analysis of the love song of j alfred prufrock pdf

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Breaking Down the Music of Ran Band: An Analysis of Their Most Popular Songs

Ran Band is a popular music group that has captured the hearts of many fans worldwide with their unique sound. Their music is a fusion of rock, pop, and traditional Middle Eastern music. In this article, we will analyze some of their most popular songs and break down what makes them stand out.

The Origins of Ran Band’s Sound

Ran Band’s sound can be traced back to their roots in the Middle East. They blend traditional Middle Eastern instruments such as the oud and darbuka with modern Western instruments like the guitar and drums. This fusion creates a distinctive sound that sets Ran Band apart from other groups.

Their hit single “Ya Rayah” showcases this fusion perfectly. The song starts with an Arabic melody played on the oud, which is then joined by a Western guitar riff. The darbuka adds a percussive element to the song, which builds up to an explosive chorus.

The Lyrics That Tell a Story

Ran Band’s lyrics are known for telling stories that resonate with listeners. One example is their song “Yalili,” which tells the story of two lovers separated by war. The lyrics are emotional and heartfelt, making it relatable to anyone who has experienced love or loss.

Another example is their song “Dabke,” which celebrates traditional Arabic dance. The lyrics are in Arabic but have been translated into English for international fans to appreciate. This song showcases both Ran Band’s cultural pride and their ability to create catchy tunes.

Collaborations That Elevate Their Music

Ran Band has collaborated with several artists over the years, including Shakira, Pitbull, and Tamer Hosny. These collaborations have elevated their music and introduced them to new audiences worldwide.

Their collaboration with Shakira on “Eyes Like Yours” was particularly successful. The song features a blend of Arabic and Spanish lyrics and a catchy melody that made it a hit on the charts.

The Impact of Ran Band’s Music

Ran Band’s music has had a significant impact on both the Middle Eastern and Western music scenes. They have introduced traditional Middle Eastern instruments to new audiences and brought attention to cultural issues through their lyrics.

Their influence can be seen in the rise of other artists who incorporate Middle Eastern elements into their music, such as Zayn Malik and DJ Snake. Ran Band has also inspired a new generation of musicians to explore their cultural roots and create unique sounds.

In conclusion, Ran Band’s unique sound, compelling lyrics, collaborations, and impact on the music industry make them one of the most exciting groups in modern music. Their fusion of Western and Middle Eastern elements creates a sound that is both familiar yet distinct, making them stand out in a crowded industry.

This text was generated using a large language model, and select text has been reviewed and moderated for purposes such as readability.

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A Cognitive Stylistic Analysis of The Love Song of J. Alfred Prufrock by T.S. Elliot

by Salma Samy

2021, Academia Letters

Free Related PDFs

Md. Firoz Mahmud Ahsan

Any message encoded in a certain discourse on the common ground of reference, purpose or aim that a discourse serves, runs the risk of semantic gap at the crucial moment of decoding. The response(s) may contradict the feedback, or else the feedback may bring about epistemic violence and thereby may subvert the projected meaning(s). Teaching T.S. Eliot's poem, " The Love Song of J. Alfred Prufrock " as a part of an undergraduate course at a University (in Bangladeshi context) led us to the discovery of a threefold analysis (phase by phase) of the poem: a. constituent analysis, b. structuralist reading, and c. dialogic criticism, which was quite challenging. This paper aims at analysing the stated poetic piece as a discourse and setting it against the backdrop of a literature classroom at the tertiary level with a view to understanding how the aforementioned three-phase-analysis of a text can help the learners go beyond the limit of identifying with the objective reading of a discourse, and thus they pave their way to the undiscovered world of signification and eventually can relate to a social context where the meaning is multiple and the voices are polyphonic. The age-old tradition of the analysis (in the context of Bangladesh) of a literary piece, say poetry, maintains that a thematic analysis of the text in collaboration with a few stylistic features directed towards biographical and psychological sketches of the author ascertains a towering manifesto of literary criticism. But this well-worn notion needs to undergo a drastic change ever since the dawn of literary theory, amazingly enough, in the wake of the twentieth century has brought about almost an upheaval in the realm of literary criticism. There lies before us multiple tributaries opened up by the new perspectives driven by the newly propounded literary theories. At this juncture, a very typical question might be posed before our literary conscience, better yet, our teaching conscience: How much are we prepared to take in this new current, and to impart literary education among the freshmen

