Free Indirect Speech Research Articles

An integrated approach to the analysis of NRSA for translation. Mansfield Park in Spanish and German

In Jane Austen’s novels conversation provides internal evidence of the “moral and social nature of characters” (Morini, 2009, p. 9). Among the interplay of speech presentation forms (Page, 1972/2011), Narrative Report of Speech Acts (Leech & Short, 2007) has drawn less scholarly attention than others, for example Free Indirect Speech. However, NRSA condenses information about two communicative acts and therefore two addressers, namely the reporting narrator and the reported speaker (the character). Investigating this superposition of voices requires an integrative approach combining a speech-act theory analysis of the character’s speech with an analysis of both the character’s and the narrator’s dialogic stance, here set in the system of Engagement in Martin and White (2005). This paper aims to present this approach and to apply it to the description of Mansfield Park and its translations into Spanish and German. A sample of instances of NRSA and their translation solutions is analysed. While the most frequent type is literal translation, with both layers of meaning successfully reproduced, instances of translation shifts have been identified involving illocutionary force (addition, elimination or change of illocutionary features) and/or engagement value, combined with changes in certain cooccurring distancing devices. Such shifts suggest possible distortions to characterization cues.

O TIPOVIMA GOVORA U ROMANU „NEBO, TAKO DUBOKO“ VESNE KAPOR

The paper examines models of reported speech in Vesna Kapor’s novel Nebo, tako duboko from the point of view of syntax and stylistics. According to the clas- sification by Miloš Kovačević, the following types of reported speech were identified in the novel: 1) direct speech (basic model), 2) direct speech without dialogue tags, 3) free indirect speech, 4) free indirect speech accompanied with narrator’s voice, 5) free indirect speech introduced with verba dicendi and free indirect speech representing character’s voices that are not spoken aloud, 6) direct speech which contains fragments of character’s words, 7) direct speech containing deictic expressions instead of character’s exact words, 8) monologic direct speech, 9) indirect speech (basic model), 10) indirect speech without subordinate conjunctions, 11) expressive indirect speech, which maintains interrogative form and question marks, and 12) semi-direct speech. The dominant model used in the novel is the free indirect speech introduced with quotation marks or introductory expressions, which is in accordance with the specific graphostylemic features of the text. Quotation marks appear almost as an exception, and italics have a very specific role in demarcation of the text segments. The author’s choice is extremely stylogenic and justified, since it achieves a shift of the reader’s focus from a literal factual sequence of events to an emotional engagement and a kind of participation in reviving the memory of Tara. The echoes of the past, the time she was still alive, are expressed with short and concise cuts of memory. Reviving the memory of Tara makes her alive in a way

The inner speech of the characters and the speech of the author as an artistically – stylistic device in Sherwood Anderson’s short stories

The paper examines inner speech as an artistically – stylistic device for effectively conveying the thoughts of literary characters. The term “inner speech” is defined. The points of view of prominent linguists and psychologists regarding the issue under discussion are presented. It has been established that this is not only a linguistic device, but also an insufficiently studied psychological phenomenon. Four types of this speech activity are analyzed: direct inner speech, indirect inner speech, author’s narration and free indirect speech. Characteristics of the syntactic structure and lexical content are given. The peculiarities of its use in the short stories of the American writer Sherwood Anderson are analyzed. It is concluded that the use of numerous episodes of inner speech in narratives helps the author to create psychologically reliable images of characters and promotes expressive and stylistic diversity. The use of various methods of inner speech helps the author to establish communicative and psychological contact with the reader and to increase interest in the narrative.

Indicare, rappresentare e dislocare. La Deixis am Phantasma di Karl Bühler e i modi del Discorso Riportato

‘Deixis am phantasma’ or imagination-oriented deixis is a mode of reference, originally described by KarlBühler, that directly brings into play one of the distinctive properties of human language, namely the unlimitedcapacity to dislocate in space and time the referents and situations that are the object of discourse. Sincerepresenting and reporting other people's speech is a discourse situation in which speakers must represent,transpose and dislocate referents, situations, and other people's words, reported speech is a very suitable areain which to observe this particular type of deixis. In this paper, after briefly restating the main points of Bühler'stheory of language, i.e., the two-field theory and the different modes of reference within the deictic field, Idiscuss the three different types of imagination-oriented deixis (as identified by Bühler). I then try to point outwhat I consider to be their systematic correlations with the two main deictic modes of reporting speech (directvs. indirect), while, conversely, noting the unsystematic correlations with that intermediate or hybrid form ofreporting that is free indirect speech.

