Language Of Fiction Research Articles

Speech presentation: A preliminary review from multiple perspectives

AbstractSpeech presentation, largely a stylistic notion, attracts scholars’ attention from various fields. While narrative theory is devoted to studies on language in fiction and treats speech presentation in close relation with narrator’s distance from the narrative and intervention in the character’s utterance, linguistic perspectives range from categorical classification of speech presentation structures to theoretical exploration into its nature and function. In the meantime stylistics recognizes the compositional and communicative process of speech presentation in narrative and examines linguistic devices by which the narrator orients the reader and creates a text’s style. This paper reviews a number of approaches to speech presentation and the distinctive features of each approach shed light on further stylistic studies on this important discursive phenomenon.

Small Actors, Important Task: Independent Publishers and their Importance for the Transmission of French and Romance Language Fiction to Sweden Since the Turn of the Millennium

Starting from a description of today’s Swedish book market, which has seen a steady decline of French and other Romance languages as source languages for translated literature, this article investigates the importance of independent publishers for the transmission of non-anglophone fiction. In qualitative interviews, representatives of independent presses were asked to describe their business models and their relationships with big publishing houses. They were also asked to elaborate on the role of French and other Romance language fiction in Sweden today. The article’s understanding of the book market is very much based on work done by literary sociologists, such as Pascale Casanova, Hans Hertel and Johan Svedjedal. 
 The results indicate that independent presses stepped in during the late 1990s, when the big publishing houses showed less and less interest in French and Romance language literature in translation. These independent publishers, with the help of clear niches, expert skills and perseverance, and in cooperation with media, showed that it was still possible to yield a profit publishing these kinds of translations. As a result, the major publishing houses once again took notice of French and other Romance language literature, engaging in competition with the smaller actors whose creation they had once brought about.

Русская автобиографическая проза последних лет в зеркале литературного конкурса «Бунинская премия»

<p>В статье рассматриваются лучшие автобиографические произведения, выдвигавшиеся на литературный конкурс «Бунинская премия» за последние несколько лет, как часть современного литературного процесса России, а также выявляется их связь с традиционными произведениями русской литературы, написанными в данном жанре.</p><p>Теоретическим основанием исследования является современная концепция теории автора, на основании которой была выявлена тенденция к художественному обобщению частных форм жизни в современной российской прозе. Она проявляется в виде автобиографической «чувствительности» у автора, умноженной на широкие социоисторические и художественные обобщения в изображении народного бытия.</p><p>В анализируемых текстах традиционные художественные элементы могут органично сочетаться с некоторыми новаторскими приемами и решениями. Так, различные документальные элементы, свидетельствующие о серьезной работе писателя с конкретными фактами, соотнесенные с художественными — вымышленными элементами-деталями, помогают создать иллюзию сопричастности судьбы читателя судьбам главных героев произведения (роман Ю. Полякова «Грибной царь» 2005 г.; «Чеченские рассказы» 2008 г. А. Карасева). Проблема взаимоотношения художественного языка и мышления находит у большинства авторов сложное полифоническое решение в диапазоне от экзистенциализма до постмодернизма (например, сборник «Маленькая девочка из «Метрополя» 2006 г. Л. Петрушевской). Новаторство проявляется также и в авторских экспериментах с жанрами, границы которых искусственно «раздвигаются» (например, «повесть ассоциаций», «роман ассоциаций» Е. Гаммера в сборнике «Один — на все четыре стороны» 2007 г.).</p><p>Авторы отмечают ведущую роль сложных полифонических и синтетических приемов и решений, формирующих идейно-нравственную и художественную природу современных прозаических текстов.</p>

The supply, promotion and readership of minority ethnic English language fiction in the UK: a review of the literature

Purpose: Written largely from a UK perspective, this paper presents a review of the literature regarding the nature of minority writing in the English language, and its supply, promotion and readership.Methodology/approach: Following an initial exploration of the diverse terminology used to describe such fiction, the main body of the review is structured according to the five potential elements of the minority ethnic fiction supply chain – the author, the book trade, the library supplier, the public library, the reader – with an attempt to bring together the principal academic and professional texts published on each subject.Results: This paper has raised two main issues of concern: firstly, that very little empirical research has been conducted into minority ethnic fiction – in particular regarding its readership, and secondly, that previous research has tended to focus on linguistic aspects of minority ethnic fiction stock provision and use, rather than on cultural aspects.Research limitation: Given the nature of the broader empirical research of which this review forms a part, the paper is almost entirely focused on English language fiction only.Originality/practical implications: Reviews in this field have not previously tended to take into account all five elements of the minority ethnic fiction supply chain, or in particular the readership of such fiction. These previous omissions have been addressed in the present paper.