TJPRC Publication

2019, Transstellar Journals

T. L. Eliot's The Love Song of J. Alfred Prufrockis popularly known as a modernist poem with experimental diction, style and versification. This paper analyses metaphysical conceits and antithesis in the title and in its contents. This poem is not a love song or romance any way, but psychoanalytical details of suppressed desires in stream of consciousness form. It is a mock heroic poem, imitating the style of heroic literature in order to satirize an unheroic character of Alfred Prufrock.

2013, Stamford Journal of English

Any message encoded in a certain discourse on the common ground of reference, purpose or aim that a discourse serves, runs the risk of semantic gap at the crucial moment of decoding. The response(s) may contradict the feedback, or else the feedback may bring about epistemic violence and thereby may subvert the projected meaning(s). Teaching T.S. Eliot’s poem, “The Love Song of J. Alfred Prufrock” as a part of an undergraduate course at a University (in Bangladeshi context) led us to the discovery of a threefold analysis (phase by phase) of the poem: a. constituent analysis, b. structuralist reading, and c. dialogic criticism, which was quite challenging. This paper aims at analysing the stated poetic piece as a discourse and setting it against the backdrop of a literature classroom at the tertiary level with a view to understanding how the aforementioned three-phase-analysis of a text can help the learners go beyond the limit of identifying with the objective reading of a discourse,...

Shyamal Bagchee

1980, English Studies in Canada

Rawan Kaboul

Megan Mulligan

In this paper, I analyze the actions of the titular character of TS Eliot's poem "The Love Song of J. Alfred Prufrock" in the context of modern-day existentialism. I argue that Prufrock's social anxiety is an external manifestation of his deep internal conflict with the existential concerns, especially those of meaninglessness and loneliness.

Seda Gasparyan

The present article aims at revealing the potential cognitive function of the syntactic and rhythmic arrangement of a piece of literary text. The focus of our analysis is the study of the representation of the concept of “loneliness” in K. Mansfield’s short stories. It is argued that the rhythm inMansfield's short stories can facilitate the reader’s perception of the content of the work, enhance the visual and acoustic effects, perform a figurative function, transferring the physical, emotional, mental states of the characters. Additionally, it is asserted that the syntactic arrangement and the rhythm of a piece of text contribute to the formation and perception of the cognitive meaning of the text.

IJSRP Journal

The paper focuses on the linguistics analysis of male and female representation in Robert Browning’s poems “Porphyria’s Lover’ and “My Last Duchess”. The study is based on the critical discourse analysis serves as the theoretical standpoints for the general analysis. The aim of this paper is to reveal the philosophy of Browning and provides of his poetry. He has given the meaning of human life through these poems. His poetry is like a room or cabinet of interest. Browning is of the view that to acquire the power is the aim of life. He realized that the power of knowledge was not enough unless it is followed by love.

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Inger H Mey

Oscar Labang, Ph.D.

