0202 ‫َى‬
‫ سال‬,6.‫ ذمارة‬، 02 .‫بةرطى‬
‫طؤظارى زانكؤ بؤ زانستة مرؤظايةتييةكان‬
Linguistic Deviation
in Hemingways' One Reader Writes
(A Stylistic Study)
(PP 412-420)
Wirya Ahmed Ameen
Salar Mahmud Muhamad Salih
College of Languages-Department of English/ Salahaddin University
[email protected]
[email protected]
Received: 27/07/2015
Accepted: 03/05/2016
Abstract
Explaining the relation between language and artistic function is the area of stylistics. This discipline is
concerned with the application of theoretical ideas and analytical techniques drawn from linguistics to the study
of literary texts in order to arrive at a more broadly based objective analysis. It is the study of style which refers
to the way in which language is used by a given person in a given context; and in literature, it incorporates the
entire linguistic repertoire utilized by a given writer in a given literary work. One of the mechanisms used to
anaylse a writer's style is through 'linguistic deviation'. The present paper is thus an attempt to apply this
particular mechanism to the interpretation of one of Hemingway's short stories 'One Reader Writes'. It aims to
enable the reader to enjoy, understand and appreciate the literary devices used by the writer to effectively
communicate his message.
To tackle this topic, the paper is divided into six sections. Section one presents the preliminaries: it involves
Hemingway, the story behind his 'One Reader Writes', the procedure followed in the analysis of the story, etc.
Section two dwells on deviation as a stylistic device in literary analyses. Section three sheds light on two major
types of deviation: internal and external deviations. Section four is concerned with the analysis of the story in
the light of the types of deviation mentioned above. Section five exhibits the interpretive value of deviation as a
stylistic device, and refers to its role in helping the reader to arrive at the hidden agenda behind a literary work.
Section six, eventually, presents the conclusions the study has arrived at. The paper ends with a list of the
references cited.
Key Words: Deviation , foregrounding , stylistics.
1. Introduction:
rnest Hemingway, the American author and journalist, had a distinctive writing style
characterized by economy and understatement. He wished to strip his own use of
language of inessentials and verbosity. In order to be as objective and honest as
possible, he adopted the device of describing a series of actions by using short, simple
sentences.
On graduation from high school, Hemingway went to Kansas City where he was employed
as a reporter for the Star. 'One Reader Writes' was published in 1933, and according to the
Kansas City Star, Hemingway got the idea behind this story from Logan Clendening, a
Kansas City doctor whom Hemingway met in 1931. The doctor gave Hemingway some
letters from correspondents of his syndicated medical column, and one of those letters was
from a woman in Harrisburg, Pennsylvania. The Star asserts that Hemingway turned that
letter into the above story (Vigia 1987: 93).
The procedure followed in the paper is to analyse the selected story in the light of deviation
(foregrounding) within the syntactic structures of the sentences involved in the story.
Generally, the norm which is set up by the text, in a given work, might be either complexity of
the sentence structure, and the deviation in this case is brought up by one foregrounded simple
sentence structure; or the norm might be the reverse: it might be simplicity of the sentence
structure and the deviation is scored via certain foregrounded complex ones. In both cases, the
linguistic deviation draws attention to certain aesthetic effects and stimulates more systematic
interpretations of the literary text. To conduct the above analysis, the sentences are
E
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successively numbered throughout the story, the sentence structures and their numbers are
accounted for, and finally the average of these sentences to the total number of the sentences
involved in the story is taken into account.
The following is the story to be analysed in the paper:
One Reader Writes
She sat at the table in her bedroom with a newspaper folded open before her and only
stopping to look out of the window at the snow which was falling and melting on the roof as it
fell (1). She wrote this letter, writing it steadily with no necessity to cross out or rewrite
anything,
Roanoke, Virginia February 6, 1933 (2).
