NARRATIVE TENSION PROGRAMME IN A LITERARY TEXT STRUCTURE
DOI:
https://doi.org/10.24919/2522-4565.2021.46.7Keywords:
narrative tension, narrative structure, a plane of plot, a plane of genre, a descriptive plane, intellective triggers, emotive triggersAbstract
The article deals with the peculiarities of the formation and interpretation of narrative tension program, which is a part of general interpretation program of a literary text. The program of narrative tension is represented by a set of different levels, hierarchically interconnected by semiotic means, used by the author to induce highly intense interest from the reader. The aim of the article is to define and describe the mechanisms of narrative tension constructing within the structure of a literary text. The notion of narrative structure determines a way of organizing a story that corresponds to a certain canon, reproduced in the form of a model. The application of the method of linguistic and cognitive analysis of narrative tension leads to the conclusion that the phenomenon analyzed can be found in at least three main planes of the narrative structure: a plane of plot, a plane of genre and a descriptive plane. While distinguishing narrative phases we use the basic principles of narrative structure model proposed by William Labov. This model includes six phases which are represented by Resume, Orientation, Complication, Evaluation, Result or Resolution, Coda. The genre plane of the narrative structure is related to its thematic content, to its global theme, to which the macro- and micro-themes of the text are subordinated, each of which is represented by a certain set of argument slots (complete and incomplete). Thematic dominants that induce the reader’s tension incorporate the themes of death, danger, destruction, disease, power, money, sex, romantic relationships, and others. The descriptive plane of the narrative structure is characterized by the network of narrative tension triggers (intellective and emotive) and narrative tension intensifiers, which entirely create receptive entropy of argument slots of thematic macrostructures, resulting in the reader’s questions, inferences and assumptions. The reader’s activity is always accompanied by the emotions of suspense, curiosity or surprise.
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