A STUDY OF FOREGROUNDING: SAMUEL BECKETT’S SHORT STORY “PING”

Ufuk Şahin

Makale detayları

A STUDY OF FOREGROUNDING: SAMUEL BECKETT’S SHORT STORY “PING”

Yazarlar:

Ufuk Şahin

Yayıncı:

Ankara University

Ana Başlıklar:

Dil Çalışmaları | Sanat ve Edebiyat

Dergi:

Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi Vol.63 Issue 1, pp.439-454

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001291099

pISSN:

2459-0150

Anahtar kelimeler:

Özet:

 This study investigates the foregrounded patterns inosculated to form Nobel Prize-winning author, critic, and playwright Samuel Becketts short story Ping and aims to reveal his purpose of using these patterns. One of the remarkable contributions of Russian Formalism and Prag School Structuralism to stylistics is the concept of foregrounding by which writers bring a particular textual pattern a phoneme, word, phrase, clause, etc. to the fore by making it salient or deviant from what surrounds it to draw readers attention to it and to make it both memorable and interpretable. Beckett, like many authors, takes two basic ways to foreground certain elements: foregrounding-through-deviation and foregrounding-through-parallelismrepetition. Besides its confinement to a single paragraph, from the beginning, the story stands out with the omission of punctuation marks, except for the full stop, sentences with no verb or with only non-finite verbs the present and past participles, and the conversion of some adjectives into verbs. These deviant patterns enable Beckett to present a free-flowing form of limited or impaired consciousness and emphasize that the character is in hisher very last moment and she cannot move. By doing so, he invites readers to immerse themselves unreservedly in what the character feels or perceives. To reflect an instance of awareness or perception in an extreme situation where the character is on the brink of existence or non-existence and is struggling to find some meaning, Beckett also adopts other foregrounded patterns such as the repetition of a limited number of words and phrases with some alterations, employment of certain nouns in different positions in the sentences, and sentences that begin with particular words or phrases but end differently. Apart from those, Beckett offers another example of foregrounding at the end of the English version. Thus, he makes the readers aware of the fictionality of the story.d patterns such as the repetition of a limited number of words and phrases with some alterations, employment of certain nouns in different positions in the sentences, and sentences that begin with particular words or phrases but end differently. Apart from those, Beckett offers another example of foregrounding at the end of the English version. Thus, he makes the readers aware of the fictionality of the story.

 This study investigates the foregrounded patterns inosculated to form Nobel Prize-winning author, critic, and playwright Samuel Becketts short story Ping and aims to reveal his purpose of using these patterns. One of the remarkable contributions of Russian Formalism and Prag School Structuralism to stylistics is the concept of foregrounding by which writers bring a particular textual pattern a phoneme, word, phrase, clause, etc. to the fore by making it salient or deviant from what surrounds it to draw readers attention to it and to make it both memorable and interpretable. Beckett, like many authors, takes two basic ways to foreground certain elements: foregrounding-through-deviation and foregrounding-through-parallelismrepetition. Besides its confinement to a single paragraph, from the beginning, the story stands out with the omission of punctuation marks, except for the full stop, sentences with no verb or with only non-finite verbs the present and past participles, and the conversion of some adjectives into verbs. These deviant patterns enable Beckett to present a free-flowing form of limited or impaired consciousness and emphasize that the character is in hisher very last moment and she cannot move. By doing so, he invites readers to immerse themselves unreservedly in what the character feels or perceives. To reflect an instance of awareness or perception in an extreme situation where the character is on the brink of existence or non-existence and is struggling to find some meaning, Beckett also adopts other foregrounded patterns such as the repetition of a limited number of words and phrases with some alterations, employment of certain nouns in different positions in the sentences, and sentences that begin with particular words or phrases but end differently. Apart from those, Beckett offers another example of foregrounding at the end of the English version. Thus, he makes the readers aware of the fictionality of the story.d patterns such as the repetition of a limited number of words and phrases with some alterations, employment of certain nouns in different positions in the sentences, and sentences that begin with particular words or phrases but end differently. Apart from those, Beckett offers another example of foregrounding at the end of the English version. Thus, he makes the readers aware of the fictionality of the story.

