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LINGUISTIC MECHANISMS OF MONTAGE IN THE NARRATIVE DISCOURSE (BASED ON GR. SWIFT’S NOVEL “WATERLAND”)
Abstract
The article tackles the problem of linguistic means that correlate to the cinematic art of montage. Within the research, we focus on linguistic means that make elements of narrative discourse look like a film. The author chiefly draws on Theory of Montage initially developed by N. Utilova and expanded upon by contemporary Russian linguists. The author also relies on the works of R. Richardson’s ‘Literature and film’ (1969), B. Kawin’s ‘Telling it again and again. Repetition in literature and film.’ (1972), J.L. Fell’s ‘Film and the narrative tradition’ (1974), M. Martin’s ‘Le langage cinématographique’ (2001), whose heuristics can provide an adequate model to analyze the problem of interrelation between cinematographic art and narrative discourse. We argue that montage of any work of art, be it a film or a discourse, begins in the mind of its author and ends in the head of the viewer or reader. Montage in modernistic texts stimulates the intellectual and emotional activity of the reader to a greater degree than the one in films due to the abstract nature of words. The reader has more freedom in his perception of the written word and its interpretation. Montage allows the reader to understand subsurface inner sense behind the surface expression, to see “the unportrayed” in the depicted, to observe events with his own eyes or with the eyes of either the author or the character. The results of investigation reveal different types of cinematic montage (linear, parallel, association) on various linguistic levels of the narrative discourse. Morphologically important are the use of tense and voice forms of the verb, articles and pronouns. Syntactically peculiar are detachments, parcellation, questions. Stylistically relevant are various expressive devices facilitating counterpoint. The article is based on Gr. Swift’s novel “Waterland”.
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