Documente Academic
Documente Profesional
Documente Cultură
din Galai
Facultatea de Litere
Specializarea:
Limba i literatura romn Limba i literatura englez
Curs practic de
limb i literatur englez
Conf. dr. Gabriela Iuliana Colipc
D.I.D.F.R.
2012
UDJG
Faculty of Letters
Course tutor:
Associate Professor Gabriela Iuliana Colipc, PhD
Galai
2012
Table of Contents
TABLE OF CONTENTS
1. Representational Patterns in Fictional Discourse
1.1. Literature and Reality
1.2. Realism: A Literary Trend and/or a Mode of Discourse
1.3. Practical Applications (1)
5
5
7
8
2. Introduction to Narratology
2.1. Grard Genettes Theory of Narrative Discourse
2.1.1. Tense: Order. Duration. Frequency
2.1.2. Mood: Distance. Narrative Perspective
2.1.3. Voice: Time of the Narrating. Narrative Levels. Person
2.2. Wayne Booth and The Rhetoric of Fiction
2.3. Practical Applications (2)
11
11
12
13
16
19
20
3. Style in Fiction
3.1. Speech and Character
3.1.1. Realism in Conversation
3.1.2. Dialect and Idiolect
3.2. Narrative and Stylistic Structures
3.2.1. Fictional Sequencing
3.2.2. Descriptive Focus
3.2.3. Fictional and Discoursal Points of View
3.2.4. Irony. Tone. Distance
3.2.5. Narrators and Discourse Situations
3.3. The Rhetoric of the Text
3.3.1. Coordination and Subordination
3.3.2. Addresser-based Rhetoric. Writing Imitating Speech
3.3.3. Iconicity: The Imitation Principle
3.3.4. Cohesion
3.4. Practical Applications (3)
25
25
25
26
26
27
27
28
29
29
31
31
33
33
34
35
39
39
40
41
44
45
46
49
51
54
57
60
Model of reality
Model of reality
Writer
encodes
Message
Message
Semantic level
Semantic level
Syntactic level
Syntactic level
Graphological level
Reader
decodes
Graphological level
Text
10
STORY
NARRATING
NARRATIVE
VOICE
TENSE AND MOOD
Narrative and Stylistic Patterns in the Eighteenth-century Novel
11
A. Order
To describe the various types of discordance between the two
orderings of story and narrative that might be conceived as deviations from a
so-called, rather hypothetical, zero degree that would be a condition of
perfect temporal correspondence between narrative and story (1980: 36),
the French theorist proposes the term of anachrony and distinguishes
between the following:
prolepsis = any narrative manoeuvre that consists of narrating or
evoking in advance an event that will take place later (1980: 40);
analepsis = any evocation after the fact of an event that took place
earlier than the point in the story where we are at any given moment
(1980: 40).
He maintains that, by establishing a so-called first narrative, i.e., the
temporal level of narrative with respect to which the anachrony is defined
(1980: 48), it is possible to distinguish between:
external analepsis (this analepsis whose extent remains external to
the extent of the first narrative) (1980: 49);
internal analepsis
mixed analepsis (whose reach goes back to a point earlier and
whose extent arrives at a point later than the beginning of the first
narrative) (1980: 49).
Yet, the categorisation of analepses should not be limited to this distinction,
but should be developed so as to clearly indicate the differences between two
types of internal analepses. On the one hand, there are those called
heterodiegetic, that is analepses dealing with a story line (and thus with a
diegetic content) different from the content (or contents) of the first narrative
(1980: 50). They classically deal either with a character recently introduced
whose past the narrator wants to shed more light on or with a character that
has been out of sight for some time and whose past the readers must catch up
with. On the other hand, there are also internal homodiegetic analepses that
deal with the same line of action as the first narrative and for which the risk of
interference is apparently unavoidable (1980: 50-1).
Like analepses, prolepses can be categorized, considering the same
criteria, as internal and external, homodiegetic and heterodiegetic.
12
13
15
METADIEGETIC
INTRADIEGETIC
EXTRADIEGETIC
17
In his analysis in narratological terms of Sternes Tristram Shandy, Jeremy J. Williams questions the
correctness of Genettes statement that Sterne pushed the thing so far as to entreat the intervention of
the reader, whom he beseeched to close the door or help Mr. Shandy get back to his bed. (1980:
234). According to Williams, such a statement is based on a mistake of identification: Tristram the
narrator is not entreating the real reader, but the narratee. This slip on Genettes part, as Williams
puts it, might be explained by a certain tendency in thinking about narrative: that authors give higher
or more privileged commentary, whereas the level can logically be no more literal or less fictitious than
any other level. (1998: 38) It is a problem that comes from describing the real public as extradiegetic:
While there is a certain sense in which the narrator is external (superordinate) to the story he tells, as
the actual reader is not part of it either, this grossly elides the signal differences between real people
and fictive characters. That narrator is only defined in the economy of the figuration of the narrative,
whereas people () are not. (1998:39)
18
Presence/Absence in the
story
Narrative Level
First-degree narrative
Second-degree narrative
extradiegetic
heterodiegetic
intradiegetic
heterodiegetic
extradiegetic
homodiegetic
intradiegetic
homodiegetic
19
21
24
25
VERISIMILITUDE
(the tendency to evoke reality
by particularizing)
29
30
TRAILING CONSTITUENTS
(NATURE)
Types:
1. final dependent constituents
2. non-initial coordinate constituents
Functions:
- to create the effect of simplicity,
directness, easiness, relaxation,
informality, as they lack anticipatory
tension;
- to give complexity to the expression,
without, however, causing difficulties
in comprehension;
- to ensure the linear progress of the
text.
In a sequence of interrelated tone units, the final position tends to be the major focus of information.
The principle of climax Last is the most important. See Leech, 1992: 222-225.
32
35
38
39
41
45
49
51
53
55
56
57
59
Bibliography
Bibliography
Books Cited
Novels
60
Bibliography
Books Consulted
61