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DOMAINS ARE BASED ON 6 BASIC UNITS:
1. TEXTUAL MEDIUM: the physical channel of communication through which a story is narrated (novel, musical)
2. SOCIOLINGUISTIC CODE: it locates the narrative in time and space
3. ACTIONS AND EVENTS: describe everything that happens to the characters of a story
4. POINT OF VIEW: it specifies how many points of view we have and if the narration is in first, second, or third person
5. TEXTUAL STRUCTURE: how the narrative units are organized
6. INTERTEXTUALITY: when we allude to other texts
How many typologies of narrators do we have?
TYPE OF NARRATOR:
- FIRST PERSON N.: Also called HOMODIEGETIC, is the internal narrator. The narrator is also the character of the story. Internal point of view
- THIRD PERSON N. = Also called HETERODIEGETIC, is external to the story. We can recognize the OMNISCIENT NARRATOR: an invisible narrator who can directly interact in the story, through the thoughts and feelings related to characters; or a RESTRICTED OMNISCIENCE: the narrator is not able, or he
doesn't want to enter into the thoughts or the behaviour of his own characters. DEIXIS: it situates the speaking voice in time and space. The reflector of fiction forms a: ORIGO: the deictic centre, around which objects are positioned relative to their proximity or distance from the reflector. We have ADJUNCTS: that express location and spatial relationship (ex.: prepositional and adverb phrases => locative expressions) We have the difference between: DEICTIC TERMS: linguistic items capable to project deictic parameters => ex.: personal pronouns (I, you, she), demonstrative determiners and pronouns (this, that) ≠ DEICTIC ELEMENTS: are not capable to do deixis but are completely context dependent like tenses of verbs (If I change a term, automatically the deictic element changes) We know six kinds of deixis: 1. PLACE DEIXIS: allows the speaker to anchor their utterances spatially: here/there 2. TIME DEIXIS: time at which an utterance was spoken: now/then 3. PERSON DEIXIS: howparticipants are allowed in the actual speech event: personalpronouns1 person = refers to themselves2 person = refers to listeners3 person = refers to someone not in these roles4. SOCIAL DEIXIS: social viewpoint of interactants: vocatives (Hey!), honorifics (Sir), titleenouncers (Professor)5. EMPATHETIC DEIXIS: psychological and emotional distance/closeness of the interactants.6. DISCOURSE DEIXIS: use of expression within the sentence refer to some parts of thediscourse ("Do you remember that story?")
DEICTIC SHIFT THEORY: concerns the cognitive repositioning into the storyworld of fiction that readers are able to experience =>DEICTIC CENTRE: the position of the speaker and hearer in a social hierarchy ->from which they interpret deictic terms
The whole of reference points into reality that characterizes the speech (I, here, now).It refers to the cognitive process through which the reader enters and moves mentally, through his/herimagination ability, in the different
textual worlds. In other words…Starting from the point that the deictic centre is the position of the speaker, around which objects are positioned relative to their proximity or distance from it, when reading a story we do a fast shift, so we need to submerge into the deictic plan of the narration using our imagination. We mentally submerge into the deictic plan of the narration, into a different textual word, with a different deictic plan and origo, and then we have to set everything. This is the first shift we do while reading.
LEZIONE 37
PUSHES AND POPS: between real life and fiction we know that deictic centres are different. Into real life is usually the speaker, into fiction are some entities within the story.
1° shift: We project us from reality to fiction (to the narration) => but then can happen other shifts: like pushes and pops
PUSHES: happen when we “submerge” ourselves into a different deictic plane into the story
Flashbacks or story in the story or
episodes of fantasy. But then we have to get back to the previous, main deictic plan of a narration, through the pops. POPS: "emerging" back from a particular deictic field. - When a character wakes up from a dream, when the narrator makes a remark within the story. - (Popping move): the narrator's intervention will lead to a desire from the reader to return to the story world => so we have a combination of pushes and pops: we are pushed and we submerge ourselves and then we are popped back to the main point. SOME CRITIQUES: Mc Intyre => He criticised this model because we don't really know how pushes and pops really work in a story, there are not enough information about them. DIALOGUE IN DRAMA: When talking about dialogue in drama we take into account 3 different contexts. PHYSICAL CONTEXT: actual setting. PERSONAL CONTEXT: social/personal relationships. COGNITIVE CONTEXT: shared and background knowledge. STRATEGY of the dialogue in drama: is the knowledge of.What to say, when and where; so we are really competent while communicating, in time, space and content. = COMMUNICATIVE COMPETENCE
COGNITIVE STYLISTICS: it is the relation of the human mind and the reading. Whenever we read we enrich some previous background knowledges that we have assumpted during our life. We are dealing with the ICM: Idealized Cognitive Model: are models in our mind based on previous knowledge that help us to understand something even though we've never been before. Someone for example talks about aliens: we have never seen aliens but we understand his discourse.
