2022, Vol. 13, No. 3. - go to content...

Permanent address of this page - https://sfk-mn.ru/en/17flsk322.html

Метаданные этой статьи так же доступны на русском языке

Full article in PDF format (file size: 337.9 KB)

For citation:

Trubkina A.I. [Emotiveness in actor narration: communicative-pragmatic aspect] World of Science. Series: Sociology, Philology, Cultural Studies, 2022, Vol. 13, No. 3. Available at: https://sfk-mn.ru/PDF/17FLSK322.pdf (in Russian).

Emotiveness in actor narration: communicative-pragmatic aspect

Trubkina Anna Ivanovna
Southern Federal University, Rostov-on-Don, Russia
E-mail: aitrubkina@sfedu.ru
ORCID: https://orcid.org/0000-0003-2375-1133
RSCI: https://elibrary.ru/author_profile.asp?id=1115575

Abstract. The article is devoted to the consideration of the realization of the emotiveness of a literary text in the communicative and pragmatic aspect. In this regard, the study of the specifics of emotive means in actorial narration has heuristic potential. The author of the article presents an analysis of the story of A.P. Chekhov «On Love» from the standpoint of identifying pragmatic signs of narration on behalf of the hero in this artistic text. In the course of the study, it was found that emotiveness is represented explicitly when taking into account the character traits of the hero, and the assessment of events, situations, behavior of other characters — from the standpoint of the subject of the actor’s narrative. Actorial narration, however, does not allow for an unambiguous interpretation of a literary text, since it is deliberately complicated by the author by addressing the hero’s speech to direct listeners, as well as by the implicit formation of the character’s own opinion in the process of telling about the events. The inner world of the hero is not explicated by the author, and the representation of emotiveness in a literary text occurs on the basis of the use of lexical, syntactic and tropeic means, the analysis of the implementation of which allows the addressee, based on his own empirical and spiritual experience, to conclude that there is a semantic gradation in Chekhov’s story from external to internal. the fact that the character himself, with all his ability for introspection and tact, is not able to judge himself as an Other, and the reader is deprived of explicit evidence of the hero’s inner world, which internal monologues could be. It is promising in the study of emotiveness in a literary text to correlate certain means of emotiveness with a specific type of narration (narrative), as well as to identify the author’s communication strategies that are priority in each specific type — auctorial, actorial or neutral.

Keywords: literary text; emotiveness; actorial type of narration; author; character; addressee; emotive dominant; intentions

Download article in PDF format