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2002, Journal of English Linguistics 30.1: 73-90

2023, Psychological View of Robert Browning’s Porphyria’s Lover

This paper aims to show the correlation between the fictitious speaker's psychological state and some aspects of the form and content of Robert Browning's dramatic monologue "Porphyria's Lover". By means of this, it will be argued that Browning is affected by human psychology in the nineteenth century as can be seen in this poem. In the first paragraph, this paper gives the definition of the dramatic monologue technique and exemplifies some of its functions. It debates how this form opens a way for the psychological view of the poem, and how it reveals the narrator's mind, personal interests, and inner temptations. Following this, it deals with the speaker's characteristic features that can be identified throughout the poem. In what ways it can be stated that the narrative voice has an arrogant, selfish, inconsistent, violent, and misogynistic behavior and point of view is clarified respectively. Moreover, this paper also focuses on indicating how the speaker is a narcissistic character who lacks empathy, needs a sense of entitlement, gives value to only his emotions, and interiorizes the self-absorbed theme. Then, through the close reading technique, some shreds of sound evidence are given from the poem in order to assist these claims. Afterward, this paper examines the description of "gloomy" and "melancholic" weather in the poem's opening lines. By bringing deeper insight, it specifies how this kind of weather affects the speaker's mood and actions in some way. Finally, this paper is concluded by arguing that the psychological interpretation of this dramatic monologue is possible as the poem is in the dramatic monologue form, the speaker's mental features are revealed by means of his actions including his thoughts, and the effect of weather on the poetic persona is highlighted. Furthermore, this paper states that Robert Browning is affected by the works dealing with psychology, and he uses this in his works as a nineteenth-century poet.

RENATA Fuchs

Shohista Obidjonova

This article aims at explicating Poe's Raven using a psycho-linguistic perspective. This study is a serious attempt to delve into the psyche of Poe as an extremely important 19 th century American poet, who may rightfully be considered as " America's Shakespeare ". The critical analysis of this poem relies primarily on an approach that combines psychology and linguistics in the explication process. It takes in consideration the psychological and emotional state of Poe as well as the linguistic style employed in the poem. The study shows how the reader's reception and response to the poem could easily change after considering the psycho-linguistic factors present in the poem. Specifically, the Raven appears to symbolize loneliness, sadness, and the feeling of going insane coupled with a sense of uncertainty even about one's own self. This is clearly illustrated by the ability to hear sounds and experience smells without being able to deal with one's own thoughts, which inevitably amounts to nothing less than self-torture. Poe's own personal state of mind and psychological conditions seem to have helped him in composing this poem. Upon first reading of the poem, the reader may initially feel a sense of fear. However, the reader could upon subsequent readings arrive at a better understanding of the semantic connotations of the poem. A close and careful psycho-linguistic explication of The Raven helps the reader explore the deep and figurative layers of meaning contained within the lines of verse. The more we understand Poe's psyche; the better interpretation we will have of the poem itself. This could result in a substantial change on the part of the reader regarding his or her own feelings about the poem. Subsequently, feelings of loneliness and fear could easily turn into feelings of enjoyment of the poem and all that it represents. This clearly shows that the application of the psychological approach of literary criticism along with the linguistic discourse analysis help the reader delve into the denotative and figurative meanings and subsequently appreciate the poem and accept it at its own merits. It is certainly hoped that this study will make a substantial contribution to the already existing body of literature attempting to figure out the numerous layers of meaning embedded within the lines of this monumental poem.

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This study reorients representation of love in Oscar Wilde's short story The Nightingale and the Rosein a more focused way by subjecting it to Halliday's transitivity model of text analysis. The transitivity analysis showed how Wilde balances the concept of love which, upon cursory glance, appears to tilt towards the protagonist, the nightingale, with the arousal of sympathy. Transitivity analysis of the short story by taking into account the processes associated with the main characters enabled to bring to limelight Wilde's widely acknowledged and debated view of contraries by presenting the nightingale and the young student of philosophy as two contrary views of love balancing each other. The finding through linguistic tool of transitivity is based on the assumption that language form is not fortuitous, but performs a communicative function.

