scholarly journals The Functions of Speech Genres in the French Novel of XX c.

2018 ◽  
pp. 184-202
Author(s):  
Lepetiuk Lepetiuk
Keyword(s):  
Point Of View ◽  
Speech Communication ◽  
Cultural Communication ◽  
The Novel ◽  
World Outlook ◽  
Speech Genres ◽  
French Novel ◽  
Speech Genre ◽  
Speech Situation

The research is based on the M. Bakhtin’s theory of the speech genres, according to which speech communication, including artistic communication, is realized through a variety of genres of speech. The artistic text is considered as a secondary speech genre, which arises in the conditions of cultural communication and in the process of its formation absorbs a variety of primary genres. The article presents the results of investigation of the plays and role of speech genres in the structure of French novel of XX c. It examines different forms of the presence of a great variety of speech genres in the novel as well as their functions. This article analyzes a semiotic character of a speech genre and interference of a speech genre and a context of a speech situation. It investigates the use by the French novelists of a speech genre for transfer implicit information.The dialogism is examined and analyzed in the text of French Novel. This phenomenon is associated with the intentional and synthetic aspects of the language: each language is associated with a certain form of the speaker, refers to a certain context and expresses the point of view and a certain world outlook. Consequently, the text of the novel may be presented as a system of different languages, as well as inserted speech genres, entering into various dialogical interactions, the functioning of which has been organized and directed by the author in accordance with their intentions.

The Limit Situation And The Narrative Of War (On The Material Of The Novel “My Lieutenant” By Daniil Granin)

2020 ◽  
Vol 6 (1) ◽  
pp. 90-104
Author(s):  
Anatoly S. Kuprin ◽  
Galina I. Danilina
Keyword(s):  
20Th Century ◽  
Scientific Work ◽  
Point Of View ◽  
Continuous Limit ◽  
The Novel ◽  
Term Limit ◽  
Abstract Author ◽  
The Third ◽  
Definition Of

The purpose of this study is the analysis of limit situation in the narrative of war. The material of the study is the novel of Daniil Granin “My Lieutenant” and related texts. In the first part of the paper, the authors explore existing approaches to the term “limit situation” and similar concepts into scientific and philosophical traditions; limits of its applicability in literary studies and its relation to the categories of “narrative instances” and “event”. Proposed a literary-theoretical definition of the limit situation, which can be used in the analysis of fiction texts. Existing approaches to the examination of the situation of war are analyzed: philosophical-existential, psychoanalytic, sociological, literary. In the second part of the paper, the authors propose their method for analyzing limit situations in texts about war, which basis on existing approaches and preserves the text-centric principle of studying the structure of the story. Two interrelated areas of research have been identified: the study of war as a continuous limit situation in the intertextual aspect (the discourse of war); the study of limit situations (death, suffering, guilt, accident) in the narrative of war as part of a specific text. In the third part of the scientific work,the analysis of war as a continuous limit situation results in the study of the concept of “limit” (border) in a fiction text. The role of “limit” (border) concept in the texts about the war is studied, the possible types of limits in the discourse of war are examined. Limit situations in the narrative of war are analyzed on the basis of the novel “My Lieutenant” by Daniil Granin. A review of journalistic and scientific works about the novel revealed both the continuity and the differences between the novel and the “lieutenant” prose of the 20th century. An analysis of the limit situations in the novel revealed their key position in the narrative. These situations are independent of the fiction time, of the fluctuation of the point of view’; the function of the abstract author is to build the narrative as a “directive” immersion of the hero and narrator in these situations.

scholarly journals The semantics of Lermontov's poetic myth of the Demon N. S. Leskov’s “The Islanders”

Litera ◽  
2021 ◽  
pp. 1-9
Author(s):  
Vurgun Georgievich Mekhtiev
Keyword(s):  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Semantic Transparency ◽  
Special Contribution ◽  
Romantic Poetry ◽  
The Subject ◽  
Literary Myth ◽  
The Demonic

