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Structural categories of a work of fiction.

Structural categories of a work of fiction.

A category is a class of objects.

Being analyzed in the system of generalized functional categories, a text can be qualified as the highest communicative unit. This is an integral unit consisting of communicative-functional elements organized in a system aimed at realizing of the author’s communicative intention.

A textual category is a classificatory structural unit or property of a text.

Textual categories (content, functional, structural, communicative, etc.) being essentially different form an integral (целое) unity which is not equal to the sum of its components.

Divisibility(делимость)- The text is a well-organized system, in which everything is tied together and interrelated. At the same time, the text is divisibleCohesion-Cohesion can be defined as a process that connects sentences in a text. Coherence Связанность-Coherence is most often discussed in relation to the paragraph. It is a semantic-pragmatic concept that contributes to the communicative unity of the text.

Prospection От начала к концу- movement forward

Retrospection Продвижение назад- movement back

Anthropocentricity- a person is always in the centre of the work of art, it being absolutely anthropocentric

Spatio-temporal reference-All the elements of plot are connected to the time and place of action. These categories are so closely interrelated that form a unity called “chronotop”

Conceptuality- Theformulated idea of a work of fiction can be called its concept. Expression of a concept by artistic means is the basis of creative process. Therefore, a concept’s availability – a fictional text’s conceptuality is considered its fundamental category.

Informativeness-The obligatory availability of a concept accounts for a text’s exfoliation into several layers (informative channels):

1) content and factual information (CFI)

2) conceptual information (CI).

3) implication, an underlying message of the text

Systemacy- The fact that local and global, micro- and macro means of the text submit to the fulfillment of a single task provides for their close interrelations and connections – i.e.S.

Completeness/integrityThe author can only decide where to put the “full stop”. This means that the concept is formed, the way to its understanding traced, the communication is over, and the system – closed.

ModalityThe author’s selectivity in the choice of the object of description.

The modality of the text is not only displayed through modal and appraisal words but also through the choice of characteristics to represent some objects.

Pragmatic orientationThe pragmatic orientation of text is established through such an organization of the textual system elements, which provides for readers’ attraction to the author’s position (expressed through the concept).

Methods ensuring the effect of foregrounding in a work of fiction.

One of the fundamental concepts of decoding stylistics is foregrounding. The notion itself was suggested by the scholars of the Prague linguistic circle that was founded in 1926 and existed until early 50s.(N. S. Trubetskoy, S. O. Kart-sevsky, R. Jacobson, V. Matezius, B. Tmka, J. Vachek, V. Skalichka and others.)

Prof. Arnold Foregrounding means a specific role that some language items play in a certain context when the reader's attention cannot but be drawn to them. In a literary text such items become stylistically marked features that build up its stylistic function.

However decoding stylistics laid down a few principal methods that ensure the effect of foregrounding in a literary text. Among them we can name convergence of expressive means, irradiation, defeated expectancy, coupling, semantic fields, semi-marked structures.

Convergence. a combination or accumula­tion of stylistic devices promoting the same idea, emotion or motive.

FUNCTION: the use more than 1 time an expressive means in close succession in a powerful technic to support the idea that carries paramount in the authors view.

Irradiation denotes to give a stylistic coloring to the whole of the passage.FUNCTION: is used to emphasize an important notion create a contradictory elevated image.

Defeated expectancy(Jacobson, Riffaterre) FUNCTION: to attract the reader’s attention to the textual language

Coupling is the process and result of connection and interaction of affine (родственные) elements within a work of fiction.

FUNCTION: C. provides unity of the text and content.

Asemantic field (a group of lexical elements in the text that provides its compositional and semantic cohesion)

Semimarked structures are variety of defeated expectancy associated with deviation from the grammatical and lexical norm.

 

Methods of Characterization

. One method is direct - it is telling.The other method is the indirect, dramatic method showing. The author allows the characters to review themselves directly through their dialogue and their action. With showing the analysis of the character is shifted to reader. Telling and showing are not mutually exclusive.

Direct methods of revealing character - characterization by telling - include the following:

Characterization through the use of names. Names are often used to provide essential clues that aid characterization…

Characterization through appearance. Details dress and appearance (what a character wears and he/she looks) often provide essential clues to character a

 

should be scrutinized closely for what they may reveal. Detail of dress may offer clues to background, occupation, and social status. Details of physical appearance can help identify a character's age and the general state of his physical and emotional health and well-being: whether the character strong or weak, happy or sad, calm or agitated. Appearance n he used in other ways as well, particularly with minor characters who are flat and static.

Characterization by the author. The author tells us exactly what our attitude toward that character ought to be.

Synsemantic lexis.

Articles.

“An American Tragedy” (T.Dreiser); “A Farewell to Arms” (E.Hemingway).

1.2. Pronouns.1.2.1. Indefinite pronouns:

“Something to eat” (Winnie-the-Pooh, A.Milne); "This Mr Body" (J.K. Oates “Expensive People”);

Personal pronouns.

