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Journal articles on the topic 'Deictic shift theory'
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1
Abdulilah Gheni, Ali. "دراسة لنظرية الانتقال الاشاري بوصفة منهجا اسلوبيا في تحليل تأثيرات وجهة النظر في الخطاب السردي." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 2 (June 12, 2019): 129–42. http://dx.doi.org/10.36473/ujhss.v58i2.880.
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Traditionally, most approaches to stylistic analysis are not related to cognitive processes by which readers are engaged and conceptualized to a particular point of view while reading a text. Against this account , emerged through 1980s and 1990s, various stylistic models for identifying categories of point of view in fiction, and this brings a cognitive perspective in analysis of narrative stylistics. Deictic shift theory is an act to demonstrate how readers are completely engaged in narratives, to a degree that they interpret events in narrative as if they were experiencing them from a position within the story world. According to Segal(1995,p15),deictic shift theory (henceforth DST) means that '' the reader often takes a cognitive attitude within the world of narrative and interprets the text from that perspective' 'and this happens as a result of deictic shifts within the narratives that change the deictic center from which the sentences of the text are interpreted. It follows that such changes in the deictic center across the course of a text will result in changes in the point of view that readers will be exposed to(Mclntyre,2006,p92).The present study aims to investigate the role of deictic shift theory as a cognitive perspective to point of view effects in the selected poem written by Seamus Heaney in his famous poem '' Mossbawn'' . The emphasis will be shifted away from narrative techniques towards theconceptual framework that tackles the cognitive processes of both reading and interpretation. However, the study will show how applying DST is an indispensable in tackling stylistic analysis to point of view which develops our understanding of the construction of viewpoints in language.The analysis has shown that the cognitive work of DST is used as a device in the poem in order to arrive at the comprehensive meaning of text. The poet uses different deictic shifts and projection of viewpoints of personal pronoun, locational, and temporal deixis and references which are interrelated between the fictional text world of the poem and the real central world of the reader. Also, it is seen that in cognitive terms there is a shift between the past and the present, a rapid back and forth shift of deictic center and field which is tackled by the reader's perspective
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Rian Meriandini, I. Gusti Ayu, Made Ratna Dian Aryani, and I. Made Budiana. "Deiksis Persona pada Pronomina Persona dalam Anime Barakamon Karya Tachibana Masaki." Humanis 23, no. 3 (September 27, 2019): 240. http://dx.doi.org/10.24843/jh.2019.v23.i03.p11.
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The title of this research is “Personal Deixis on Personal Pronoun of Barakamon Anime Created by Tachibana Masaki” that aimed to research the deixis form, deixis reference, and deictic shift on personal pronoun of Barakamon anime 1-12 episode created by Tachibana Masaki. This research was analyzed by using descriptive method and informal technique. Deixis form and deixis reference analysis used personal deixis of pragmatic theory by Yule (1996) and personal deixis reference by Halliday and Hasan (1976). While the deictic shift analysis used personal deictic shift theory by Purwo (1984). The result of this research is on Barakamon anime was found three types of person deixis in the personal pronoun with each type of person deixis divided into two forms are singular and plural i.e. first personal deixis e.g. watashi, atashi, boku, ore, uchi, watashitachi, watashira, atashira, bokutachi, bokura, oretachi, orera, uchira, and wareware, second personal deixis e.g. anata, anta, kimi, omae, anatatachi, antatachi, antara, omaetachi, and omaera, and third personal deixis e.g. kare, koitsu, soitsu, aitsu, koitsura and aitsura. Deixis reference that found are exophora reference and endophora reference with anaphora category. And deictic shift that found are personal deictic shifting first personal form for second personal by using watashi, personal deictic shifting second personal form for first personal by using omae and omaera, and personal deictic shifting second personal form for third personal by using anata and omae.
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Chilton, Paul. "Vectors, viewpoint and viewpoint shift." Annual Review of Cognitive Linguistics 3 (October 31, 2005): 78–116. http://dx.doi.org/10.1075/arcl.3.06chi.
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Cognitive Linguistics has developed many insights into language but no systematic formalism. This article proposes that the discipline can benefit from standard geometrical formalisms. It outlines an approach called Discourse Space Theory (DST) that uses coordinate geometry and vector spaces. It describes how vectors have been used by several scholars to characterise the semantics of spatial prepositions, extending this approach to an abstract, deictically centred discourse space. Vector geometry comes with standard properties and operations that can serve to describe many linguistic and discourse phenomena. One of these is transformation of axes, which can be used to represent the phenomenon of viewpoint shift in discourse. The paper illustrates how DST can systematically describe viewpoint shift in foreground-background shifts, deictic verbs, tense, complement clauses and conditional constructions, especially counterfactuals.