Dear Doctor -May I write you for some very important advice (3) -- I have a decision to make and don't
know just whom to trust most(4) I dare not ask my parents(5) --and so I come to you(6)-- and
only because I need not see you, can I confide in you even (7). Now here is the situation (8)-I married a man in U. S. service in 1929 and that same year he was sent to China, Shanghai(9)
-- he staid three years(10) -- and came home – (11) he was discharged from the service some
few months ago (12). and went to his mother's home in Helena, Arkansas (13). He wrote for
me to come home (14). I went, and found he is taking a course of injections and I naturally
ask, and found he is being treated for I don't know how to spell the word but it sound like this
"sifilus" (15). Do you know what I mean (16) -- now tell me will it ever be safe for me to live
with him again (17). I did not come in close contact with him at any time since his return from
China (18). He assures me he will be OK after this doctor finishes with him (19). Do you
think it right (20) -- I often heard my Father say one could well wish themselves dead if once
they became a victim of that malady (21). I believe my Father but want to believe my
Husband most (22). Please, please tell me what to do (23) -- I have a daughter born while her
Father was in China (24). Thanking you and trusting wholly in your advice I am, and signed
her name (25).
Maybe he can tell me what's right to do, she said to herself (26). Maybe he can tell me (27).
In the picture in the paper he looks like he'd know (28). He looks smart, all right (29). Every
day he tells somebody what to do (30). He ought to know (31). I want to do whatever is right
(32). It's such a long time though (33). It's a long time (34). And it's been a long time (35). My
Christ, it's been a long time (36). He had to go wherever they sent him, I know, but I don't
know what he had to get it for (37). Oh, I wish to Christ he wouldn't have got it (38). I don't
care what he did to get it (39). But I wish to Christ he hadn't ever got it (40). It does seem like
he didn't have to have got it (41). I don't know what to do (42). I wish to Christ he hadn't got
any kind of malady (43). I don't know why he had to get a malady (44).
2. Deviation as a Stylistic Device:
The concept of style as deviance is closely associated with the concept of foregrounding. It
is one of the most significant concepts that linguistics has contributed to literary criticism.
This notion is developed from the works of the Russian and Czech Formalists like Shklovsky
and Mukarovsky who suggested the ideas of 'defamiliarisation' and 'foregrounding'
respectively. According to them, the main purpose of art was to make people see the world in
a new way through 'defamiliarisation' or 'making strange'. The notion of foregrounding is
achieved by highlighting or making prominent, particular textual features; and this
consequently entails breaking the norms of the standard language with the result that one
characteristic of literariness is regarded as a degree of linguistic deviance (Finch 2005, 190).
Foregrounding is referred to as a stylistic strategy that is closely associated with a specific
type of aesthetic exploitation of language that takes the form of surprising a reader into a fresh
awareness of, and sensitivity to, the linguistic medium which is normally taken for granted as
an 'automatized' background of communication (Leech & Short 1981: 28).
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Deviation as a stylistic device is said to have been utilized by writers as a strategy to
establish a hierarchy of meanings and themes in the text, bringing some to the fore and
shifting others to the background. It is considered as the core of reader-centered stylistics as it
provides a theory of analysis with the help of which a reader develops the habits necessary for
active and independent reading (Niazi and Gautam 2007, 7). Thus, according to this stylistic
strategy, the frequency of features in a given text can be measured against equivalent figures
which are normal in language use; the style then can be measured in terms of 'deviations' from
the norm (ibid).
Moreover, stylistic variations, known as deviation or foregrounding, hypothetically lead to
defamiliarisation, evoke feelings, and lengthen the reading time. Broadly, foregrounded
segments of a story are often associated with increased reading times, greater strikingness
ratings, and greater affect ratings. Response to foregrounding is even independent of literary
competence or experience, and it is indeed a distinctive aspect of interaction with literary
texts in general (Miall and kuiken 1994, 389).
Linguistic deviation then refers to the range of stylistic effects that occur in literature,
whether at the phonetic level (e.g., alliteration, rhyme), the grammatical level (e.g., inversion,
ellipsis), or the semantic level (e.g., metaphor, irony). To Mukarovský (1964, 20),
foregrounding may occur in normal, everyday language, such as spoken discourse or
journalistic prose, but it occurs at random with no systematic design. In literary texts, on the
other hand, foregrounding is structured: it tends to be both systematic and hierarchical. With
everyday language, communication is the primary purpose, and foregrounding structures are
normally not involved. But in literature the purpose of foregrounding is to disrupt such
everyday communication, i.e., foregrounding enables literature to present meanings with such
intricacy and complexity that ordinary language does not normally allow (ibid).