The subject of this research is the negative-axiological, satirical layers of the novel “The Islanders”, associated with the image of the demonic character, which M. Y. Lermontov turned into the archetype and poetic myth in the Russian literature. The object of this research is the stylistic techniques and ideological motifs of N. S. Leskov underlying “desacralization” of the romantic myth. The author meticulously examines the following aspects: 1) role of Lermontov's poem “The Demon” and romantic poetry of the 1840s in creation of the myth of the demonic character; 2) semantic deformations that led Leskov to wander from the conventional meanings of the myth ; 3) satirical modus used as the key technique in creation of the the image of Istomin. Particular attention is given to Leskov’s satire in its function of “recoding” of the myth. The conclusion is made that the image of the painter Istomin is appointed with the task to dispel the romantic myth. Therefore, the axiological-emotional lexis, as well as elements of satire that reflect the point of view of the “subjective” narrative are arrayed around him. All of that imparts semantic transparency to the character, which contradicts the “mysterious code” of the myth of romanticism. The author’s special contribution consists in the establishment of correlation between the myth of about the demon and the myth of Prometheus, which is important for assessing the complexity and multifacetedness of the semantic core of the phenomenon under review. The novelty of this research lies in revelation of underlying motif of the satirical style of N. S. Leskov. Its point is not to create a “myth about the myth” or an “anti-myth”; the novel forms the “non-myth” to achieve complete elimination of the literary myth of the demonic character. The writer uses satire for typification, rather than individualization of the character.

scholarly journals PHILOSOPHICAL AND GENOLOGICAL FEATURES OF ENGLISH POST-POSTOMODERNISTIC NOVEL: TYPOLOGICAL CHARACTERISTICS

2019 ◽  
Vol 1 (16) ◽  
pp. 150-159
Author(s):  
Dmytro Drozdovskyi
Keyword(s):  
Point Of View ◽  
Literary Studies ◽  
The Novel ◽  
Contemporary Novel ◽  
English Novel ◽  
World Outlook ◽  
Psychological Point ◽  
First Time

The philosophical parameters of English post-postmodernistic novel have been determined. The influence of non-literary factors on the features of the novelistic chronotope and the worldview of characters has been described. The genre nature of the post-modernistic novel has been outlined. For the first time in Ukrainian literary studies, an array of features that makes it possible to determine the affiliation of the novel to post-posmodernism has been proposed. The experience of Dutch theoretical school in understanding the metamodernistic art has been generalized and the theory of metamodernism has been supplemented. Characterized by the peculiarities of world perception, post-postmodernistic thinking, which at the same time unites such features as irony and sincerity, has been explored. Besides, the specificity of autistic thinking has been spotlighted, which makes it possible to visualize the nature of the post-postmodernistic world outlook grounded on the principles of science, the pursuit of objectivity and emotional sincerity. From the psychological point of view, the concept of the multifaceted reality as one that denotes the perception of the characters of the contemporary novel has been explained. The genre and narrative features of English novel of 2000-20100s have been determined by the influence of the results of astrophysical and biological discoveries that have an impact on the structure of the narrative and actualize the spectrum of philosophical problems inspired by the views of F. Nietzsche, the discourse of multiculturalism in the thematic field of contemporary English novel.

scholarly journals Beckett between the Lines

2004 ◽  
Vol 10 ◽  
Author(s):  
Zsolt Sógor
Keyword(s):  
Samuel Beckett ◽  
Point Of View ◽  
The Novel ◽  
Long Time ◽  
Oriented Approach

