By Michael Toolan
This ebook takes the next query as its place to begin: What are a few of the an important issues the reader needs to do so as to make experience of a literary narrative? The publication is a examine of the feel of narrative fiction, utilizing stylistics, corpus linguistic ideas (especially Hoey’s paintings on lexical patterning), narratological rules, and cognitive stylistic paintings by way of Werth, Emmott, and others. Michael Toolan explores the textual/grammatical nature of fictional narratives, significantly re-examining foundational rules concerning the function of lexical patterning in narrative texts, and in addition engages the cognitive or mental tactics at play in literary analyzing. The research grows out of the theoretical questions that stylistic analyses of prolonged fictional texts increase, about the nature of narrative comprehension and the reader’s adventure during interpreting narratives, and especially about the function of language in that comprehension and event. the information of state of affairs, repetition and picturing are all primary to the book’s argument approximately how readers procedure tale, and Toolan additionally considers the moral and emotional involvement of the reader, constructing hypotheses in regards to the text-linguistic features of the main ethically and emotionally related to parts of the tales tested. This ebook makes a major contribution to the learn of narrative textual content and is in discussion with contemporary paintings in corpus stylistics, cognitive stylistics, and literary textual content and texture.
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Additional resources for Making Sense of Narrative Text: Situation, Repetition, and Picturing in the Reading of Short Stories
Louw (1993; see also Milojkovic 2013; and Louw and Milojkovic 2013) suggests it is predictive (and not merely explanatory, for some readers); he suggests that a prosody-carrying word or sequence used in an unusual way is necessarily indicative of either irony (in the speaker/author, if the latter seems to have intended the atypical use) or insincerity (if the speaker/author seems to have been unaware of the atypicality). It is hard to find compelling evidence of such certainty of effect, but perhaps ‘explanation’ and ‘prediction’ are more interrelated than contrasting them suggests.
I proposed that a matrix of eight distinct but often interlinked kinds of foregrounding, each of which seems central to the maintenance of narrativity, are especially important in guiding the reader’s expectations as to how the narrative will play out. But these combined cues rarely point to a single, definite, continuation. It might be thought that proleptic narration—telling early in the text something that only happens at a later time in the story and thus out of its ‘natural’ place in the event sequence—would greatly compromise expectations, like a ‘plot-spoiler’.
In some respects using commas where periods might otherwise occur only tells us what we already knew in relation to two text segments separated by a period, namely that despite the punctuation we should find some sense link between the two segments. And it tells us this while removing the discrimination between the comma as within-graphological-sentence sensepause and the comma as end-of-graphological-sentence marker of local sense-completion. If even this comma punctuation were removed, all the arguments in this and the preceding paragraph would be only more forcefully valid: the same sense of underlying phasedness would be apparent, but the overt textual assistance in detecting the phase boundaries would be even more attenuated.
Making Sense of Narrative Text: Situation, Repetition, and Picturing in the Reading of Short Stories by Michael Toolan