 This study investigates the foregrounded patterns inosculated to form Nobel Prize-winning author, critic, and playwright Samuel Becketts short story Ping and aims to reveal his purpose of using these patterns. One of the remarkable contributions of Russian Formalism and Prag School Structuralism to stylistics is the concept of foregrounding by which writers bring a particular textual pattern a phoneme, word, phrase, clause, etc. to the fore by making it salient or deviant from what surrounds it to draw readers attention to it and to make it both memorable and interpretable. Beckett, like many authors, takes two basic ways to foreground certain elements: foregrounding-through-deviation and foregrounding-through-parallelismrepetition. Besides its confinement to a single paragraph, from the beginning, the story stands out with the omission of punctuation marks, except for the full stop, sentences with no verb or with only non-finite verbs the present and past participles, and the conversion of some adjectives into verbs. These deviant patterns enable Beckett to present a free-flowing form of limited or impaired consciousness and emphasize that the character is in hisher very last moment and she cannot move. By doing so, he invites readers to immerse themselves unreservedly in what the character feels or perceives. To reflect an instance of awareness or perception in an extreme situation where the character is on the brink of existence or non-existence and is struggling to find some meaning, Beckett also adopts other foregrounded patterns such as the repetition of a limited number of words and phrases with some alterations, employment of certain nouns in different positions in the sentences, and sentences that begin with particular words or phrases but end differently. Apart from those, Beckett offers another example of foregrounding at the end of the English version. Thus, he makes the readers aware of the fictionality of the story.d patterns such as the repetition of a limited number of words and phrases with some alterations, employment of certain nouns in different positions in the sentences, and sentences that begin with particular words or phrases but end differently. Apart from those, Beckett offers another example of foregrounding at the end of the English version. Thus, he makes the readers aware of the fictionality of the story.

 Bu çalışma Nobel ödüllü yazar, eleştirmen ve oyun yazarı Samuel Beckettin kısa hikâyesini oluşturmak için bir araya gelmiş öncelenen yapıları incelemekte ve yazarın bu yapıları ne amaçla kullandığını açığa çıkarmayı amaçlamaktadır. Rus Biçimciliği ve Prag Okulu Yapısalcılığının biçembilime önemli katkılarından biri yazarların okuyucuların dikkatini çekmek ve hem akılda kalıcı hem de yorumlanabilir olmasını sağlamak amacıyla belirli bir yapıyı bir ses birimi, sözcük, sözcük öbeği, cümle, vb. kendisini çevreleyen diğer yapılardan daha belirgin hale getirerek ya da saptırarak kasıtlı olarak öne çıkarmalarını sağlayan önceleme kavramıdır. Birçok yazar gibi Beckett da belirli öğeleri öncelemek için iki temel yol kullanır: sapma-yoluyla-önceleme ve paralelizmtekrar-yoluyla-önceleme. Hikâye tek bir paragraftan oluşmasının yanı sıra başından itibaren nokta dışında diğer noktalama işaretlerinin atılması, fiilsiz ya da çekimsiz fillerin geniş zaman ve geçmiş zaman ortaçlarının kullanıldığı cümleler, bazı sıfatların fiilleştirme adı verilen teknikle fiile dönüştürülmesiyle öne çıkmaktadır. Sapma yoluyla öncelenen bu yapılar Beckettin sınırlı veya bozuk bir bilinç akışı biçimi sunmasını ve karakterin son anında olduğunu ve hareket edemediğini vurgulamasını sağlar. Böyle yaparak, Beckett okuyucuları kayıtsız şartsız karakterin hissettiklerine veya algıladıklarına kendilerini kaptırmaya davet eder. Karakterin varoluşun veya yokluğun eşiğinde olduğu ve bir anlam bulmaya çalıştığı istisnai bir durumda deneyimlediği bir farkındalık veya algı örneğini yansıtmak amacıyla Beckett ayrıca sınırlı sayıda sözcük ve sözcük öbeğinin bazı küçük değişikliklerle tekrarı, belirli merkezi isimlerin cümlelerde farklı konumlarda kullanılması ve belirli sözcüklerle veya sözcük öbekleriyle başlayan ama farklı bir şekilde biten cümleler gibi öncelenen diğer yapıları da kullanır. Bunların dışında, Beckett hikâyenin İngilizce versiyonunun sonunda kullandığı italik ifadeyle öncelemenin bir başka örneğini verir. Böylece okuyucunun hikâyenin kurgusallığının farkına varmasını sağlar.

Makale detayları

A STUDY OF FOREGROUNDING: SAMUEL BECKETT’S SHORT STORY “PING”

Yazarlar:

Ufuk Şahin

Yayıncı:

Ankara University

Ana Başlıklar:

Dil Çalışmaları | Sanat ve Edebiyat

Dergi:

Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi Vol.63 Issue 1, pp.439-454

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001291099

pISSN:

2459-0150

Beckett

"Ping"

Foregrounding

Internal foregrounding

StylisticsBeckett

"Ping"

Önceleme

İç önceleme

Biçembilim

Sayı

Makale detayları

Yazarlar: Ufuk Şahin

Yayıncı: Ankara University

Ana Başlıklar: Dil Çalışmaları | Sanat ve Edebiyat

Dergi: Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi Vol.63 Issue 1, pp.439-454

Belge Tipi: Makale

Yayın Tarihi: 6/2023

Belge Dili: İngilizce

Document ID (Org No.): 2001291099

pISSN: 2459-0150

Sayı

Yazarlar:

Ufuk Şahin

Yayıncı:

Ankara University

Ana Başlıklar:

Dil Çalışmaları | Sanat ve Edebiyat

Dergi:

Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi Vol.63 Issue 1, pp.439-454

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001291099

pISSN:

2459-0150