Humorn i stadens mångstämmiga rum

“Humour in the Polyphonic Town Space. A Reading of Hjalmar Bergman’s Novel The Markurells of Wadköping” The novelist as an accomplished artist is revealed, in Mikhail Bakhtin’s view, when the stamp of his/her voice and style is kept while interacting and intermingling with other voices and styles expressed in the novel, often taken from social, collective spaces such as the town. In addition, Bakhtin observes that a history of laughter can be read in the development of the novel as a genre. With its popular roots in carnival traditions, the novel takes place in streets and market squares, and creates an alternative social place which can overturn given social, political and economic hierarchies. Furthermore, the literary scholar Leo Spitzer shows how a novel’s narrator voice can borrow and mould the common voice of a whole community of speakers, as a sort of choir, for instance, in a village or a small town, through the use of free indirect speech (erlebte Rede). By following these stylistic clues, the article examines how comic, grotesque and fantastic effects are triggered in Hjalmar Bergman’s novel The Markurells of Wadköping, especially in case of ‘polyphonic’ scenes in which the small town participates as a unit, and as a receptive and collective conscience. When humour is in great style, it also contains a tragic dimension, as suggested by the philosopher Simon Critchley. Bergman’s humour is marked by pessimism, and the writer is ambivalent towards the apparently solid, bourgeois world prior to World War I which he comes from and depicts in his novel. The author feels close to this world and describes it with empathy, but at the same time he displays a critical distance as well as a need to part from it. The ‘polyphonic’ plurality of voices in this novel refers also to such an inner conflict. In the article, Hjalmar Bergman is considered as an interpreter of existential disharmony and shortcomings, but also as a writer who found in laughter a form of love for life despite everything.

『베니토 세레노』의 다층적 서사와 체제적 인종주의

This paper examines how Herman Melville's Benito Cereno is composed of interconnected multi-layered narratives, and considers the artistic and discursive effects they lead to when juxtaposed or combined with one another. In the process the paper pays close attention to Melville’s extraordinary ways of shaping characters with different perspectives of their own, and of utilizing delicately modulated narrative forms and heterogenous texts. Though all of these elements contribute to the layered nature of the work, Captain Delano’s characteristic self-deception, along with his free indirect speech, has been highlighted. Special emphasis is also put on Captain Cereno’s lived experience of inversion from master to slave in terms of ontology. In Benito Cereno Melville is concerned less with exposing the specific social horrors of slavery and racism than with revealing their foundational deception, thereby making it possible to think about how ideologies of slavery and racism operate both within both living individuals and the global system of capitalism. Most importantly, Melville's integrating art dealing with such deep-rooted systemic racism obliquely through the multi-layered narratives requires not only literary but also historical thoughts and imaginations. In conclusion, we can explore through multi-layered narratives in the novella Melville’s prescience about the character of the post-slavery age, which perpetuates systemic racism in the future in one way or another.

Narrative and the mapping of Diaspora Space: Liminalities and subjectivities in the ‘Happy Multicultural Land’ of Zadie Smith’s White Teeth

This article explores the features of narrative space in Zadie Smith’s White Teeth by drawing on the notion of diaspora space, which is based upon Avtar Brah’s theory in Cartographies of Diaspora, with a view to defining diaspora subjectivity. The analysis asks how such spaces are imbued with the multiplicity of border crossings, such as metaleptic intrusions of the heterodiegetic narrator, pluralization of perspectivism, the intermingling of the narrator’s and characters’ own spaces with the use of free indirect speech and the problematization of internal and external spaces. The narrator’s engagement with issues of diaspora, subjectivity, ethnicity, multiculturalism and roots/routes as well as their narrative manifestations are traced throughout the novel with recourse to ideas of ‘post-postcolonialism’, a concept that corresponds to the everydayness and ordinariness of migrant experience. Consequently, space proves to be a constitutive element of both the novel’s narrative and the characters’ subjectivities.

