This thesis contains a critical review of the most important approaches to reported speech or those pertinent to it in the linguistic literature. Several problems concerning quotation parentheticals and presuppositions have been discussed and some solutions are proposed. The main issue, referred to as "the point of view", is worked out as an extension of the classical notion of transparency and opacity applied to NP, to several other elements of sentence structures. As a result, a set of interpretive rules are formulated which specify whether certain linguistic configurations promote a transparent or opaque interpretation of the sentence or part of it. Also, rules of correspondence are given which stipulate the conditions for semantic well formedness, in the case of omission of information.

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Thesis (Ph.D.)--Bowling Green State University, 2007. / Document formatted into pages; contains viii, 205 p. Includes bibliographical references.

Le discours indirect libre (DIL) en russe contemporain est envisagé dans le double rapport qu’il entretient avec, d’une part, d’autres formes du discours rapporté et, d’autre part, les formes de représentation des pensées dans le texte narratif appelées ici « à effet de DIL ». L’étude établit une gradation du DIL, qui s’étend de la forme subordonnée jusqu’à la forme non subordonnée qui fusionnant avec le récit. Divers marqueurs sémantico-syntaxiques sont étudiés et comparés avec l’expression du DIL en français. Un panorama large du DIL subordonné est esquissé, qui met en évidence la nécessité du concept de continuum dans le système du discours rapporté. Pour identifier le DIL, nous proposons d’examiner si les paroles peuvent vraisemblablement faire l’objet d’une verbalisation et si celle-ci peut se présenter sous cette forme dans l’énoncé d’origine. Pour le DIL non subordonné, les marqueurs expressifs sont étudiés en comparaison avec les formes « à effet de DIL », avec lesquelles il est souvent confondu. La position centrale de la thèse consiste à dire que, dans le DIL, il existe toujours une trace de la présence du narrateur : si cette présence ne se trouve pas dans le choix des termes de l’énoncé rapporté, elle se signale dans la disposition de cet énoncé au sein du récit, par le jeu des énoncés primaires et/ou des connecteurs qui peuvent jouer un rôle définitoire dans la stratégie narrative du récit. / Free indirect speech (FID) in Russian is compared, on the one hand, with other forms of reported speech and, on the other hand, with the representation of reported thought in narration. The dissertation draws up a gradation of FID. FID can be represented by subordinate and non-subordinate forms that can be integrated in the narration. Different semantic and syntactic markers in Russian are studied and compared with the markers in French. An outline of subordinate FID shows the necessity of the concept of continuum in the system of reported speech.The enunciation-centered description of FID is proposed : it is necessary to test if the utterance representing the reported speech or thought can be verbalised. If so, the test of transposition into the direct speech is implemented in order to discover whether or not this reported speech would be actually pronounced in the way it is reported. In the section which deals with non-subordinated FID, the expressive markers are studied and compared with other forms called « FID-effect forms », which are often confused with FID. The main point of the dissertation is about showing that FID always contains a trace of the narrator which can be seen in the choice of a term in the utterance, or by the disposition of the FID-utterance in the structure of the text. This trace can also be designated by the utterance clauses and (or) by the connectors that can have an important function in the narrative strategy of the text.