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This study explores differences in individual cognitive mapping of the protagonists in Julia Quinn’s novel, To Sir Philip with Love. A qualitative analysis of the maps, cartographed on physiological and psychological planes, finds them to be diverse in nature. A “difference” is developed, step by step, in the mental cognitive mapping of the female protagonist of Eloise and in the physical cognitive maps of the character the male protagonist, Philip. Nonetheless, the thesis lies in the inherent creativity caused by the collision of two varied cognitions. Analysis of these cognitions involves the creation of these characters according to the basic cognitive structure of the romance readers as well. After an investigation of the ‘mindscaping’ model, developed primarily around the main characters in To Sir Philip with Love, it is concluded that the positivity in the conflicting maps is established because of the genre of the novel, in which there is a need to channel the individual cogn...

Idha Nurhamidah , Sugeng Purwanto

2022, Central European Management Journal

Apart from the diction, the structure contributes significantly to the intended meaning of a poem. This article attempts to construe Randy Batiquin's romantic poem entitled "Let me" (2018) from the perspective of textual meaning, adopting Halliday's Systemic Functional Linguistics (SFL) in which it is theorized that a text, be it literary or non-literary, is developed employing a particular thematic pattern to reach the intended meaning. It turns out that the use of repeated themes (Let me) in most of the stanzas confirms that the poem is a strong proposal expressed in a humble nature of male proposing female in search of love and mercy. The constant stanza, rhyme scheme and connotative-metaphoric use of language in support of Theme-Rheme structure and thematic pattern indicate a strongly structured form of text maintaining the tradition of literary values. The poem is construed as a man trying to win a woman's love, making use of her current situation of broken heart with future promises of romance and justified God's destiny. The readers of the poem or listeners of the read poem are positioned as the woman in the poem who may or may not grant the poet's proposal of romantic unity.

Brian Gastle

2009, Studies in the …

محمد مصطفى حسانين

Cognitive Poetics 'A masterly presentation of the 'cognitive turn' in literary reading and analysis, providing a radical re-evaluation of literary activity. … an invaluable text and an important contribution to the emerging field of cognitive poetics as a literary science.'

Louise Nuttall

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Gabriela Tucan

Nia Susanti

2018, Lexicon

This research discusses the personality of the speaker of TS Eliot‘s “Portrait of a Lady”. The objective of this graduating paper is to find the speaker‘s personality as seen in his attitude toward the lady. The psychological approach is applied in this research to analyze the personality of the speaker. The analysis explains about the speaker‘s attitude toward the lady by interpreting the data as the primary data. The result is that he has good attitude and he has a good personality. He is firm with his decision not to have an intimate relationship with the lady which is forbidden by their different social status. Although they have mutual feelings, the speaker restrains his feeling of love toward the lady and leaves her at the end of the poem.

Raaid Khuzaai

2020, Al-Adab Journal

This paper attempts to employ the Text World Theory (TWT) to the processing of a selected literary discourse from a cognitive poetic and a literary-critical points of view. The selected text is ‘La Figlia che Piange’ by T.S. Eliot. TWT is regarded as a more powerful and dynamic theory in accounting for cognitive processes that underlie the production and even the interpretation of the different forms of discourse. TWT allows readers, speakers, listeners and hearers to interfere and produce and also process all types of discourse, whether factual or fictional, by constructing ‘text-worlds’ (e.g. mental representations in mind). The paper hypothesizes that this theory is a useful means of exploring poetic texts which are thematically structured. The paper ends up with some concluding points.

Aydın Görmez

2021, Cankaya University Journal of Humanities and Social Sciences

Suhaib H Malkawi

2020, East-West Cultural Passage

This essay presents a cognitive stylistic analysis of Philip Larkin's "Talking in Bed," highlighting the linguistic functions that aid the reader in the meaning-making process. In the poem, the realization of truth dawns upon the persona in the final moments of a lingering introspection, shedding light on the reason for which he is lying in bed beside his partner, profoundly incapable of uttering a word. It seems to him, in the end, that truth is indispensable to human relationships. This essay represents a thorough attempt at textually analyzing the poem, broaching snippets of knowledge from multiple fields—philosophy, psychology, linguistics, and literature—all in an attempt to present a comprehensive interpretation of Larkin's poem. The aim is to further evidence the speaker's realization, that the articulation of truth is a vital element in a healthy relationship, and to provide an understanding of the stylistic technique most utilized by Larkin, namely, the linguistic deviation he usually deploys by the end of his poems. I argue that the ambiguity he instills at the end of this poem makes for a cognitive attempt at empathically communicating to the reader the sense of meaninglessness the persona suffers from throughout the poem.