Furthermore, Mukarovsky (1964, 19) believes that foregrounding is the opposite of
automatization, that is, the deautomatization of an act. He claims that the more an act is
automatized, the less it is consciously executed; and the more it is foregrounded, the more
completely conscious does it become, i.e., automatization schematizes an event; whereas
foregrounding violates that scheme. Similarly, Shklovsky (1965, 12) argues that stylistic
devices do more than convey familiar meanings: the function of the literary image is not to
make us perceive meaning, but to create a special perception of the object. He thinks that the
purpose of art is to impart the sensation of things as they are perceived and not as they are
known.
Thus, to these stylisticians, deviation, as a technique of art, is to make objects "unfamiliar,"
to make forms difficult, to increase the difficulty and length of perception because the process
of perception is an aesthetic end in itself and must be prolonged (Miall and kuiken 1994, 391).
Eventually, we can summarize Shklovsky and Mukarovsky's viewpoints concerning
'deviation' or 'foregrounding' as follows: Shklovsky saw deviation, in the form of
defamiliarization, as accompanied by feeling: he noted, more precisely, that stylistic devices
in literary texts "emphasize the emotional effect of an expression" (Shklovsky 1965, 9).
Mukarovský's view is best expressed through his statement that when used poetically, words
and groups of words evoke a greater richness of images and feelings than if they were to
occur in a communicative utterance" (Mukarovsky 1977, 73)
3. Internal Versus External Deviation:
Linguistic deviation can be regarded as a strategy used in literary works to encode
some key literary meanings via certain linguistic features. These features represent a
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stylistic distortion of some sort through an aspect of the text which deviates from a
linguistic norm.
A given text may deviate from either an external or internal norm. As such,
deviation can be seen to work on two levels: outside and inside the text. This entails
that a given text itself may develop its own internal norm which may itself be subject
to deviation. This kind of deviation takes place within the text itself, i.e., it is deviation
within deviation.
Depending on the study of style as deviance, the idea that style is constituted by
departures from linguistic norms, as it was first maintained by Traugott (1980), a
major distinction can be made between two types of deviation: internal and external.
That is, deviation itself can be assessed against various norms: a linguistic deviation
involves a sort of tension between those norms which are outside (external to) the text
and those ones which are inside (internal to) the text (Cluysenaar 1976: 134).
The deviation is called external if it pertains to a violation in the norms or rules of
the language system. Different types of external deviation can be identified across a
number of interrelated levels of linguistic description: phonological, graphological,
syntactical, morphological .etc. (Simpson 2004: 5). For instance, Faulkner, in his
novel 'As I Lay Dying' (Faulkner 1965: 86), uses a sentence like 'they was going on
past the store without stopping'. In this sentence, there is a clear example of a violation
of one of the rules of English syntax; there is lack of number concord between the
subject (they) and the auxiliary verb (was), and this is a vivid example of an external
deviation.
Internal deviation, on the other hand, is taken as a stylistic device that foregrounds
some parts of the literary text. This strategy works under an assumption that the
author, consciously or unconsciously, is signaling such parts as important to readers'
understanding of what he has written.
In association with the concept of internal deviation, Halliday (1971: 330) maintains
that the concept of prominence, resulted from deviation, is not only produced by
'departure from a norm', but even by 'attainment of a norm'. Leech (2001:54) asserts
that 'attainment of a norm' means either the approximation to some external norm as a
'disguise', or at least as a point of reference, or that the writer creates his own special
kind of language. To Short (1996:36), this means that the features of the language
used by a literary writer in a given text may depart from the norms of the text itself,
i.e., they may stand out against the background of what the text has led us to expect.
To illustrate the notion of internal deviation, Levin (1998) suggests an indicative
example about the literary style of (e.e. Cummings) stating that:
"When e.e.Cummings begins his poems with lower
case letters at the beginning of each line, he is not
breaking a rule of English. Rather he is deviating
from a genre norm, that for poetry. If, after years of
writing poems with lines beginning with lower case
letters, he suddenly wrote a poem which conformed
to our genre norm, he, in this way, would still surprise
knowledgeable readers of his poetry; as he would now
deviate from his personal authorial norm which he had
established over a long period of writing."