This paper wishes to analyse two early novels by Samuel Beckett; Murphy and Watt. It takes a chronological point of view from which it argues that the later of the two, Watt, is closer to Beckett's mature voice, mainly due to its relation with language. This means, in other words, that though in Murphy quite a lot of emphasis is to fall on the role of language, in Watt, with a bit of exaggeration, there is hardly anything else to concentrate on but the language of the novel and language as such in general. The emphasis on language leads to considering Beckett's relation to languages. Since Watt was for a long time the last longer prose work that Beckett wrote in English, the paper regards this novel as a harbinger of the approaching change for French. Or rather, the approaching bilingual state, because, as it is argued, Beckett may be said to have been approaching an in-between state in, or beyond, the two languages of composition. Taking the author's bilingualism into consideration means, however, an author-oriented approach - this is what the paper undertakes to present; to find Beckett's fingerprints between the lines.

scholarly journals Lingual Aspects of Mystical Narration in V. Shevchuk’s Novel “The Beginning of Horror”

2020 ◽  
pp. 109-125
Author(s):  
Florij Batsevych
Keyword(s):  
Narrative Analysis ◽  
Narrative Structure ◽  
Point Of View ◽  
The Novel ◽  
Unreliable Narrator ◽  
Narrative Structures ◽  
Christian View ◽  
Flow Of Time ◽  
The Individual

In recent decades, the researchers of artistic stories have paid their attention to the narrative analysis of a set of weird texts of mystical and absurd content, works of “black humour”, fantastic (khymerna) prose created by a non-anthropic narrator or by an author in a changed state of consciousness. These texts serve the field of actualizing atypical and non-usual narrative structures, the sphere of meaningful changes within the bounds of narrative categories and, which is important, of forming special communicative senses of aesthetic nature. The basic problems of the linguistic analysis of “unnatural” stories are identifying the types of changes in the narration constituents, reasons of these changes and narrative categories (first of all, events, participants, objects, chronotope characteristics, points of view, moduses, modalities, etc.). The article analyses one of the texts of mystical content aiming at the revealing of some specificities of the structure and functioning of the so-called “unnatural artistic narrations”. The object of the research is V. Shevchuk’s novel “The Beginning of Horror”. The subject of the analysis is lingual means of the narrative structure formation, the author’s objectification of the mystical artistic sense and lingual “signals” of a reader’s perception of these senses. The most important semantic means of creating mystical atmosphere of the story are predicates that ascribe the names of their referents atypical dynamic and static features connected with the Christian view of the infernal world. It helps to form narrative events that root in weird situations, which cannot take place in reality. Non-dispositional nature of these situations correlates with the reference to the mystery that goes far beyond the bounds of a usual perceptive and psycho-mental background. Among the pragmatic means of creating mystical atmosphere of the main hero’s story as well as of the novel in general, we specify the individual inimitative perception of the flow of time and modality of “real unreality” formed by the role of an unreliable narrator and a vague point of view of the described event with its perceptive, ideological and time planes of objectification. Due to the increasing interest to various expressions of the esoteric, the increase of the number of artistic works of such content and growth of their popularity, we consider it topical to proceed in further investigations of lingual-narrative aspects of “unnatural” stories, in particular, the ones with the modus of mystical in them.

scholarly journals RECONSTRUCTION OF CULTURE-SPECIFIC INFORMATION WHEN TRANSLATING NOVEL “PETER THE FIRST” BY A. N. TOLSTOY INTO ENGLISH AS A VARIETY OF INTERCULTURAL COMMUNICATION

2020 ◽  
pp. 113-124
Author(s):  
Наталья Юрьевна Шугаева ◽  
Наталия Владимировна Кормилина
Keyword(s):  
Intercultural Communication ◽  
Point Of View ◽  
English Speakers ◽  
Specific Information ◽  
Cultural Communication ◽  
Russian History ◽  
The Novel ◽  
English Speaking

