readers with a whole range of impressions which cannot be attributes to the plot or figures
of speech. Sources of such emotive and intellectual impact are often difficult to
account for if one is guided only by the adopted mode of discourse analysis. Proceeding
from R. Jacobson’s conception of poetics of emotive prose as the unity of sense and
sound the paper sets out to show that frame semantics might prove to be instrumental in
the study of linguistic mechanisms producing additional, and, possibly, otherwise obscure,
senses in discourse. The investigation presented concentrates on cognitive structures
representing knowledge of sound as part of the knowledge of the world. Two types
of frames are considered. First, there are frames standing for fragments of reality where
sound constitutes the periphery of the frame structure representing information accompanying
an event. Such frames underlie the ‘story’ forming the plot of a text of fiction.
The significance of sound in this case lies in the fact that the mention of sound alone
helps to restore the rest of the frame in the reader’s mind thus evoking an all round picture
of what is described. Besides, sound effects contribute to imagery creating mood
and atmosphere. Second, the study of hidden sound frames might give an insight into
“the way the author’s voice sounds” that is into the author’s manner of telling a tale.
The frames of the second type refer to metadiscourse, i.e. the part of discourse organizing
the presentation of the ‘story’ to the reader. Sound effects of the second type are
imitative in nature and depend on the language the text is written in. In English one of
the most common patterns is a regular succession of long and short vowels in an utterance.
The pattern is illustrated by examples taken from ‘Cat in the Rain’ by E. Hemingway
where a patterned alternation of monosyllabic words with short and long vowels
or diphthongs is used to create the impression of the sound of raindrops rattling on the ground. In the Russian language text of emotive prose metadiscursive sound effects
stem mainly from the use of syllabic structures. The investigation revealed that ascending
arrangement of words consisting of two, three, four, and five syllables as well as
corresponding descending arrangement is frequently used in M. Bulgakov’s story of
Pontius Pilate in “Master and Margaret”, thus distinguishing it from the rest of the text.
This rhythmic device is quite common in Russian poetry, and one might conclude that it
is one of the elements performing the poetic function in emotive prose. The paper points
at the study of quantitative frames in emotive prose as a perspective of further research
since quantitative information (numerals) are part of numerous frames representing
knowledge of time, action, and events of the world.
It is well known that literary works of high artistic value tend to leave their
readers with a whole range of impressions which cannot be attributes to the plot or figures
of speech. Sources of such emotive and intellectual impact are often difficult to
account for if one is guided only by the adopted mode of discourse analysis. Proceeding
from R. Jacobson’s conception of poetics of emotive prose as the unity of sense and
sound the paper sets out to show that frame semantics might prove to be instrumental in
the study of linguistic mechanisms producing additional, and, possibly, otherwise obscure,
senses in discourse. The investigation presented concentrates on cognitive structures
representing knowledge of sound as part of the knowledge of the world. Two types
of frames are considered. First, there are frames standing for fragments of reality where
sound constitutes the periphery of the frame structure representing information accompanying
an event. Such frames underlie the ‘story’ forming the plot of a text of fiction.
The significance of sound in this case lies in the fact that the mention of sound alone
helps to restore the rest of the frame in the reader’s mind thus evoking an all round picture
of what is described. Besides, sound effects contribute to imagery creating mood
and atmosphere. Second, the study of hidden sound frames might give an insight into
“the way the author’s voice sounds” that is into the author’s manner of telling a tale.
The frames of the second type refer to metadiscourse, i.e. the part of discourse organizing
the presentation of the ‘story’ to the reader. Sound effects of the second type are
imitative in nature and depend on the language the text is written in. In English one of
the most common patterns is a regular succession of long and short vowels in an utterance.
The pattern is illustrated by examples taken from ‘Cat in the Rain’ by E. Hemingway
where a patterned alternation of monosyllabic words with short and long vowels
or diphthongs is used to create the impression of the sound of raindrops rattling on the ground. In the Russian language text of emotive prose metadiscursive sound effects
stem mainly from the use of syllabic structures. The investigation revealed that ascending
arrangement of words consisting of two, three, four, and five syllables as well as
corresponding descending arrangement is frequently used in M. Bulgakov’s story of
Pontius Pilate in “Master and Margaret”, thus distinguishing it from the rest of the text.
This rhythmic device is quite common in Russian poetry, and one might conclude that it
is one of the elements performing the poetic function in emotive prose. The paper points
at the study of quantitative frames in emotive prose as a perspective of further research
since quantitative information (numerals) are part of numerous frames representing
knowledge of time, action, and events of the world.
Список литературы
Beliaevskaya E. G. K opredeleniyu ponyatiya «metadiskurs» [To the definition of “metadiscourse”]. Kognitivnye issledovaniya yazyka [Cognitive studies of language], 2016, no. 24, p. 137–149. (in Russ.)
Bradbury R. Dandelion Wine. London, Panther, 1977, 192 p.
Bulgakov M. Master i Margarita [Master and Margarita]. In: Mikhail Bulgakov.
Romany [Mikhail Bulgakov. Novels]. Leningrad, Khudozhestvennaya literatura Publ.,
1978, p. 423–812. (in Russ.)
Carter R. Style and Interpretation in Hemingway’s ‘Cat in the Rain’. In: Carter R.
(ed.). Language and Literature: An Introductory Reader in Stylistics. London, George
Allen & Unwin, 1982, p. 64–80.
Hailey A. The Moneychangers. New York, Pan Books, 1975, 476 p.
Ivanov Vyach. Vs. Lingvisticheskij put’ Romana Yakobsona [The linguistic pathway
of Roman Jacobson]. In: Roman Yakobson. Izbrannye raboty [Roman Jacobson.
Selected works]. Moscow, Progress Publ., 1985, p. 5–29. (in Russ.)
Jacobson R. Retrospektivnyj obzor rabot po teorii stikha [Retrospective review of
works on the theory of verse]. In: Roman Yakobson. Izbrannye raboty [Roman Jacobson.
Selected works]. Moscow, Progress Publ., 1985, p. 239–267. (in Russ.)
Jacobson R. Zvuk i znachenie [Sound and meaning]. In: Roman Yakobson.
Izbrannye raboty [Roman Jacobson. Selected works]. Moscow, Progress Publ., 1985,
p. 30–91. (in Russ.)
Minsky M. A framework for representing knowledge. In: Frame conceptions and
text understanding. B., 1980, p. 1–25.
Poetics of Emotive Prose: In Search of Hidden Senses С. 146–157. DOI 10.25205/2307-1737-2019-2-146-157