Free Indirect Speech Research Articles

Free indirect speech in Croatian oral folk tales

This paper considers free indirect speech (FIS) in Croatian oral folk tales (fairy tales, legends, oral tradition and fables). Oral folk tales (folklore) from all parts of Croatia, and that in all three Croatian dialects (the Shtokavian, the Chakavian, and the Kajkavian) have been analysed. Special attention is paid to first-hand accounts according to authentic tellings in recent times. The types of FIS that are commonly attributed to the linguo-stylistic characteristics of modern art prose have been con[1]sidered. Additionally, some techniques that also indicate SNG have been analysed, which has neither been noticed nor described in the hitherto Croatian philological literature. It is concluded that FIS is a linguo-stylistic device which affects the way of delivering (creating) a story, but it is also a feature which distinguishes one tale from another.

Free indirect speech in Croatian oral folk tales

This paper considers free indirect speech (FIS) in Croatian oral folk tales (fairy tales, legends, oral tradition and fables). Oral folk tales (folklore) from all parts of Croatia, and that in all three Croatian dialects (the Shtokavian, the Chakavian, and the Kajkavian) have been analysed. Special attention is paid to first-hand accounts according to authentic tellings in recent times. The types of FIS that are commonly attributed to the linguo-stylistic characteristics of modern art prose have been con[1]sidered. Additionally, some techniques that also indicate SNG have been analysed, which has neither been noticed nor described in the hitherto Croatian philological literature. It is concluded that FIS is a linguo-stylistic device which affects the way of delivering (creating) a story, but it is also a feature which distinguishes one tale from another.

Verbalization of indirect speech in the epistolary discourse of Lesya Ukrainka

The article deals with the specifics of constructions with indirect speech in the epistolary of Lesya Ukrainka in terms of the structure of syntactic units and semantics of introductory verb tokens. In addition, attention is drawn to the syncretism of constructions with indirect speech, due to the peculiarities of the epistolary style. In the process of expressing opinions, Lesia Ukrainka used various forms of transmission of another’s speech, including indirect speech and its peripheral version – free indirect speech, the design and structure of which differs from indirect.
 Compound sentences with an explanatory part and complex sentences with several subordinate clauses, representing homogeneous subordination or consecutive subordination, are quantitatively predominant in constructions with indirect speech. Sentences-microtexts, built on the schemes «text – the author’s words – indirect speech», «text – the author’s words – indirect speech – text», «author’s words – indirect speech – text» are the next group. Sentences with double indirect speech, where the thoughts of one speaker, which testified by introductory verbs, or two speakers, or sometimes several, are highlighted separately. Indirect speech in letters is introduced using verbs of speech and thinking or their equivalents. Among the neutral verbatives-introductory words that represent live speech, the most productive are the tokens to speak, to think, to write, and among the implicit introductions – to be afraid and to hear. In addition, a number of implicit tokens that introduce indirect speech into the epistolary are highlighted. Thus, the epistolary style, although it has a number of common features with colloquial and artistic speech, but in the field of representation stands out among others with a bright set of linguistic means.

Несобственно прямая речь в переводе (на материале русских переводов романа Г. Флобера “Madame Bovary”)

The paper aims to determine the degree of isomorphism in the transfer of free indirect speech (FIS), using the material of French fragments from G. Flaubert’s novel “Madame Bovary” and its nine translations into Russian. Scientific novelty lies in the fact that the paper considers the ways of translating original fragments containing FIS from the standpoint of isomorphism, involving the material of parallel texts of different years. According to the results, the original fragments with someone else’s speech in italics are transferred, as a rule, by direct or indirect speech or whithout any italics in translations. On the contrary, the fragments containing FIS where the authorship of other people’s words is not indicated are transferred mainly isomorphically. Finally, the FIS that conveys other people’s thoughts is translated with the predominant preservation of the original form but also with the use of other syntactic means.

