251 research outputs found
Aural Design and Coherence in the Prologue of First John
Brickle, Jeffrey E., âAural Design and Coherence in the Prologue of First John.â Ph.D. diss., Concordia Seminary, 2010. 236 pp.
The dissertation focuses on the aural features of the Prologue of 1 John. These features reflect an underlying design which facilitated the communication of its rhetorically powerful message within the dynamic oral culture of the late first century. The complexity of the passageâs grammar and syntax has long puzzled modern biblical scholarsâwho typically read in silence and evaluate ancient documents from a print-based viewpointâand hampered attempts to discern a coherent structure. The dissertation surveys these scholarly attempts to resolve the Prologueâs complexity. Drawing on findings made by the study of orality and contemporary approaches to aural analysis, we propose that attention to the Prologueâs aural characteristics offers an important key to understanding its form and function.
The dissertation first explores the Prologueâs visually-evident aural profile. This is carried out by attending to the role of the passageâs grand organizing scheme before undertaking a more detailed, linear analysis. Here we explore, for example, the central function of its two featured digressions, the highlighting of three central themes, and the placement of three recurring sound patterns which instill stability and movement into the overarching structure. As a means to uncover aural features of the Prologue not readily apparent through a visual investigation of the text, we next introduce and apply the approaches to Greek pronunciation and aural analysis advocated by Chrys Caragounis in his book, The Development of Greek and the New Testament. The dissertation employs Caragounisâ âHistorical Greek Pronunciationâ (HGP) as a test case to determine the impact on the Prologueâs aural landscape. This is followed by an analysis bringing to bear on the Prologue the principles for beautiful and effective composition elucidated by the ancient teacher of rhetoric, Dionysius of Halicarnassus, in his treatise, On Literary Composition. A final chapter draws together the results and implications of the study. Here we note (1) the key role played by sound patterns in the passageâs development and foregrounding, (2) the effects of the HGP on its soundscape as well as the results of âhearingâ the Prologue through Dionysiusâ keen ears, (3) the connotations our study has on our assessment of the authorâs literary skills, and (4) the theological outcomes supported by the passageâs aural contours. In addition, the final chapter offers suggestions for further ways to apply research in ancient media culture to the Prologue through the aspects of aurality, performance, and memory
Verbal irony in literary discourse: a pragmatic-stylistic study with particular emphasis on contemporary narrative fiction
This thesis attempts to shed new light on the functioning of verbal irony in literary
discourse and contemporary narrative fiction in particular, adopting a pragmatic,
stylistic approach to the topic. It argues in favour of Sperber and Wilson's pragmatic
account of verbal irony which it deems extendable and generalisable, despite its two
main shortcomings concerned with the basically one-to-one situation analysis it offers
and its disregard for components (of a psycho-sociolinguistic nature) which are
essential for explaining and securing the existence of irony. The defence of this
argument follows two steps.The first (Chs. I, II, III, IV) is concerned with the exploration of the potential that
discourse as a whole and literary discourse in particular offer for warranting such a