В данной статье раскрываются особенности передачи культурно-исторической информации при переводе на английский язык романа А. Н. Толстого «Петр Первый». Проблема перевода культурно-специфической информации рассматривается в статье как разновидность межкультурной коммуникации, поскольку перевод художественного произведения русской классики на английский язык предназначен для носителей английского языка и адекватный перевод романа будет способствовать лучшему пониманию носителями английского языка истории и культуры России. В статье в сравнительном плане рассмотрены два варианта перевода романа. В ходе исследования выделяются основные стратегии и способы перевода лексических единиц, не имеющих эквивалента в английском языке. В статье приводятся примеры из анализируемых переводов, анализируется уровень их эквивалентности и в то же время уровень доступности для понимания этой лексики англоязычным читателем романа. Наиболее часто переводчики используют транслитерацию, калькирование, описательный перевод, аналог, гибридное сочетание транслитерации и аналога. При этом даже при использовании одинакового способа переводчики зачастую применяют различные стратегии представления культурно-специфической информации в романе. На основании этого в завершение статьи делается вывод о большей предпочтительности одного из двух переводов и значимости данного исследования для успешной межкультурной коммуникации, предметом которой является история и культура России. The article deals with the peculiarities of the transfer of culture-specific information when translating the novel “Peter the First” by A. N. Tolstoy into English. The problem of the interpretation of culture-specific information into English is considered in the article as a variety of intercultural communication since the translation of Russian fiction into English is intended for English speakers and adequate translation of the novel will contribute to better understanding of Russian history and culture. Main strategies of translation of the lexical units having no equivalent in English are considered. Examples from two translations of the novel are discussed in the article from the point of view of their equivalence and level of comprehension by English speaking readers of the novel. Transliteration, calques, descriptive translation, hybrids of transliteration and analog are used by translators more often. But even when similar ways of translation are chosen by different translators the strategies of representation of the culture-specific information of the novel varies. On this basis a conclusion is made about the greater preference of one of the two translations and about the importance of this research for inter-cultural communication which object is Russian history and culture

scholarly journals Speech Communication Related to the Process of Traditional Therapeutic Efforts among the Baduy People in Lebak Regency, Indonesia

2020 ◽  
Vol 36 (4) ◽  
pp. 73-84
Author(s):  
Heriyanto ◽  
Ekaning Krisnawati ◽  
Elis Suryani ◽  
Eva Tuckyta Sari Sujatna ◽  
Kasno Pamungkas
Keyword(s):  
Qualitative Methodology ◽  
Interpersonal Relations ◽  
Traditional Healer ◽  
Healing Process ◽  
Point Of View ◽  
Interpersonal Interaction ◽  
Speech Communication ◽  
Ethnography Of Communication ◽  
The One

Speech communication employs various and complex expressive ways ranging from linguistic to extralinguistic features, and it studies the interaction between the speaker and listener, including interpersonal interaction like the one between a patient and his or her traditional healer. This article discusses some of the issues concerning the language used in the traditional healing process which uses Baduy mantra among the community. Therefore, this study is interdisciplinary in nature and the overall approach is qualitative. Methodology-wise, this research is conducted using discourse analysis and an ethnography of communication. There are two aims from this study, which are: 1) to point out the linguistic and extralinguistic features utilised in the communication component related to activities contributing to the healing process; 2) to describe the meaning of the mantra used in the process of therapeutic practices; 3) to reveal the patterns of the Baduy medicinal mantra perceived from an ethnography of communication point of view. The results of the research indicate that the mimetic and expressive functions of mantra reflect the role of traditional therapeutic efforts as well as interpersonal relations among the members of the community. The extralinguistic elements are employed to arouse suggestion in order to support the effort of a treatment. Keywords: Baduy, communication, linguistic, extralinguistic, mantra.

scholarly journals Creolized Texts of Old Tiflis (On the Example of Pirosmani, Elibekyan, Ayvazyan)

2020 ◽  
Vol 38 (2) ◽  
pp. 256-285
Author(s):  
T. S. Simyan
Keyword(s):  
Urban Space ◽  
Symbolic Capital ◽  
Russian Language ◽  
Point Of View ◽  
Main Function ◽  
Inner Experiences ◽  
Speech Genres ◽  
Global Discourse ◽  
Speech Genre ◽  
The City

