Ashot GALSTYAN
UDC 165:81՚42:82.0
Ashot GALSTYAN
EPISTEMOLOGICAL-MOTIVATIONAL BASES OF LITERARY NON-FICTION GENRE AS FACTORS
DETERMINING THE LINGUISTIC STRUCTURE OF TEXT
Abstract
This article dwells on epistemological-motivational aspects of the literary non-fiction genre. The general features of memoir literature are examined form the point of view of their epistemological and cognitive aspects. The cognitive and informational specificities of non-fictional narratives are also considered.
Keywords: literary nonfiction, genre, linguistic individual, memory, epistemological-motivational basis,
linguistic norm, content and expression plan, narrative, description.
Examination of the epistemological bases of
through which the expression is mediated), in
texts written in the literary nonfiction genre is of
other words through the content and expression
key importance among the contemporary trends
plans, which are demonstrations of the material
in linguistics as the cynosure of the examination
world.
captures the linguistic embodiment of the human
being as an individual.
It is important to point out that whereas in
fictional works the authors guide the course of
In the process of recollecting and reproduc-
developments themselves on the basis of se-
ing the material retained in memory, authors
quences of events outlined beforehand, memoir-
usually make certain qualitative changes incorpo-
writers compose their stories from the available
rating their world outlook, ideological or value-
facts lodged in their memory. The main aim pur-
system predilections.
sued by the literary nonfiction authors is the ac-
Authors channel the stream of their senti-
curate and consistent reflection of the past real-
ments through linguistic norms, which are often
ity, events and people, and their interconnec-
structured as a narrative.
tions, which may also be conveyed through liter-
Literary nonfiction is an indissoluble unity of
ary representations. When consigning their me-
form and content. From among the constituent
mories to writing, memoirists are guided by a
elements of this form of compositions, the lin-
single principle – to be authentic and truthful
guistic shell of the examined genre plays a parti-
without “sprucing up” the individuals serving as
cularly important role: it is usually formed
the material of the memories and to write what it
through the epistemological-motivational bases
held to be true instead. Thus the works of the
of literary nonfiction and helps the authors to
memoir genre contain valuable information for
create distinctive images and descriptions.
the adequate cognition of the past times.
The expression of literary nonfiction hinges
Although the authors of literary nonfiction
on the expressed content (that, which is ex-
do not create characters in the same way as in
pressed) and the expressive means (the means
fiction, nonetheless they draw up images that are
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Ashot GALSTYAN
the live bearers of various phenomena and reali-
Memoirists are not at liberty to weave mul-
ties. Whereas the fiction writer is free to choose
tiple chains of events and phenomena into their
from among characters, i.e. he or she may, if
texts. They observe the developments through
needed, pencil in protagonists into their writing,
their personal life’s window. Here the decisive
thus creating holistic images of the reality, writ-
factors are: which aspects of the reality are taken
ers of literary nonfiction are constrained in their
in by the author, how the facts are processed and
choice. They may only flesh out the portraits of
how the multiplicity of values is assessed.
people with whom their paths have crossed. As
In contemporary linguistics, examination of
noted by V.Belinsky, in this case the author ‘does
the epistemological bases of nonfictional literary
not deal with imaginary characters, instead with
texts as the focus of the analysis is the linguistic
people and characters who are familiar to him
rendition of the individual man.
and in whose company he has lived his life and
spend the days of his life’ (Terteryan 1948: 428).
In literature, memoirs and autobiographies
are at times categorised as personology. (Neroz-
It is worth noting that writer of literary non-
nak 1996: 112-116.) Here the author-individual is
fiction may ultimately take a subjective stance.
viewed as an individual bringing together per-
The following thought expressed by S.Zorian
sonal and social characteristics into one, and who
bears this out: ‘Memoirs defy absolute objectiv-
may appear in a world conjured up on his or her
ity, and a subjective approach undoubtedly plays
own initiative, albeit the composition must have
a considerable role’. (Zorian 1991: 7.) In this case,
real currents of past reminiscences.
the author perceives the model through his or
It may be argued that in order to imbue a
her own impressions. After all, literary nonfiction
past event or phenomenon with meaning
does not correspond to a representation of life
through linguistic means, ‘a certain lowest thres-
with photographic accuracy. As noted by A.Shir-
hold of mental-emotional activity is required and
vanzade, there are no and there can be no works
perceptions, emotions and ideas falling below
presenting images with photographic precision
that threshold cannot be expressed through lan-
(Shirvanzade 1986: 228). This stance makes W.