Thesis (MA)--University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The study investigates text properties of the consumer-advice magazine article in Xhosa within the framework of the genre-based approach to literacy and writing. The view of writing as component of the communication competence component in Grabe and Kaplan's (1996) theory of writing is assumed. It is argued that the analysis of (non-fictional) genres is a core ability in terms of the specifications of Curriculum 2005 for outcomes-based language teaching for writing skills. The term genre as it is used within genre theory refers to a (non-fictional) text which has an identifiable social (or cultural) purpose, an identifiable form (including beginning, middle and end) and specific constrains on the possible deviations allowed in its form. This study will examine seven BONA magazine articles to establish what identifiable generic properties can be attributed to these genretexts. The cognitive move structure of these magazine articles on consumer advice will be analysed to determine whether a typical move structure occurs for this genre. The text-linguistic properties of the various magazine articles will be investigated invoking Grabe and Kaplan's model of text-structure. In particular, properties like pronominal reference conjunctive devices, which contribute to text coherence and cohesion will be considered as well as lexical choices as a reflection of communicative purpose. Finally, the study will briefly address the issue of the significance of the genre-text knowledge underlying writing skills as the relevant kind of knowledge to be developed in terms of the specifications of outcomes-based language teaching in Curriculum 2005. The kind of analytic skills exemplified in the examination of the Xhosa magazine articles are therefore necessitated for accomplishing the outcomes for writing. The nationale for developing such analytic abilities with respect to writing skills is to empower learners to be competent writers in their future career lives. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die teks-struktuur eienskappe van die verbruikers-advies tydskrifartikel in Xhosa binne die raamwerk van die genre-gebaseerde benadering tot geletterdheid en skryfvaardigheid. Die beskouing van skryfvaardigheid as 'n komponent van die kommunikasievaardigheid komponent in Grabe en Kaplan (1996) se teorie van skryfvaardigheid word aanvaar. Daar word geargumenteer dat die analise van nie-fiksie (of nie-literêre) genres 'n kemvermoë is in terme van die spesifikasies van Kurrikulum 2005 vir uitkoms-gebaseerde taalonderrig van skryfvaardigheid. Die terme genre, soos dit gebruik word in genre-teorie verwys na 'n (nie-fiksie) teks met 'n identifiseerbare sosiale, kommunikatiewe of kulturele doelstelling, 'n identifiseerbare vorm (insluitende 'n begin, middel en einde) en spesifieke beperkings rakende die toelaatbare afwykings in vorm. Die studie sal sewe BONA tydskrifartikels ondersoek om te bepaal watter identifiseerbare eienskappe toegeskryf kan word aan hierdié genre-tekste. Die kognitiewe skuif-struktuur van hierdie tydskrifartikels oor verbruikersadvies salontleed word om te bepaal watter tipiese skuif-struktuur voorkom vir hierdie genre. Die teks-linguistiese eienskappe van die verskillende tydskrifartikels salondersoek word deur die model van Grabe en Kaplan te gebruik. In die besonder, eienskappe soos voornaamwoordelike verwysing, voegwoord-meganismes wat bydra tot tekskoherensie en kohesie salondersoek word, asook leksikale (woord) keuses as 'n refleksie van die skrywer se kommunikatiewe doelstelling. Laastens, sal die studie kortliks vraagstukke ondersoek rakende die belang van die genreteks kennis wat onderliggend is aan skryfvaardigheid as die relevante soort kennis wat ontwikkel moet word in terme van die spesifikasies van uitkoms-gebaseerde taalonderrig in Kurrikulum 2005. Die soort analitiese vaardighede wat na vore kom in die ondersoek van die Xhosa tydskrifartikels word genoodsaak ten einde die uitkomste vir skryfvaardigheid te bereik. Die motivering vir die ontwikkeling van sodanige analitiese vermoëns ten opsigte van skryfvaardigheid is om leerders te bemagtig om 'n goeie skryfvaardigheid te hê in hulle toekomstige beroepe. / ISICATSHULWA ISIXHOSA: Esi sifundo sinika sikwabonisa ngokupheleleyo ukuba nabani na obhalayo rnakacacelwe ukuba ubhalela isizwe, ngoko ke rnakabe neenjonge. Makaqiqe akucingisise oko akukhethele ukutyebisela uluntu ngako. Ibonisiwe imigaqo elandelwa ziingcali zaphesheya nezimvo zazo ngobhalo lwesicatshulwa kwaneengxaki abathe bahlangana nazo. Esi sicatshulwa sigxininise kwirnigaqo ernayi landelwe yikharikyularn equlunqwe yalungiselelwa izikolo. Kwikharikyulam kuboniswa ukuba xa kufundiswa ukubhala urnfundi obhalayo, utitshala obhalayo, isikolo, izixhobo zokufundisa kwaneendlela zokufundisa zibaluleke ngokufanayo nangokulinganayo. Kaloku olu hlobo lwesilabhasi lujolise kwiziqhamo. Indlela zokubhala zinikiwe kubekwa umnwe kwindlela apho urnbhali abhalela ukuxela into ethile phofu ezarna ukuqweqwedisela iingqondo zabantu kurnba othile. Iintlobo zokubhaliweyo nazo ziphononongiwe kwaze kwaqononondiswa kuleyo urnntu abhalela ukugqithisa ulwazi ngento ethile. Okubalulekileyo kokokuba lowo ubhalayornakakhethe okunorndla yaye kube serngangathweni. Izicatshulwa ezichongiweyo apha kwesi sifundo zihlonyulwe kwirnagazini yesiXhosa iBona. Zonke zichazwe gabalala phaya kwisahluko sesine, izizicatshulwa ezingeso labathengi. Kweli liso labathengi kucetyiswa kufundiswa abathengi ngeendlela zokuqoqosha ngernpurnelelo njengoko arnaxabiso enyuka umhla nezolo. Incwadi ebhalwe nguGrabe noKaplan isibonisa indlela erna ilandelwe xa ufundisa umntwana ukubhala. Bagxininise kwiiphararnitha: ngubani obhala ntoni, ebhalela bani, enayiphi injongo, ngoba, nini, phi, njani. Ezi phararnitha zisetyenzisiwe ukuphengulula nokuhlalutya ezi ziqwengana zikhethwe kwirnagazini iBona. Esi sifundo sigxininisa kwicala losetyenziso - lwirni kulo rnzekelo. Esi sifundo siphinde saxoxa nzulu ngonxulumano olukhoyo phakathi kwezi ziqwengana zichongwe kwiBona ezingeso labathengi kunye neziqhamo ezisixhenxe ezidweliswe zacaciswa kuxwebhu lwe-OBE (Outcome-based Education) olulungiselelwe izikolo. Olu xwebhu lwe-OBE luzama lusikhanyisela ukuba umntwana xa ebhala isicatshulwa makazicwangcise ngokukuko izimvo zakhe. Ingaba uyakuqonda ekuva na oko kuqulathwe koko akubhalileyo. Umzekelo esiwunikwe ngokaBathia we 'moves' ezisixhenxe athi zinokuchongwa kokubhaliwe yo, nawo usetyenzisiwe ukuxovula isicatshulwa ngasinye. Kolo xovulo kufumaniseke ukuba zintandathu kuphela i'moves' ezichongeka nezifumaneka kwezi zicatshulwa zeBona.