“True fiction” – the memory and the postmemory of traumatic war events in a picturebook

The World War II has left an emotional wound, and its direct victims as well as new generations have to cope with it. The main subject of my presentation will be an analysis of methods for presenting World War II history in against the background of a theory of memory and postmemory of war’s trauma through the example of picturebooks which were published in Poland during the first two decades of the XXI century. I would like to discuss the main trends in presenting the issues pertaining to the war. The transcription of the Second World War memory into picturebooks is especially interesting for me as a historian of art. I analyse the artistic styles adapted by the artists to express difficult topics, such as the holocaust, the horror of concentrations camps, hunger, fear, loss of family, death. Composition, artistic techniques, colour, vocabulary, typography – these are the tools in the hands of artists through which they can not only tell the story, but also stir up emotions and shape the personality. The picturebook, like other types of art, operates through the language of fiction to tell the truth. Art is one of the languages of historical narration

A Linguistic Game: A Brief Language Analysis of Tripmaster Monkey : His Fake Book

The book Tripmaster Monkey: His Fake Book (TM) is published as a novel, which is Kingston’s first true novel during her writing career. There are many remarkable writing techniques in her trilogy, such as, language usage, narrative perspectives, plot narration and other diverse narrative styles. In this thesis, it aims to focus on one of the most attractive features-its language usage in TM, especially on the names of its title and protagonist which strikingly embodies the significance of readers’ participation and the uncertainty of the language in a postmodern fiction.

Changing Norms in Translated Finnish Fiction: A Study of Non-standard Varieties

The article deals with Finnish translations of varieties of spoken language in fiction from the late 19th century to the beginning of the 2000s. It presents the central findings of a comprehensive study on the changes and developments of translational norms in Finnish literature. The study is based on a corpus consisting of 200 literary works (the original and its translations are counted as one work), representing various genres: literary fiction, young-adult fiction, as well as genre fiction (romance and crime). During this 100-year period, the use of colloquial variants in translations has strongly increased, influenced by the changing literary and linguistic norms of original Finnish literature. The norms of different literary genres, however, vary, and rich, non-standard variation can be found in translated works from different periods.

PERSPECTIVE OF UKRAINIAN LANGUAGE IN TERMS OF KHARKIV ROMANTIC SCHOOL (SPELLING ASPECTS)

Kharkiv romantics school – an association of writers that formed around Kharkov University in 20-40 years of the nineteenth century. І. Sreznevsky, A. Shpyhotskyy, I. Rozkovshenko A. Metlynsky, M. Kostomarov, A. Korsun,M. Petrenko, Ya. Schoholev and others belonged to this union. Activities of the Kharkiv romantics in the first half of the nineteenth century was multifaceted. Kharkiv union members recorded and published folk songs, wrote fiction edited Ukrainian almanacs. Kharkov Romantics are called the organizers of the literary process of Slobozhanshchina at the first half of the nineteenth century. After unifying their activities played a significant role in the formation of modern Ukrainian literature. One of the essential tasks of the Kharkiv romantics school was to find adequate proof Ukrainian spelling and usefulness of Ukrainian language. However, if their literary activities attracted the attention of many researchers (O. Hnidan, V. Smilyanska, M. Yatsenko), the linguistic search of Kharkiv poets for today is unexplored. This fact determines the relevance of this article. O.Pavlovskyy was the one who for the first time formed a new spelling principles in «Little Russian dialect Grammar» ( 1818). It was done because previous versions of spelling based on etymological principle, were extremely complicated and not passed all the features of national language. Focusing on the phonetic principle it was established a few Spelling variants. Thus, in the first half of the nineteenth century «Slobozhanska» spelling main principle was formed. It contained the following: to write as pronounced, with consistent use and compliance with the pronunciation of the letters of the Russian alphabet. To create Slobozhansky spell Gulak-Artemovskij was involved. He was supported by Hrebinka, G. Kwitka-Osnovyanenko, S. Pisarevskii and other writers. This spell was actual until the end of 1850, in the second half of the nineteenth century this spelling is out of use. І. Sreznevsky and A. Metlynsky in their scientific studies justify the ancient origins of the Ukrainian language. A. Metlynsky in his preface to the poetry collection «Thoughts and songs and something else» says about sonority of Ukrainian language and its lexical richness, the extraordinary variety of diminutive forms. Sreznevsky in a letter to Professor I. Snyehirov (1834) strongly argues that the Ukrainian language is not a dialect of Polish or Russian, it is – one of the richest Slavic languages. Referring to the work of G. Skovoroda, I. Kotlyarevskyi, P. Hulak-Artemovs'kyj, І. Sreznevsky claims that the Ukrainian language will be the language of original fiction. O.Korsun in his anthology «SNIP» used a number of innovations that were relevant and entrenched in the Ukrainian language. In particular, Shevchenko highly appreciated the spelling of «SNIP»: in a letter to E.Hrebinka he asks to publish his works in «Lastivka» using this very spelling. Orthographic searching of Kharkiv romantics were used by P. Kulish, who combined achievements of his predecessors and created the «kulishivka» which was published by a number of Ukrainian media.

