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GAPPING AS a STYLISTIC DEVICE Analysis of Ian Mcewan's Fiction 2019

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GAPPING AS a STYLISTIC DEVICE Analysis of Ian Mcewan's Fiction 2019 MASARYK UNIVERSITY IN BRNO Faculty of Arts Department of English and American Studies English language Mgr. Eva Sedláková GAPPING AS A STYLISTIC DEVICE Analysis of Ian McEwan’s Fiction PhD. Dissertation Supervisor: Prof. PhDr. Ludmila Urbanová, CSc. 2019 I declare that I have worked on this dissertation independently, using only the literature listed in Sources and References. ....................................................................... Author’s Signature The thanks that I wish to express here rightfully belongs to my supervisor, Prof. PhDr. Ludmila Urbanová, CSc., for always believing in me, even at times when I did not believe in myself. Table of contents Typographical conventions 6 Chapter 1 INTRODUCTION 7 Chapter 2 THEORETICAL FRAMEWORK 10 2.1 Scope of research, hypotheses, research methodology 10 2.2 Introduction of the observed/analyzed phenomena 14 2.3 Characterization of the author’s style 16 2.4 Point of view/introduction of the novels’ synopses 17 Chapter 3 ELLIPSIS AND SENTENCE FRAGMENTS 20 3.1 Definition of terms 20 3.2 General classification 22 3.3 NPs, nouns, verbless structures 24 3.4 Reiterations/repetitions 28 3.5 Separation of negation as intensification of meaning 34 3.6 Ellipsis as a sign of intimacy 38 3.7 Discussion 42 Chapter 4 INTRODUCTION AND IDENTIFICATION CHAINS 44 4.1 Definition of terms 44 4.2 Gradual revealing 46 4.2.1 Minor intervals between pieces of identification 48 4.2.2 Major intervals between pieces of identification 50 4.3 Unifying elements 55 4.3.1 Unifying elements within the story 56 4.3.2 Intertextual references 59 4.4 Immediate detail summary 63 4.4.1 Summary of the character’s personal or biographical facts 63 4.4.2 Summary of the characters’ connection to the plot (or a part of it) 65 4.5 Discussion 67 Chapter 5 HYBRID QUOTATIONS AND REPORTED SPEECH 69 5.1 Definition of terms 69 5.2 Direct speech incorporated into the structure of a sentence (hybrid quotations) 72 5.2.1 Lover to lover 73 5.2.2 Employer/employee 75 5.2.3 Inner dialogue/unrealized utterances 76 5.2.4 Miscellaneous 77 5.3 Indirect speech with wording in the form which resembles direct speech (reported quotations) 80 5.3.1 Inner dialogue/unrealized utterances 80 5.3.2 Reported quotations with a direct speech speech section at the end 81 5.4 Discussion 85 Chapter 6 CONCLUSION 87 SUMMARY 95 SLOVENSKE RESUMÉ 96 SOURCES AND REFERENCES 97 Typographical conventions The following conventions are used within the dissertation: boldface for terms upon their first mention in the text single quotes for quotations from authors For the sake of practicality, I omit quotation marks in the excerpts from the analysed texts. They are labeled by numbers in parentheses. The particular novel and page where the given extracts appear in the original text is referred to by abbreviations of the analyzed novels’ titles and page numbers. The excerpts are visually distinguished by italics and their significant parts are also highlighted by boldface. Used abbreviations: AT = Atonement AM = Amsterdam ST = Sweet Tooth 6 Chapter 1 INTRODUCTION ‘A universe reduced to what was said in it was tidiness indeed, almost to the point of nullity, and to compensate, every utterance was delivered at the extremity of some feeling or other, in the service of which the exclamation mark was indispensable.’ Ian McEwan The first thing that caught my interest when I was reading novels by Ian McEwan, one of my favourite authors of fiction, was the fact that the text always had my attention unwaveringly and I could not put it down until the very last sentence. Indeed, this has been true for many books and authors of those books in my life. However, while reading McEwan, it occurred to me that there are patterns he uses repeatedly in the stylization of his texts that, although they are frequently based on the omission or reduction of explicit lexical, grammatical or even textual units, eventually they contribute to the creation of effects that help make the text special enough to keep the reader interested until the very end of the novel. To a large extent, this concerns the characters that the author created and their discourse; however, not exclusively. The basis of my hypothesis is the assumption that being able to enliven the produced text to a degree considerable enough to get and keep the readers’ attention is the ultimate goal of any writer of fiction. Enlivenment is a term I have decided to use to refer to what Prague school’s Mukařovský (1964), for instance, would call de-automatization (more on that in the following chapter) or foregrounding. In terms of this thesis, I have decided to concentrate on the stylistic patterns that involve omission (or, non-inclusion) on a