- The initial usage of a personal pronoun:

 

 

"Не believed he was safe" - the exposition of Toni Morrison’s novel “Tar Baby”;

1.2.3.Demonstrative pronouns:

"In the late summer of that year..." – the starting point of E.Hemingway’s “Farewell to Arms”;

Metaphor.

“Their thick lips were walls" (Sh. Anderson);

Metonymy (synecdoche).

"The car eased into the road";

2.2. Sociolinguistic meaning of the lexis (ethnical meaning, ideological meaning, the notion of lacuna).

Freedom, democracy, human rights, propaganda, etc.

"Look here, boy" (A. Hailey).

Stylistic meaning.

2.3.1. Immeasurable potential of the context (1 + 1 >2.). Contextual meaning (the changeable meaning of a word against certain lexical backgrounds).

"She popped the basket on the table" (= dumped) (S. Chaplin);

Zeugma: "She wore her hair and her clothes and her bit of lipstick in such a way..." (M. Spark).

2.3.2. Key words and thematic words (words repeated in a work of fiction).Such words denote main notions, which contribute to the plot and subject revelation of the text.

The word “fog” is repeated 18 times in Galsworthy’s description of London and grows to a symbol of unhappiness.

2.3.3. Individual artistic meaning of lexis:is defined asa generalization of a number of contextually actualized meanings, their implementation being determined by ideal, thematic and compositional development of a work of fiction.

2.3.4. Grammatical meaning of lexis (expressed via categories of tense, voice, transitiveness, gender).

Procedural verbs: the continuous tense delimits the state, the process and the event.

"The doctor, he writes me that you are feeling much better.' 'Oh, yes,' she was agreeing, in social brightness" (R. P. Warren);

Indefinite-Perfect Opposition: "Не thought: were we happy tonight because we were happy or because once, a long time back, we had been happy? Was our happiness tonight like the light of the moon which does not come from the moon for the moon is cold and has no light of its own, but is reflected light from far away?" (R. P. Warren).

Noun.Actualization of language units via the categories of gender and number: "… and fell into one of those unbelievably deep sleeps that don't leave you feeling rested" (D. Uhnak. Investigation).

 

Sentence length.

Sentences are divided into short (10 words max); average (30 words max), long (60 words max); and super long ones.

Short sentences. "Jesus Christ! Look at her face!" — Surprise.

"Her eyes is closed!" — Astonishment.

"She likes it!" — Amazement.

"Them goddam white folks!" — Fascinated fear (R. Wright. The Long Dream).

Long sentences.

Approaches to study Concept.

Theoretical Methods (Approaches to understand the phenomenon of Сoncept) are not to be mixed up with the Empirical Methods of research (techniques to analyze and interpret it).
The problem of understanding Concept concerns with the question of peculiar relations of Meaning (under-individual, general for a group, fixed in dictionaries understanding, definition of a word – linguistic substituter of an object, thing, phenomenon which becomes the linguistic name of a concept) and Sense (individual understanding of a phenomenon). Meanings of words form Objective semantics. Associations to them form Subjective semantics. Peculiarities of correlation of objective and subjective semantics help to understand the phenomenon of a definite concept. Thus, each method, more or less, concerns with studying objective and subjective semantics (for example, through studying contextual peculiarities of textual organization to understanding its implication (Conceptual Analysis, Interpretation of Text) or through comparative studying of linguistic meanings and individual associations to interpreting personal concepts (Associative Experiment)).

 

Approaches of home cognitive linguistic studies:

1. cultural (U. Stepanov), (Ex.: “it is a clot of culture in human conciousness”)

2. lingua-cultural (S. Vorkachev, G. Slishkin), (Cultural Linguistics refers to a related branch of linguistics that explores the relationship between language, culture, and conceptualization.)

3. logical (N. Arutyunova, R. Pavilenis),(refers to the logical thinking)

4. semantic-cognitive as the leading one (H. Kubryakova, Z. Popova, I. Sternin, N. Boldirev, A. Babushkin). (concept as a product of cognitive process)

Approaches of occidental cognitive studies:

1. psychological – stimulistic (A. Fisher),

2. action-psychological (J. Piajet),

3. cognitivistic (G. Bruner, U. Neisser);

4. linguistic – cognitive semantic (V. Evans, G. Lakoff),

5. cognitive grammatical (R. Langacker, Ch. Fillmore).


The methods which is used in cognitive linguistic research:
1. The method of Associative experiment (method of psychology, psycholinguistics; introduced on the first steps of empirical psychological research by V.Vundt): the study of semantics which is differentiated as objective semantics (which is fixed in dictionaries, encyclopedias and reference books) and subjective (associative meanings of people as peculiarities of their perception of the phenomena which have their linguistic names; i.e. responses (associations) to the stimuli (lexical representatives of the phenomena)).
2. The method of Semantic Differential (Ch.Osgood, a psycholinguist): the analysis of the cognitive-emotive perception of a phenomenon on the base of the responders’ assessments of the qualities and characteristics of it.
3. The method of Conceptual analysis (L.V.Babenko, U.V.Kazarin): the method is widely used in the study of the concepts of a literary text; it combines certain analysis of the concept and system of concepts of a literary text as a metaphor (or metaphors), includes psycholinguistic analysis of syntagmatic and paradigmatic relations of the language elements used in the text and results in building a model of system of concepts of the text and interpreting it.
4. Interpretation of Text.
5. Analysis of the vocabulary meanings of the linguistic name and associative names of a concept.