Герменевтическая концепция художественного текста как одного из важнейших видов художественной языковой коммуникации

The article dwells upon the hermineutic conception of the fictional text. Fictional text is one of the most important kinds of the fictional language communication. Speaking about text interpretation we can’t do without discussing the ways of its perception and understanding and this is the subject of hermineutics.The author analysis the development of the philological hermeneutics, shows its principles from the point of view of text interpretation position.

Language and Gender

The research will be focusing on gender language differences. It shows the differences on different texts samples. This research includes an analysis of particular data to determine gender language difference. It reveals how men use language to show their authorities whereas women to show their support for men. ——————————  —————————— language differences can be shown and dis- cussed in the articles of Gender Differences in Language Use:An Analysis of 14,000 Text Samples and Gender differ- ences in the language of Hemingway's fiction. The articles attached pictures the difference between women and men in relating to aspects of language. It creates an understanding into the different aspects involved in lan- guage for the two gender considerations. The report develops the material on these lines and considers conceptualized re- search questions that it uses to analyze the articles and data provided as it reveals the learning of the writers from the arti- cle contents. 2 A study of difference in lan- guage Based on the topic of discussion, one would ask a number of questions on how men and women treat language. According to Gender Differences in Language Use:An Analysis of 14,000 Text Samples a number of items in theoretical form create a picture of the different experiments conducted based on their results on the convergence of the language relationship between the female and male gender. Separate studies conducted earlier and the discoveries held with over 14000 text files indicated the material necessary for helping one understand the different language aspects in rela- tion to gender differences. According to these items, men re- late their language more to objects and impersonal items while women consider aspects that are more psychological and the social items in their languages. Through these studies, one learns that gender difference exists more in situations that place fewer limitation on aspects requiring fewer language aspects. The analysis of this data reveals how the two genders

Against Truth-Conditional Theories of Meaning: Three Lessons from the Language(s) of Fiction

Fictional discourse and fictional languages provide useful test cases for theories of meaning. In this paper, we argue against truth-conditional accounts of meaning on the basis of problems posed by language(s) of fiction. It is well-known how fictional discourse—discourse about nonexistent objects—poses a problem for truth-conditional theories of meaning. Less well-considered, however, are the problems posed by fictional languages, which can be created to either be meaningful or not to be meaningful; both of these ultimately also provide problems for a truthconditional account of meaning, because it cannot account for the ways in which we use and evaluate such fictional languages. Instead, a pragmatic or use-based account provides a better explanation for some of the phenomena we discuss.

