Диссертация (1167204), страница 24
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Tony turned hisback to David and mouthed, Humor him, and Cal sighed. There must be something he could askfor that would make David back down. "That baseball in your office," he said. "The one in thecase."» [Cruise 2004: 17](8) «… it might be presumed that» [Trollope 1855 / 1994: 1].(9) «Most of the leaves had fallen, and gusts of wind sent them spiralling along theroadside. Through the thickets of bare trees, you could see houses that were invisible during thesummer» [Walls 2006: 179].Автор может оценивать дальнейшее развитие событий или обращатьсяк фоновым знаниям читателя:(10) «You may think a rabbit moves fast when it first jumps and starts zig-zagging away,but the Authority moved through that smoke-filled hall, down those tricky stairs, out the door, anddown the street faster than any rabbit» [Hemingway 1927 / 1991: 592].(11) «Once the wind started whipping up the sand, you couldonly see a foot in front of your face» [Walls 2006: 13].(12) «A big tumbleweed might hit you, but they were light and bouncy and didn’t hurt»[Walls 2006: 13].(13) «I spent the rest of the day probing deeper, only to find the actual evidence was eitherthin or non-existent.
It’s often the case, at the beginning of an investigation, that you spend eighthours in an over-air-conditioned office, learning what seems barely one level up from rumour.It’s only later that you might spot a stray detail that’s part of a bigger pattern, and things fallinto place. Over 80 per cent of the time, that doesn’t happen» [Jensen 2012: 38].(14) «I looked back at the house next door that the guy had just gone into, wondering whathis story was. You didn’t hang out in what you thought was an empty house when you livedright next door unless you didn’t feel like being at home.
And it was his home, that much was124clear. You could just tell when a person belonged somewhere. That is something you can’t fake,no matter how hard you try» [Dessen 2011: 39].В диалоге с читателем автор дает характеристику персонажам:(15) «Dad was barrel-chested, short-legged, and black-eyed, with hair so thick you couldhardly find his scalp beneath» [Kleypas 2009: 17].(16) «So the rest of the summer you could see the two little girls and Tom like wrens on awire, on Mrs Bentley’s front porch, waiting» [Bradbury 1957 / 2005: 89].(17) «They moved carefully along and peered into a room which contained but two piecesof furniture – an old man and a chair.
They resembled each other, both so thin you could see justhow they had been put together, ball and socket, sinew and joint. The rest of the room was rawfloor boards, naked walls and ceiling, and vast quantities of silent air» [Bradbury 1957 / 2005:92].(18) «This family that you could tell just came out of some church were walking right infront of me – a father, a mother, and a little kid about six years old. They looked sort of poor.
Thefather had on one of those pearl-gray hats that poor guys wear a lot when they want to looksharp» [Salinger 1951 / 2009: 133].Условное наклонение, так же, как и модальные глаголы, привносит вбеседу автора с читателем указание на вероятность. Например, автор можетапеллировать к личному опыту читателя, который поможет понять мотивыдействий персонажей фикциональной реальности:(19) «Now in Hades – as you know if you ever been there – the names of the morefashionable preparatory schools and colleges mean very little» [Fitzgerald 1922 / 1979: 31].Автор может предвосхищать события произведения, рассказываячитателю то, что сам персонаж знать не может:(20) «These pigeons had an instinct for the Unlucky, and so they passed Archie by. For,though he did not know it, and despite the Hoover tube that lay on the passenger seat pumpingfrom the exhaust pipe into his lungs, luck was with him that morning» [Smith 2000 / 2012: 4].Сослагательное наклонение может рассматриваться как показательметадискурса, так как в подобных предложениях автор призывает читателяпредставить один из возможных вариантов развития событий:(21) «… unless you were born rich, it is very difficult to understand» [Fitzgerald 1926 /1979: 97].(22) «If Michael Kyros had overheard this conversation, he would have noticed again thatRhodes pronounced his last three words as one: Kupakawfee» [Metalious 1957 / 1959: 106].Автор может передавать читателю общую информацию о том, как лучшевести себя в той или иной жизненной ситуации:(23) «If you couldn't find a house or a car or a shed to hide in when the sand stormstarted, you had to squat down and close your eyes and mouth real tight and cover your earsand bury your face in your lap until it passed, or else your body cavities would fill the sand»[Walls 2006: 13].(24) «If the sandstorm was really strong, it knocked you over, and you rolled around likeyou were a tumbleweed» [Walls 2006: 13].125(25) «But if they had appeared, what could she say to them, why should she worry aboutthem?» [Bradbury 1957 / 2005: 81](26) «If he were alive tonight, what would he say?» [Bradbury 1957 / 2005: 87](27) «No one remembers the girl’s name.