guage. In this case, the given individual’s mental
Saroyan’s following observation fully acceptable:
and emotional world finds its linguistic expres-
‘Memory entails imagination. This is because
sion‘ (Ibid).
what you remember does not exactly correspond
Ghazaros Aghayan stresses in his memoir
to what you saw and, since what you saw may
entitled “The Key Milestones in My Life” that me-
have been different, then your recollection con-
mories are not forgotten only because they recur
tains a degree of imagination. And imagination is
continuously. ‘External impressions are in conti-
the recollected reality’. (Saroyan 1991: 396.)
nuous movement while they pool together in the
From the above we may draw the conclusi-
apex of our being…. An intense excitement is tan-
on that the content of literary nonfiction works is
tamount to causing a storm in that sea’ (Aghayan
constructed by combining various subjective and
1963: 424).
objective elements. The core of the subjectivity
Nonetheless, specialists often present psy-
of the non-fiction genre is the system of life val-
chological states of mind where the linguistic ren-
ues of the author through which he produces his
dition of memories is difficult to construct due to
assessments of the people and events of the
blurred memory. Armenian prominent general
past.
and memoirist I.Baghramyan notes that: ‘human
1(6), 2016
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22
WISDOM
memory has many enemies, which albeit slowly
viewed to be essential or may be forced out from
but relentlessly undermine it. Among those ene-
the spectrum of satisfaction of needs. In this
mies is the merciless time that wheedles out and
case, the author is not complicit to random pres-
destroys grain by grain from the storehouse of
entation, instead, he or she is abstaining from
memory many remarkable and instructive facts
presenting indiscriminately everything that he or
of life as it was lived’. (Baghramyan 1975: 10.)
she has experienced in their lives. They make a
It is the specificity of human cognition to ge-
choice, separating the important details from the
neralize the life experience. If many encounters
secondary ones, by setting aside the unimportant
with the same person take place at the same lo-
and basing the text on what they deem to be the
cation within a certain period of time, then it be-
essential and the valuable.
comes very difficult to recall the details of those
The goal of cognition and consignment to
meetings afterwards. Many of the details blend
memory by a person involves making a choice.
together and are generalised. In fact, there is
Literary nonfiction writers tend to retain in their
truth in the statement that memory is a sieve
memory the essential details, key impressions
that sifts out the unimportant details and retains
and not everything that acts on the senses.
1
what is important or memorable .
In literary nonfiction prose, a key element in
When composing literary nonfiction texts,
the epistemological-motivational process is the
authors naturally tap into different currents of
agency or the level of activity by the author-
memory. The mechanisms of speech perception
memoirist.
and speech production play an important role in
Various types of human activity are known
the process of the composition of these meta-
to be dominated by different forms of mental
genres, thus forming the basis for the linguistic
activity that may find their reflection in the corre-
thinking pattern.
sponding
The process of perception is primarily kno-
actions,
movements,
emotions,
thoughts and images of the individual.
wn as an analytical function and communication
Studies demonstrate that authors of literary
of various episodes of an event is thought to be a
nonfiction who engage in a literary dialogue with
synthesis. As noted by G. Jahukyan, understand-
the reality may be divided into two groups ac-
ing is first of all analysis, whereas rendering
cording to their different modes of thinking:
something understandable is primarily a synthe-
1. Authors, who try to convince the reader
sis. (Jahukyan 1974: 20.) This is by and large a dis-
about something, disentangle cause-and-effect
tinctive mental system, the highest level of which
relationships (chain of causality), to enter into
in this case is the genre-based text plan.
the argumentation domain by forming certain
Texts clearly identify the place (the setting),
world outlook2;
time, characters, the content of speech, which
2. Authors whose emotional-affective facul-
are usually brought together through inter-linka-
ty is triggered into action. The authors may at
ges. It is, however, possible for one of the ele-
times infuse even their descriptions with their
ments to slip out of the general picture for whatever reason, as at that juncture it may not be
2
Convincing through argumentation is the essential
element of human cognitive communication through
1
At times, in view of certain circumstances, authors of
which the reader (listener) develops trust towards
literary nonfiction may choose to omit certain details
the author and a resolve to become the latter’s ad-
of the events.
herent.
