Abstract
Abstract The emotions of novel characters are first of all linguistic artworks. The establishing of these pieces of art is an aesthetic process that must be subordinated to the overall concept of a novel. This concept doesn’t evolve from the represented emotions (histoire), but rather from the representation of emotions (discours). That’s why the telling of emotions constitutes the primary object of the present study. In order to achieve certain effects, this telling of emotions makes use of narrative techniques, rhetorical devices, linguistic peculiarities, moral norms and receptive-aesthetic strategies. The functions of the representations of emotions prevent the presented emotions from being considered as reflections of commonplace emotions or from being offset against emotional theoretical positions. However, the literary findings turn out – at least partially – as compatible with cultural studies.
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