She didn’t belong to any of the regularparishioners. She wasn’t even Greek. She appeared at church that one day and never again, andseems to have existed for the sole purpose of changing my mother’s mind. In the bathroom the girlheld her steaming shirt away from her body while Tessie brought damp towels. “Are you okay,honey? Did you get burned?”» [Eugenides 2002 / 2016: 7].(28) «The way Archie saw it, country people should die in the country and city peopleshould die in the city. Only proper. In death as he was in life and all that» [Smith 2000 / 2012: 3].(29) «Say someone or other finished a manuscript every minute; in five minutes that wouldbe five manuscripts stacked on the Fiction Editor’s desk. Within the hour there would be sixty,crowding each other onto the floor. And in a year…» [Plath 1971 / 2005: 102].Итак, оценка возможности и вероятности выражается в тексте припомощи модальных глаголов, сослагательного наклонения и различныхвводных слов, передающих значение вероятности или уверенности.
Подобныйвид метадискурса автора встречается на протяжении всего рассматриваемогонами периода развития англоязычного нарративного дискурса.2.2 Стратегия апелляции к фоновым знаниям читателяИсследование показало, что в англоязычном нарративном дискурсеавтор довольно часто обращается к фоновым знаниям читателя, предоставляясведения, выходящие за рамки фикциональной реальности произведения.Подобный выход во внетекстовую реальность позволяет более точно описатьявления фикциональной реальности.
Здесь также важно наличие общегофонда знаний у автора и читателя, чтобы диалог «автор – читатель» оказалсяэффективным. В качестве основных языковых показателей в данном случаеможно выделить временной сдвиг, сентенциональность, модальные глаголы,риторические вопросы, местоимение you.Метадискурс автора может затрагивать самую разнообразную тематику.Например, философские вопросы, такие, как отношение к жизни и смерти.Так, в одном из своих рассказов Э.
Хемингуэй описывает, что происходило вовремя войны в Испании, которую он, как участник и военный корреспондент,видел своими глазами:126(1) «You didn’t mind the women who were having babies as you did those with the deadones. They had them all right. Surprising how few of them died. You just covered them overwith something and let them go to it» [Hemingway 1938 / 1998: 64].Автор затрагивает принятые в американской судебной системе правила:(2) «Children are not to be interviewed without first talking to the parents» [Grisham1993: 129].Обсуждаютсярелигиозныевопросы,особенности,связанныесцерковными традициями:(3) «We believe, as a general rule, that either a bishop or his archdeacons havesinecures: where a bishop works, archdeacons have but little to do, and visa versa» [Trollope1855 / 1994: 15].(4) «It is not positively affirmed that you shall not have a taste of the exciting, perhapstowards the middle and close of the meal, but it is resolved that the first dish set upon the tableshall be one that a Catholic – ay, even an Anglo-Catholic – might eat on Good Friday in PassionWeek: it shall be cold lentils and vinegar without oil; it shall be unleavened bread with bitterherbs, and no roast lamb» [Brontё 1849 / 1994: 1-2].(5) «I can testify to a magnificent family red silk umbrella, under which a gentle littlespinster, left alone of many brothers and sisters, used to patter to church on rainy days» [Gaskel1853 / 1994: 2].(6) «Have you any red silk umbrellas in London?» [Gaskel 1853 / 1994: 2].В своих обращениях к читателю автор довольно часто рассуждает оприроде и природных явлениях:(7) «When the wind blows the leaves off the trees they are cheerful and good to walkthrough and the trees are the same, only they are without leaves.
But when the leaves fall fromthe rain they are dead and wet and flat to the ground and the trees are changed and wet andfriendly. It was very beautiful coming along the Hudson but it was the sort of thing I did not knowabout and it made me wish we were back at the lake» [Hemingway 1927 / 1998: 578].Автор может затронуть вопрос об особенностях морского путешествия:(8) «I objected to the sea trip strongly.
A sea trip does you good when you are going tohave a couple of months of it, but, for a week, it is wicked» [Jerome 1889 / 2006: 16].Автор довольно часто обращается к фоновым знаниям читателя обособенности растительного и животного мира:(9) «In the vegetable world there’s no real time of death. In the right conditions, flowerscan last a week, irradiated strawberries a month, apples or onions a year» [Jensen 2012: 47].(10) «I dislike change of any kind. But paradoxically, something in me – a kind ofinformation-hunger – seeks and requires it.
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