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Neuro-ophthalmological signs and symptoms are common in the emergency department but are a frequent source of diagnostic uncertainties. However, neuro-ophthalmological signs often allow a precise neuro-topographical localization of the clinical problem. A practical concept is presented how to perform a neuro-ophthalmological examination at the bedside and to interpret key findings under the aspect of emergency medicine with limited resources.
In this paper pronominalization is analyzed in reference to the fictional creatures in the literary work of Guillermo del Toro’ in order to study whether the choice of pronoun serves the function of expressing attitudes towards fictional creatures, such as zombies and vampires, in a way that makes the contexts and the characters’ subjective perceptions the dominant factors and consequently puts aside the semantic or grammatical status of the referent. The paper also investigates whether inanimate pronouns (it/its, which), are used in association with detached appraisal, callousness and dehumanization, and whether personal pronouns (he/his, she/her, and who/whom) are used with attachment, closeness and humanization. These two categories of pronouns (personal and inanimate) are normally distinct, i.e., in most contexts they cannot be used interchangeably. The study of the characteristics of fictional creature pronominalization can shed light on how we use pronouns in order to create creatures that exist only in our imagination, and how a variety of different attitudes towards them is expressed through this specific linguistic tool. In relation to del Toro’s zombies and vampires, it can be argued that the pronominalization serves a certain purpose in order to dehumanize them, differentiate the dead vampire/zombies from the living humans, and to point out the before and the after of the transition between life and death. The pronominalization in reference to fairies, although complicated and not completely consistent, shows a clear tendency towards a correlation between animal–like creatures and inanimate pronouns. In regards to del Toro’s trolls, the pronominalization follows a more consistent pattern, which clearly serves the function of expressing different kinds of attitudes towards the creatures such as detached appraisal and dehumanization, on the one hand, and friendship and alliance, on the other.
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.
This paper discusses aspects of direct speech in James Joyce’s story "The Sisters". The story is often analyzed with special attention to the gaps and ellipses in the utterances, which are usually read as omissions, evasions, or uncomfortable silences, and thus as indicative of some transgressive behaviour of the dead priest who is at the centre of the dialogues. In this article we explore the hypothesis that the utterances in question show features that are quite common in natural spoken language and thus may also be read as literary techniques to create authentic oral discourse. This hypothesis is not intended to invalidate previous interpretations, but to introduce an additional aspect of interpretation that has been neglected so far. In the context of a literary work, features of natural spoken language acquire new meaning, and the very attempt to narrow the gap between literary and natural spoken language appears as inauthentic, ominous and as an artistic strategy to express the unspeakable. The story thus evokes suspicion and a feeling of eeriness while also offering narrative and linguistic information that allows for a more empathic assessment of the characters. We use quantitative methods of analysis and linguistic data from corpora of (authentic) spoken language to substantiate our hypothesis. As "The Sisters" is a rather short story and the present study is, in several respects, exploratory, our claims and hypotheses need to be confirmed and validated by more exhaustive research into Joyce’s major works.
In order to achieve the goals of social commentary and moral judgement pursued in her novels, Jane Austen describes and evaluates different aspects of her characters’ personalities: social attitude, intellectual qualities and moral traits (Lodge 1966). Mansfield Park (1814) is one of her novels in which this moral awareness is most acute. In order to construct a community of shared values with her readers, Austen skilfully alternates different points of view as sources of evaluation. We propose an analysis of the first chapter of Mansfield Park that addresses this dialogic dimension by focusing on the resources of engagement, the subsystem of Appraisal Theory with which speakers/writers express their commitment to the truth of a proposition and their willingness to open the negotiation space to other voices (Martin & White 2005: 97).
The linguistic subtlety and complexity of Jane Austen’s writing is a challenge to translators, who must try to identify all the concurrent interpretation possibilities and reproduce them in the target language. In this article we compare the English source text with various translations into Spanish, Catalan and German. Our analysis focuses on the lexicogrammatical realisations of engagement such as verba dicendi, epistemic expressions, lexical choices with a distinct attitudinal load, and also on the development of narration – as far as that is possible in a study centering on the first chapter –, since it is often the case that narrator stance is modified as the text unfolds.
We discuss fragments of narrator discourse, direct speech and indirect/free indirect speech and consider the advantages of the framework to uncover changes in the evaluative dimension of meaning that affect the readings the translations will afford in their target society, from character building to the articulation of points of view.