Levin (1998: 225)
It is obvious from the above explanation, that (e.e.Cummings) has established a
predictable deviated pattern of his own. Accordingly, some linguists claim that
internal deviation is the reverse of parallelism (Short 1996: 59). Therefore, the poems
written by (e.e.Cummings) can be said to have set up their own world in which the
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norm is to write poems with lines initiating with lower case letters. This phenomenon
of internal deviation is generally investigated in poetry, but it can also be traced in
other literary genres such as prose fiction, as it is conducted in this paper.
4. The Analysis:
In this section, Hemingway's story 'One Reader Writes' is analysed in the light of
external and internal deviations, but with particular focus on the latter as it is more salient in
the story. It has been mentioned before that external deviation might work at different levels:
phonological, graphological, morphological, syntactical…etc. What the analysis subsumes in
this paper is the graphological aspect, i.e. the shape of the language on paper which the writer
has followed to convey a specific intention. As for the internal deviation, the analysis
concentrates on sentence complexity and length, i.e., it explores the structure of the sentences
involved in the story, using the procedure adopted by Quirk and Greenbaum (1973), in
showing sentence and clause patterns in terms of sentence elements such as (SVCOA), and
also exhibits the number of deviated structures and their average to the total number of
sentence structures used in the story.
1.1 External Deviation
There is no doubt that language, in its broadest conceptualization, is not a haphazard
mass of sounds and symbols, but an intricate web of levels, links and layers (Simpson
2004: 5). This entails that any literary work is organized through several distinct levels of
language. However, as mentioned before, the external deviation to be displayed in this
paper is pertinent particularly to the graphological aspect of the text: this aspect of
language system is concerned with the shape of language on paper and the punctuation
scheme adopted. It is common that in written English, a sentence is bounded by two
obligatory elements: an upper case letter in sentence initial position, and a period or full
stop in sentence final position. Lacking one of these two elements, which constitute the
sentence boundary, is counted stylistically as deviation from the written norms of the
language as a system.
Thus, a quick observation of the graphological aspect of the story shows that
there is an odd use of punctuation marks deliberately adopted by the writer in the
story. For example, sentences (6,7,10,11) start with lower case letters, and end with
hyphens, i.e., there is violation at both boundaries of the sentences. Sentences
(3,5,8,9,16, 20 23) end with double hyphens instead of full stops; and sentences
(12, 13, 17), end with full stops but start with lower case letters. Sentences (7, 16,
20) are interrogatives in form, but do not end with question marks. Such features in
the style of the writer are definitely techniques utilized to fulfill certain literary
purposes.
4.2 Internal Deviation:
Deviation, as mentioned in the above sections, may be the outcome of various
types of violation. There are certain types of deviation which are set against
particular norms, but these norms are set up by the text itself and not by an external
system of norms. Such kinds of deviation constitute the essence of another means of
fulfilling foregrounding through what is known as internal deviation. This section
examines how some key literary meanings are raised via this particular device.
In striving to be as objective and honest as possible, Hemingway is known to
have hit upon the device of describing a series of actions by using short, simple
sentences from which all comment or emotional rhetoric has been eliminated. In this
section, then, we try to consider sentence complexity, that is, ‘do sentences on the
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whole have a simple or a complex structure; does complexity vary strikingly from
one sentence to another? Is complexity mainly due to coordination, subordination or
parataxis, or sentence length? Besides, to observe deviation from the salient style
adopted in the story, the average of the deviated sentences to the total number of the
sentences used in the story is taken into account.
The following analysis investigates the structural details required:
S = Subject
V = Verb
O = Object
A = Adverbial
Cs = Subject Complement
Co = Object Complement
Cj = Conjunction Sub = Subordinator
1. S V A A A Cj V A A S V Cj V A A
2. S V O V O A A Cj V O
3. V S V O A
4. S V O A Cj V O
5. S V O
6. S V A
7. A S V O V S V A
8. A S V C
9. S V O A A Cj A S V A
10. S V A
11. S V A
12. S V C A A
13. S V A A
14. S V A A
15. S V Cj V O Cj S A V Cj V O A Cj S V A
16. Aux S V O
17. A V S O
18. S V A A A
19. S V O O A
20. Aux S V O C
21. S A V O A Sub A S V C
22. S V O Cj V O O A
23. A S V O O
24. S V O C A
25. S V O Cj A A Cj V O
26. A S V O O , S V A
27. A S V O
28. A S V C
29. S V C A
30. A S V O O
31. S V
32. S V O
33. S V C A
34. S V C
35. S V C
36. S V C
37. S V A , S V , Cj S V O
38. S V A O
39. S V O A
40. A S V A O
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41. S V C
42. S V O
43. S V A O
44. S V O
The gist of the structural complexity, elaborated above, can be jotted down as
follows:
Sentence number (21) is a complex sentence with the use of the subordinator (if).
