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It is also acknowledged that the phenomenon of figure and ground relates to the literary critical notion of foregrounding. The latter refers to how we perceive certain aspects of literary texts as being conspicuously more important or salient than others. This is being achieved at textual level by such devices as repetition, unusual naming, innovative descriptions, creative syntactic ordering, puns, rhyme, the use of creative metaphor, and so on. These devices are meant as attention attractors to some element, foregrounding it against the relief of the rest of the features of the text.

According to Stockwell, there is a dynamic relationship between the processes of figuring and grounding, as elements of the text are thrown into relief in the course of reading or actualising the text.

By a constant renewal of the figure and ground relationship, the text works against the inhibition of return, i.

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We consider that a text can be unlocked with the key offered by the interplay of emphases amongst its parts and partial elements. This can become a guarantee of one successful decoding from the part of the reader that will make him go on reading the text.

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That is why our argument is meant to prove that the constant interplay at any given moment between openness of meaning and strategies of foregrounding represents a vital aspect of textuality.

Much debate has been given to the theory of foregrounding since its conceptualisation by the Russian Formalists and Prague Structuralists. Subsequently, it has developed into a systematic coherent theory with immediate relevance for the literary texts by describing the linguistic mechanisms involved in concrete cases of foregrounding.

Foregrounding may occur at any level: phonological, grammatical, semantic and pragmatic.

However, it remains for us to prove that even beginnings tend to be open and to indicate significant emphases. This is readily apparent with the opening paragraph of K. In other words we will try to highlight how the very beginning of the novel may suggest the outcome of the novel, thus ensuring the structural and thematic unity of the whole. It seems increasingly likely that I really will undertake the expedition that has been preoccupying my imagination now for some days.

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The very first extraposition of a clausal subject in the opening line signals a brilliant subversion of the fictional modes to which the novel seems to align. This is controlled through a range of deictic elements encoding the spatio — temporal context and subjective experience of the encoder.

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The complexities of modality, both epistemic and deontic are carried out at both paradigmatic and syntagmatic levels. Further more, they ensure the coherence of the discourse, trapping the reader into a more active and imaginative engagement with the text, due to more implicit cohesive ties.

The so far achieved congruence of the text is also a modality of increasing awareness as to the understatement of a perfectly smooth, not-important-type of narration. The more immobile everything looks, the more devastating it is perceived by the experiencing narrator. Regarding the value of tense and aspect they may have relevance when speaking about coding time, content time and receiving time, but most of all with a view to 3 ballerina weigh pierdere review the hypersignification of the larger discourse.

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The staccato rhythm imposed by the paradigmatic choices as well as the hyperbaton cause — effect phenomenon of foregrounding, is also relevant for the textual interrelationships.

Who is Mr. Farraday in whose Ford the speaker will undertake the expedition alone?

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What is their relationship? Why does the narrator have to foresee the finest countryside of England?

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All these details on both paradigmatic and syntagmatic axes are meant to open discourse up towards story and hypersignification, highlighting ways of opening meaning within the novel. Really— one has to ask oneself — what dignity is there in rex ryan pierdere în greutate The point is that we tried to show how Kazuo Ishiguro through an apparently obscuring surface, manages to disclose a complex of attitudes and emotions, thus opening meaning through technique; how through congruence amongst paradigmatic choices and syntagmatic and grammatical cohesion the author manages at once to conceal and disclose the implicit relationship between fallible narrator and self-deceptive narrate.

References Brown, G. Discourse Analysis, Cambridge University Press.

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Ishiguro, K. Peer, W. Rushdie, S. Imaginary Homelands. Essays and CriticismLondon: Granta Books. Short, M. Stockwell, P. Surreal figures.

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In Gavins, J. Steen eds. Our present argument centers on how foregrounding strategies contributing to literariness are inductive of narrative hypersignification too. În cazul textului literar, reînnoirea dinamicii particularităţilor stilistice, aşa numiţii atractori Stockwell,reprezintă cheia succesului în focalizarea atenţiei lectorului şi inhibarea defocalizării. Demonstratia noastră îşi propune să dovedeasca că strategiile de evidenţiere foregrounding ce au ca efect inducerea literarităţii ajută la construirea hipersemnificaţiei 3 ballerina weigh pierdere review.

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