Dans son dernier roman achevé intitulé Persuasion, Jane Austen se sert fréquemment du style indirect afin de représenter la pensée du personnage principal, Anne Elliot. Ce roman fut traduit en français pour la première fois en 1821 par Isabelle de Montolieu, publié à Paris sous le titre de La Famille Elliot, ou l’ancienne inclination. Qu’est-ce que le style indirect libre devient dans la narration de la première traduction française de Persuasion ? La formulation de cette question, que nous envisageons à partir d’un corpus de textes théoriques, fait suite à un certain nombre de travaux consacrés aux relations entre la traduction et le discours rapporté qui ont mis en évidence le rôle du style indirect libre dans la traduction de Montolieu. On propose pour la première fois l’application des concepts narratologiques à l’analyse de cette traduction : notre étude s’appuie ainsi sur des notions opératoires susceptibles de saisir sa singularité narrative et le rapport entre le discours rapporté et la traduction. Le troisième chapitre de notre étude débute sur l’analyse de notre traduction. Grâce aux concepts issus de la narratologie surtout à tendance « énonciative », nous avons pu regarder au-delà de la phrase pour finir par remarquer que le style indirect libre est surtout très répandu dans la narration de La Famille Elliot. Nous souhaiterions ici combler une lacune en consacrant la présente étude à un phénomène souvent jugé « extraordinaire ». Pour autant, le présent ouvrage ne doit pas être considéré uniquement comme une étude spécialisée, car il a aussi l’ambition de contribuer à l’étude du discours rapporté au sein du texte traduit en général. / In Persuasion, Jane Austen uses this technique to present Anne Elliot’s consciousness. Persuasion, Austen’s posthumously published “late” novel is first translated by Isabelle de Montolieu as La Famille Elliot, ou l’ancienne inclination, Paris, 1821. This thesis analyses the translation of FID from Persuasion to La Famille Elliot. How does Montolieu handle this technique? In chapter 1 we point out that the main reason Montolieu’s use of FID in La Famille Elliot has been neglected for so long has far less to do with Austen’s fortunes in France than with an obsession with lexical and semantic equivalence within translation studies. One of the main purposes of this study is to extend the vision of translation studies beyond the level of the sentence. We think that we achieve this by setting out to document the existence of FID in the target text narration. I argue in chapter 2 that it is impossible to comment on the narrator or FID in La Famille Elliot with any precision without first analysing definitions of these abstractions within narratology. These analytical concepts may then, only then, be applied meaningfully to the target text. Ultimately, this is what this present study does in so far as it is a target-oriented translation study that draws on key concepts from the field of narratology. A re-evaluation of the target text narration within the conceptual framework of narratology reveals extensive use of FID. In chapters 3 and 4, our analysis demonstrates that sophisticated use of FID is frequently in evidence in the target text narration. In chapter 3, we analyse several passages of FID that often function to represent the complex life of the heroine’s mind as she converses with herself. In chapter 4, we analyse numerous passages of FID that seamlessly wed the narration in La Famille Elliot to the heroine’s point of view (PDV), demonstrating that the narration achieves this focus on the heroine’s consciousness through syntactically unmarked fragments of FID thought report.