Средства акцентности в политическом телеэфире: полевой аспект

The article discusses the functioning of accentuators (means of emphasis) in political tele-vision discourse and their core-periphery distinction. Accentuators are defined as language, speech, and non-verbal means that accentuate fragments of speech being the most significant from the author’s point of view. An accentuator is recognized as core or peripheral depending on two factors: its being intended for semantic emphasis and the frequency of its use in a specific type of speech. Core accentuators are divided into three groups. The center of the core of the accentuation category includes the most emphasis-targeted and frequent means of emphasis –logical and emphatic sentence stress as well as gestural stress (baton gestures). Less emphasis-targeted core units are represented by lexical-semantic emphasis, hypophora, a performative utter-ance, inversion, an emblematic gesture ‘attention’, and expressive vocabulary. Core units that are least in-tended for emphasis include lexical repetitions, some modal particles, and adverbs of degree and measure. Peripheral means of emphasis are language, speech, and non-verbal units that are contextual and occasional. They are divided into two groups: the close periphery (introductory and parenthetical constructions, illustra-tive gestures, some modal particles, emblematic gestures, parallel syntax, direct and free indirect speech, some facial expressions, etc.) and the far periphery (comparatives, pauses, interjections, some structures of a complex sentence and supra-phrasal units, etc.). The research reveals some significant regularities in the use of accentuators: there are patterns of compatibility of their certain types; the usage frequency of accentuators depends on functional and semantic types of speech or the personal characteristics of communicants.

Savage Heroines? The Treatment of Gender and Genre in Translations of Philip Pullman’s Northern Lights

Philip Pullman’s Northern Lights is the first instalment of his award-winning trilogy His Dark Materials. In this alternate-worlds fantasy and children’s literature classic, Lyra and her daemon Pan are catapulted from the relative stability of Oxford to negotiate an increasingly threatening world in a quest to protect free will from cataclysmic adult zealotry. According to prophecy, Lyra is the chosen one; she conforms to the tropes of the fantasy quest performing the paradigmatic steps of the saviour hero. Pullman’s protagonist transgresses and subverts the stereotypical expectations of the fantasy heroine whose generic destiny is coded in enclosure, passivity and endurance. Lyra is also a coming of age story and here again Pullman’s conceptualisation does not conform to the female pattern in both fantasy and children’s literature where marriage functions as the marker for maturity. Character is one of the two defining traits of fantasy (Attebery 1992) and it performs a didactic function in children’s literature. Characterisation is created through the reader’s interpretation of textual cues: narratorial description, direct and free-indirect speech. Lyra’s character subverts fantasy stereotypes and depicts a transgressive child who does not conform to gender role expectations. Genre translation tends to adapt the text to target culture norms and the didactic and socialising impetus of children’s literature has been shown to prompt translation strategies which comply with the receiving culture’s linguistic and behavioural norms. In this paper, we analyse the rendering of character cues in the French, German and Italian translations of Northern Lights: 1. Is the transgressive trope of a) the heroine following the male hero paradigm and b) the coming of age pattern maintained or normalised to conform to genre expectations? 2. Is Lyra’s transgressive character rendered in translation or is it adapted to comply with didactic expectations of behaviour? 3. Are there different notions of the role and function of children’s literature in the target environments and do these impact on translation strategies?

Constructions of speech and thought representation.

A lot of what humans communicate about concerns cognitive contents of various kinds produced by others or themselves: speech, thought, writing, emotional states, attitudes, hopes, and the like. Languages have developed specialized ways to structure the representation of such contents, especially in various dedicated forms of speech and thought representation. Represented content can also include embodied behavior, such as gesture, whether in cospeech gesture or in sign language. What is represented need not actually have been previously produced: represented contents can be future, hypothetical or nonexistent, and forms of so-called fictive interaction can be used in which the model of face-to-face interaction is used to talk about a variety of other meaning types. Speech and thought representation presupposes the existence of two speech events-a current and a represented one-and each comes with a speaker, defined linguistically in terms of their central deictic coordinates, I-here-now. The interplay of deictic features and different forms of structural integration can define specific types of construction, showing different degrees of access to the embedded mental space of the represented speaker's speech or thought, such as direct, indirect, and free indirect speech or thought. Social media forms of direct speech or thought merit separate investigation, as do subjective uses of reporting clauses such as I think, which form a distinct construction type, using a subset of the grammar of speech and thought representation for different purposes. This article is categorized under: Linguistics > Cognitive Linguistics > Linguistic Theory Linguistics > Language in Mind and Brain.

An Unreality Effect: Simile in Flaubert's Madame Bovary

Abstract Reexamining Flaubert's use of simile in Madame Bovary yields fresh insights into old, deep questions in the study of realism: depiction of thought, free indirect speech, the relationship between representation and reality. Barthes thought the content of a simile was ultimately merely a gesture toward the realness that it thereby signified, and Proust assumed a simile ought to be precise, singular, and novel—but Flaubert's similes actually interact with his famously ironic narration to depict a particular kind of thought and feeling on the part of his characters. They are negative similes, hollow, meant to refract the comparison backward: as much as X is like Y, X is not Y. These similes intensify and dignify what they describe, but only within the penumbra of Flaubert's characteristically ironic detachment. By setting what is the case side by side with what is not, they continually aerate the prose with a sense of the grandeur that reality fails to attain. They challenge the reader to look at simile as an ironic figure rather than as needless ornament or (pace Barthes) straightforward denotation. The ambiguous relationship of simile to reality in Madame Bovary makes it a fitting rhetorical figure through which to consider the novel itself.