FRAUEN UND LIEBESBEZIEHUNGEN IM FRÜHSCHAFFEN DOSTOEVSKIJS: ARME LEUTE (1845) UND DER DOPPELGÄNGER (1846)

This paper analyzes female characters in two early works by Fyodor Mikhailovich Dostoevsky– Poor Folk (1845, Bednye liudi) and The Double (1846, Dvoinik). It considers the literary methods used to represent those characters, as well as their relation to the male main character and some aspects of gender construction in these works. It is shown that the importance of female characters in these two works is directly connected with their (real or imagined) influence on the male main character. Consequently, a female character can play an important role in the novel even if she doesn’t personally appear in it. Women are fatal for both male characters, albeit for different reasons. Drawing on the research of Neuhäuser (1979), this article shows some further similarities in the basic structure of both works. They share the form of a love affair accompanied by intertextual references, as well as a narrated previous relationship of the male character, both of them serving as an additional explanation of the current love affair. The epistolary form of Poor Folk leads to self-representation being the main way of showing Varvara Dobroselova’s character, while Klara Olsuf’evna of The Double is depicted both from the perspective of the auctorial first-person narrator, as well as from Goliadkin’s perspective. The auctorial narrator of The Double ironizes not only Klara Olsuf’evna, but also other characters and social practices of the Petersburg society. The internal monologues and the free indirect speech of Goliadkin, however, show signs of a negative, even misogynistic attitude towards the character of Karolina Ivanovna and partially also to Klara Olsuf’evna. Lastly, Poor Folk introduces themes to Dostoevsky’s work, which occupy him until the end of his life and manifest themselves in their more recognizable form in his later works.

Asindetske rečenice kao jezičko-stilska dominanta pripovijedaka Jovana Radulovića

The paper pinpoints and describes asyndetic sentences as the linguistic and stylistic dominant of Jovan Radulović’s short stories. The analysis was primarily syntac- tic-semantic, because its goal was to single out and describe the basic structural-semantic models of asyndetic sentences in Radulović’s literary work. The method of analysis was analytical-synthetic. The analysis of asyndetic sentences in Jovan Radulović’s short stories greatly chang- es the view on the syntactic-semantic and stylistic status of these sentences in the language in general, and in the literary-artistic style in particular. Namely, Jovan Radulović shows originality and innovation by creating as many as five structural-semantic types of asyndetic sentences. Thus Radulović forms asyndetic sentences: 1) whose clauses combine narrative and direct speech as the speech of literary characters, 2) whose clauses combine narrative and free indirect speech, 3) whose clauses represent sentences of different functional goal or purpose, 4) which combine clauses expressed by predicate and non-verbal statements, and 5) whose asyndetic clauses allow“insertion” into the structure of another asyndetic clause. And it is exactly these types that represent the main argument that asyndetic sentences are structured according to the principles of the (bound) text, and not according to the princi- ples of a complex sentence. The analysis also showed that Jovan Radulović often includes a syndetic clause in the structure of polyclause asyndetic sentences in the mesophoric or epiphoric position for semantic and / or stylistic reasons, thus forming an asyndetic-syndetic sentence, which represents a comparative basis for declaring asyndetic sentences as a stylistic device. The analysis also showed that Jovan Radulović uses three orthographic signs for syntactic delimitation of clauses without conjuntions in the asyndetic sentence, namely commas, dashes and semicolons, where the comma is the most common and structurally- stylistically unmarked sign, while dash and semicolon are always used intentionally: for a special or structural or semantic, or stylistic emphasis on the role of one of the clauses within the whole asyndetic sentence.

Virginia Woolf ve James Joyce’un Modern Anlatım Teknikleri Üzerine Karşılaştırmalı Bir Çalışma

Yirminci yüzyılın başlarında, modernist yazarlar gerçekliğin geleneksel temsili ifade biçiminden uzaklaşarak yeni deneysel anlatım teknikleri ile karakterlerin iç dünyalarına ve içsel düşünce akışlarına yönelmişlerdir. Modern İngiliz edebiyatında kullanılan anlatım teknikleri yazarlar tarafından hem benzer hem de farklı biçimlerde sunulmaktadır ve bu da her yazara özgün yazım teknik ve yöntemi kazandırmaktadır. Karşılaştırmalı yöntem kullanan bu çalışma modern romanın en önemli iki özgün yazarı olan Woolf ve Joyce’un romanlarını kullandıkları anlatım teknikleri türleri açısından inceleyerek bir sentez sunmaktadır. Woolf’un duyarlı, döngüsel ve sarmal kadın anlatımı ile Joyce’un sınırlı noktalama işaretleriyle, rasyonel, doğrusal ve sinematik anlatımı bu ayrıma birer örnektir. Ayrıca Woolf’un varolma anlatı tekniği Joyce’un tezahür (epifani) tekniği ile hem benzeşir hem de ayrışır. Her iki yazar da farklı üslup, stil ve yöntem aracılığıyla tıpkı bir nehir gibi akışkan olan zamanda ileri ve geri giderek tek bir güne sığan anlatıları ile karakterlerin ruhsal deneyimlerini, duygu ve bilinç akışlarını ortaya çıkartırlar. Bu bağlamda bu makale modern İngiliz edebiyatında bilinç akışı, iç monolog, serbest dolaylı söylem, tezahür (epifani), varolma anları gibi modern anlatım tekniklerini ustaca kullanan iki öncü yazar olan Virginia Woolf ve James Joyce’un yazı tekniklerindeki benzerlikler ve farklılıkları karşılaştırmayı amaçlar.

