Communicants’ Personal World in the Verbal Texture of the Interpreted Discourse

10.12737/4296 ◽  
2014 ◽  
Vol 3 (3) ◽  
pp. 12-16
Author(s):  
Бойко ◽  
Galina Boyko
Keyword(s):  
Narrative Discourse ◽  
Linguistic Representation ◽  
Inner World

The paper is devoted to the linguistic representation of the communicants’ individual inner world. German narrative discourse is viewed as the center of different evaluative cognitive worlds, which create a poliphony of points of view and evaluative attitudes. The author gives examples of verbal reflection of the axiological orientations change predetermined by sociocultural causes.

scholarly journals Why do we accept a narrative discourse ascribed to a “third-person narrator” as true? The classical, and a cognitive approach

Semiotica ◽  
2015 ◽  
Vol 2015 (203) ◽  
Author(s):  
Erzsébet Szabó
Keyword(s):  
Cognitive Architecture ◽  
Narrative Discourse ◽  
Narrative Comprehension ◽  
Cognitive Approach ◽  
States Of Affairs ◽  
Linguistic Representation ◽  
Free Representation ◽  
Third Person ◽  
Literary Narrative

AbstractThe aim of the present paper is to discuss the question of why readers accept a literary narrative discourse attributed traditionally to an “omniscient third-person narrator” unconditionally as true. I will advocate two theses. First, that this characteristic of narrative comprehension is a consequence of a grammatical feature of the narrative discourse, namely, the absence of the “narrating-I.” This format mimics what Cosmides and Tooby label as scope-free representation, i.e., a representation that is not bound by scope-operators and thus treated by a cognitive architecture as architecturally true. Second, narrative discourse ascribed traditionally to a third person narrator should be understood as the linguistic representation of the true states of affairs of a narrative world.

Types of Inner States of Protagonists in Fictional Communication between the Hero and the Reader

10.12737/3451 ◽  
2014 ◽  
Vol 3 (2) ◽  
pp. 45-48 ◽  
Author(s):  
Федотова ◽  
Oksana Fedotova
Keyword(s):  
English Language ◽  
Physical State ◽  
Narrative Discourse ◽  
Emotional States ◽  
Fictional World ◽  
Current Events ◽  
Inner World ◽  
Insight Into

The paper deals with one of the aspects of fictional communication, namely communication between the protagonist and the reader. Heroes of English language narrative discourse with the help of introspection (inner mental, emotional and physical state) can tell the reader about their feelings and emotions. Such an insight into the inner world of characters can help better decode their mood, attitude to current events, motivation of their actions and etc. The paper presents the typology of inner states of protagonists. These are intellectual states, emotional states, inner physical states and physical sensations. With the help of introspection the reader can perceive the fictional world through the character’s mind and senses, which helps to better decode the writer’s message.

scholarly journals Color synesthesia in modern female poetry

2021 ◽  
Keyword(s):  
Physiological Significance ◽  
Traditional Model ◽  
Modern Poetry ◽  
Subjective Experiences ◽  
Linguistic Representation ◽  
Inner World ◽  
Special Studies ◽  
Contemporary Artists

A display of synesthesia in the poetic speech of contemporary artists is analyzed. The lack of special studies of synesthetic linguistic representation in modern poetry determines the relevance of the proposed investigation. In scientific interpretation, synesthesia is the interaction of words to denote emotions or other abstract or particular concepts. In linguistics, the term „synesthesia” is used to denote the mechanism of metaphorical analogy, formed on the basis of visual, taste, auditory, odorative, tactile human senses, which supply their own units to denote other conceptual areas. In modern poetry, synesthesia is productive as a mean of verbalizing subjective experiences. Furthermore, achromatic colors (white, gray, black) are actively used in poetry. Tokens to denote shades of blue (blue, cyan, blue), associated with the concept of melancholy, are also used quite often. In the analyzed poems color-sound synesthesia prevails. This fact can be explained by the physiological significance of visual and audio channels for obtaining information, as well as the genre specificity of the analyzed texts. At the syntactic level, the traditional model of a synaesthetic phrase is a combination of an adjectival colorative with a noun token to denote a concept of another conceptual sphere. The definition location in the postposition to the denoted word gives synesthetic constructions additional stylistic significance, strengthens their expressive potential. The use of complex adjectives as double epithets is a rarely used syntactic model of synesthesia. Sometimes synesthesia becomes the creative basis of the whole poetry. The analysis of synesthetic constructions makes it possible to comprehend the deep inner world of poets, features of poetic thinking, Ukrainian worldview in general.

scholarly journals “I can tell the difference between fiction and reality”