lexical, grammatical or even textual level. At the same time, they are one of the features which enable the author to create prose with the potential of enlivenment. As I have said, stylization patterns that contribute to the achievement of this goal are widely observable in his characters’ discourse. It is one of the aspects I wish to place focus on, since I believe that creating a conversation between characters that resembles authentic speech is an effective tool of enlivenment of the text. There is a reason that people report having difficulty concentrating on reading a written text and finishing it, while not finding it difficult at all to watch and concentrate on a movie. Creating a discourse among the characters that resembles authentic peoples’ 7 conversations may contribute significantly to the creation of the movie-like impression within a written text. Naturally, there is always a degree of stylization in written discourse that neither can nor is desired to be avoided; McEwan’s written prose (and discourse) is no exception. The reason is simple: while literary discourse is written and meant by the author for the reader, real conversation is not. (Hughes 2005: 49) However, there are means (or rather, as the title of the thesis postulates, stylistic devices) that help make them seem more authentic, and in general help enliven the text to a level that is sufficiently high to keep the reader interested. I would also like to demonstrate that they are an indispensable means of placing emphasis and creating tension (effects which also contribute to the achievement of the ultimate goal considerably). I have observed, selected and attempted to analyze three stylistic devices that, as I believe all have one significant feature in common which I have labelled gapping. The reason I have decided to use this term is simple: all three analyzed stylistic devices involve gaps of some kind, gaps in a wider sense of the word, meaning intervals, omissions or reductions of explicit lexical, grammatical or even textual material (a pattern that I have chosen to name textual gapping). Using such devices and patterns might seem counterproductive or even paradoxical. After all, I am talking about incomplete structures, omission of grammatically significant parts of sentences and intervals between pieces of information in the text. However, I believe that the excerpts from the novels I have selected will prove that just like in other spheres of life, ever so frequently (to put it simply), implicitness is more in stylistics as well. Generally, the stylistic devices that involve gapping actually reduce explicit lexical, grammatical or textual material. This results in an interesting, undeniable fact that the demands on the readers are indeed very high. They definitely need to have developed the ability of inference (from the context), they must be very well-read in order to decipher all intertextual references, not to mention having a good memory in order to keep track of pieces of information which are far apart from each other in the text. It also requires a lot of effort, however, it makes the text highlighted. It is another means of foregrounding, enlivenment (as has been said, more on those terms in the following chapter). I have selected three novels for the analysis, namely Amsterdam (1998), Atonement (2001) and Sweet Tooth (2012). There are several reasons I chose these three, the first one being the fact that all the stylistic devices I have attempted to analyze in the thesis 8 are observable in the text of all three of them to a certain extent (some more than others, some less). The second reason is the year of publication. These three novels cover a considerably wide span of time and therefore represent an extensive framework, which proves that the use of the gapping stylistic devices by the author (although there is no way of knowing if it is conscious or not) is not random but rather a feature of his style. The third reason might be insignificant from the aspect of analysis, but it is one of the reasons indeed - these three novels are my favourite ones out of Ian McEwan’s works of fiction. Allow me to add a few words on the structure of the thesis at this point. It is structured into six major chapters. It begins with an introduction and it is followed by a chapter on theoretical framework which involves the presentation of the individual stylistic devices and the hypothesis, an introduction of the theoretical background as well as methodology, and a few remarks on the author’s style and the selected novels’ synopses. Chapters number 3, 4 and 5 each deal separately with all three stylistic devices and include excerpts from all three selected novels by McEwan that illustrate the application of individual stylistic devices. Each of these three chapters includes preliminary conclusions, while the final chapter presents a summary of conclusions.
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