The article provides a foundation for the necessity of differentiating a number of narrative discourse categories as well as for the importance of taking into account and clarifying the essence of ...the category of “storytelling voice” in cases of studying the means of the teller’s realisation of a particular fiction story. A storytelling voice is understood as a means of language (semantic, syntactic, pragmatic, rhetoric-stylistic) realisation of narrative instances from different persons, which forms the discourse of the story told. A story written by Ukrainian classic writer Vasyl Stefanyk, A Thread (1927), is used as material for analysing language means of realisation as well as for interweaving and differentiating the author’s and the unknown main heroine’s narrative voices. It is emphasised that a linguistic approach to the analysis of a fiction text is very revealing because it allows the researcher to single out the types of narrative instances as speaking persons, and then explicate their points of view, focus, empathy, and other constituents of a narrative.
The article reveals the mechanisms allowing the author’s intention to destruct the structural-content organization of speech genres and influence the formation and perception of an artistic ...narrative. The research gives ground to outline a set of devices to make the communicative sense of artistic narratives odd, which is explained by the author’s creation of „unnatural” ontology of the narrated world; to outline various ways of semantic destruction of speech acts, and intentional breaches of the pragmatic conditions of the effective speech-genre structures creation and functioning. The result of these devices use is the
formation of the ontological, perceptional, behavioural, mental and some other types of textual (discursive, narrative) absurd. Mechanisms of creating intentional and/or nonintentional „unnatural” speech acts as constituents of artistic narratives are active sources of forming unusual communicative senses of aesthetic nature.
In recent decades, the researchers of artistic stories have paid their attention to the narrative analysis of a set of weird texts of mystical and absurd content, works of “black humour”, fantastic ...(khymerna) prose created by a non-anthropic narrator or by an author in a changed state of consciousness. These texts serve the field of actualizing atypical and non-usual narrative structures, the sphere of meaningful changes within the bounds of narrative categories and, which is important, of forming special communicative senses of aesthetic nature. The basic problems of the linguistic analysis of “unnatural” stories are identifying the types of changes in the narration constituents, reasons of these changes and narrative categories (first of all, events, participants, objects, chronotope characteristics, points of view, moduses, modalities, etc.). The article analyses one of the texts of mystical content aiming at the revealing of some specificities of the structure and functioning of the so-called “unnatural artistic narrations”. The object of the research is V. Shevchuk’s novel “The Beginning of Horror”. The subject of the analysis is lingual means of the narrative structure formation, the author’s objectification of the mystical artistic sense and lingual “signals” of a reader’s perception of these senses. The most important semantic means of creating mystical atmosphere of the story are predicates that ascribe the names of their referents atypical dynamic and static features connected with the Christian view of the infernal world. It helps to form narrative events that root in weird situations, which cannot take place in reality. Non-dispositional nature of these situations correlates with the reference to the mystery that goes far beyond the bounds of a usual perceptive and psycho-mental background. Among the pragmatic means of creating mystical atmosphere of the main hero’s story as well as of the novel in general, we specify the individual inimitative perception of the flow of time and modality of “real unreality” formed by the role of an unreliable narrator and a vague point of view of the described event with its perceptive, ideological and time planes of objectification. Due to the increasing interest to various expressions of the esoteric, the increase of the number of artistic works of such content and growth of their popularity, we consider it topical to proceed in further investigations of lingual-narrative aspects of “unnatural” stories, in particular, the ones with the modus of mystical in them.
The article tries to implement the methods of the so-called «unnatural» narratology to analyse the texts of the collection of short stories «Absolute Emptiness» («Doskonała prόżnia»), which is a set ...of reviews on non-existent texts. In story-telling structures of this kind, an author usually forms and a reader usually cognitively processes: (a) new types of these structures (schemes), which are not generated in non-estranged texts; (b) new narrative strategies, in particular, the reference part of the textual story may contain actors impossible to be met in «usual» texts; (c) narrative approaches to the formation and evaluation of story-telling structures where there are objects, persons, etc. absent in the real life; (d) means of «restoring» the images of the non-existent authors in the «body» of other texts (in particular, paratexts similar to reviews). The article proves that literary narratives that reflect the non-existent texts demand additional cognitive efforts from an addressee to perceive the communicative senses generated in them. The most important source of such senses creation is a specific logic of the world perception and its reflection, which is non-characteristic to the «classical» speech genre of a review. In view of linguistic pragmatics, these texts actualize special points of view, empathy, and means of their focus. The author’s standpoint about the non-existent text and its reconstruction in paratexts form a shifted focus of empathy, and, what is more, generate non-usual communicative senses, the perception of which demands additional cognitive and psychological efforts from the addressee (a reader, a listener).
PDF