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Korostenskienė, Julija. "The hit or miss guesswork figuring the deictic centre of the Russian patronymic." Yearbook of the German Cognitive Linguistics Association 8, no. 1 (October 1, 2020): 99–118. http://dx.doi.org/10.1515/gcla-2020-0007.
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Abstract Set within the framework of Proximization Theory, which focuses on the construal of deixis (Chilton 2004, Cap 2006, 2010, 2013), the present study explores address terms (ATs) as used by the Russian-speaking minority in Lithuania (RuL). The collected data strongly suggest that forms of address of this ethnic group have shifted from the mainland standard Russian full name + patronymic to the full name only. Moreover, the previously consistently used polite form of address with the patronymic is now largely regarded as causing discomfort and consequently avoided, especially in mixed groups. The shift in address strategy is attributed to the deictic shift along the axiological axis in the mental representations of the speakers. The patronymic-less ATs, previously placed within the outside deictic centre are shown to be reanalyzed and placed within the interactants’ inside deictic centre. Hesitations in selecting a given AT, a potential issue between the interactants from different age groups, is indicative of the internal conflict of the speaker and their mental switching between the IDC and the ODC. The proposed analysis determines the placement of patronymic and name-only forms on the axiological axis and discusses implications for the differences in Anglo-Saxon and Russian terms for address study.
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Hostetler, Margaret. "The characterized reader in Hali Meiðhad and the resisting reader of feminist discourse on medieval devotional texts." Journal of Historical Pragmatics 6, no. 1 (February 22, 2005): 87–111. http://dx.doi.org/10.1075/jhp.6.1.05hos.
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What has emerged from much recent feminist analysis of medieval devotional literature is a model of reading based on a theorized resistance by the female reader to the misogyny of the medieval text. Yet this model of reading limits opportunities for positive communication between text and reader. This article offers an analysis of readers characterized in Hali Meiðhad through the use of parenthetical honorifics and direct address to argue that features encoded to entice reader participation or cue certain reader responses are more complex than has been noted and move beyond any unproblematic notion of avoidable misogyny. The description of narrative shifts in this discussion relies on Deictic Shift Theory to illustrate how the author of Hali Meiðhad explicitly shifts his readers from identification with one reader-character to another over the course of the epistle, enabling his readers to position themselves self-consciously in relation to various Christian identities.
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Lugea, Jane. "Embedded dialogue and dreams: the worlds and accessibility relations of Inception." Language and Literature: International Journal of Stylistics 22, no. 2 (May 2013): 133–53. http://dx.doi.org/10.1177/0963947013489618.
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In this article, Text World Theory (Gavins, 2007; Werth, 1999) and Ryan’s model of fictional worlds (1991a, 1991b) are both applied to Nolan’s blockbuster film, Inception (2010) to explore the multi-layered architecture of the narrative. The opening two scenes of Nolan’s screenplay are analysed using Text World Theory, with particular attention to the embedded nature of character dialogue, or, more generally, ‘represented discourse’ (Herman, 1993), otherwise known as Direct Speech (Leech and Short, 2007). Based on this analysis, I suggest a modification to the way in which Text World Theory deals with represented discourse, which improves the framework’s applicability to all text types. Moving from the micro-analysis of the screenplay text, to a macro-analysis of the film narrative as a whole, I outline the various different worlds that make up the reality, dream and ‘limbo’ layers in the film, explaining how most of the action takes place at a remove from the world at the centre of the textual system. I use Deictic Shift Theory’s terms PUSH and POP (Galbraith, 1995) to describe the movements between the ontological layers of the narrative and suggest that these terms are better suited to describe hierarchies of ontology rather than horizontal deictic shifts. Ryan’s taxonomy of accessibility relations is used to describe the ways in which the film differs from reality, as well as the ways in which the dreams differ from the internal reality of the film. The complex ontological structure and asymmetric accessibility relations between the worlds are ascribed as the reason for many viewers’ difficulty in processing the film’s narrative. With its attention to discourse-world factors, Text World Theory is then used to account for the myriad of reactions to Inception – as expressed on online discussion forums – which range from engagement and enjoyment to frustration and resistance.
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Nikiforidou, Kiki. "Viewpoint and construction grammar: The case of past + now." Language and Literature: International Journal of Stylistics 19, no. 3 (August 2010): 265–84. http://dx.doi.org/10.1177/0963947010370253.
