Discourse analysis in Ulysses and The Sound and the Fury

Dalila Karakaҫi
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Abstract

The literary style of modernist authors like James Joyce (1882-1941) and William Faulkner (1897-1962) is deeply experimental. Their complexity is intertwined with the desire to retell local, national stories as seen through the eyes of losers from which small literary cosmoses are the desires result to re-adapt domestic spaces. This research does not leave a path for the use of language as a transparent means of expression, but at the same time makes it impossible to express fiction through more linear and elaborative methods, leaving the direct elaboration subordinate, shown from the viewpoint of the marginalized, the oppressed. Their speaking variety is conveyed through repetitions, fixations, alienations, and disturbing endings. The two authors create neologisms that signal dissatisfaction with the limitations of conventional language. Joyce includes Hiberno-English in Ulysses (1920) as a means of cacophonous addition to the voices and styles, just as Faulkner includes the African American speech of the American South. They operate on the differences of their traditions. Joyce attacks the use of syntax, being more interested in the order of words within the sentence, the same concern with syntactic structure that we also see in Faulkner.
尤利西斯》和《声与怒》中的话语分析
詹姆斯-乔伊斯(1882-1941 年)和威廉-福克纳(1897-1962 年)等现代主义作家的文学风格极具实验性。他们的复杂性与通过失败者的眼睛重述地方和国家故事的愿望交织在一起,从中产生的小型文学宇宙是重新改造家庭空间的愿望结果。这项研究没有为使用语言作为一种透明的表达方式留出道路,但同时也使小说无法通过更加线性和详尽的方法进行表达,使直接的阐述处于从属地位,从边缘人和被压迫者的视角进行展示。他们说话的多样性是通过重复、固定、异化和令人不安的结尾来传达的。两位作家创造的新词表明了对传统语言局限性的不满。乔伊斯在《尤利西斯》(1920 年)中加入了希伯来英语,作为对声音和风格的一种喧宾夺主的补充,正如福克纳在《尤利西斯》中加入了美国南方的非裔美国人语言一样。他们在各自传统的差异基础上进行创作。乔伊斯抨击句法的使用,他对句子中词语的顺序更感兴趣,我们在福克纳身上也能看到他对句法结构的关注。
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