2019 ◽  
Vol 29 (2) ◽  
pp. 333-351 ◽  
Author(s):  
Sam Browse ◽  
Mari Hatavara
Keyword(s):  
Prime Minister ◽  
Narrative Discourse ◽  
Stylistic Analysis ◽  
Newspaper Article ◽  
Authorial Intention ◽  
Linguistic Representation ◽  
British Prime Minister ◽  
The Difference ◽  
Theresa May

Abstract This article approaches fictionality as a set of semiotic strategies prototypically associated with fictional forms of storytelling (Hatavara & Mildorf, 2017b). Whilst these strategies are strongly associated with fiction, they might also be used in non-fictional and ontologically ambivalent contexts to create ‘cross-fictional’ rhetorical effects. We focus on the representation of thought and consciousness. Using the concept of ‘mind style’ (Fowler, 1977, 1996; Leech & Short, 1981; Semino, 2007), we investigate the linguistic representation of the internal monologue of British Prime Minister, Theresa May, in a satirical newspaper article. The stylistic analysis of the PM’s mind style facilitates an account of the elaborate and nuanced mixing of May and the author’s ideological perspectives throughout the piece. We argue that this cross-fictional, stylistic approach better accounts for the satirical effects of fictionality in the text than those placing a premium on authorial intention and the invented nature of the narrative discourse.

scholarly journals CONCEPT OF NARRATIVE ANALYSIS AND BASIC APPROACHES

2020 ◽  
Vol 11 (87) ◽  
Author(s):  
Olena-Maria Huk ◽  
◽  
Ivan Bekhta ◽  
Keyword(s):  
Narrative Analysis ◽  
Narrative Structure ◽  
Literary Work ◽  
Narrative Discourse ◽  
Fictional World ◽  
Work Of Art ◽  
Practical Research ◽  
Inner World ◽  
Basic Approaches ◽  
Narrative Temporality

The article is devoted to a general overview of the concept of narrator, an analysis of its main characteristics and functions as an important subject of the science of storytelling. Considerable attention is paid to the definitions of the category of narrator by domestic and foreign linguists and to the typology of the narrator. The problems of identifying narrative categories have been identified. The concept of a narrative structure according to V.Ya. Propp. The functions of the narrator in the literary text are determined and an attempt is made to classify them. The aim of the article is to theoretically substantiate the concept of narrative analysis. One of the main categories of narratology is the category of the narrator. The article describes in detail the concept of narrative temporality (time), which is one of the most important properties of narrative works. The problem of actualization of narrative discourse in literary studies arises not by chance - the contours of the new methodology are largely determined by the possibility of multiple theoretical modifications of the modern research process.The narrator, as the central essence of the concept, arises as a complexly organized subject with many ways of his own expression, an intermediary between the real world, to which the biographical author belongs, and the fictional world of a work of art; depicted by the symbolically significant world of the literary work and the cognitive competence of the reader. The narrator's phenomenon is diverse and multifaceted. Each new work of art is a new narrator. That is why the problem of grammatical manifestations of the narrator and his typology open a wide space for further theoretical and practical research in the field of narratology and semantics of discourse. Due to the considerable freedom of the text, the narrator has the opportunity to penetrate into the inner world of the characters, to address the readers, to enter into controversy with the author. The problem of the narrator in fiction opens wide opportunities for further theoretical and practical research in the field of narrative science and semantics of discourse.

Review of The inner world of man.

1943 ◽  
Vol 38 (2) ◽  
pp. 299-299
Author(s):  
Ernst Harms
Keyword(s):  
Inner World

VOICE AND FREQUENCY IN QUENTIN TARANTINO’S PULP FICTION MOVIE SCRIPT

CALL ◽  
2020 ◽  
Vol 2 (1) ◽  
Author(s):  
Sandy Agung ◽  
Dadan Rusmana ◽  
Lili Awaludin
Keyword(s):  
Research Problem ◽  
Narrative Discourse ◽  
Discourse Theory ◽  
Discourse Structure ◽  
Pulp Fiction ◽  
Movie Script

This research discusses the narrative discourse structure in Quentin Tarantino’s Pulp Fiction movie script. Pulp Fiction (1994) Pulp Fiction is known as one of the best crime and drama genre movie. Pulp Fiction directed by Quentin Tarantino. Quentin Tarantino and Roger Avery wrote the script. The movie presented many drops of blood, fights, and gun in the scenes. This movie also provides us with many “nigga” words. The researcher used Gerrard Genette’s narrative discourse theory. This study was conducted into two research problem; 1. What are the kinds of voice that consist in Quentin Tarantino’s Pulp Fiction movie script? 2. What are the kinds of frequency that consists in Quentin Tarantino’s Pulp Fiction movie script? The result of this research shows that in this movie there are two kinds of voice. Moreover, there are some data that show frequency that exist in Quentin Tarantino’ Pulp Fiction movie script.

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