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PL
Artykuł poświęcony jest analizie strategii narracyjnych w debiutanckiej powieści Iłłariona Pawluka Biały popiół. Celem artykułu jest ustalenie, jak zorganizowana jest narracja i jakie efekty artystyczne autor starał się osiągnąć, poprzez zwrócenie uwagi na intencje autora i śledzeniewpływu poszczególnych znaków  tekstowych na odbiorcę. Analizowane są obecne w powieści cechy kryminału retro i noir jako gatunków „adrenaliny”. Zwrócono uwagę na kinematograficzny charakter pracy wynikający z pomysłu autora. Podkreślono wiodącą strategię narracyjną powieści – intertekstualność, w szczególności intertekstualne interakcje z opowieścią Mikołaja Gogola Wij oraz wpływ intertekstów na interpretację tekstu przez czytelnika. Rozpatrzono zjawisko nierzetelnej narracji na wybranym materiale i wykazano, że narrator homodiegetyczny – prywatny detektyw Taras Biłyj – jest niewiarygodny. Badana jest także strategia stosowania prolepsy i wywoływania wahania czytelnika, realizowana poprzez budzenie wątpliwości co do natury artystycznej umowności przedstawianych wydarzeń.
EN
The article is devoted to the analysis of narrative strategies in the debut novel of Illarion Pavliuk White Ashes. Taking into consideration the author’s intention and tracking the influence of the textual indicia on the recipient, the article aims to find out how the narration is organized and what artistic effects the author was trying to achieve. The features of retrodetective and noir as “adrenaline” genres present in the novel are analyzed. The cinematic qualities of the work as a result of the author’s intention is marked. The leading narrative strategy used in the novel, the intertextuality, is highlighted, in particular, the intertextual interaction with the story of M. Hohol Vii, and the influence of intertextems on the reader’s interpretation of the text. The phenomenon of unreliable narration is considered on the basis of the selected material and it is proved that the homodiegetic narrator, private detective Taras Bilyi, is unreliable. The strategy of using prolepsis and provoking the reader’s hesitation which is realized through the formation of doubts about the nature of the artistic convention of the events described, is also examined.
EN
The two parts of the article analyse the possibilities of a functional interpretation, in terms of the theme-rheme devision, of ancient texts. The author discusses examples from Classical Greek and Latin as well as New Testament Greek, especially their word order, grammatical and lexical features. On this basis he proposes an analytical approach to the description of the linguistic values connected on some degree with the communicative structure of these examples. The contextual procedures of indicating markers of thematic or rhematic elements of the sentences in question should be compared with conclusions drawing on the grammatical and semantic observations on the sentence constituents. The determination of theme and rheme exponents must be made - depending on the language - by verifying the means of coding information structure, relevant to the given language, text type, and time of its composition. A complete description of these means should be proceeded by detailed investigation of, for example, in the case of Ancient Greek: standard and contrastive word order, initial positions of utterances (including semantic descriptions of items involved in these positions), functions of the particles, conjunctions, articles, adverbs, personal pronouns, anaphors et al., syntactic and semantic roles of the constituents, etc. The second part of this article considers information status and value of Greek prolepsis. The author distinguishes morphological, syntactic and lexical prolepsis. The las two types are discussed using examples from Medea by Eurypides and the Gospel of St. John. The first example represents syntactic prolepsis, the second one - lexical. Neither the pronoun ἡμᾶς 'we' from Medea, nor the noun φοινίκων 'palm branches' from St. John's Gospel are thematic as claimed by some researches. Both syntactic and lexical prolepsis are components of a different level of utterances than the material one. The author postulates to consider them as rhematic rather than thematic. Prolepsis functions like quotation which comments on the whole utterance.
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