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The combination of a past tense verb with a proximal deictic has been identified in the literature as one of the formal markings of free indirect style (Adamson, 1995). In this article, I examine corpus-derived, non-literary occurrences of the pattern, arguing that construction grammar can provide an adequate, all-encompassing framework for both literary and non-literary uses. Defined as conventional pairings of meaning and form, constructions can accommodate all kinds of semantic, pragmatic, discoursal and textual information as part of their meaning. In the case of the past + now pattern such specifications include a particular discourse or text type, namely narrative, which is the licensing context, and whose conventional association with the particular form constitutes precisely a distinct (discourse) construction. Within this constructional context, the past tense makes a predictable, compositional contribution while the present deictic suppresses part of its meaning signalling instead an anchoring to the current experience, thought, perception of the other. Where present, the progressive aspect enhances further this shift in perspective in a way fully consistent with its basic (non-truth conditional, cognitively defined) semantics. I attempt to show that a constructional approach to past + now may therefore pinpoint the source of the viewpoint effect associated with the pattern in all its uses, and illuminate the relationship of free indirect style with constructions of non-literary discourse.
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Bentein, Klaas. "Deictic Shifting in Greek Contractual Writing (I–IV AD)." Philologus 164, no. 1 (June 3, 2020): 83–106. http://dx.doi.org/10.1515/phil-2020-0100.
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AbstractMuch attention has been paid to ‘deictic shifts’ in Ancient Greek literary texts. In this article I show that similar phenomena can be found in documentary texts. Contracts in particular display unexpected shifts from the first to the third person or vice versa. Rather than constituting a narrative technique, I argue that such shifts should be related to the existence of two major types of stylization, called the ‘objective’ and the ‘subjective’ style. In objectively styled contracts, subjective intrusions may occur as a result of the scribe temporarily assuming himself to be the deictic center, whereas in subjectively styled contracts objective intrusions may occur as a result of the contracting parties dictating to the scribe, and the scribe not modifying the personal references. There are also a couple of texts which display more extensive deictic alternations, which suggests that generic confusion between the two major types of stylization may have played a role.
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West, Donna E. "The work of Peirce’s Dicisign in representationalizing early deictic events." Semiotica 2018, no. 225 (November 6, 2018): 19–38. http://dx.doi.org/10.1515/sem-2017-0042.
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AbstractDirecting attention to features in the here and now (via individual or joint ventures) is the single, most basic purpose for Dicisigns in human ontogeny. To effectively individuate in the stream of relational awareness, attentional devices must maximize notice of the dynamicity of primary graphical displays. This is a complex process, in that it requires codification of several interconnected but individualized spatial systems and event correlates: associating objects with locations, utilizing other objects as reference points, using intrinsic sidedness and absolute points of reference to orient, and anticipating potential alterations of participants within the spatial array. Early awareness of shifting object location relies upon a double sign (index, icon) to identify and implement landmarks for precise object location. Afterward, establishing other persons/objects as referent points becomes critical. Determining orientation and motility ultimately requires individuating-shape representamen which can leverage spatial inferencing –defining participant action schemes via event profiles. In other words, expectations of action paths which attentional signs afford drives well-formed abductions of participants’ likely momentary orientational shifts. Nonetheless, to successfully predict these shifts, Dicisigns must supersede affiliation with single energetic interpretants; they need to incorporate logical interpretants realized in agent-receiver role reciprocation.
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Morini, Massimiliano. "Translation, stylistics and To the Lighthouse." Target. International Journal of Translation Studies 26, no. 1 (March 7, 2014): 128–45. http://dx.doi.org/10.1075/target.26.1.05mor.
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Scholars in Descriptive Translation Studies and other areas of translation theory have often employed ‘style’ as a term, but have rarely expanded their stylistic reflections beyond the level of impressionistic description. In the last decade, however, a small number of articles and monographs have advocated or attempted a fusion of stylistics and translation studies, into something that Kirsten Malmkjær (2004) has aptly termed “translational stylistics.” Building on this handful of contributions, the author proposes a bi-textual analysis of deictic shifts in Virginia Woolf’s To the Lighthouse (1927) and Giulia Celenza’s early Italian translation Gita al faro (1934).
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Feshchenko, V. V. "From the History of Cognitive Linguistic Approaches in Russian and Western- European Poetics." Critique and Semiotics 37, no. 2 (2019): 128–35. http://dx.doi.org/10.25205/2307-1737-2019-2-128-135.