view of irony. Tremendous support has been unravelled from the notions of
intertextuality, recontextualisation and re-attribution which readily accomodate the
proposed view of irony and help to elucidate it.The second step explores irony in contemporary narrative fiction taking into
consideration aspects of its discourse, and the way it can be reconciled with Sperber
and Wilson's account. Chapter V singles out some paratextual elements (the title, the
epigraph and the note) as instantiating intertextuality par excellence and therefore
offering a fertile ground for the communication of irony, at the periphery of the body of
the fictional text. Chapters VI and VII scrutinise the organisation of the narrative lx>th
as report of events and as report of speech in order to single out the potential each
narrative technique offers for the generation and comprehension of irony. It is argued
that the duplicity between "story" and "discourse" is at the heart of a great deal of the
possibilities open for irony in narrative fiction given what it offers for the manipulation
of the organisation of the events in terms of time, focalisation and narration as well as
speech and thought presentation.This investigation is further accompanied by an exploration of the pragmatic or
rhetorical purposes behind the use of irony through the manipulation of these
techniques. Characterisation, thematic reinforcement and self-conscious criticism are
found to be the elements of narrative that seem to benefit most from ironic
communication
Cultural and textual properties in the translation and interpretation of allusions. An analysis of allusions in Dorothy L. Sayersâ detective novels translated into Finnish in the 1940s and the 1980s
Kulttuuriset ja tekstuaaliset tekijÀt alluusioiden kÀÀntÀmisessÀ ja tulkinnassa. Alluusiot Dorothy L. Sayersin 1940- ja 1980-luvuilla suomennetuissa salapoliisiromaaneissa
VÀitöskirja kÀsittelee alluusioiden kÀÀntÀmistÀ ja tulkintaa. Alluusio on intertekstuaalinen viittaus, jonka tulkitsemiseen tarvitaan implisiittistÀ tietoa tutuksi oletetusta viittauskohteesta. KÀÀnnösongelma alluusiosta tulee, mikÀli kohdekulttuurin lukijat eivÀt tunne viittauskohdetta eivÀtkÀ voi pÀÀtellÀ alluusion merkitystÀ. Tutkimus pyrkii kuitenkin uuden analyysimenetelmÀn avulla osoittamaan, ettÀ vieraat alluusiot eivÀt vÀlttÀmÀttÀ johda tulkintaongelmiin.
VÀitöskirja jakautuu kahteen osaan: analyysimenetelmÀn kehittÀmiseen (luvut 1-5) sekÀ tapaustutkimukseen (luvut 6-7). Kehitetyn menetelmÀn avulla pystytÀÀn analysoimaan aikaisempaa tarkemmin, millaisia tulkintamahdollisuuksia alluusiot tarjoavat eri lukijakunnille ja miten lÀhdetekstin alluusioiden kulttuuriset ja tekstuaaliset piirteet korreloivat kÀÀnnösstrategioiden kanssa. Tapaustutkimus selvittÀÀ, millaisia tulkintamahdollisuuksia Dorothy L. Sayersin 1940- ja 1980-luvuilla suomennettujen salapoliisiromaanien alluusiot tarjosivat aikansa suomalaisille lukijoille. Tavoitteena on myös hahmottaa, miten suomentajien kÀÀnnösratkaisut ja alluusioiden tulkintamahdollisuudet liittyvÀt toisaalta lÀhdetekstin alluusioiden piirteisiin ja toisaalta kohdekulttuurin kontekstiin. Tapaustutkimus tarjoaa nÀin uutta tietoa suomennoskirjallisuuden ja salapoliisiromaanien historiasta.
AnalyysimenetelmÀ mÀÀrittelee aikaisempaa alluusioita ja intertekstuaalisuutta kÀsitelleen tutkimuksen pohjalta ne kulttuuriset ja tekstuaaliset piirteet, jotka vaikuttavat alluusioiden kÀÀntÀmiseen ja tulkintaan. Kulttuurisessa mielessÀ alluusio voi olla tietylle lukijakunnalle tuttu tai tuntematon. Tekstuaalisia tekijöitÀ ovat alluusion muodon ja tyylin tunnusmerkillisyys sekÀ alluusion pintamerkityksen koherenttius uudessa tekstikontekstissa, ilman tietoa viittauskohteesta.
