Dual Perspective: Free Indirect Discourse and Related Techniques

Hernadi, Paul

doi:10.2307/1769380

Cited by 16 publications

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“…Quite a few studies do not distinguish free indirect thought from free indirect speech, and use free indirect speech (sometimes free indirect style) as a generic term, under which FIT is in effect a subcategory (e.g., Fludernik,1993;Sotirova, 2004). Hernadi (1972) might be the first to draw a distinction between speech and thought, and contends that mental activities in characters' minds comprise "quasi-verbal" (p. 39) contents of the imaginative worlds literary works evoke. That is to say, whereas speech and perception constitute verbal and nonverbal components of the worlds, the presentation of thought, be it conscious or not, indicates the presence of operations similar to but not the same as verbal communication in human mind.…”

Section: Literature Reviewmentioning

confidence: 99%

Free Indirect Thought in Stream-of-Consciousness Fiction: A Textural Cohesive Perspective

Guo¹

2017

IJEL

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Free indirect thought (FIT) is an important linguistic device to portray characters in stream-of-consciousness fiction. Most studies are concerned with its linguistic manifestations that align the text with the character's point of view, and not much attention is given to the implicit coherence underlying FIT's seemingly disconnected and disorganized structures. Using cohesion theory (Halliday & Hasan, 1985), this article analyzes FIT extracts of the two major characters in Mrs. Dalloway. The analysis is conducted to examine the non-structural cohesive devices and the cohesive chains these devices form and explore their unique contribution to the depiction of characters' thought processes and distinctive personalities.

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Section: Literature Reviewmentioning

confidence: 99%

Free Indirect Thought in Stream-of-Consciousness Fiction: A Textural Cohesive Perspective

Guo¹

2017

IJEL

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“…Literary works, however, have been an ever fresh subject for the study of thought presentation, and there are theories (e.g. Chatman, 1978;Fludernik, 1993Fludernik, , 2005Genette, 1980;Hernadi, 1972;McHale, 1978McHale, , 2009Leech &Short, 1981;Page, 1988Page, [1973; Toolan, 2008Toolan, [1996) founded with textual support from renowned authors of novels and short stories. The stylistic study of thought presentation is concerned with its effect on the reader and how the effect is manipulated.…”

Section: Literature Reviewmentioning

confidence: 99%

“…Researchers usually study thought presentation along a continuum depending on whether the narrator or the character is speaking or both are speaking and a few scalar models have been proposed. Hernadi (1972) might be the first to develop a tripartite scheme consisting of direct, indirect and free indirect speech and thought, with three subcategories of free indirect style identified. Though categories other than these main categories remained unexplained, he perceptively distinguished thought from speech, which used to fall under the generic term speech.…”

Section: Literature Reviewmentioning

confidence: 99%

Isolation and Communication A Stylistic Analysis of Thought Presentation in Mrs. Dalloway

Guo

2017

ALLS

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Mrs. Dalloway by Virginia Woolf is well-acclaimed for its almost non-intrusive portrayal of characters' state of mind. Many studies approach it from biographical, socio-historical, philosophical, and other non-linguistic perspectives, and most linguistic investigations deal with illustrative examples of a single linguistic device in this novel. Few are concerned with the presence of particular linguistic patterns that explain how the intricate flow of thought is successfully depicted. This paper offers a detailed elaboration on the criteria for categorizing thought presentation in Leech& Short's model and distinguishes cases of ambiguity. A case study of Mrs. Dalloway's flower purchase scene illustrates how different types of thought presentation along with different reporting clauses are used to convey the variation in the character's mental state and the negotiation between her inner voice and the outside world.

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“…Several scholars have identified a number of features of NP (Banfield, 1981; Brinton, 1980; Fehr, 1938; Fludernik, 1993: 305–309; Hernadi, 1972). Most of these features are not exclusive to the technique, and not all of them occur in every instance.…”

Section: Introduction: ‘Narrated Perception’mentioning

confidence: 99%

“… 1. NP has also received other names: ‘substitutionary perception’ (Fehr, 1938; Hernadi, 1972; McHale, 1978: 280), ‘represented perception’ (Banfield, 1981; Brinton, 1980) and ‘free indirect perception’ (Chatman, 1978: 204; Palmer, 2004: 48). The term ‘narrated perception’ (Cohn, 1978: 111, 133–134; Fludernik, 1993: 305–309) is adopted throughout this work because it does not define the technique in relation to free indirect discourse and also captures the closeness between perception and pure narration. …”

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confidence: 99%

Narrated perception revisited: The case of Jane Austen’s Emma

Pallares-Garcia

2012

Language and Literature: International Journal of Stylistics

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Jane Austen’s Emma (1816) is generally considered an ambiguous and unreliable narrative in terms of point of view (Morini, 2009: 53–57; Wallace, 1995: 77–97). These qualities are often attributed to the extensive use of free indirect discourse (Finch and Bowen, 1990: 5–6; Mezei, 1996: 72–75). This article aims to demonstrate that another narrative technique is also responsible for the ambiguity and unreliability of the novel. ‘Narrated perception’ (NP) portrays the sensory perceptions of a fictional character by describing events as they are experienced by that character (Fludernik, 1993: 305–309). NP has been pointed out by some critics to be a distinct narrative technique, but in general perception is included within the broader category of free indirect discourse (FID), and occasionally as an aspect of free indirect thought (FIT). This article suggests that there are some subtle differences between NP and FID/FIT, and thus it can be beneficial to examine NP separately. In fact, NP is frequently similar to pure narration in terms of form and function. As a case study, this article presents a stylistic analysis of a number of passages containing NP in Emma which do not typically feature in studies of FID/FIT. The analysis provides textual evidence of (1) the presence of Emma’s sensory perceptions within what looks like narration, (2) the close connection between perception, thought and emotion, and (3) the difficulty of distinguishing between perception and narration in some cases, which suggests the potential of NP to mislead the reader by presenting as a seemingly objective fact what later on turns out to be Emma’s mistaken assessment.

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Dual Perspective: Free Indirect Discourse and Related Techniques

Cited by 16 publications

References 0 publications

Free Indirect Thought in Stream-of-Consciousness Fiction: A Textural Cohesive Perspective

Free Indirect Thought in Stream-of-Consciousness Fiction: A Textural Cohesive Perspective

Isolation and Communication A Stylistic Analysis of Thought Presentation in Mrs. Dalloway

Narrated perception revisited: The case of Jane Austen’s Emma

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