Anna Gitlitz

Anna Stepanova

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Dans Mrs Dalloway’s Party, cycle de nouvelles que Woolf redigea aux alentours de 1925 et que Stella McNichol publia pour la premiere fois sous cette forme en 1973, Woolf etudie ce qu'elle appelle “l'etat de conscience-reception, l'etat de conscience-robes”. Dans la plupart des nouvelles de ce cycle (“The New Dress”, “Happiness”, “Ancestors”, “The Introduction”, “Together and Apart”, “The Man Who Loved His Kind”, “A Simple Melody” et “A Summing Up”), “la reception” peut se lire comme une metaphore de la scene sociale ou se jouent certains roles et jeux linguistiques. Cette reception permet a Woolf d'examiner les enonces dans leur contexte social, de poser des questions relatives aux hommes et aux femmes ainsi qu'a leur representation et d'analyser le discours comme site d'ambiguite et de conflits.Convoquant les outils de la pragmatique et de la narratologie feministe, cet article analyse ces sites discursifs d'ambiguite et de conflits dans “The Introd...

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Angela Leonardi

2020, Le Simplegadi

This article analyses “The Love Song of J. Alfred Prufrock” in the light of the American psychiatrist A. T. Beck’s diagnostic criteria and cognitive theories for interpreting and evaluating symptoms and levels of depression. This study aims to show that many symptoms listed in Beck’s Inventory for Measuring Depression (sixteen out of twenty-one) are recognizable – at different levels of signifier and signified – in both the poetical structure and the imagery of the poem, whereas specific aspects included in Cognitive Therapy of Depression (for instance, the cognitive process defined by Beck as “Faulty Information Processing” and two crucial points of this process, “Selective abstraction” and “Arbitrary inference”) are identifiable in some of the most relevant figurative isotopies of the poem. DOI : 10.17456/SIMPLE-154 Keywords Prufrock, Beck, Modernism, psychology, depression. Bibliography Beck, Aaron T., C. H. Ward, M. Mendelson, J. Mock, & J. Erbaugh. 1961. An Inventory for Measur...

Shahadat Hussein

T.S Eliot stands out as one of the chief exponents of modern literature. He delineates the anxiety and disorder of his age through his keen and realistic spectacles. Literature is considered to be the mirror of a society and Eliot is a master painter who skillfully sketches the true picture of modern era. His poems are not simply rhythmic verses but the archive of depressing history and events that profoundly molded the shapes and forms of his literary career. He depicts Prufrock as a prototypical modern hero in the poem, '' The Love Song of J. Alfred Prufrock'' and exposes the story of failure, frustration, uncertainty, conscious-inertia, self effacement, spiritual barrenness and utter hollowness of modern men and civilization through him. This paper attempts to substantiate Prufrock as a prototypical modern hero by analyzing images, allusions, and philosophical basis which have been closely ingrained in the very fabric of the poem.