6. The method of complex psycholinguistic speech analysis, etc.

 

P.S. Ребята, простите, не нашла нигде пояснений этих подходов…перерыла весь интернет, честно!!! Если вдруг попадется это вопрос кому-то, старайтесь быстро проговорить подходы и переходите на методы, там текста больше! Простите, что нашла!!!


9. Method of Conceptual Analysis
The Method of Conceptual Analysis is widely used in the analysis of literary works. It was introduced to the home cognitive linguistic research by the Russian linguists L.V.Babenko and U.V.Kazarin. The method implies the following steps of the research of the conceptual system/sphere of a literary text.
1. Steps of the analysis:
2. Distinguishing of before-text presuppositions which were important for the formation of conceptual space of the text under analysis such as
- the time and place of creating it (historical, cultural, social peculiarities);
- the name of the author (some biographical features reflected or influenced a certain author’s conceptual position);
- the role of an epigraph (a certain motive, supposition to be comprehended at the time of reading and interpreting the content, context and implication), etc.
3. Analysis of the semantics of the title and of its semantic radius in the text.
4. Conducting a psycholinguistic experiment:
- distinguishing a number of the key words of the text and analysis of their semantics (cognitive linguistic sphere);
- identifying repeated words which correlate with the key words paradigmatically and syntagmatically and analysis of the peculiarities of their relations (cognitive grammatical sphere);
- revealing the main key word of the text – a lexical representative of the leading concept of the work (cognitive linguistic sphere);
- distinguishing lexical thematic groups with different expressive power, i.e. analysis of the lexical structure/composition of the text (cognitive emotive sphere).
5. Description of the Sphere of Concepts of the text under analysis (or a version – of the works of an author) which implies generalization of generalizing of all the contexts the key words (‘bearers’ of the conceptual meaning, sense, essence) are used in. the aim of that is to interpret all the possible characteristic proprieties of the concept under analysis (its attributes, predicates, associations, figurative images, etc.).
6. Modeling of the structure of the Sphere of Concepts:
- distinguishing of the nucleus of the Sphere (basic cognitive propositional phenomenon and its linguistic representative);
- around nucleus zone (main lexical representatives);
- closest periphery (image associations);
- farthest periphery (subjective modal meanings, senses).

The method allows to comprehend the conceptual message of a literary text, its idea, personality of the author, his world view; distinguish existential cultural, historical, personal, etc. values, motives, principles and perceptions of the world.

Structural categories of a work of fiction.

A category is a class of objects.

Being analyzed in the system of generalized functional categories, a text can be qualified as the highest communicative unit. This is an integral unit consisting of communicative-functional elements organized in a system aimed at realizing of the author’s communicative intention.

A textual category is a classificatory structural unit or property of a text.

Textual categories (content, functional, structural, communicative, etc.) being essentially different form an integral (целое) unity which is not equal to the sum of its components.

Divisibility(делимость)- The text is a well-organized system, in which everything is tied together and interrelated. At the same time, the text is divisibleCohesion-Cohesion can be defined as a process that connects sentences in a text. Coherence Связанность-Coherence is most often discussed in relation to the paragraph. It is a semantic-pragmatic concept that contributes to the communicative unity of the text.

Prospection От начала к концу- movement forward

Retrospection Продвижение назад- movement back

Anthropocentricity- a person is always in the centre of the work of art, it being absolutely anthropocentric

Spatio-temporal reference-All the elements of plot are connected to the time and place of action. These categories are so closely interrelated that form a unity called “chronotop”

Conceptuality- Theformulated idea of a work of fiction can be called its concept. Expression of a concept by artistic means is the basis of creative process. Therefore, a concept’s availability – a fictional text’s conceptuality is considered its fundamental category.

Informativeness-The obligatory availability of a concept accounts for a text’s exfoliation into several layers (informative channels):

1) content and factual information (CFI)

2) conceptual information (CI).

3) implication, an underlying message of the text

Systemacy- The fact that local and global, micro- and macro means of the text submit to the fulfillment of a single task provides for their close interrelations and connections – i.e.S.

Completeness/integrityThe author can only decide where to put the “full stop”. This means that the concept is formed, the way to its understanding traced, the communication is over, and the system – closed.

ModalityThe author’s selectivity in the choice of the object of description.

The modality of the text is not only displayed through modal and appraisal words but also through the choice of characteristics to represent some objects.

Pragmatic orientationThe pragmatic orientation of text is established through such an organization of the textual system elements, which provides for readers’ attraction to the author’s position (expressed through the concept).

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