator and the main character in the flash fiction of A.P. Chekhov and J. Joyce. This was influenced by the global trend in literature at the turn of the 20th century, according to which the role of the author as an omniscient and omnipresent demiurge of the fictional world started to wane. The paper puts forward that the unique entwinement of the narrator's and the main character's voices in A.P. Chekhov's and J. Joyce's short stories is the main structural-constructive factor of the free indirect speech and contributes to revealing the subtle creative substance of the works. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

The aim of this article is to substantiate the thesis that together with the development of the plot of Persuasion, the cognitive power of the principal heroine expands, and she becomes a highly sensitive reader of human minds. This thesis is supported by references to the new ‘Romantic’ psychology, emphasizing the close links between the innate aspects of the mind and the body. Psychological insight demonstrates the fragmentation of Anne Elliot’s mind, the role of the unconscious, and the division between the interior and the exterior. There is also analysis of the significance of Anne’s frequent change of transitory lodgings, along with interpretation of the narrative strategy, especially free indirect speech and mediated speech (the function of eavesdropping) and the important role of body language.

Research has shown that it requires less time to process information that is part of an objective causal relation describing states of affairs in the world (She was out of breath because she was running), than information that is part of a subjective relation (She must have been in a hurry because she was running) expressing a claim or conclusion and a supporting argument. Representing subjectivity seems to require extra cognitive operations. In Mental Spaces Theory (MST; Fauconnier, Gilles. 1994. Mental spaces: Aspects of meaning construction in natural language. Cambridge: MIT Press) the difference between these two relation types can be described in terms of an extra mental space in the discourse representation of subjective relations: representing the Subject of Consciousness (SoC). In processing terms, this might imply that the processing difference is not present if this SoC has already been established in the discourse. We tested this prediction in two eye tracking experiments. The results of Experiment 1 showed that signaling the subjectivity of the relation by introducing a subject of consciousness beforehand did not diminish the processing asymmetry compared to a neutral context. However, the relative complexity of subjective relations was diminished in the context of Free Indirect Speech (No! He was absolutely sure. There was no doubt about it. She was running so she was in hurry; Experiment 2). In terms of MST and the representation of subjectivity in general, this implies that not only creating a representation of a thinking subject, but also assigning a claim to this thinking subject requires extra processing effort. [ABSTRACT FROM AUTHOR]

The paper is devoted to the features of the narrative form of Leonid Yuzefovich’s novel “Cranes and dwarfs”. The authors of the paper focuses on the lexical and grammatical tools that allowed the author of the novel to introduce different types of a narrator into the text. Examples illustrating that in the text of the novel under analysis the speaker and the beholder do not always match: 641 examples were related to varieties of free indirect speech. The following types of the free indirect speech constructions were analysed: when the subject of speech and the subject of consciousness differ in such cases: 1) indication of the spatial or temporal localization of the character; 2) an indication of the physical or intellectual perception of the situation (or object, or natural phenomena); 3) broadcast of the character's thoughts; 4) description of the character's emotions; 5) nomination of relatives and body parts of the character. As well as a list of lexical-grammatical markers of the modernist narrative form of the novel "Cranes and dwarfs" are provided in the report.

Self-silencing can be a discursive strategy for presenting personal opinions in casual conversations about politics, especially when these take place in an unpredictable or hostile socio-political environment. In such situations, political identities may be performed through the use of inferred forms, such as allusion, irony or implicit suggestion. In this article, forms of muting one's voice by using indirect speech are tracked in interviews conducted among villagers in the mountainous Nowy Targ county in southern Poland at the beginning of the 21st century. The aim in presenting these examples is to show that sometimes selfsilencing can serve to make an adversary's voice more audible, to help avoid definitive judgement and to create space for an exchange of opinions. [ABSTRACT FROM AUTHOR]

This article aims at studying the link between the literary phenomenon called “interior monologue” and the linguistic techniques of reported speech. While interior monologue is generally described as an autonomous discourse incompatible with narration, I want to show that far from being an oxymoron a reported interior monologue is possible and is in fact the most frequent form for this narratological category. I thus wish to analyse how the various techniques of reported speech represent interior discourse, focusing on the more or less tight link they give the impression to have with the “original” interior discourse: some techniques appear to be at the core of interior monologue (direct speech and “locutionary” free indirect speech), while others dwell at the frontier (“pragmatic” free indirect speech and indirect speech).

