Stilistika; Teoriia poeticheskoi rechi; Poetika. Problemypoetiki Dostoevskogo, 2nd ed. The Problem of Skaz in Russian Literature. To the extent, however, that poeticity, along with the non-temporal links Schmid: Skaz 1 A type of narrative in a work of fiction, recounted by a character whose status and manner of speech differ from the viewpoint and style of the author himself.
The first type refers to skaz motivated by the narrator, his language and ideology. Tynjanov, Jurij  The speech of the actual or implied narrator of skaz lies outside the written literary norm of the given epoch; it may be patterned on dialect, speech typical of a certain occupation or popular language.
Of particular interest for narratology are cases of an active feedback of the imagined addressee on the skaz-teller and his narration. Spontaneity  Skaz should be understood as a spontaneous oral discourse, and not as something consciously thought-out. Phenomena comparable to characterizing skaz can also be found in Western literatures.
Fiction, texte, narratologie, genre. In any case, the speaker will give explanations, anticipate questions and answer them. It may also be a complex combination of these with the literary norm, as in the works of Skaz writing a business. Dialogicity  The orientation of the speaker toward his listener and his reactions is characteristic of skaz.
However, this practice bears traces of non-authentic, sometimes awkward reproduction. Skaz differs from stylization in its use of extraliterary genres and types of speech.
Orality, spontaneity, colloquialism and dialogicity are developed to varying degrees in works traditionally classified as skaz. Foreign, particularly Anglo-American, literary theory and criticism has no concept analogous to skaz, but studies the same problem of the interrelationship between the different narrative viewpoints in a work that are subordinate or in contrast to the viewpoint of the principal narrator, or centralizing consciousness.
On the other hand, colloquialism in no way rules out the occasional use of written style. Particularly relevant to narratology is the shift in the center of gravity from the story to the discourse, a move which, as a rule, says more about the teller than he intended, thus bringing the telling process, with all its conscious and unconscious motives, into sharp focus.
Narratologists should be interested in the aspects of embedded narration, in the demonstration of the process of telling with its clearly pronounced functions of representation, expression, and appeal.
Spontaneity means the representation of the discourse as a developing process that is not necessarily linear, consistent or goal-oriented. Serija literatury i jazyka 35, 55— Schmid Schmid, Wolf  Ornamental skaz is thus multi-faceted and poly-stylistic, fluctuating between orality and literacy, colloquialism and poetry, folklore and literature.
The relationship between the skaz-teller and his fictive listener s mirrors communication in an exemplary way. Baxtin emphasized the conflict of values accompanying multivoicedness and heteroglossia Tjupa: U of Nebraska P, 87— The Representational Function of Language.
To speak of a variety of skaz in the case of ornamental texts, however, makes sense only when the text comprises at least some traces of the above-mentioned obligatory features of characterizing skaz.Check out Prokofiev: Tale of the Stone Flower (The) by Gianandrea Noseda on Amazon Music.
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View Marcus Pettersson’s profile on LinkedIn, the world's largest professional community. Marcus has 6 jobs listed on their profile. See the complete profile on LinkedIn and discover Marcus Title: Technical Solutions Manager at. Skaz (1) A type of narrative in a work of fiction, recounted by a character whose status and manner of speech differ from the viewpoint and style of the author himself.
The contrast and interrelationship between these semantic and linguistic positions are the bases of the skaz’s artistic effect. The speech of the actual or implied narrator of skaz.
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