This essay is a narratological analysis of Stephen King’s ​The Shining, ​and​ ​employs Mieke Bal’s categorization of focalization, description and discourse with the intent of establishing their function in representing the concept of the uncanny in the narrative. By analyzing these narratological functions and their interplay, several manifestations of the ordinarily elusive uncanny become evident. The novel, through the structuring of the narrative and use of forthright descriptions as well as the insight into the characters’ minds, continually manages to represent the disturbances of the familiar that characterize the uncanny.

"Realism" is one of the enduring theoretical problems of the cinema. This study aims to broaden the parameters of the term by focusing on an often overlooked strain of thought that flows throughout the work of a number of prominent and seemingly incongruous thinkers such as Bazin, Kracauer, Benjamin, Barthes, Buñuel, and others. Realism, I contend, is undergirded by something far more elusive and irrational than verisimilitude or social commentary. To demonstrate, I will examine a body of contemporary American films that I will cast—perhaps provocatively—as realist. I rely heavily upon Deleuze to discuss how free indirect discourse and the disjunction of sound and image open realism to an oneiric and/or intersubjective realm.

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The Romantic era, from roughly the middle of the eighteenth century to the middle of the nineteenth century, was a period of rapid and revolutionary social change. Progressing in parallel was the form of the novel, which rose from relative disrepute to the foremost literary genre. While neither a prolific writer nor one that was very popular during her lifetime, I argue that Jane Austen and her inimitable style can be figured at the nexus of these two transitions. This dissertation presents a comprehensive study of Austen’s style across her body of work, from her early manuscripts through her published novels and ending with her unfinished draft. Using historical, digital, sociological, and narratological methods, I interrogate Austen’s style on three interrelated levels—moving from the most insular effects to the broadest applications of her narrative technique. First, I explore the progression of Austen’s style across her canon, particularly focusing on the development and maturation of her free indirect discourse. Second, I locate Austen’s style in the evolution of the novel. I begin with constructing her literary lineage, which I argue is tied to female writers of the late eighteenth and early nineteenth centuries, and move towards understanding how her use of free indirect discourse was necessary for the emergence of the novel’s modern form. Third, I consider Austen’s style as a means of imagining and critiquing the changing social spaces of her contemporary moment, specifically in terms of how the layered vocality of her narrative technique reflected Britain’s movement from the rigid structures of rank and honour to the fluid categories of class and dignity. / Graduate