The Narrative Form in Leonid Yuzefovich's Novel “Cranes and Dwarfs”

Исследование показало, что свободный косвенный дискурс использовался в романе Леонида Юзефовича «Журавли и карлики»для передачи точки зрения речи и повествования от лица всех трех главных героев романа (Жохова, Шубина и Анкудинова), доминировала при этом точка зрения Жохова. В статье обсуждаются обнаруженные нами в тексте романа «Журавли и карлики» виды конструирования свободного косвенного дискурса. А именно:несовпадение субъекта речи и субъекта сознания в указании пространственной или временной локализации персонажа; вплетение в голос субъекта речи голоса персонажа посредством указания на восприятие (физическое или интеллектуальное) ситуации, или объекта, или природных явлений персонажем; передача в рамках речевого акта повествователя мыслей и субъективного восприятия действительности персонажем; передача в рамках речевого акта повествователя внутреннего состояния и эмоциональных переживаний персонажа; соединение голосов повествователя и персонажа способом называния родственных связей и частей тела персонажа.В статье также приводится список речевых маркеров, свидетельствующих о совмещении точек зрения автора и персонажа в рамках одного речевого акта.

ЭВОЛЮЦИЯ СТРУКТУР НЕСОБСТВЕННО-ПРЯМОЙ РЕЧИ В АНГЛИЙСКОЙ, АМЕРИКАНСКОЙ И РУССКОЙ ЛИТЕРАТУРЕ

Changes that free indirect speech underwent in English, American, and Russian literature during the 20th century were investigated. Both general and more specific (qualitative and quantitative) trends in the free indirect speech development were discussed. Free indirect speech was considered from a diachronic point of view, i.e., the study aims to identify a correlation between the patterns that could be relevant for literary translation from English into Russian and vice versa. Based on the results of the quantitative and qualitative analysis of free indirect speech contexts, it was demonstrated that free indirect speech has evolved. A notable increase in the degree of textual interference and in the variety of models employed was observed. Interestingly, the frequency of occurrence of free indirect speech structures in literary texts varies from decade to decade. Although there are some common trends in free indirect speech usage following the global tendencies in literature, its evolution depends on particular national literary traditions as well. The data obtained show that the most intense usage of free indirect speech segments is typical for the English literature. From the translation perspective, it is important that the general frequency and functional models of indirect speech usage can slightly differ even in texts of the same period or among the writers.

Splot głosów. Mowa pozornie zależna w Requiem dla gospodyni Wiesława Myśliwskiego

The article analyzes the drama Requiem dla gospodyni by Wiesław Myśliwski in the context of free indirect discourse as understood in literary criticism. The author of the article discusses the instances of this form of expression used in the utterances of Boleś, a shepherd and country madman of an unknown ontological status. She notices the problems with distinguishing between free indirect speech and the direct quoting of the late titular landlady [gospodyni] with whom Boleś established a strong bond. The author demonstrates that the shepherd plays a significant role both as a part of the storyline and a formal element because his creative capacity (building images) as well as linguistic (creating a binarrative in free direct speech) reveal his meta-dramatic character and privilege the dramatic subject.