Language-Philosophy Anomalies in the Framework of Free Indirect Speech: By the Example of Marina Tsvetaeva’s Prose

The authors of the article consider Marina Tsvetaeva’s prose from the point of view of the relationship between the concepts of “norm” and “anomaly”, one of the topical issues of contemporary linguistics. The authors stress the importance of the topic in question and the found language material in the text field of the really unique Russian poet – Marina Tsvetaeva. Several classifications of linguistic anomalies and their functions have been studied in the paper. Within the framework of this article, the authors analyse linguistic anomalies on different levels of the language by the example of complexes with free indirect speech, sampled in the prosaic texts of the great Russian poet and writer. They conclude that it is characteristic for Marina Tsvetaeva to experiment with lexis, syntax and punctuation. At the same time, such language incorrectness promotes reflecting the complexity and originality of the author’s perception of the world, conflicts with contemporaries, personal and social drama. Another feature that makes the paper relevant is the choice of free indirect speech as the research target. This research work is the first attempt to study the problem of linguistic anomalies by the example of complexes with free indirect speech.

From Nobody to Somebody: Romantic Epistemology in Jane Austen’s Persuasion

The aim of this article is to substantiate the thesis that together with the development of the plot of Persuasion, the cognitive power of the principal heroine expands, and she becomes a highly sensitive reader of human minds. This thesis is supported by references to the new ‘Romantic’ psychology, emphasizing the close links between the innate aspects of the mind and the body. Psychological insight demonstrates the fragmentation of Anne Elliot’s mind, the role of the unconscious, and the division between the interior and the exterior. There is also analysis of the significance of Anne’s frequent change of transitory lodgings, along with interpretation of the narrative strategy, especially free indirect speech and mediated speech (the function of eavesdropping) and the important role of body language.

Comparative Analysis of Flash Fiction by A.P. Chekhov and J. Joyce: The Narrator and the Main Character in the Structure of Narrative

The article presents a comparative analysis of the relationship between the narrator and the main character in the structure of flash fiction by A.P. Chekhov and J. Joyce. The authors conclude that there are typological similarities in the relationship between the narrator and the main character in the flash fiction of A.P. Chekhov and J. Joyce. This was influenced by the global trend in literature at the turn of the 20th century, according to which the role of the author as an omniscient and omnipresent demiurge of the fictional world started to wane. The paper puts forward that the unique entwinement of the narrator’s and the main character’s voices in A.P. Chekhov’s and J. Joyce’s short stories is the main structural-constructive factor of the free indirect speech and contributes to revealing the subtle creative substance of the works.

Dialogue with the past: linguo-stylistic analysis of V. G. Rasputin’s short story "French Lessons" (to the 85th anniversary of the birth)

The relevance of the article is determined by the fact that V. G. Rasputin’s prose is mostly researched from literary and methodological perspectives; less attention is devoted to its linguistic analysis. Despite the abundance of studies focusing on individual aspects of the short story "French Lessons", its holistic linguo-stylistic analysis has not been performed yet. This paper aims to provide a comprehensive description of the linguistic and stylistic specific features of the literary work in question. The research relies on the contextual, aesthetic-stylistic, linguo-poetic methods as well as level-by-level analysis. The paper identified a complex of linguistic means. On the one hand, these means are directed at the sphere of the environment depicted by the writer, and in which the main plot events unfold. On the other hand, they help to create the images of the author, the narrator, and the characters. The paper concludes that V. G. Rasputin made extensive use of lexical phraseological and grammatical means characteristic of the colloquial style to depict "fictional time". The characters’ specific speech features are reflected in the "author’s register" of the narration. The stylistic leitmotif of the story that determines both its composition and its imagery is a complex interaction of different viewpoints (those of the author, the adult narrator, the child-narrator, the characters). "Narrative time" is an amalgamation of colloquial and stylistically neutral means, a frequent occurrence of the adult narrator’s free indirect speech employed to assess the protagonist’s actions and emotions.

