By Michael Toolan
ISBN-10: 1138654841
ISBN-13: 9781138654846
This publication takes the subsequent query as its start line: What are a few of the an important issues the reader needs to do with a view to make feel of a literary narrative? The booklet is a learn of the feel of narrative fiction, utilizing stylistics, corpus linguistic rules (especially Hoey’s paintings on lexical patterning), narratological rules, and cognitive stylistic paintings through Werth, Emmott, and others. Michael Toolan explores the textual/grammatical nature of fictional narratives, seriously re-examining foundational rules concerning the position of lexical patterning in narrative texts, and likewise engages the cognitive or mental methods at play in literary analyzing. The research grows out of the theoretical questions that stylistic analyses of prolonged fictional texts bring up, in regards to the nature of narrative comprehension and the reader’s event during analyzing narratives, and especially in regards to the function of language in that comprehension and event. the information of scenario, repetition and picturing are all imperative to the book’s argument approximately how readers technique tale, and Toolan additionally considers the moral and emotional involvement of the reader, constructing hypotheses concerning the text-linguistic features of the main ethically and emotionally regarding parts of the tales tested. This publication makes a big contribution to the learn of narrative textual content and is in discussion with fresh 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
Sample text
They are a top-down resource, and very possibly a significant influence on reader-interpretation of story—although this is quite difficult to prove, even with the ingenious empirical tasks that Lohafer set her readers (Lohafer 2003; 2012). We need to work towards a model of story-reading that plausibly integrates real readers’ guidance by such genre and sub-genre assumptions with the kinds of bottom-up textual guidance of the reader which I will chiefly but not exclusively focus on here—always with the proviso that we require plausible evidence of both sense-making resources, the top-down script and the emerging textual profile, having real effects.
Casting an utterance or move as a single sentence normally carries a warrant that the material so bounded constitutes a unified packet of information, whose unity the language-user will gain nothing from questioning, any more than they will (again, normally) derive benefits Introduction 21 outweighing the costs if they probe the unity of the chain of eight letters making the word entrance. It is for such reasons that, like Sinclair, I want to acknowledge at the outset that I am simply treating the word and the sentence as two primitives, two fundamental units for all that follows, without further critique here; an enormous amount is understood about how words pattern in sentences, even if much remains to be understood, and even if the categories ‘word’ and ‘sentence’ remain fuzzy for linguists and ordinary language users alike.
But we know that story-titles are not like street signs or train-station destination boards. In fact Munro has resisted the application of the ‘road travel’ metaphor to her own stories: I don’t take up a story and follow it as if it were a road, taking me somewhere, with views and neat diversions along the way. I go into it, and move back and forth and settle here and there, and stay in it for a while. It’s more like a house. (Munro 2011: 267) This resists one doubtful metaphor but creates its own mysteries: Munro speaks as if the story, like a built house, pre-exists her visit to it and exploration of it.
Making Sense of Narrative Text: Situation, Repetition, and Picturing in the Reading of Short Stories by Michael Toolan
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