Angus Fletcher. <em>Wonderworks. The 25 Most Powerful Inventions in the History of Literature</em>

Angus Fletcher. <em>Wonderworks. The 25 Most Powerful Inventions in the History of Literature</em>

Uttered Free Indirect Speech in Russian and English Literature: Characteristics and Introductory Constructions

Uttered Free Indirect Speech in Russian and English Literature: Characteristics and Introductory Constructions

GLAGOLSKI OBLICI U STRUKTURI I ZNAČENjU PRIPOVIJETKE „ČUDNI PODVIŽNIK“ GRIGORIJA BOŽOVIĆA

In this short story by Božić, the story within a story is represented in the form of a ring structure – the encompassing story is told by the narrator, who is the author, in the form of the author’s „I”, while the inner, central story is told by the character-narrator in the form of free indirect speech and direct speech. These different points of view and different types of speech are expressed by means of different verbal form which correspond to the static descriptive and constative statement (present, perfect or truncated perfect) in narration, or to the expressively actualised experience of reality (aorist) ordinamicially and modally determined directive expression of direct speech expressed via the imperative. In Božović’s story, these expressive verbal forms, both main and their alternatives, are harmonized, in the first place, with regard to the nature and content of focalization.

Speech, Thought and Writing Representation Modes in Jane Austenʼs Novel Sense and Sensibility

Bakhtin’s views (1980:127-130) on the importance of studying speech representation and its interaction with authorial context incited prolific research in various disciplines. The research presented in this paper is based on Bakhtin’s crucial claims about speech representation, and on the theoretical framework of linguistic stylistics (Kovačević 2011, 2012, 2013, 2015; Katnić-Bakaršić 2001) and representology (Kovačević 2015:253-254). The aim of this paper is twofold—to identify the types of speech, thought and writing representation employed in the novel Sense and Sensibility and to describe their interaction with the authorial context. The method applied is‘word by word’ analysis, where in the first stage the modes of speech, thought and writing representation are identified; in the next stage their interaction with authorial context is described. The modes of speech are classified and differentiated by combining the classifications of representation modes in Serbian and English (Leech and Short 2007; Semino and Short 2004; Kovačević 2013). The results of the analysis prove that Jane Austen employs the following modes to repоrt speech, thought and writing: indirect speech/thought/writing, narrator’s report of speech act/ thought act/writing act, expressive indirect speech/thought, free indirect speech/thought, direct speech (monologue, dialogue, polylogue), free direct speech, line of dialogue, fragmental quote, hypothetical speech, direct thought, free direct thought, direct writing, embedded speech/thought. Predominantly, the line of interaction between authorial speech and direct speech involves the former being parenthetically embedded into foregrounded direct speech, amalgamating with the free indirect thought/speech or having as an attachment a ”package” of different embedded modes of speech/thought/writing representation. Primarily indirect thought, free indirect thought, direct thought, and free direct thought are the modes employed to characterise Elinor Dashwood, while on the other side the modes of direct speech, free direct speech, free indirect speech and direct writing combined with numerous mimetic markers prevail in depicting her sister Marianne. It is through the stylistically effective transitions between these modes and their interaction with the authorial context that the total antithetical effect regarding the sense and sensibility principles is obtained on the syntactic-stylistic level.

Character features of uttered free indirect speech by the example of Marina Tsvetaeva’s prose and letters

The purpose of this work is to identify the character features of the uttered free indirect speech in the prose works of Marina Tsvetaeva (stories, novels and letters) and to analyze its functioning in the author’s text field. The object of the study requires: 1) to review the scientific literature on the problem of free indirect speech, 2) to select and analyze factual material from the stories, novels and letters of M. I. Tsvetaeva, illustrating the theoretical positions put forward in the work. Based on the structural and semantic classification proposed by the Belorussian linguist E.Ya. Kus’ko, the authors of the article describe the distinctive features of various types of uttered free indirect speech: thematic speech, hidden speech, speech in the speech, collective speech, and quotation speech. It is concluded that the latter type of uttered free indirect speech finds the greatest application in the prose texts of the outstanding Russian poet of the twentieth century, whereas M. I. Tsvetaeva resorts to uttered free indirect speech very rarely, which is due to the specifics of the poet's idiostyle.

Character features of uttered free indirect speech by the example of Marina Tsvetaeva’s prose and letters

The purpose of this work is to identify the character features of the uttered free indirect speech in the prose works of Marina Tsvetaeva (stories, novels and letters) and to analyze its functioning in the author’s text field. The object of the study requires: 1) to review the scientific literature on the problem of free indirect speech, 2) to select and analyze factual material from the stories, novels and letters of M. I. Tsvetaeva, illustrating the theoretical positions put forward in the work. Based on the structural and semantic classification proposed by the Belorussian linguist E.Ya. Kus’ko, the authors of the article describe the distinctive features of various types of uttered free indirect speech: thematic speech, hidden speech, speech in the speech, collective speech, and quotation speech. It is concluded that the latter type of uttered free indirect speech finds the greatest application in the prose texts of the outstanding Russian poet of the twentieth century, whereas M. I. Tsvetaeva resorts to uttered free indirect speech very rarely, which is due to the specifics of the poet's idiostyle.