The article is devoted to the visual and speech genres of Old Tiflis, which are revealed in the visual and verbal texts of famous artists N. Pirosmani, V. Elibekyan and Armenian writer A. Ayvazyan. The carnival spirit of Old Tiflis influenced the visual and verbal signs of the gastronomic infrastructure. The article is written by a semiotic, typological method, as well as an interdiscursive approach (painting, fiction). In addition, Bakhtin’s theory has become a metalanguage for identifying speech genres of urban space. An empirical analysis of the material showed that Pirosmani's paintings were a vivid example of visual advertising and, in fact, were multichannel creolized texts. Only later, when the symbolic capital of Pirosmani increased, his paint- ings began to be perceived as glowing examples of primitivism. In other words, they were “connected” to global discourse, and their primary function was for- gotten. In the main function of the signage, the paintings were the products of demand of the gastronomic infrastructure of Old Tiflis: they depicted the frames “food”, “feast”, they were also visual menus of Tiflis gastropubs (dukhans). The utilitarian demand for signs generated the brilliant paintings of Pirosmani, and at the same time, he became the author of urban space. This phenomenon is also affected in the literary discourse (A. Ayvazyan), in which two methods of modeling urban space are manifested. Firstly, the city is mod- eled in consciousness, expressed at the level of the signified (maps, sketches), and then embodied in life. That is how many cities of historical Armenia were built in diachronic point of view. Secondly, the painter (Pirosmani, Grigor – the hero of the story of Ayvazyan) painted and created in the city space (interior, exterior). The motives of his work were his own inner experiences. The multilingualism of urban space created a demand for advertising signs in different languages. Since the “social bottom” did not possess the linguistic norm of the Russian language, in the eyes of native speakers the urban texts seemed ridiculous, perceived with humor. Similar texts are found in various artists of Old Tiflis (Pirosmani, Gudiashvili, Elibekyan ect.). The same thing appears in the art discourse (Ayvazyan), which gives examples of playing with names, with language (toasts of fun and burial), etc. In addition, an analysis of such a speech genre as toast revealed that it incorporates proverbs, sayings, and in the thematic plan, the following manifestations can be called: spell-wish, wish-curse, wish-criticism, etc. The presence of a similar speech genre and the revealing of the functioning of the toast showed that eating was comprehended by different wishes, and the thematic and syntagmatic analysis of toasts can become a tool for reconstructing the axiological system of Old Tiflis society (homeland, city, parents, children, sisters and brothers, uncles and aunts, etc.).

scholarly journals L’influence du genre à la transmission de la mémoire : Cas de Dora Bruder de Patrick Modiano

2019 ◽  
Vol 3 ◽  
pp. 00022
Author(s):  
Fauzan Hanif
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Patrick Modiano ◽  
Cultural Experiences ◽  
The Moment ◽  
The Relationship

<p class="Abstract">Such cultural experiences have a possibility to be embedded in a memory of one generation. But there are mostly in form of traumatic experiences. And then, we learn that these memories could be transferred onto their children, or we could say it as “post generation”. In the novel <i>Dora Bruder</i>, such things happen when the author, Patrick Modiano, plays his attribute in composing genres to arrange and transfer his message. The story mainly concerns as the narrator try to find a missing girl named Dora Bruder. She was gone in 1941, or in the moment when Nazi was occupying France. This research aims to discover the relationship between the role of genre on emerging the message, particularly the traumatic ones by using the concept of genre and postmemory. From the analysis we conclude that Modiano use genres to transfer his message traumatic. It exists in form of the impression of absence. From the sensation of absence, he continues to transmit consecutively another impression of hollow, doubt, and also hope. For transferring his message and memory, Modiano mixes real documents and his fiction. He manifest them by constructing a story of another person and narrating it from the first-person point of view. He uses this technique to identify himself, because the “shared idea” of one’s could be related with another’s.</p>

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