Оповідання Джуліана Барнса «Безмовність»: структура дискурсу
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2022
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Анотація
Дослідження оповідання сучасного англійського письменника Джуліана Барнса «Безмовність» (частини книги «Лимонний стіл») у статті здійснено з урахуванням ідей теорії риторичної структури, запропонованої у 1980-і Вильямом Манном та Сандрой Томпсон. Художній твір розглянуто як суперструктуру, яка складається з двадцяти сьомі дискурсивних одиниць. Вони розрізняються за своїм об’ємом: десята, найменша, складається з одного речення; одна з найбільших, шістнадцята займає півтори сторінки. Дискурсивні одиниці розрізняються також своєю направленістю, того акта комунікації, який в кожній з них здійснено (інтерв’ю, дискусія, акт саморефлексії, обґрунтування думок і так інше). Але між окремими дискурсивними одиницями існують зв’язки. Перша, тринадцята та двадцять сьома пов’язані ситуацією очікування героєм зустрічі з журавлями, яки, як зізнається старіючий композитор, наново вчать його звучанню. Смерть є тим ядром, яке скріпляє дванадцяту, вісімнадцяту, двадцять другу та двадцять третю частини тексту. Усі дискурсивні одиниці скріплено у цілісність тою концепцією життя, яку втілено письменником у художній твір, герой якого все більше поглинається атмосферою мовчання, намагається пристосуватися до нього та виправдати його, але у той же самий час не може залишатися в самотині. Це, у свою чергу, мотивує оформлення внутрішнього монологу героя як його віртуального, уявного діалогу. Робиться висновок про те, що навіть на рівні форми явна цілісність дискурсу, як його когерентність, так і когезія.
The purpose of the paper is to investigate Julian Barnes’s story “The Silence” (a part of the book named “The Lemon Table”) according to the Rhetorical Structure Theory, which was suggested by William Mann and Sandra A. Thompson in 1980-th. So the story by J. Barnes was studied as holistic structure, which consists of twenty seven text spans. They are different in their volume: the smallest, tenth, consists of one sentence; volume of sixteen, one of the largest, is one and a half pages. They are different in the focus of the act of communication carried out in them: it may be interview, dispute, discussion, act of self-reflection, justification of hero’s views, etc. But all text spans are united. So, the first, thirteenth and twenty-seventh parts of the text are connected by the situation of the hero's expectation of a meeting with the cranes and the realization of this expectation. The situation of hero's reflections on his relationship with his wife unite the ninth, eleventh, sixteenth, twenty-third and twenty-fifth text spans. Death is the core that unites the twelfth, eighteenth, twenty-second, twenty-third parts. If we compare the first and second parts of the work, as its largest discursive units, it turns out that in the first part the hero mainly appears in relations with strangers and, as a rule, these relations are unfriendly. In the second part of the work, the hero is mostly focused on the increasing discord with his wife, on the approaching of old age and death. Thus, the first part has a more dramatic character as a discursive unit, while the second is mostly lyrical. And the fact that the entire story “The Silence” is organized as an internal dialogue of the hero with imaginary interlocutors and opponents emphasizes the motive of his loneliness. Text spans are united with the author’s conception embodied in the story, too. The investigation of relation structure between different text spans made it possible to determine writer’s conception of the hero, who tries to adapt to the growing silence in his life and to justify it, but at the same time he cannot be in absolute isolation from the world. All the text of the story is an inner monologue of an aging composer. But it is framed as a series of his virtual, imaginary dialogues. So, already at the level of form of the story by J. Barnes both its cohesion and coherence are obvious.
The purpose of the paper is to investigate Julian Barnes’s story “The Silence” (a part of the book named “The Lemon Table”) according to the Rhetorical Structure Theory, which was suggested by William Mann and Sandra A. Thompson in 1980-th. So the story by J. Barnes was studied as holistic structure, which consists of twenty seven text spans. They are different in their volume: the smallest, tenth, consists of one sentence; volume of sixteen, one of the largest, is one and a half pages. They are different in the focus of the act of communication carried out in them: it may be interview, dispute, discussion, act of self-reflection, justification of hero’s views, etc. But all text spans are united. So, the first, thirteenth and twenty-seventh parts of the text are connected by the situation of the hero's expectation of a meeting with the cranes and the realization of this expectation. The situation of hero's reflections on his relationship with his wife unite the ninth, eleventh, sixteenth, twenty-third and twenty-fifth text spans. Death is the core that unites the twelfth, eighteenth, twenty-second, twenty-third parts. If we compare the first and second parts of the work, as its largest discursive units, it turns out that in the first part the hero mainly appears in relations with strangers and, as a rule, these relations are unfriendly. In the second part of the work, the hero is mostly focused on the increasing discord with his wife, on the approaching of old age and death. Thus, the first part has a more dramatic character as a discursive unit, while the second is mostly lyrical. And the fact that the entire story “The Silence” is organized as an internal dialogue of the hero with imaginary interlocutors and opponents emphasizes the motive of his loneliness. Text spans are united with the author’s conception embodied in the story, too. The investigation of relation structure between different text spans made it possible to determine writer’s conception of the hero, who tries to adapt to the growing silence in his life and to justify it, but at the same time he cannot be in absolute isolation from the world. All the text of the story is an inner monologue of an aging composer. But it is framed as a series of his virtual, imaginary dialogues. So, already at the level of form of the story by J. Barnes both its cohesion and coherence are obvious.
Опис
Ключові слова
теорія риторичної структури, дискурс, дискурсивна одиниця, структура зв’язків, Дж. Барнс, the Rhetorical Structure Theory, discourse, text span, relation structure, Julian Barnes
Бібліографічний опис
Прикладна лінгвістика на Півдні України: здобутки і перспективи : кол. монографія / ОНУ ім. І. І. Мечникова ; наук. ред. Н. В. Кондратенко. – Одеса; Вінниця: ТВОРИ, 2022.