The compound sentences, on the other hand, incorporate the structure of the sentences
number (1, 4, 9, 25), compounded by the coordinator (and); sentence (2) which is
coordinated by parataxis, sentence (22) with the coordinator (but), sentence (37) with
the word (but + parataxis). Sentence (15), which is the longest compound sentence in
the story, is formed by the use of the coordinator (and) three times, plus the
coordinator (but).
However, the most salient sentence structure used by the writer in the story under
discussion is the simple structure. This structure type subsumes sentences number (3,
5, 6, 8, 10-14, 16-20, 23, 24, 26-36, 38-44).
Now, if we account for the number of the above sentence types and their average to
the gross number of the total sentences used in the story, we can arrive at the
following proportions:
Complex sentences constitute 2.3%,
Compound sentences make 18.2%,
Simple sentences form 79.5%, of the total number of entire sentences involved in the
story.
5. The Interpretive Value of Internal Deviation:
Deviation from a standard norm is generally conducted by literary writers in order to
show the message behind their literary works. This stylistic device is often intended either to
achieve a sort of thematic contrast or a climatic effect. Short (1996: 12) claims that "nothing
in a work of art is insignificant. But the matter in the foreground is more important than the
rest". That is to say, in a given literary work, some parts or elements remain more important
than others and the most effective of all. Therefore, to obtain a more reasonable and accurate
interpretation of a writer's intention in a given work, these outstanding parts should not be
ignored. The interpretive value of deviation, in section four above, can generally be seen in
portraying the writer's attempt to convey the woman's hesitant state of mind, and the
psychological process she is undergoing while telling her story. The Interpretation is said to
be selective and subjective in its process, and it is this subjectivity which mostly leads to
cases of incongruity between literary analysts. Thus, the interpretations postulated in the
conclusion section below are far from being final as this area of study is heatedly
controversial.
6. Conclusion:
Linguistic deviation has been tackled in this paper as a specific device utilized by
Hemingway to artistically convey his message to his readers. The study has dealt with
two kinds of deviations: internal and external, with particular focus on the former as it
is the more salient in the story. The research has generally come out with the
following conclusions:
1. Internal Deviation:
It has been mentioned before that internal deviation takes place when the writer
deviates from the standard norm he himself establishes throughout a given work.
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The instances observed in the story under discussion can be summarized as
follows:
a. The stylistic norm set up by the writer in 'One Reader Writes' is simplicity in
sentence structure, and the deviation is complexity; and this is justified by the
average of the simple sentences as compared to the average of the other
sentence types against the total number of whole sentences constituting the
story: 79% (simple), 18.2% (compound), 2.3%. (complex).
b. In 18,2 % of the sentences, the writer resorts to compound sentences for
certain reasons. For example, in sentence (15), in order to hint at the lady's life
becoming more and more complex and the increase of events, the writer
switches from the simple structure, which is the established norm in the story,
to the compound one.
c. In sentence number (22), there is a sudden switch to a compound sentence to
show the lady's bewilderment and how she is halting between two opinions
(whether to believe her father or her husband).
d. In (37), when the lady is talking to herself, the writer again shifts to a
compound sentence to display the different ideas that come to her mind: ideas
convincing her to give right to her husband; and ideas standing against him.
e. To portray an image in the mind of the reader concerning the setting in which
the presence of the lady in her bedroom, the unfolded newspaper on the table,
and the melting down of the snow seen through the window, the writer, in
sentence (1), resorts to the use of a compound sentence which is distinct from
the established norm (the simple structure).