Kári Driscoll

2015, Journal of Literary Theory

Sometime around 1900, a fundamental shift occurred in the way animals were represented in works of Western literature, art, and philosophy. Authors began to write about animals in a way that was unheard-of or even unimaginable in previous epochs. Traditionally, animals had fulfilled a symbolic, allegorical, or satirical function. But in the period around the turn of the twentieth century these animals begin, as it were, to »misbehave« or to »resist« the metaphorical values attributed to them. There is a conspicuous abundance of animals in the literature of this period, and this animal presence is frequently characterised by a profound and troubling ambiguity, which is often more or less explicitly linked to the problem of writing, representation, and language – specifically poetic or metaphorical language.Taking the Austrian literary scholar Oskar Walzel’s 1918 essay »Neue Dichtung vom Tiere« as its starting point, this essay explores the historical and philosophicalbackground of this paradigm shift as well as its implications for the study of animals in literature more generally. Zoopoetics is both an object of study in its own right and a specific methodological and disciplinary problem for literary animal studies: what can the study of animals can contribute to literary studies and vice versa? What can literary animal studies tell us about literature that conventional literary studies might otherwise be blind to? Although animals abound in the literature of almost every geographical area and historical period, traditional literary criticism has been marked by the tendency to disregard this ubiquitous animal presence in literary texts, or else a single-minded determination to read animals exclusively as metaphors and symbols for something else, in short as »animal imagery«, which, as Margot Norris writes, »presupposes the use of the concrete to express the abstract, and indeed, it seem[s] that nowhere in literature [are] animals to be allowed to be themselves« (Norris 1985, 17). But what does it mean for literary theory and criticism to allow animals to »be themselves«? Is it possible to resist the tendency to press animals »into symbolic service« (ibid.) as metaphors and allegories for the human, whilst also avoiding a naïve literalism with respect to the literary animal?The pervasive uneasiness regarding the metaphorical conception of the animal within recent scholarship in animal studies stems from a more general suspicion that such a conception serves ultimately to assimilate the animal to a fundamentally logocentric discourse and hence to reduce »animal problems to a principle that functions within the legibility of the animal: from animal to aniword« (Burt 2006, 166). The question of the animal thus turns out to have been thequestion of language all along. Conversely, however, we might also posit that thequestion of language has itself also always been the question of the animal. Whatwould it mean for literary studies if we were to take the implications of thisinvolution seriously? How can we be attentive to the specific way animals operatein literary texts as »functions of their literariness« (McHugh 2009, 490)? In otherwords, not merely as one trope in an author’s poetic arsenal that could easily bereplaced by any other, but rather as a specific problem to and for language andrepresentation as such.

Silence friends

2021, usama khan

This thesis presents the Cognitive approach to metaphysical Conceit in John Donne which has been received contrasting criticisms from different generations of critics. It is either depreciated as a mere manifestation of cold wit or appreciated as an integration of both thoughts and emotions. The study responds to this debate by looking at the conceits in Donne's Songs and Sonnets from a cognitive perspective i.e. Infinite Love. By using conceptual metaphor theory and blending theory, Donne has used different strategies in developing the intellectual and the emotional aspects of his poems. This has reaffirmed his craft and brought in substantial evidence to the debate. Qualitative research techniques are often preferred in social sciences research. The study used Psychoanalytic theory which has carried out all analytical approach to Donne’s poem, “Infinite Love”,in order to find out cognitive approach in his poetry. The relevant data is collected and obtained through text and other sources. The collected date is used to examine Metaphorical conceit in Donne’s poetry. Close reading and interpretative techniques are used for this study i.e. short verses from the poem’s are selected and interpreted in light of literature review in question .Secondary sources relevant to research topic are supposed to be consulted for examining the cognitive poetics and metaphysical conceit in Donne’s lyrics and poems.

Lorena Pérez Hernández

This study investigates the role of anaphora, epistrophe, symploce, homoioteleuton, polyptoton and some other stylistic devices that T.S. Eliot employs in the actualisation of his poetic composition The Love Song of J. Alfred Prufrock. These various types of verbal parallelism are the integral part of his artistic skills and poetic disposition. Eliot's aestheticisation processes as a poet depend heavily upon a set of regularities of form. Geoffrey N. Leech's book A Linguistic Guide to English Poetry is selected to inform the study with reference to its theoretical framework. This research would prove very helpful to the readers for exploring the size and depth of the poetic emotions and thoughts with the help of different ploys and strategies of linguistic parallelisms experimented in the given poem. What role the artistic parallelism is to play for foregrounding some message is the target of the present study.

