By Barbara A. Fox
This considerate learn, providing a singular analytical framework, examines using anaphora in either written and conversational discourse. particularly, it examines the distribution of pronouns and whole noun words in 3 assorted genres of English, and demonstrates the relationships among the hierarchical constitution of discourses and using anaphoric words inside these discourses
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Extra info for Discourse structure and anaphora : written and conversational English
De´sormais, je devais partager 40 Patrick Modiano: A Self-Conscious Art Annette, ma femme, avec Cavanaugh, mon meilleur ami. Le public boudait les ﬁlms documentaires que nous rapportions des antipodes. [. ] Des jours de doute et de cafard. (pp. 49–50) These two paragraphs would appear to be a preparation for further details on the narrator’s state of mind, perhaps for a confession. The reader is thus slightly taken aback by the next paragraph, which switches without warning, and with an extreme naturalness, to the subject of Ingrid: ‘Le souvenir d’Ingrid m’occupait l’esprit de manie`re lancinante, et j’avais passe´ les journe´es pre´ce´dant mon de´part a` noter tout ce que je savais d’elle’ (p.
Guy Roland, as we have noted, is the most ‘empty’ of the three, depending entirely on the narratives of others to supply him with an identity. It is signiﬁcant that his search for his past self is not, in the end, completely successful. 38 By contrast, the narrators of Vestiaire de l’enfance and Quartier perdu are already in possession of the information required to reconstruct their past selves, not being amnesiacs: they have simply decided to forget, or to disown their memories. The price that they pay for this, however, is their sense of identity and reality.
It is tempting to draw an analogy here with Freud’s case of the Wolf Man as analysed by Peter Brooks. In Freud’s case, the primal scene which lies at the origin of the case history turns out to have been ﬁctional, a primal phantasy rather than a real event. But Freud decides, signiﬁcantly, that this does not invalidate the ensuing narrative. 20 This view would seem to justify Modiano’s use of aetiological desire as the driving force behind a proliferation of ﬁctional narratives, in the legitimate if never-fulﬁlled hope of explaining the self, or simply of tracing ‘le cours d’une vie’.