Band 50, Heft 1

This article explores how literary texts, in this case the novel “Catcher in the Rye” by J.D. Salinger, elicit metaphorical thinking as a major part of readers’ interpretive experiences. Our main argument is that metaphorical thinking does not arise only given our encounter with individual verbal metaphors, but emerges in various ways as part of our habitual forms of imaginative metaphorical understandings. Metaphorical thinking is closely linked to embodied simulation processes by which readers project themselves imaginatively into the lives of story characters. Embodied simulation processes capture readers’ rich phenomenological characteristics (e.g., immersion, absorption, transportation) of literary experience. Metaphorical thinking unfolds in hierarchical layers across different time spans during literary reading.

The aim of this paper is to investigate the effect of the racial slurs nigger and negro in Heart of Darkness on readers’ perception of dehumanisation, discrimination, and racism. It compares data collected through online questionnaires to test whether the absence or different frequencies of the slurs influence how participants perceive the fictional representation of the African people in the text. Three versions of the same questionnaire are used: one with unmodified passages from Heart of Darkness , one with the same passages but without the racial slurs, and one with the same passages but with more slurs than in the original. Findings show that the absence or overabundance of slurs compared to the original does not alter reader perception of dehumanisation, discrimination, and racism. By comparing the results, this paper makes two interconnected contributions. First, it contributes to the critical discussion about racism in Conrad’s novel, by providing evidence on whether the representation of the Africans is perceived as dehumanising, discriminatory, and racist by readers. Second, it offers an empirical perspective on the usefulness of the “sanitising” (removing or substituting of all racial slurs) of literary texts with potential racist implications, adopted by some publishing houses and applied to novels like Conrad’s The Nigger of the “Narcissus” and Mark Twain’s The Adventures of Huckleberry Finn .

The aim of this paper is to take a close look at John McGahern’s mind style through the language of the heroine Elizabeth Reegan and other characters, in his 1963 novel The Barracks . Specifically, attention will be drawn to how the linguistic choices shape the figurative language to cast the author’s controversial views on the religion-pervaded puritan Irish society that he knew so well. This will be done from two different perspectives. One perspective is through the breast cancer afflicted heroine, who asserts herself as a free thinker and a woman of science, in a society where priests have a strong influence at all social levels, and most women settle for housekeeping. The other is also through Elizabeth, together with other minor characters, who dare question some of the basic well-established ideological assumptions, in a series of examples where the author skilfully raises two parallel dichotomies, namely, FAITH versus REASON, and DARKNESS versus LIGHT. At a linguistic level, the present analysis relies on precepts from Frame Semantics, Conceptual Metaphor Theory, and Cognitive Grammar. These insights prove a most useful method of approach to a narrative text while unearthing the author’s ideological world view.

The present paper explores the semantics of Hemingway’s ‘plain style’ in The Sun Also Rises by combining corpus linguistic methodology with event semantics theory. The focus of the study is on how the narrator of the novel segments experienced situations in terms of semantic events. Corpus linguistic analysis shows that the ‘plain style’ of the narrative section of the novel is realized by means of coordinated clauses and that the narrator’s event segmentation is associated with a small set of preferred lexical items. These results are interpreted in terms of event semantics to show that preferred lexical items are indicative of event types typical of the narrative section . The semantic analysis of relations between coordinated clauses indicates that these relations are not simply about the juxtaposition of disjoined events. Finally, the study demonstrates that an approach combining corpus linguistic methodology with insights from event semantics can offer new understanding of the propositional meaning of literary texts, and the way narrators encode experienced situations.