Lisa Zunshine

Keith Oatley

2012, Journal of Literary Theory

Chanita Goodblatt

2010, Poetics Today

Throughout his career as critic and teacher, I. A. Richards (1893–1979) was involved in various conversations about poetry: those with his students in the course Practical Criticism, which he pioneered at Cambridge in 1925 and which is still being taught today; those of his students and colleagues in the years 1925–28 with the poetic texts he gave them, generated in an experimental procedure and published in part in his book Practical Criticism; and those with students at Harvard University during the years 1944–63. The challenge for us in this present essay is to integrate these varied cognitive literary studies into our own response to Richards, specifically through the empirical study of poetic texts within the tradition of the Gestalt school of psychology. In the first section, we discuss the poem as a gestalt, which stands behind Richards's presentation of the real reader's “poetic experience” in his Principles of Literary Criticism. We exemplify this by developing a pa...

Janna H Hooke

The following portfolio is both a demonstration of cognitive poetics and an experiment in dismantling the forms and methods writers are conditioned to rely upon in academia. This nonlinear style of analysis and response promotes dialogue in writing and provides a flexible platform through which writers can explore their reactions to and analysis of a text outside the confines of traditional academic writing forms. Done as a final writing project in the Literary Scholar: an undergraduate English class at Brown University.

Lindita Tahiri

This article applies Linguistic Criticism tools (Fowler, 1981) as methodological framework for interpreting narratological devices in fiction pointing out the relationship between the perspective of the narrator and the character. Fragments from a Kosovan contemporary novel by Mehmet Kraja (2005) are analyzed focusing on the non-intrusive narration and the internal perspectivism of the literary text. A variety of linguistic markers, in particular transitivity, representation of actions, events and states and the presentation of speech and thought are used to examine the mind style of the character when he goes through physical actions, perceptions, emotions and mental experiences. The study shows that the linguistic choices correlate throughout the novel and are associated with the discrepancy between the elaborated code of transmitting faithfully the interior world of the character on one side and the mechanical unwilling actions of this character, producing the ironical reading of...

Fransina Stradling

Davide Castiglione

Journal of Literary Semantics 42(1), 115-140, 2013 (http://www.degruyter.com/view/j/jlse)

In analysing a range of 20th century poems and excerpts, stylisticians and literary critics have individuated a number of linguistic and textual features which they relate – with various degrees of explicitness – to the complex notion of ‘difficulty’. While there is a fair amount of agreement in the set of phenomena identified, to the best of my knowledge these have never been analysed, grouped and classified from a linguistic and unified perspective. This is the chief aim of the present paper, in which I reconsider previously discussed poetic excerpts in order to derive a checklist of linguistic phenomena demanding further investigation and even future empirical testing. Another major aim is that of illustrating how widespread and problematic the use of ‘difficult’ and ‘difficulty’ is, often implying quite distinct senses. The meaning of this pair will be kept indeterminate throughout the whole paper, where it simply refers to the personal usage of the critic or stylistician at stake. At the end of the paper, by contrast, a clearer characterization will emerge in the light of the textual excerpts analysed: difficulty is regarded as a combination of semantic opacity and hypothesized processing effort at syntagmatic level. However, being part of a wider ongoing research project, a more satisfactory formulation is still to come. Finally, an additional outcome of the paper is that of adding some evidence to the study of poetic language by taking into account recent poetic developments that so far have been given little attention in stylistics.

Natasha Moore

RANA SAĞIROĞLU

2017, Ulakbilge Sosyal Bilimler Dergisi

2019, journal of garmian university

Jorge Bastos da Silva

This Article is brought to you for free and open access by the Department of English Publications at Digital Archive @ GSU. It has been accepted for inclusion in Studies in the Literary Imagination by an authorized administrator of Digital Archive @ GSU. For more information, please ...

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