The phenomenon of free indirect speech was intensively studied in the 20th century from two fundamentally different directions. Some scholars viewed it as a special syntactic or stylistic-syntactic structure in comparison with direct and reported speech. Others considered it more as a poetic-stylistic technique of characters’ speech reproduction in artistic works. The main aim of this research is to reveal the specific functions of free indirect speech in the genre of the historical novel and show their determining influence on the use of stylistic forms. The study shows that in the genre of historical novels the use of free indirect speech is represented in its small forms, in particular lexical, phraseological, phonetic and grammatical microforms, bearing the imprint of the living and documentary language of the epoch described. The paper also gives a detailed account of the studies concerned with aesthetic-stylistic approach to free indirect speech in Russian linguistics.

In article the author discusses her way of writing. Topics include that she writes narrations and real stories with fiction writing style which is inclusive and full of ideas; that fiction is an engagement which depicts inclusiveness; and that memory is collective and individual along with an interconnection and restoration.

Copyright of Studies about Language / Kalbu Studijos is the property of Studies about Language / Kalbu Studijos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The thesis mainly analyzes the Free Indirect Speech in Austen's novel Northanger Abbey (Volume 2). When Austen describes Catherine's feeling for Henry Tilney, it is difficult for us to distinguish the subjective consciousness of the narrator from the character. Their calm and objective tone is prone to arouse the resonance with the readers. Authorial narrator sometimes appears to explain the fate of Catherine. When Austen describes Catherine's expedition to Northanger Abbey, the character has more prominent subjective consciousness, and readers can distance themselves from the character and examine Catherine's ridiculous and irrational behavior and feel the ironic effects. The thesis points out that Austen used this technique to portray Catherine, who was able to deal with her feeling for Henry reasonably, however, was influenced greatly by the Gothic novels at that time, and could not handle the relationship between reality and fiction very well. [ABSTRACT FROM AUTHOR]

The new monograph of Vitana Kostadinova is an original theoretical study of the Bulgarian translations of Jane Austen, the first ever study of Jane Austen in Bulgaria (Kostadinova, Vitana. Jane Austen Translated: Cultural Transformations Across Space and Time. Plovdiv: Plovdiv University Press, 2018). The work applies approaches ranging from literary-historical study of the Bulgarian texts of Janes Austen's novels to reception and translation of culture approaches, discussing essential techniques of rendering linguistic devices with the goal of identifying the adequate rendering the specificity of the British classic in another language, in another culture, in another time. [ABSTRACT FROM AUTHOR]

Anecdotal narration outlived the 19th century in Central Europe and its new forms lead to some of the definitive works of modern literature, as Hašek’s world renowned Švejk proves. Anecdotal narratives from the 19th century were governed by collective systems of values and thus did not conform to the more individual outlook of modernity. Thus separation from these collective outlooks seemed to be a requisite for the continuation of the anecdotal tradition. The emblematic figure of the 19th-century anecdotal narration in Hungary was Kálmán Mikszáth. The study examines the hidden narrative methods that allow the narrator, and the implied author to move away from the common opinions they seemingly uphold in Mikszáth’s works. The paper concludes that those of Mikszáth’s narrative that turn away, or simply keep a distance from the common opinion paved the way for the modernisation of anecdotal narrative forms in Hungarian literature.

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The key to discovering why David wants to build a house for Yhwh, as well as the reason for the divine refusal, is to be found in a close reading of the opening verse of 2 Samuel 7. This verse is an example of free indirect discourse, namely, the picture of the king's situation (in his house and at rest) is how David viewed the current state of affairs. On that basis, David considered that the time was ripe for such a project, for he was under the misapprehension that he had achieved rest from his enemies (v.1b), but God revealed through Nathan that the time of rest lay in the future (v.11a). Despite differences in wording, the identical explanation for God's embargo on temple-building in the time of David is given in the three passages in 1 Kings and 1 Chronicles that broach the subject. [ABSTRACT FROM AUTHOR]

Copyright of Quaderns: Revista de Traducció is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses free indirect discourse (FID) as an important formal technique in the early realist novel due to its ability to convey the complex qualities of the will through novelist William Godwin's early novels "St. Leon" (1799) and "Fleetwood" (1805). The novels apparently raise philosophical and moral issues regarding weak-willed characters' will and their ability to follow through with what they know they ought to do.

Following multiple theories regarding the definition of free indirect speech, this linguistic phenomenon was intensively studied in the 20th century from two fundamentally different directions. Some scholars considered free indirect speech to be a special syntactic or stylistic-syntactic structure in comparison with direct and reported speech. Others considered it more as a poetic-stylistic technique of characters' speech reproduction in artistic works. The main aim of this research is to reveal the specific functions of free indirect speech in the genre of the historical novel and to show their determining influence on the use of stylistic forms of the phenomenon being studied. The result of our research shows that in the genre of historical novels, the use of free indirect speech is represented in its small forms, in particular lexical, phraseological, phonetic and grammatical microforms, bearing the imprint of the living and documentary language of the epoch described. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]