Of course this model is not stable, is dynamic: every time we are enriching the information it changes, subject by subject, situation by situation, due to the development of experience.
ICM are activated even with small pieces of language (small words: for example the word PUB. In our ICMs there is the knowledge of a place in which we drink, where we meet with friends, stay together, listen to music, ...).
So just a small word activated our ICM. FIGURES OF SPEECH (OR TROPES):Different typologies
- METAPHOR: process of mapping between two different conceptual domains. We have always a target and a source domain.
- Target: the topic we want to describe through the metaphor
- Source: the concept you draw open in order to create the metaphorical construction
- Ex.: “When I heard his proposal, he blew my mind.”
- Target domain: the concept of astonishment
- METONYMY: whenever we use a word referred to the same word or closely the same, instead of a group of words, is a transposition between 2 similar words and the same concept.
- Ex.: “This maccheroni, tomatoes, basil are delicious” pasta is delicious”.
- Metonymy is confused with SYNECDOCHE: it occurs when a part is used to represent a whole or a whole to represent a part. “Check out my new wheels” (=my new car)
- SIMILE: makes an explicit connection between two concepts through the use of
The structure is like. "Your eyes are like jewels."
CARICATURES: are commonly used by humourists to create humor and are related to human appearance, animals, are a sort of metonymic distortion (humorists distort some aspect of human appearance).
LEZIONE 41
HUMOR: When talking about humor we are talking about INCONGRUITY, that is:
- any situation in which there's a mismatch between what someone says and what they mean
- can be situated at any level of linguistic structure
ONOMATOPOEIA: it's a figure of speech in which words evoke the actual sound of the things they refer to. Ex.: "to chirp" (suono degli uccelli) is a lexical onomatopoeia. We can also have non lexical onomatopoeia, for example groups of letters put together but that don't create any meaning (brum brum). This figure of speech works on the reader's familiarity with the entity described.
PHONAESTHETIC FALLACY: there's a certain risk to connect up directly a
particolare caratteristica del suono in un testo con fenomeni non linguistici al di fuori del testo => Per evitarlo: In altre parole... Vorrei iniziare introducendo cosa sia la fonostetica: è un mondo composto da due parole greche, phone ed estetica, quindi la forma e il suono. Analizza la forma di una parola indipendentemente dalla semantica. Ad esempio, parole cacofoniche che sono di solito piene di consonanti secche ed eufoniche, con vocali leggere, ma possiamo correre un rischio molto profondo se associamo direttamente un suono nel testo a un suono extralinguistico nella realtà. Per evitare il rischio di fallire, dobbiamo immaginare che il mondo prima di tutto si stia esibendo mimeticamente nel testo, in secondo luogo c'è anche un co-testo da tenere in considerazione per capire la parola, indipendentemente dal suono della parola. (le parole di un testo non sono direttamente associate ai suoni; il suono di una parola non è associato alla realtà esterna, è mimetica nel testo. Io utilizzo una)parola eufonica perché mi serve all'interno di quel contesto poetico, non lo sto associando ad una realtà extralinguistica direttamente, ma solo rispetto al testo poetico.
ALLITTERATION: the repetition of the same consonant sound in nearby words => it needs to occur in word-initial position. It has a cohesive effect: "she sells seashells."
ASSONANCE: repetition of the same vowel sound in nearby words. "The morning was cold with a bold statement."
CONSONANCE: repetition of a series of consonant sounds in nearby words. "Some mammals are clammy."
PUNS (gioco di parole): are stylistic devices to create humor. It is a form of word-play in which some feature of linguistic structure simultaneously combines 2 unrelated meanings. => They create "double meaning": "I've been to the dentist many times so I know the drill."
remain affectionate to its source central to
PARODY: offer a echo or text because part
of a new discourse. “I’m fed up with morning”…IRONY: => ECHOSATIRE: has an aggressive element which is not necessarily present in parody => it requires a kindof ironic distorsion in its textual make-up, a vision about the world. Satire is never affectionate toits source.In other words…IRONY: is a compromise between what you say and what you mean.PARODY: has got an echo. Whenever the echo is created, we have a new text. Parody is notrelated to the satire because the satire has an aggressive component that is not necessarilypresent into parody. With satire we want to criticise an aspect of the world.The parody always remains linked to the source, the satire no.LEZIONE 43COHESION: the way sentences combine into text by means of text internalities.ELLIPSIS: links different part of the text by means of omission. “I could do it. But I