B_solo_zgibanke male new_1 - Filozofska fakulteta
B_solo_zgibanke male new_1 - Filozofska fakulteta B_solo_zgibanke male new_1 - Filozofska fakulteta
PaReLLO, vincent (2001) «‘Lector in fabula’: le paratexte de la Célestine.» les langues néolatines 316, 45–60. SeveRiN, Dorothy Sherman (1989) tragicomedy and novelistic discourse in Celestina. Cambridge: Cambridge University Press. tODOROv, tzvetan (1981) mikhaïl Bakhtine: le principe dialogique, suivi de: Écrits du Cercle de Bakhtine. París: Seuil. WHiNNOM, keith (1993) «the form of Celestina: dramatic antecedents.» Celestinesca 17/2, 120–146. Povzetek Celestina: »DiaLOGiziRaNi« iN »DiaLOŠki ROMaN« eden od mnogih izzivov pri interpretaciji Celestine španskega pisatleja Fernanda de Rojasa (1499) je njena zvrstna neopredeljivost. Čeprav je napisana v obliki dialoga in bi torej pričakovali, da je v njej vse aktivno, je očitno, da v dialogih, še bolj pa v monologih, dramsko funkcijo velikokrat preglasi pripovedna; ta dopušča proučevanje Rojasovega dela v luči različnih tipov »dialoških odnosov«, ki jih po Bahtinovi teoriji romana vzpostavi vsako delo navznoter, med svojimi notranjimi komponentami, in navzven, z drugimi deli iz časovno in krajevno ločenih kultur. Članek z orisom pripovednih postopkov kot so najdeni rokopis, delo v nastajanju, citatnost, mešanje diskurzov in dvoumnost potrdi, da je mogoče Celestino razlagati ne le kot dialogizirano, temveč tudi kot dialoško in narativizirano besedilo in je zato pri njenem analiziranju smiselno uporabiti kategorije, ki jih predlaga Bahtin v svojih študijah o evropskem romanu. 214
Smiljana komar UDk 811.111'342.9 University of Ljubljana* iNtONatiON: tHe StRONGeSt LiNk iN tHe Weakest link QUiz 1. iNtRODUCtiON People do not always want to verbalize what they really mean. instead, they spend time carefully choosing their words and syntactic structures. When they finally utter them, it often happens that the addressees feel that the speakers meant more than their words actually said. the statement “it wasn’t so much what they said, as the way they said it,” clearly indicates how strongly people react to intonation. although they are normally not conscious of different prosodic features that make up intonation as a whole, they are nevertheless very sensitive to it, especially when it runs counter to their expectations. When in a particular context of interaction they hear an unexpected intonation pattern, their first reaction is to search for an implied meaning. if they cannot find it, they may be amused or bewildered and in the extreme example angry or even hurt. intonation is an essential part of language study which has linguistic, discourse and pragmatic functions. its primary linguistic function is to link lexis, grammar and speech. the discourse function of intonation is to explore ways of achieving cohesion in spoken discourse, whereas its pragmatic function is to enable the hearer to make inferences from the utterance’s context in order to enrich the interpretation. in other words, intonation does not alter the sense of lexical items, it merely shades their meanings by providing the hearer with an opportunity to choose between different interpretations at the lexico-syntactic level dependent on the context of interaction. the linguistic function of intonation is probably least elusive as it works hand in hand with syntax and is as such concerned with the organization of the message (e.g. old/new information, the number of pieces of information, the completeness or incompleteness of the message) as well as with its mode (e.g. indicative, imperative and subjunctive). the linguistic function is expressed by means of two processes: tonality which is concerned with the division of speech into intonation units, and tonicity which deals with the focal point of intonation. in a language like english - which has a fairly fixed word order which does not allow the sentence elements to change places randomly without changing the meaning of the message – it is fairly easy to make tonality and tonicity rules. and indeed, linguists have been successful in doing that. Halliday (1976), who tried to link grammar and intonation, fully developed the notions of neutral and marked tonality and tonicity and established by which prosodic features they are expressed in spoken discourse. * author's address: Filozofska fakulteta, Oddelek za anglistiko in amerikanistiko, aškerčeva 2, 1000 Ljubljana, Slovenia. email: smiljana.komar@guest.arnes.si 215
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Smiljana komar UDk 811.111'342.9<br />
University of Ljubljana*<br />
iNtONatiON:<br />
tHe StRONGeSt LiNk iN tHe Weakest link QUiz<br />
1. iNtRODUCtiON<br />
People do not always want to verbalize what they really mean. instead, they spend<br />
time carefully choosing their words and syntactic structures. When they finally utter<br />
them, it often happens that the addressees feel that the speakers meant more than<br />
their words actually said.<br />
the statement “it wasn’t so much what they said, as the way they said it,” clearly<br />
indicates how strongly people react to intonation. although they are normally not<br />
conscious of different prosodic features that make up intonation as a whole, they are<br />
nevertheless very sensitive to it, especially when it runs counter to their expectations.<br />
When in a particular context of interaction they hear an unexpected intonation<br />
pattern, their first reaction is to search for an implied meaning. if they cannot find it,<br />
they may be amused or bewildered and in the extreme example angry or even hurt.<br />
intonation is an essential part of language study which has linguistic, discourse<br />
and pragmatic functions. its primary linguistic function is to link lexis, grammar and<br />
speech. the discourse function of intonation is to explore ways of achieving cohesion<br />
in spoken discourse, whereas its pragmatic function is to enable the hearer to make<br />
inferences from the utterance’s context in order to enrich the interpretation. in other<br />
words, intonation does not alter the sense of lexical items, it merely shades their<br />
meanings by providing the hearer with an opportunity to choose between different<br />
interpretations at the lexico-syntactic level dependent on the context of interaction.<br />
the linguistic function of intonation is probably least elusive as it works hand in<br />
hand with syntax and is as such concerned with the organization of the message (e.g.<br />
old/<strong>new</strong> information, the number of pieces of information, the completeness or<br />
incompleteness of the message) as well as with its mode (e.g. indicative, imperative<br />
and subjunctive). the linguistic function is expressed by means of two processes:<br />
tonality which is concerned with the division of speech into intonation units, and<br />
tonicity which deals with the focal point of intonation. in a language like english -<br />
which has a fairly fixed word order which does not allow the sentence elements to<br />
change places randomly without changing the meaning of the message – it is fairly<br />
easy to make tonality and tonicity rules. and indeed, linguists have been successful<br />
in doing that. Halliday (1976), who tried to link grammar and intonation, fully<br />
developed the notions of neutral and marked tonality and tonicity and established<br />
by which prosodic features they are expressed in spoken discourse.<br />
* author's address: <strong>Filozofska</strong> <strong>fakulteta</strong>, Oddelek za anglistiko in amerikanistiko, aškerčeva 2, 1000<br />
Ljubljana, Slovenia. email: smiljana.komar@guest.arnes.si<br />
215