Onomastic Deviations and Metaliterary Consequences in the Gascon Extravagant

IN his article, Les peregrinations du gascon Emmanuel Desiles proposes that the intent of the comic novelist in the seventeenth century is to warn the reader about fiction du langage, et plus generalement des signes (330). Such a thesis seems reinforced by what we know of the comic novelist of the period. The conception of the lecteur discret, proposed by Aleman in his preface to Guzman de Alfarache (1599) and echoed by Sorel in his Advertissement d'importance aux lecteurs, at the beginning of the Histoire comique de Francion, (1) is inherent in the comic novelist's literary imagination. In Claireville's Gascon extravagant (1637), the reader's literary awareness is tested more than in perhaps any other comic novel of the period. The novel's structure is complex, comprising various intercalated narratives that are woven together in a fragmentary tale that lacks a conclusion and puts the very nature of the novel into question. Through various onomastic deviations, the fictional nature of the tale is continuously renewed and the reader is challenged by the metaliterary consciousness of the author. These onomastic deviations and the intercalated structure underscore the to which Desiles refers that punctuate the fictional language of the genre. It is the purpose of this paper to examine these signs, to evaluate the influence of said signs upon the structure of the text itself, and to consider how the reader is intended to react. In order to elaborate the metaliterary nature of the novel, I will focus on two specific aspects of its design that underscore Claireville's intent: firstly, the novel's structure and the importance of the paratext and, secondly, images of the author and the reader within the text and onomastic deviations that remind the reader that these are not just characters with whom to empathize but rather elements of the novel that fulfill specific functions within the text. Through this careful construction, Claireville makes of his en proces a metanovel that at its core explores the very nature of the nascent comic novel itself. Finally, in the conclusion, I consider how this reading dialogues with the theoretical notion of early modern fictionality. Sorel announces, with the Francion, a nascent subgenre that is used today by specialists to collect a number of texts under its umbrella. While each text varies in subject matter, Jean Serroy has worked extensively to note shared characteristics and functions of many of these texts, noting that they, for the most part, share a comic tone that permits the author to examine reality as the author viewed it (702-07). Serroy classifies the Gascon extravagant as belonging to the second of three periods of development in the comic novel's history: that of affirmation (291-361). In this phase, Serroy includes Sorel's Berger extravagant (1627-28) and Du Verdier's Le chevalier hypocondriaque (1632) as examples of works that engage with modes like the pastoral or the chivalric to offer satiric and comic reinventions of the modal conventions. For Serroy, the comic novel at this moment with Sorel's Berger extravagant denounces l'artifice d' un romanesque conceived as a game of contraintes techniques, thematiques, voire stylistiques. Thus, Sorel incites tout un courant parodique qui en souligne les and detache le roman des tentations de la fiction pure, et proclame que l'invention ne saurait se passer de realite ni l'ecriture du naturel (703). The comic novel's role is, then, to explore reality within the confines of a comic mode (designed to incite laughter) and reflecting the sociohistorical influence of the noblesse on this reality. In essence, Serroy views the comic novel as a work by an author highly conscious of textual conventions of the period who chooses to interact therewith. The Gascon extravagant, however, not only plays with conventional norms of other forms, but, I posit, also considers the early examples of comic novels as extant at the moment, in the first third of the seventeenth century, interacting in particular with Sorel's notion of the genre. …

War Neurosis and the Violence of Language and Form in the Terrorist Novel: A case Study of Wassini Al Araj

To what extent can language symbolically reflect the violence of theblack decade? How does the narrative text translate this violence fromthe language of reality to fictional language, and then to the language offormulation? What are the features of the structural form of violence inthe narrative text of the terrorist novel ?Does psychoanalysis view thisartistic violence as one of the symptoms of war neurosis?This study tries to answer the questions above by relying on a semioticphenomenological approach to Wassini Al- Araj’s terrorist novel.

The Alluring Nature of Children's Culture: Fairy Tales, the Carnival and the World Wide Web

This article discusses the implied ‘vulgarity’ and playfulness of children's literature within the broader concept of the carnivalesque as defined by Mikhail Bakhtin in Rabelais and His World (1965) and further contextualised by John Stephens in Language and Ideology in Children's Fiction (1992). Carnivalesque adaptations of fairy tales are examined by situating them within Cristina Bacchilega's contemporary construct of the ‘fairy-tale web’, focusing on the arenas of parody and intertextuality for the purpose of detecting crucial changes in children's culture in relation to the social construct and ideology of adulthood from the Golden Age of children's literature onward. The analysis is primarily concerned with Roald Dahl's Revolting Rhymes (1982) and J. K. Rowling's The Tales of Beedle the Bard (2007/2008) as representative examples of the historically conditioned empowerment of the child consumer. Marked by ambivalent laughter, mockery and the degradation of ‘high culture’, the interrogative, subversive and ‘time out’ nature of the carnivalesque adaptations of fairy tales reveals the striking allure of contemporary children's culture, which not only accommodates children's needs and preferences, but also is evidently desirable to everybody.

‘The Tranquillity of the Mansion:’ Fields and Formulaic Diction in a Gothic Novel

No study of formulaic language in Gothic fiction is currently available. This article explores the structure of Gothic formulaic discourse in one of the ‘Northanger novels,’ The Necromancer (1794). Using the corpus-linguistics concept of collocation, as well as insights from the oral-formulaic theory of composition, the article distinguishes formula from formulaic pattern and proposes a definition for the latter concept centred on the notion of ‘field.’ Whereas this novel has often been berated for its incoherence, subsequent analysis shows that formulaic language builds up complex fractal networks that belie this charge and also suggests that Gothic is best looked at as a liminal genre, halfway between literary and folk narrative.