Alluusioiden tulkinnassa on perinteisesti erotettu toisaalta allusiivinen tulkintamahdollisuus, jossa alluusio on lukijoille tuttu ja yhdistettÀvissÀ viittauskohteeseensa, toisaalta kulttuuritöyssy, jonka muodostaa lukijoille tuntematon ja pintamerkitykseltÀÀn inkoherentti alluusio. Tutkimuksessa mÀÀritellÀÀn kulttuuristen ja tekstuaalisten tekijöiden perusteella lisÀksi kaksi muuta mahdollisuutta. Pseudo-allusiivisessa tulkinnassa tuntematon alluusio erottuu ympÀröivÀstÀ tekstikontekstista tyyliltÀÀn ja on koherentti ainakin kuvaannollisessa mielessÀ ilman viittauskohdettaan. Ei-allusiivisessa tulkinnassa taas vieras alluusio sulautuu kontekstiin sekÀ muodoltaan ettÀ merkitykseltÀÀn niin, ettei lukija edes huomaa mahdollista alluusiota. Tulkintamahdollisuuksien jakauma antaa yleiskuvan siitÀ, miten tietty lukijakunta pystyi tulkitsemaan tekstin alluusioita. LisÀksi analyysi tarkastelee lÀhdetekstin ja kÀÀnnöksen vÀlillÀ tulkintamahdollisuuksissa tapahtuneita muutoksia sekÀ niiden vaikutusta tulkinnan vaatimaan vaivannÀköön (effort) ja alluusion funktioihin.
Tapaustutkimus perehtyy Sayers-suomennosten kulttuurikonteksteihin tarkastelemalla salapoliisiromaanien asemaa suomalaisessa kirjallisuusjĂ€rjestelmĂ€ssĂ€, suomennoksilta odotettuja piirteitĂ€ sekĂ€ suomentajien ammattikuvaa, taustoja ja työoloja. Tulosten perusteella alluusioiden kÀÀntĂ€minen oli vaativa tehtĂ€vĂ€ sekĂ€ 1940- ettĂ€ 1980-luvun suomentajille. LĂ€hdetekstien alluusioista 60â70 prosenttia oli todennĂ€köisesti kohdelukijoille vieraita. Molempina aikakausina suomennoksilta odotettiin silti sekĂ€ kielellistĂ€ sujuvuutta ettĂ€ lĂ€hdetekstin merkitysten vĂ€littĂ€mistĂ€. 1940-luvun suomentajien tehtĂ€vÀÀ vaikeutti lisĂ€ksi mm. se, ettĂ€ suomentaminen oli enimmĂ€kseen sivutoimista ja englanti oli harvoin parhaiten hallittu vieras kieli. NĂ€mĂ€ olosuhteet lienevĂ€t vaikuttaneet etenkin vĂ€hĂ€arvoisena pidetyn salapoliisikirjallisuuden suomennoksiin. 1980-luvulla suomentajien aikataulut olivat realistisempia, englannin taidot parempia ja pÀÀtoiminen suomentaminen mahdollista. Myös salapoliisiromaanien arvostus oli lisÀÀntynyt.
SekÀ 1940- ettÀ 1980-luvun suomennoksissa kohdelukijoille vieraitakin alluusioita oli usein sÀilytetty, mikÀli ne olivat koherentteja ilman viittauskohdettaan. Sen sijaan vieraita ja pintamerkitykseltÀÀn epÀselviÀ alluusioita oli muokattu tai poistettu. Kuitenkin 1980-luvun suomentajat sÀilyttivÀt lÀhdetekstin alluusioita useammin ja tarkemmin kuin 1940-luvun suomentajat. Varsinkin poisjÀttÀmistÀ esiintyi 1940-luvun suomennoksissa enemmÀn.
Alluusioiden tulkintamahdollisuudet olivat kaikissa kÀÀnnöksissÀ muuttuneet sikÀli, ettÀ melko harvat suomennetut alluusiot olivat enÀÀ kohdelukijoiden tunnistettavissa. Toisaalta myös kulttuuritöyssyt olivat harvinaisia. Erot 1940- ja 1980-luvun suomennosten vÀlillÀ nÀkyivÀtkin pseudo-allusiivisissa ja ei-allusiivisissa tulkintamahdollisuuksissa. 1980-luvun suomennoksissa vieraat alluusiot oli johdonmukaisesti sÀilytetty niin, ettÀ kÀÀnnetyt alluusiot voitiin tulkita pseudo-alluusioiksi. Sen sijaan 1940-luvun suomennoksissa vieraita alluusioita oli usein muokattu tai jÀtetty pois tavalla, joka johti ei-allusiiviseen tulkintaan.