The present study investigates the representation of non-standardised varieties of English in literary prose texts. This is achieved by creating and annotating a corpus of literary texts from Scotland, West Africa, and Southeast Asia. The analysis addresses two major topics. Firstly, the extent of representation reveals clearly distinct feature profiles across regions, coupled with varying feature densities. Feature profiles are also relevant to individual characters, as certain traits such as social status, ethnicity, or age can be signalled by linguistic means. The second topic, accuracy of representation, compares the features observed in literary texts with descriptions of the actual varieties, and suggests that representations of varieties may differ from their real-life models in the sense that highly frequent features may be absent from texts, while less frequent but more emblematic ones, or even invented ones, may be used by authors to render a variety of English in their texts.
It has been noted (Perkins, 2009; Zwaan, 1999; Zwaan & Radvansky, 1998) that causality, character, location, and time are the four main aspects of narrative discourse, even if not attended to by listeners or readers in equal ways. For example, character is highly ranked, and the locational/spatial components have often been underestimated for English narratives (see Perkins, 2009, for a review). Relative to the ranking, there is no inherent reason why character needs to be highly ranked, and locational/spatial information is in fact important in English narrative discourse (Perkins, 2009). I instead suggest that there are linguistic and cultural factors in the ranking of these aspects of discourse. Specifically, I suggest that causality is (probably) the highest ranked component, in languages that have a ranking, with the other three elements being linked to causality more or less strongly, depending on linguistic and cultural factors; it is possible that some languages do not rank narrative elements or that some elements are ranked as highly as others. In English, the strongest link is between causality and character. However, this is not universal.
In a survey of fifty-eight languages from thirty language families, including an in-depth study of Hobongan, an Austronesian language spoken by approximately two thousand people on the island of Borneo that I am in the process of describing, it is found that there is a great deal of cross-linguistic variation, to the extent that it is possible that each logically possible combination of narrative elements is present in the world’s languages.
Abrupt switches between different tenses (past-to-present, present-to-past) are known from oral narratives and medieval literature in Romance languages, but there is little consensus about their function and interpretation. In this study, we combine corpus-linguistic tools with experimental methods and quantitative analysis to shed light on the use of tense switches in a medieval Icelandic prose text (Hrafnkels saga freysgoða). Specifically, we part-of-speech tagged all words in Hrafnkels saga freysgoða and then determined where verbs exhibit tense switches. In a second step, we had 19 subjects mark all parts in the saga they consider climactic so as to study the overall as well as subject-specific correlations between climaxness and tense switches. In the vast majority of subjects, we observe the expected correlation, and for most of these it is significant. We discuss the findings with regard to their implications for tense switching as a performative device and the position of sagas on an orality-literacy continuum.
Smith (1968) argues that poems may end with formal changes which produce an experience of closure in the reader. I argue that formal changes do not directly cause an experience of closure. Instead, changes in poetic form always demand increased processing effort from the reader, whether they involve new forms, shifts from more to less regular form, or from less to more regular form. I use relevance theory (Sperber and Wilson 1995) to argue that the increased processing effort encourages the reader to formulate rich and relevant thoughts, including the thought "this poem has closure". Closure is thus the content of a thought rather than a type of experience. I further argue that "closure" is a term whose meaning cannot be fully understood, which makes the thought "this poem has closure" into a schematic belief of the kind which Sperber shows has great richness and productivity. This is one of the reasons that the thought "this poem has closure" achieves sufficient relevance to justify the effort put into processing the end of the poem.
The article addresses the question of who reports the dialogue in fictional texts featuring an unreliable narrator. Since no human being can remember and reproduce lengthy conversations accurately, some narrative theorists attribute direct speech representation to the author instead of the character narrator. This means that the speech of other characters may be reported reliably even if the narrator is totally unreliable. The narrator’s version of the events may then be contradicted by others, which allows the reader to perceive his biases. However, Kazuo Ishiguro’s An Artist of the Floating World illustrates the fact that direct speech reports, too, can be distorted by the narrator’s subjectivity, especially his emotions. In Ishiguro’s novel, the narrator’s grief and depression lead him to misremember and invent past conversations. Following Meir Sternberg, the article argues that the reliability of speech reporting in unreliable narration must be determined on a case-by-case basis. The text must signal that the narrator’s speech reporting is unreliable. In the absence of a signal, the reader is supposed to disregard any deviations from verbatim reproduction and to accept the transgression of the limits of human memory.