THE TERMS IN THE LANGUAGE OF FICTION: THEORETICAL, FUNCTIONAL AND LINGVODIDACTIC ASPECTS

The article deals with theoretical analysis of terminological apparatus’s features of functioning in contemporary linguistics. Author reveals basic parameters of system in linguistic terminology, taking into account the variety of micro- and macrosystems. The rich experience has accumulated at the present stage of development of linguistics by describing metalanguages of various sciences, including new sections of linguistics. However, researchers still did not pay enough attention to such aspects of terminosistems as its usual specific, pragmatic and lingvodidactic in the coexistence of various scientific metadialekts. Modern linguistic terminosistem characterized by a number of specific features, which appears in its semantic relationships and functioning in different subsystems of the modern Russian language. In recent decades, the terms, including linguistic, meta-language units and concepts, are increasingly incorporated into the fabric of a fiction text, characteristic of the language, style and mentality as the characters and the author of the text, where the use of these units represents the linguistic identity of the author as a secondary representation of the meta-language linguistics. At the same time, taking into account the emergence of new terms obvious need to respect the balance of linguistic and extra-linguistic aspects in structuring the domain of linguistics. These problems determined the relevance of the study its goals and objectives, which are due to insufficient development is secured by modern linguistics problems systematic and integrative linguistic terminology, the need to sustainable integrated study of the functioning of linguistic terms in the language of science and fiction.

Pragmatics of fiction: Literary uses of uh and um

For some time now fictional language has been recognized as a legitimate source of data for pragmatic analyses as long as it is studied on its own terms and not as a less than perfect representation of other types of language use. The planners uh and um are particularly interesting elements because of their pervasive and nevertheless often inconspicuous nature in spoken language. In fictional language they are less frequent and more conspicuous. They may even serve as stylistic devices as is shown by a brief analysis of the use of uh and um in Douglas Adams’ mock science fiction novel The Hitchhikers’ Guide to the Galaxy.

The Language of Fiction and the Fiction of Language

Learning to read is inseparable from teaching to read. The foundational assumption of the common core state standards initiative (CCSSI) master plan in the English language arts is that its method for teaching reading will eventuate in students' learning to read (as well as speak and write) better. Teachers and students come at their shared task from different perspectives, but both are presumed to be working in the same project of engaging something unproblematically called “language,” the program's middle name (as it is of the MLA). The Common Core's framers assume a correspondence between the phenomenon they call language in their methodological recommendations and language as it is used by them and their students—and everyone else who speaks English—in the world outside the classroom. The standards are based on a theory of language.

The fictional language when dreams of Mostaghanemi

حاولت هذه الدراسة الكشف عن ملامح التجربة الفنية اللغوية للكتابة أحلام مستغانمي ثلاثيتها الشهيرة (ذاكرة الجيد) و (فوضى الحواس) و(عابر سرير)، بعد أن إرتقت رواياتها لمصاف الإبداع، وعدت تجربتها في كتابة الرواية من التجارب الجديدة التي نالت حضوراً بارزاً على مستوى الوعي الفني المتخصص.
 وقد حاولت الكاتبة من خلال ثلاثيتها التخلص من بعض الأدوات التقليدية التي تشكل الحدث السردي إلى جانب طموحها لأن تكون شاعرية دون تفقد هويتها المحلية والقومية، ولعل طبيعة التحولات الحضارية والتاريخية والاجتماعية التي عرفتها المجتمعات العربية من الفترة الأخيرة،كانت سبباً في هذا التجديد، وفي إستجابة الرواية الفنية والجمالية لمثل هذه التحولات. لذلك فأن الثراء اللغوي الشعري والجانب التقني لهذه الكتابة المميزة فنياً، هو مدعاة للدراسة والانجذاب إليها . وهدفنا في هذا البحث الكشف عن شاعرية اللغة الروائية التي تميزت بالأناقة والاغراء والجمال.
 وقد إعتمدت دراستنا التركيز على الناحية التطبيقية محاولين الكشف عن أسرار اللغة الشعرية المتميزة ،حيث رصدنا مستويات اللغة المختلفة ،وبحثنا عن خصائص الأسلوب بعد أن تميز بدفء عباراته،وسرعة إيقاعه المتناغم بفعل الترجيع الغنائي من حيث الناحية التركيبية، والناحية الصوتية (الموسيقية)، وإنتهينا إلى الجانب الدلالي الشعري في أبعاده المختلفة. أما المصادر والمراجع المعتمدة تلك التي تناولت فن الروايات الثلاث من زاوية نظرية وتطبيقية إلى جانب المقالات التي نشرت في الدوريات.

The Methodius Script, a Practical Phonetic Writing System

The Methodius script provides a multigraph compact and computer integrated phonetic alphabet covering key sounds of major modern languages. It aims to help codifying vernacular languages as well as providing a productivity tool for fictional languages authors. Its principal characteristic is extensive use of modifier letters building digraphs, trigraphs and multigraphs. The script also describes punctuation, capitalization and formats of numbers, date, time and scientific notations.