Студопедия  
Главная страница | Контакты | Случайная страница

АвтомобилиАстрономияБиологияГеографияДом и садДругие языкиДругоеИнформатика
ИсторияКультураЛитератураЛогикаМатематикаМедицинаМеталлургияМеханика
ОбразованиеОхрана трудаПедагогикаПолитикаПравоПсихологияРелигияРиторика
СоциологияСпортСтроительствоТехнологияТуризмФизикаФилософияФинансы
ХимияЧерчениеЭкологияЭкономикаЭлектроника

POINT OF VIEW

The point of view is central to narrative prose because the reader needs to know who is telling the story. In a first person narrative, the I narrator relates the events she or he experiences. This allows the reader a direct insight into the character's mind. Often the experiences are viewed retrospectively so that there is a difference between the character's mature and immature personalities (for instance, Jane Eyre, by Charlotte Bronte; Great Expectations, by Charles Dickens; A Clockwork Orange, by Anthony Burgess). The choice of a first person narrator produces a personal relationship which tends to encourage the reader to empathise with the main character. Because this approach gives only one person's view of the story, however, it can biased, showing a limited understanding of the events and other characters.

In a third person narrative the narrator is often omniscient - all-seeing and all-knowing. Such narrators tend to give an overview of the story. Because there is no I, the narration is presented to the reader directly without an intermediary. There are two kinds of omniscient narrator: the unintrusive and the intrusive. The unintrusive narrator allows the author to tell the story from a distance, without the reader being aware of a persona telling the story or making judgments. The action is presented without many explicit comments or judgments. Writers like Graham Green and E.M.Forster are known for their invisible narrators. The intrusive narrator, on the other hand, explicitly comments on events and characters, often pointing to the significance of what they are presenting and providing a moral interpretation. Authors like Jane Austin and George Eliot intervene in their novels, explicitly guiding and influencing the reader's judgments.

Normally, third person narrators relate events and make descriptions using the declarative mood. The interrogative or imperative moods can be used to make direct addresses to the reader, inviting judgments or opinions on events and characters. Such addresses will often be marked by a change from simple past tense to simple present.

Novelists are interested in more than just events. The thoughts and opinions of characters are central to the creation of a fictional world. In the nineteenth century, many novelists used interior monologues to build up the thought patterns of their characters. Although supposedly reflecting a character's thoughts, the author would order and pattern these so that they were fluent and logical. In the twentieth century, writers like James Joyce and Virginia Woolf were some of the first to experiment with stream of consciousness writing, in which thought patterns appear on the page randomly. To show how chaotic and jumbled thoughts often are, writers can manipulate syntax and layout. This approach attempts to convey on the page the complexity of the human mind.

LEXIS

The lexis can be simple or complicated, formal or colloquial, descriptive or evaluative. The choices may depend upon the author's intentions.

Words may be subject specific, belonging to a particular field; they may be idiosyncratic, clearly linked to a particular character; or they may be linked to a real or imaginary dialect appropriate to the setting of the novel. The connotations of the words chosen will build up a particular viewpoint of the fictional world.

Nouns may be abstract or concrete, depending upon whether the prose focuses on events or states of mind. Proper nouns may be used to give the fictional world and its inhabitants a concrete basis. The intentional omission of names may create a mysterious atmosphere.

Modifiers may provide physical, psychological, emotive or visual detail. They may focus on colour, sound or noise to create the fictional world. It is through the modifiers that authors can influence the reader - they can describe or evaluate using words with positive or negative connotations which direct the reader to respond in chosen ways. Modifiers are crucial in forming a parallel world; in helping the reader to make decisions about events, characters and places; and in adding depth to any underlying message.

Verbs tell the reader about the kinds of actions and processes occurring. The use of stative verbs suggests that the author's interest lies in description, whether it be of setting or states of mind; dynamic verbs place an emphasis on what is happening, implying that the author is more interested in action than in contemplation.

All consideration of the lexis of fictional prose must take account of the time and place in which the novel is set. Authors' lexical choices will vary depending upon the kinds of worlds and the people they are creating.

наверх

SPEECH

Writers can adopt a variety of approaches to convey the speech of their characters on the page. Direct speech is an exact copy of the precise words spoken, allowing characters to speak for themselves. This approach gives prominence to the speaker's point of view. If writers vary spelling, vocabulary, word order and so on, it is possible to produce an accurate phonological, lexical and syntactical written version of characters' accents and dialects. Indirect speech reports what someone has said, using a subordinate that clause. The person who is reporting the conversation intervenes as an interpreter by selecting the reported words. This submerges (скрывает) the original speaker's point of view.

Free indirect speech is a form of indirect speech in which the main reporting clause (for instance, he said that...) is omitted. This merges the approach of both direct and indirect speech. It uses the same third person pronouns and past tense as indirect speech, but reproduces the actual words spoken more accurately. It can be used to create irony because it gives the reader the flavour of characters' words, while keeping the narrator in a position where he or she can intervene. Free direct speech can also be used to direct readers' sympathy away from certain characters or to indicate changes in the role of a character. Writers can present a character's thoughts in a similar range of ways.




Дата добавления: 2015-09-12; просмотров: 17 | Поможем написать вашу работу | Нарушение авторских прав

HOW TO INTERPRETE A TEXT | EXERCISES ON THE USE OF STYLISTIC DEVICES | Quot;A & P" BY JOHN UPDIKE | Quot;DRAWING BACK THE CURTAIN" BY DENIS HEALEY | Analysis 2. | Quot;NOBODY KNOWS" BY SHERWOOD ANDERSON | Quot;ONE STAIR UP" BY CAMPBELL NAIRNE | Quot;THE GIRLS IN THEIR SUMMER DRESSES" BY IRWIN SHAW | Quot;UNLIGHTED LAMPS" BY SHERWOOD ANDERSON | Quot;WHAT WAS IT?" BY FITZ-JAMES O'BRIEN |


lektsii.net - Лекции.Нет - 2014-2024 год. (0.008 сек.) Все материалы представленные на сайте исключительно с целью ознакомления читателями и не преследуют коммерческих целей или нарушение авторских прав