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The article provides an overview of some recent works on cognitive poetics. Of particular interest are studies close to linguistic problematic of cognition in literary texts. A separate analysis tackles the case from the history of Russian thought about language and poetry – the theory of artistic (poetic) concepts by the Russian philosopher S. А. Askoldov. The paper also considers conceptions of Western-European linguists that emerged at the peak of the “cognitive turn” in the 1970s: theories of T. van Dijk and J. Lakoff – M. Turner, as well as criticism of these works by the Israeli literary critic R. Tsur; the approaches of P. Stockwell (author of the theory of deictic shifts), the Sheffield School of Text Worlds Analysis (J. Gavins, A. Gibbons), and M. Freeman (applications of cognitive linguistics to the study of literary text).
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Hermans, Theo. "Positioning translators: Voices, views and values in translation." Language and Literature: International Journal of Stylistics 23, no. 3 (July 31, 2014): 285–301. http://dx.doi.org/10.1177/0963947014536508.
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Starting from a set of examples of translations in which translators use paratextual or code-switching devices to voice reservations about the works they are translating, I explore the similarities between this type of translation and what Dorrit Cohn calls discordant narration. I go on to argue in favour of viewing translation as a form of reported discourse, more particularly what Relevance theory calls echoic (and in some cases ironic) speech, a species of interpretive discourse in which the speaker’s attitude towards the words being reported is relevant. Viewing translation as reported discourse implies that the translated words are embedded in the translator’s reporting discourse. I conclude by suggesting that it is up to the reader to make a translator’s attitude relevant, and that deictic shifts from the framing to the framed discourse enable the reader to discern or construe the translator’s positioning.
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Vasquez, Camilla. "Narrativity and involvement in online consumer reviews." Narrative Inquiry 22, no. 1 (December 31, 2012): 105–21. http://dx.doi.org/10.1075/ni.22.1.07vas.
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Drawing on recent work on digital narratives of personal experience in online genres such as email, social networking sites, and blogs, the present study explores narrative features in 100 online consumer reviews of hotels. Focusing on negative reviews, or “Rants,” from popular consumer travel platform, TripAdvisor, the article examines both canonical and genre-specific structural features of narratives, as well as some of the discursive resources used by online narrators to engage their audiences, and to draw them into their stories. Specifically, the study explores the use of story prefaces and related forms of second person address, represented speech and mental states, and deictic shifts, and suggests that narrative features such as these are useful in attracting the attention of an audience amidst a vast universe of online information.
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Carew, Margaret. "Represented experience in Gun-nartpa storyworlds." Narrative in ‘societies of intimates’ 26, no. 2 (December 31, 2016): 286–311. http://dx.doi.org/10.1075/ni.26.2.05car.
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The Gun-nartpa people of northern Australia use represented experience to mark prominence at narrative highpoints. The term ‘represented experience’ refers to verbal expressions that form paratactic relations with surrounding discourse. It encompasses the speech of story actors, environmental sounds, and sound-symbolic renderings of events. Such representations impart moments of drama to narrative discourse, in which shifts in perspective position the deictic centre at an imagined interpersonal space within the storyworld of the narrative. It is here, where the storyteller and audience enter the subjectivity of story actors, that elements of the narrative most clearly express its underpinning cultural proposals. The Gun-nartpa construe the cultural proposals that make up the notional structures of narrative discourse in terms of relational knowledge, in which conceptualisations of ‘belonging’ are of primary value. This relational frame of reference provides context for the interpretation of the evaluative implicatures that arise at highpoints, and lends coherence to Gun-nartpa narrative discourse.
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Urzha, Anastasia. "Foreground and Background in a Narrative: Trends in Foreign Linguistic and Translation Studies." Slovene 7, no. 2 (2018): 494–526. http://dx.doi.org/10.31168/2305-6754.2018.7.2.20.
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The review accumulates the information on the Theory of Grounding and Saliency Hierarchy (based on publications that have not been translated into Russian) and describes the main modern trends in the study of grounding. The Theory of Grounding, designed in the last quarter of the 20th century, has since then been developing within linguistic, narratological, cognitive and translation studies, being applied to texts of various genres in many languages. Early works in this sphere elaborated the criteria characterizing the relative grounding of the clauses in the narrative (based on temporal sequentiality and transitivity), while later research, focusing on the wider range of texts including free indirect discourse and non-sequential prose, highlighted the subjectivity of grounding, including criteria of human importance and unpredictability into the analysis of the salient clauses. As a result the Theory of Grounding has contributed to various coexisting trends in the scientific research concerning subordination of clauses and anaphoric relations in texts on the one hand, and deixis, evaluation and perspective on the other. Touching upon these trends in the review, we pay special attention to the analysis of grounding within translation studies: the researchers focus on transitivity in translation, revealing and explaining the cases of non-intentional and purposeful changes in transitivity made by translators. The analysis of the deictic center shifts in original texts and their translations also contributes to our knowledge of grounding devices. Out of all publications, our special attention is drawn to the studies of grounding that employ Russian-language narrative materials.