Causality, subjectivity and mental spaces: Insights from on-line discourse processing

Abstract Research has shown that it requires less time to process information that is part of an objective causal relation describing states of affairs in the world (She was out of breath because she was running), than information that is part of a subjective relation (She must have been in a hurry because she was running) expressing a claim or conclusion and a supporting argument. Representing subjectivity seems to require extra cognitive operations. In Mental Spaces Theory (MST; Fauconnier, Gilles. 1994. Mental spaces: Aspects of meaning construction in natural language. Cambridge: MIT Press) the difference between these two relation types can be described in terms of an extra mental space in the discourse representation of subjective relations: representing the Subject of Consciousness (SoC). In processing terms, this might imply that the processing difference is not present if this SoC has already been established in the discourse. We tested this prediction in two eye tracking experiments. The results of Experiment 1 showed that signaling the subjectivity of the relation by introducing a subject of consciousness beforehand did not diminish the processing asymmetry compared to a neutral context. However, the relative complexity of subjective relations was diminished in the context of Free Indirect Speech (No! He was absolutely sure. There was no doubt about it. She was running so she was in hurry; Experiment 2). In terms of MST and the representation of subjectivity in general, this implies that not only creating a representation of a thinking subject, but also assigning a claim to this thinking subject requires extra processing effort.

Forms Used to Convey Reported Speech in French Epistolary Novel

The article is focused on the study of forms used to convey reported speech in the French epistolary novel of the 18th–20th centuries. The study is based on the novels Les Liaisons dangereuses by Pierre Choderlos de Laclos, Mémoires de deux jeunes mariées by Honoré de Balzac, and Les jeunes filles by Henry de Montherlant, which are prominent examples of the epistolary novel of the respective epochs. Proceeding from duality of the epistolary novel, i.e., a combination of the form of a letter andthe genre of the novel, the French epistolary novel is defined by its special structure and composition, which determine perception of the information delivered in the novel. The form that conveys reported speech is aligned with writer’s intention. A descriptive variant of presenting dialogues prevails, while the use of direct speech in decisive moments of narration results from the pursuit of credibility. When the credibility is not more important, the reported speech is used to describe the characters and cover their characterisations. Indirect speech is used in an epistolary novel more often, but free indirect speech is virtually absent, which is explained by the absence of narrative speech that is usually interpreted via free indirect speech.

On types of reported speech in English and Serbian newspaper discourse

The paper aims to investigate and classify certain types of reported speech in English and Serbian newspaper discourse. After a short account of the most relevant theoretical reflections related to the phenomenon of reported speech, the paper presents an exemplified classification of the types of reported speech present in English and Serbian newspapers, as well as a description of their potential functions. Predominant forms of reported speech are direct and indirect speech, which can be explained by the overall tendency of newspapers to present a valid and objective representation of actual events. Other less frequently found types of reported speech are free indirect and free direct speech, yet their usage differs between English and Serbian. Although the mentioned types of reported speech are rare, the fact that they do appear occasionally raises the issue of the functions they are supposed to perform and the effect they are supposed to have on the reader.

Free Indirect Speech in Northanger Abbey

The thesis mainly analyzes the Free Indirect Speech in Austen’s novel Northanger Abbey (Volume 2). When Austen describes Catherine’s feeling for Henry Tilney, it is difficult for us to distinguish the subjective consciousness of the narrator from the character. Their calm and objective tone is prone to arouse the resonance with the readers. Authorial narrator sometimes appears to explain the fate of Catherine. When Austen describes Catherine’s expedition to Northanger Abbey, the character has more prominent subjective consciousness, and readers can distance themselves from the character and examine Catherine’s ridiculous and irrational behavior and feel the ironic effects. The thesis points out that Austen used this technique to portray Catherine, who was able to deal with her feeling for Henry reasonably, however, was influenced greatly by the Gothic novels at that time, and could not handle the relationship between reality and fiction very well.