Poetics of Polyphonic Novel Related to the Free Indirect Speech

Since its appearance of M. Bakhtin s concept of Polyphony, this concept has attracted scholarly attentions from various academic disciplines. This article, giving a general contour of literary criticism on the concept, scrutinizes the linguistic features of Polyphonic Novel, which includes a diversity of voices. Bakhtin explores not formal grammatical description(Free indirect speech as a style of third-person narration which uses the third-person pronoun and past tense with deictics indicating the present), but speech interference that could create a relationship between two utterances and between two different points of view. The concept of Speech Interference served as theoretical framework for understanding speech interaction which tends toward the weakening of boundaries, permitting the infiltration of the utterance by authorial commentary, including the Double-voiced discourse. Through this examination, the major contribution of this study to the features of Polyphonic Novel, is that the essence of Polyphonic Novel lies precisely in the fact that the utterance as a ideological positions are combined in a unity of a higher order than in homophony, without being judged by an authoritative authorial discourse.

On introducing free indirect speech in Russian translation despite the absence of corresponding structures in the English original

The article analyzes the most typical cases of introducing free indirect speech in the Russian translation where there are no corresponding structures in the English original. Typical non-free-indirectspeech structures and contexts in the source text are explored, such as may materialize as free indirect speech in the target text. The study employs qualitative methods including lexical-semantic, contextual and comparative analysis of the source text and the target text. As for the structure, this paper has been divided into two parts. First, a theoretical background for the problem is established, involving the theories by Ia. I. Retsker and D. V. Psurtsev. The paper then goes on to examine translators’ choices to generate new interference of the narrator’s text and the character’s text. The cases when free indirect speech may arise in the Russian translation are typically based on kindred forms of the character’s speech representation in the English original, long descriptions of a situation where the character acts, complex sentences with content clauses, containing the character’s thoughts and emotions. The analysis suggests that the decision to introduce free indirect speech patterns into translation can be based on the typological differences between the languages in question, or on logical and stylistic “inclinations” of a given fragment. Therefore, the decisions to introduce free indirect speech fall into two groups, obligatory and possible respectively. If such choices by Russian translators constitute a tendency, a certain correlation of syntactic patterns and contexts may be established. The results obtained in the study may be used by translators of literary texts.

Slobodni neupravni i slobodni upravni govor u romanu "De Bello Civili" Svetislava Basare i njihovi prevodni ekvivalenti u engleskom jeziku

Most of the research studies on the translation equivalents of the direct and indirect speech were dealing with translations from English to Serbian language. In this paper, we investigate whether structural and/or stylistic movements occur when the free direct and free indirect speech (and their subtypes) are translated from Serbian language to English language. Novel De bello civili by Svetislav Basara is used as a research corpus. Almost all types of direct and indirect speech are present in the novel. Events in the novel take place very quickly, since the plot of the novel takes place in one day, reminding us how substantial the events of a single day can be. The events in the reality of fiction and events in the inner world of protagonists are mixed here, and hence the dominance of free direct speech. The research led to conclusion that forms in free indirect speech in English and Serbian language share most of the features (require context, use of past verb tenses, use of speech verbs and thoughts verbs that can be used in the main sentence etc), except for the sequence of tenses that is inherent in English and not in Serbian language. Since free direct speech does not include the shift of tenses, the examples of this type of reported speech are almost identical in both languages. Given that the narrator of the novel is at the same time the leading protagonist whose words are communicated, there is the omission of prenominal focalization, and there are cases when it is difficult to distinguish the free direct speech from free indirect speech. This implies the omission of author's speech and orthographic markers, which may impose a problem during translation. From the given examples, it can be seen that in some cases the translator was not guided by the Serbian language, in terms of following and communicating the reported speech. Although the free indirect speech is more flexible category in the Serbian language (Karavesović 2010), when translating into English there is often a problem of transferring all stylistic features. Following the rule of the sequence of tenses that is inherent in the English language, but not in Serbian, the translator diminishes the actuality achieved by the use of the free indirect speech in the original. Furthermore, sometimes it is very difficult to distinguish between the free direct and free indirect speech in the Serbian language; these two types of reported speech cannot be equalized in the English translation, and usually the indirect speech with subtypes is used as translation equivalent.

Pasolini’s View on the Free-Indirect Speech in the Italian Narrative

Pasolini’s View on the Free-Indirect Speech in the Italian Narrative

TIPOVI TUĐEG GOVORA U ROMANU „PIJAVICE“ DAVIDA ALBAHARIJA

This paper considers the models of transferring other people’s speech in David Albahari’s novel Leeches from the stylistic point of view. The aim of this paper is recording and illuminating the stylistic effects of different types of transmission of other people’s speech. By using analytical-descriptive methods in the novel, the following are recognized: real indirect speech, introduced free indirect speech, frag- mentary indirect speech, basic (grammaticalized) type of direct speech, semi-indirect speech, indirect expressive speech, and direct non-connector speech. In various contexts they depict the conversations of the novel’s characters.