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Warner, Chantelle. "Speaking from experience: narrative schemas, deixis, and authenticity effects in Verena Stefan's feminist confession Shedding." Language and Literature: International Journal of Stylistics 18, no. 1 (February 2009): 7–23. http://dx.doi.org/10.1177/0963947008099303.
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Confessional writing, such as Swiss feminist Verena Stefan's autobiographical novel Shedding (1977) (German: Häutungen, 1977[1975]), is often praised as being an expression of a particular individual's authentic voice. This readerly concept of authentic voice has been under-examined in contemporary and postmodern narrative theories, which have tended to emphasize the abstractness, the disembodiedness of voice. In this article I draw from Monika Fludernik's concept of narrative schemas and from theories of deixis in literature within cognitive poetics in order to develop a model by which to explain the authenticity effects attributed to Stefan's book and to other works of testimonial and confessional literature. Through an analysis of stylistic features related to different aspects of deixis, I illustrate how deictic shifts may encourage readers to pay more attention to certain narrative parameters over others within the framework of familiar narrative schemas, thereby creating a greater sense of immersivity in the text and consequently the effect of a narrative that is being experienced even as it is being told.
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Jeffries, Lesley. "The role of style in reader-involvement: Deictic shifting in contemporary poems." Journal of Literary Semantics 37, no. 1 (January 2008). http://dx.doi.org/10.1515/jlse.2008.005.
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AbstractThis article investigates the language of two contrasting contemporary poems in English: “Mittens” by Peter Sansom and “Pain tells you what to wear” by Mebdh McGuckian. The different experiences of reading them are explored using concepts drawn from the narrative theories of Emmott (1997), deictic shift theory (see McIntyre 2006), and blending theory (see Dancygier 2005), with the aim of explaining some of the apparent differences of reader-involvement. Questions of identity and reference are raised in relation to the use of pronouns in such poems, the potential effects of blending of deictic centres is explored and the different literary effects of bringing the reader into the deictic centre or voiding the deictic centre are discussed.
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Bell, Alice, Astrid Ensslin, Isabelle Van der Bom, and Jen Smith. "Immersion in Digital Fiction." International Journal of Literary Linguistics 7, no. 1 (January 29, 2018). http://dx.doi.org/10.15462/ijll.v7i1.105.
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In this article, we profile an empirically grounded, cognitive approach to immersion in digital fiction by combining text-driven stylistic analysis with insights from theories of cognition and reader-response research. We offer a new analytical method for immersive features in digital fiction by developing deictic shift theory for the affordances of digital media. We also provide empirically substantiated insights to show how immersion is experienced cognitively by using Andy Campbell and Judi Alston’s (2015) digital fiction piece WALLPAPER as a case study. We add ‘interactional deixis’ and ‘audible deixis’ to Stockwell’s (2002) model to account for the multimodal nature of immersion in digital fiction. We also show how extra-textual features can contribute to immersion and thus propose that they should be accounted for when analysing immersion across media. We conclude that the analytical framework and reader response protocol that we develop here can be adapted for application to texts across media.
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Bell, Alice, Astrid Ensslin, Isabelle Van der Bom, and Jen Smith. "Immersion in Digital Fiction." International Journal of Literary Linguistics 7, no. 1 (January 29, 2018). http://dx.doi.org/10.15462/ijll.v7i1.105.
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In this article, we profile an empirically grounded, cognitive approach to immersion in digital fiction by combining text-driven stylistic analysis with insights from theories of cognition and reader-response research. We offer a new analytical method for immersive features in digital fiction by developing deictic shift theory for the affordances of digital media. We also provide empirically substantiated insights to show how immersion is experienced cognitively by using Andy Campbell and Judi Alston’s (2015) digital fiction piece WALLPAPER as a case study. We add ‘interactional deixis’ and ‘audible deixis’ to Stockwell’s (2002) model to account for the multimodal nature of immersion in digital fiction. We also show how extra-textual features can contribute to immersion and thus propose that they should be accounted for when analysing immersion across media. We conclude that the analytical framework and reader response protocol that we develop here can be adapted for application to texts across media.