2. External Deviation:
This type of deviation takes place when the writer, in a way or
another, violates the standard rules or norms of the language
system with its diversity of layers and branches: phonological,
graphological, syntactical…etc. The examples of deviation found
in the story are pertinent to the graphological aspect of
the language system. They can be briefly illustrated as follows:
a. Most of the sentences involved in the story, such as (3,5,6,8,9,10) are ended
with double hyphens instead of periods or full stops; sentence (11) ends with a
single hyphen; still some sentences start with lower case letters such as
sentences number (10,11,12,13 ..etc.). Moreover, certain interrogative
sentences such as (3,7,16,17,20), are not ended with question marks. The
writer's intention behind this deviation from the English punctuation system is
most probably to show both the confused and chaotic state of mind the lady is
undergoing, and her level of education.
b. There is repetition of the word 'please' in sentence (23) which is linguistically
known as parallelism, and stylistically as deviation (as more of the same). This
deviation serves to express the lady's disparity and helplessness.
c. The use of misspelt words such as 'sifilus' in sentence (15) is also accounted
for as deviation from the spelling system, and
this can also be considered as a clue to refer to the lady's level of education.
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‫‪Four essays. Lincoln, NE: University of Nebraska Press.‬‬
‫‪Short, M. (1996). Exploring the language of Poems, Plays and Prose. London : Longman.‬‬
‫‪Traugott, E. and M. Pratt (1980). Linguistics for Students of Literature. New York: Harcourt , Brace,‬‬
‫‪Jovanovich.‬‬
‫پوخته ‌‬
‫‌‬
‫پًیٍهندَ نێٍان سمان ٌ ئًرىك ئًدهىب یًلێمً وًةٍارهلاىن غێٍاسناىس‪ .‬ئًً ضیطذًمً پًیٍهضذً ةً پزالذیشهلزدىن دیۆرهلاىن ةٍارَ سمانًٌنی وً‬
‫غیمزدنًٌهَ لاره ئًدهةیًلان‪ ،‬ةًمًةًضذى گًیػنت ةً غیمزدنًٌهیًىك ةاةًدیانً ةۆ ىًر لارێىك ئًدهىب دیاریمزاٌ‪ .‬ضیطذًَمێمً ةۆ ةًدٌاداچٌٍىن غێٍاسَ‬
‫نٌٍضینى ىًرنٌٍضًرێن لً سمان ةًلاردێنێ وًچٍارچێٍهَ دهقێىك دیاریمزاٌ‪ .‬یًلێن وًٌ دًلنیمانًَ ةًلاردێن وً ةٍارَ غیمارَ ئدهىب نارساٌه ةً الداىن‬
‫سمانًٌاىن‪ .‬ئًً دٍێژینًٌهیً ىًٌڵێمً ةۆ پًیڕوٌلزدىن ئًً ڕێتاسه غیماریً ةۆ غیمزدنًٌهَ یًلێن وًلٍردًچی َزۆلًلاىن چیزۆلنٌٍىس ئًمًریىك ‪Ernest‬‬