Kohdelukijoiden kannalta 1980-luvun suomennettujen alluusioiden tulkitseminen lienee vaatinut jonkin verran enemmÀn vaivaa. Toisaalta pseudo-allusiivisten kÀÀnnösten pohjalta oli useimmiten mahdollista rakentaa koherentti tulkinta, ja monesti ne jopa vÀlittivÀt samankaltaisia funktioita kuin lÀhdetekstin alluusiot. 1940-luvun suomennosten muokkaukset ja poistot periaatteessa helpottivat tulkintaa, mutta mahdollisia kulttuuritöyssyjÀ esiintyi edelleen, jopa kÀÀntÀjÀn tekemien muutosten seurauksena. 1940-luvun suomennoksissa myös kÀÀnnettyjen alluusioiden funktiot olivat muuttuneet enemmÀn lÀhdetekstin alluusioihin nÀhden. Kaiken kaikkiaan 1980-luvun suomennokset olivat lÀhempÀnÀ oman aikansa hyvÀn kÀÀnnöksen piirteitÀ. Toisaalta alluusioiden muokkaaminen sai 1940-luvun suomennokset muistuttamaan enemmÀn perinteistÀ arvoituksen ratkaisuun keskittyvÀÀ salapoliisiromaania, joten tÀltÀ osin ne lienevÀt vastanneet kohdelukijoiden odotuksia.
Kulttuurikontekstin vaikutus siis nÀkyi sekÀ kÀÀnnösstrategioissa ettÀ kÀÀnnettyjen alluusioiden tulkintamahdollisuuksissa. Tutkimustuloksissa korostui kuitenkin myös se, ettÀ lÀhdetekstin alluusion pintamerkitys saattaa vaikuttaa kÀÀnnösratkaisuihin. LisÀksi kÀÀnnetyt pseudo-alluusiot saattavat vÀlittÀÀ samankaltaisia funktioita kuin lÀhdetekstin alluusiot. Toisin kuin yleensÀ on esitetty, kohdelukijoille vieraiden alluusioiden sÀilyttÀminen saattaakin siis olla toimiva ratkaisu.Siirretty Doriast
Labyrinths : navigating Daedalus' legacy : the role of labyrinths in selected contemporary fiction
This study initially engages in an historical survey of the varying key realisations of labyrinths and their applications from antiquity through to the beginnings of the twentieth century. The shifting cultural significance of the labyrinth and its deployment in historical documents and literature alike is also evaluated. In particular, it focuses on two distinctive manifestations of the labyrinth: the Egyptian and the Cretan. The examination of these ancient artefacts affords an analysis of the intersection of archaeology, mythology and cultural productions.At the core of this study is the analysis of the fecundity of labyrinths in late twentieth-century fiction, focalised through four salient texts: Umberto Eco's The Name of the Rose (1980), Peter Ackroyd's Hawksmoor (1985), Jeanette Winterson's The Passion (1987) and Mark Z. Danielewski's House of Leaves (2000). These novels target specific usages of the trope, whereby the physical event of the labyrinth and its navigation, coupled with the labyrinthine text, intensifies an exploration of thematic issues. I will argue that a late twentieth-century engagement with complexity and ideas of selfhood coupled with a propensity for self-reflective narratology recalls the Egyptian and the Cretan labyrinths and so privileges these models.The labyrinth is considered as an appropriate medium to describe narrative construction and consumption in a manner that deconstructs the text as artifice and prioritises the reader's and the author's relationship to it. Specifically, the adoption of the labyrinth addresses the interplay between space and history in the textual arena and so encourages the individual to be envisaged as a transhistorical wandering figure. These textual usages foreground the apposite deployment of the labyrinth as this ancient meta-signifier is an entirely apposite vehicle for the interrogation of the late twentieth-century postmodern condition
Disfluency in Dialogue: Attention, Structure and Function
Spontaneous speech is replete with disfluencies: pauses, hesitations, restarts, and less than ideal deliveries of information. Disfluency is a topic of interdisciplinary research with insights from psycholinguistics, phonetics and speech technology. Researchers have tried to determine: When does disfluency occur?, Can disfluency be reliably predicted to occur?, and ultimately, Why does disfluency occur? The focus of my thesis will be to address the question of why disfluency occurs by reporting the results of analyses of disfluency frequency and the relationship between disfluency and eye gaze in a collaborative dialogue.
