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Review
Author(s): R. R.
Review by: R. R.
Source: Poetics Today, Vol. 11, No. 4, Narratology Revisited II (Winter, 1990), pp. 961-962
Published by: Duke University Press
Stable URL: http://www.jstor.org/stable/1773093
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961
words can lie and still tell a truth. The verisimilitude of fiction is not based
on a relationship between language and reality; rather, a system of representations seems to reflect a reality because it conforms to a grammar, a set
of rules. The fictional text works as a paradigm of references to a derivative
text in which the semantic components of the text have been translated into
explicit descriptions. Narrative truth is therefore a linguistic phenomenon,
claims Riffaterre, although it relies on codes of a society or a class that can be
identified independently of the narrative. Verisimilitude is an artifact, a verbal representation of reality. This paradoxical phenomenon of truth in fiction
is produced through an intricate mechanism of narrative tropes (like humor,
emblematic names, etc.) which serve as indices of fictionality. The gap between the narrative text, telling a verisimilar story, and the symbolic value of
the text, which, through a mechanism of overdetermination, creates a metalinguistic structure of fictional referentiality, is bridged by the subtext. A key
notion in Riffaterre's writing, the subtext is a unit of significance that functions as a hermeneutic model for a particular text. The subtext is activated
through structural constants and through ungrammaticalities which create
intertextual relations. Although fictional truth rests on factors that tend to
threaten verisimilitude, the referential illusion of fictional truth can still work
by replacing in literature the reference to reality with a reference to language.
RR
Michael J. Toolan, The Stylistics of Fiction: A Literary-Linguistic Approach. London
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962
Poetics Today 11 :4
information gathered from the text can be used for literary interpretation,
none of this evidence can count as absolute. Even if variations of syntax or
lexis convey an intended meaning, it is doubtful whether such variations will
convey identical import to all readers. What is then the explanatory power
of a stylistic analysis? An affective-stylistic model specifying the reader's assumptions and expectations is needed. Yet Toolan's main aim is to show that
a stylistics of fiction can be useful in textual study and that a linguistic analysis of a text can explain and clarify the poetic features of a writer's writing.
Toolan's text-case is Faulkner's Go Down, Moses, in which he examines formal
regularities, showing how these correlate with narratorial perspectives, a play
of empathies and ironic effects. Such a linguistic analysis supplies ample evidence of the subtleties involved in a narrative's switching between types of
speech. The possibilities inherent in linguistic analysis of literary texts are not
yet exhausted, claims Toolan; the type of analysis he proposes refrains from
attributing objective scientism to stylistic effects. The methods of stylistics are
not fine, objective ones, but rather internal to the language games of literary
criticism and linguistic description.
RR
Steven Ungar and Betty R. McGraw, eds., Signs in Culture: Roland Barthes Today.
Iowa City: University of Iowa Press, 1989. xxv + 164 pp.
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