‫‪ Hemingway‬وً چیزۆىك نارساٌ ةً ‪ . One Reader Writes‬ئامانجى وێمۆڵینًٌهلً دێگًیػذنً وً دهقى چیزۆلًلًٌ ئاغناةٌٍنً ةًٌ دًلنیمانًَ نٌٍضًر ةًلارَ‬
‫ىێناٌن ةۆ گًیاندىن نامًلًَ ةً خٍێنًر‪.‬‬
‫ةۆ ئًً مًةًضذً‪ ،‬دٍێژینًٌهلً داةًغمزاٌه ةًضًر غًع دًٌهرَ ضًرهىك‪ :‬دًٌهرَ یًلًً ةزیذیً وً پێػًلییًك لً دهقى چیزۆلًلًٌ خٍدَ نٌٍضًرهلًٌ‬
‫ىًرٌهىا ئًٌ ڕێتاسهَ ةًلار ىێرناٌه وً ئًنجامداىن دٍێشینًٌهلً وًخۆ دهگزێ‪ .‬دًٌهرَ دٌٌهً‪ ,‬ةاص وً غێٍاسَ الدان دهلاخ وًةٍارَ غیمارَ لارَ ئًدهىب‪.‬‬
‫دًٌهرَ ضێیًً‪ ,‬ةًراٌردێن دهخادً ڕٌٌ وً نێٍان دٌٌ جۆرَ ضًرهىك الدان لً ئًٌیؼ الداىن ناٌهىك ٌ دهرهلین‪ .‬دًٌهرَ چٍارهً‪ ,‬دایتًدً ةً غیمزدنًٌهَ‬
‫چیزۆلًلًَ ضًرهٌه وً ڕٌٌَ الداىن سمانًٌاىن‪ .‬دًٌهرَ پێنجًً‪ ,‬دیػن دهخادً ضًر پێگًَ الداىن سمانًٌاىن ٌهلٍ ئامزاسێن ةۆ غیمزدنًٌهَ لاره‬
‫ئًدهةییًلان‪ .‬دًٌهرَ غًغًً ٌ لۆدایى‪ ،‬دهرئًنجامى وێمٍوینًٌهلً دهخادً ڕٌٌ وًگًڵ ئًٌ ضًرچاٌانًَ وً نٌٍضینى دٍێشینًٌهلً ةًلار ىێرناٌن‪.‬‬
‫ملخص‬
‫دعد اوعالقح ةني اوىغح ٌاوٍظٌفح االدةٌح اٌ اوفنٌح من احدَ مجاالخ االضىٍةٌح‪ً .‬ذعىق ىدا اونظاً ةاونظزًاخ االدةٌح ٌ االضاوٌث اوفنٌح املقذتطح من عىم‬
‫اوىغح ٌدطتٌقيا عىل االعامه االدةٌح ةغٌح اوٍؾٍه اىل دحىٌي مٍقٍعٍ غامي‪ .‬ىدا اوفزع اوىغٍي ًدرص اضاوٌث اومذاب ٌاضذعامويم وىغح يف االعامه االدةٌح‪.‬‬
‫احدَ ىده االضاوٌث املذتعح يف دحىٌي اونؿٍؽ االدةٌح دطمى ’االنحزاف اوىغٍي’‪ .‬ىده اودراضح ىٍ دحىٌي مٍقٍعٍ ويدا االضىٍب االديب ٌ دٌره يف‬
‫دفطًن احدَ االعامه االدةٌح وىمادث االمزًيك ‪ٌ Ernest Hemingway‬قؿذً املعزٌفح ب ‪ .One Reader Writes‬دحث ىذه دراضح اوقارئ عىل فيم ٌ دقدًز‬
‫االضىٍب االديب املطذخدً من قتي اومادث ونقي رضاوذً اىل اوقزاء‪.‬‬
‫ملعاوجح ىدا املٍقٍع دم دقطٌم اوتحث اىل ضذح محاٌر‪ :‬املحٍر االٌه‪ ،‬ىٍ مقدمح وىمٍقٍع ٌدذكمن نتدج مخذرصج عن اومادث ٌقؿذً قٌد اودراضح‪،‬‬
‫ٌاالجزاء املط ذخدً يف دحىٌي اونـ‪ .‬املحٍر اوثاين‪ً ،‬ىقٍ اوكٍء عىل ’االنحزاف’ لاضىٍب اديب مذتع يف دحىٌي اونؿٍؽ االدةٌح‪ .‬املحٍر اوثاوث ًعزف‬
‫نٍعني رئٌطٌني من االنحزاف ٌ ىام ’ االنحزاف اوداخيل ٌاوخارجٍ‪ .،‬املحٍر اوزاةع‪ ،‬دذكمن دحىٌي اونـ املدرٌص يف قٍء االضاوٌث االدةٌح االنفح اودلز‪.‬‬
‫املحٍر اوخامظ ًذعىق ةذٍقٌح اوقٍج اوذفطًنًح الضىٍب ’االنحزاف’ يف دحىٌي اونؿٍؽ االدةٌح ٌ مدَ داثًنىا عىل فيم اوقارء وىٍؾٍه اىل نٍاًا اومادث‬
‫يف اوعمي االديب‪ .‬املحٍر اوطادص ٌاالخًنًعزف اونذائج اوذٍ دم اوذٍؾي اوٌيا ٌلدون املؿادر اوذٍ دم االضذفادج منيا يف لذاةح اوتحث‪.‬‬
‫‪Vol.20, No.6, 2016‬‬
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