Psycholinguistic studies of disfluency and collaborative dialogue differ on their answers to why disfluency occurs and its role in dialogue. One hypothesis, which I will refer to as Strategic Modelling, suggests that disfluencies are designed by the speaker. According to the alternative view, which I will call the Cognitive Burden View, disfluency is the result of an overburdened language production system. Throughout this thesis, I will contrast these two theories for an ultimate answer to why disfluency occurs. Each hypothesis attaches a functional role to a structural definition of disfluency and therefore in order to determine why disfluency occurs, I will contrast the structural and functional characteristics of disfluency. I will attempt to do this by analysing the dialogue behaviour in terms of speech goals and eye gaze behaviour a speaker is engaged in when they make certain types of disfluencies.
A multi-modal Map Task paradigm was used in this thesis, in which speakers were asked to describe the route on a cartoon map to a distant confederate listener who provided either visual or verbal feedback. Speakers were eye-tracked during the dialogue and a record was kept of when the speaker attended to the listenerâs visual feedback. Experiment 1 tested the visual feedback paradigm to establish its validity as a baseline condition. Speakers were found to make more disfluencies when they could interact with the visual feedback, suggesting disfluency is more common in interactive circumstances. Experiment 2 added verbal feedback to the experimental paradigm to test whether listeners react differently to the two modalities of feedback. Speakers made more disfluencies when the feedback was more complicated. Structural disfluency types were also observed to fulfil different functions. Finally, Experiment 3 manipulated the motivation of the speaker and found that Motivated speakers gazed more often and were more disfluent per opportunity than Control speakers suggesting that highly motivated subjects are more willing to engage in difficult tasks
An Eclectic Model for the Stylistic Exploration of Mind Style in Fiction
Grounded in Hallidayâs systemic functional approach to the study of language and his three metafunctions of language, a new model called an Eclectic Model of Mind Style (EMMS) is presented in this thesis. Its building involved the examination of existing research on mind style and further systematic incorporation of some of the existing concepts, approaches and methodologies into one overarching model that could assist scholars in a more comprehensive understanding of the characterâs mind style. The goal of the model is to provide an analytical tool for stylistic analysis of the fictional charactersâ mind styles by demonstrating various stylistic effects used by authors in depiction of fictional characters in their novels.
The building of the model involved two stages: the first stage comprised the detailed review of the scholarly research on the notion of mind style with the focus on the workings of the deviant minds. During this process, the outlines of the new model including its major categories have gradually emerged and finally, the EMMS has been built to be used as an inclusive analytical tool for stylistic analysis.
Testing the proposed model by applying it to the analysis of the two selected fictional characters has become the next logical step bringing forth the second stage of the thesis writing process. During this stage, the two novels and their main characters have been chosen, namely: Christopher Boone in Mark Haddonâs (2003) The Curious Incident of the Dog in the Night-Time and Don Tillman in Graeme Simsionâs (2013) The Rosie Project. The primary focus of the analysis has been on exemplifying application of the EMMS categories to identifying the foregrounded use of stylistic features by the two characters and testing the EMMS analytical potential.
The findings show the EMMS analytical potential for stylistic research and possible use in other areas of language studies, as well as the necessity for its further testing
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