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Ashot GALSTYAN
emotive states. In fact significant events steeped
There develops a new dimension between them,
in emotions are the most vividly recollected me-
despite the shared features. The worlds of either
mories.
the author or the reader never lose their distinct-
It is worth stressing that literary nonfiction,
iveness. As the famous philosopher stressed, in
as a framework of influencing, works through the
this case, the author’s world can only be ‘uncov-
general communicational medium of perception-
ered through the examination by the reader’.
understanding-impact, in particular.
(Ibid: 2)
It assumes that the author shares observa-
It is evident that the cultural purview of lit-
tions on different situations in life, personal ex-
erary nonfiction belongs both to the author and
perience and encounters. It is to be pointed out
the reader: the reader is often tempted by the
that the author tells all of this by through engag-
author’s art of narration.
3
ing with the reader in an open dialogue , which is
In the process of recollecting and reproduc-
not to be confounded with the free conversation
ing the material retained in memory, authors
style or exchange of opinion.
usually make certain qualitative changes un-
The open dialogue framework is fundamen-
equivocally incorporating their world outlook,
tally different from the everyday colloquial con-
ideological or value-system predilections. To the
versation. Here the reality is presented through
contemporary man, the personal “I” is the key
the example of an individual life and not through
axis linking the past, present and future.
the mechanical perception of life. The author
All of this supports the assumption that the
communicates impulses to the reader through
writing of memoirs, epistles or their linguistic
fiction, influences the reader by securing the rea-
composition is indeed predicated on complex
der’s approval.
mental-cognitive processes. First of all, the goal
The aim of nonfiction writers is to not only
of cognition requires the content of the events
to turn their readers into their adherents but also
being reproduced, their sequence, cause-and-ef-
into participants of the developments. As pointed
fect relationships are to be retained. These
out by French philosopher and prose writer Jean-
should be not only genuine but also compelling.
Paul Sartre, the author and the reader take on a
Just like an artist, a memoirist must be fully famil-
major responsibility, as ‘the world is propped up
iar with the events, ought to have participated,
by the joint efforts by the freedom of the two’.
seen or heard everything recounted, must be
(Sartre 2014: 1)
able to set apart the important aspects from the
The open dialogue taking place between the
secondary details, culling out the latter.
author and the reader creates a new world. They
There are also different types of cognitive
relate to each other through the constituent ele-
memory. The demands of cognition of life, the
ments of the same realm of life. This realm of life
forms of specialist activities of an individual pre-
undoubtedly cannot be identical for everyone.
condition the development, to a greater or lesser
degree, of the distinctive features of this or that
3
According to V.Volkenstein, a sincere dialogue free of
type of memory. For example, the visual or im-
obscurities is considered to be open if the wishes
age-based type of memory frequently occurs in
and thoughts of the interlocutors are clear and ap-
the memoirs of artists, the word-based or abst-
parent. The opposite of an open dialogue is an indi-
ract type is more characteristic of theorists and
rect dialogue characterised by inherent hidden meaning. (Volkenstein 1969: 70)
1(6), 2016
24
scientists, etc.
24
WISDOM
It is worth stressing that the descriptive
nonfiction writings. Those are not simply about
elements of language play a particularly impor-
words but also contain essential details determin-
tant role in the rendition of literary nonfiction
ing their communicative value.
materials. A description is fundamentally the au-
We see, hear and perceive various phenom-
thor’s soliloquy, which is key element of the art
ena thanks to the fact that the cognitive, com-
of discourse.
municative, and linguistic norms of our society
Already in the 18th century, the European
assume the given forms of expression. It may be
oratorical tradition differentiated various models
concluded that we are dealing with the targeted
of descriptive texts in the form of full description,
or addressee audience of the expression, i.e. to
description of a part of the whole, description of
whom the memoirist is addressing.
locality and external characteristics (material,
form), description of the internal content, etc.
Thus, the expression of literary nonfiction
hinges on the expressed content (that, which is
Masters of the literary nonfiction narration
expressed) and the expressive means (the means
take into consideration several factors. First of
through which the expression is mediated), in
all, the object being described is of primary im-
other words through the content and expression
portance: it is a portrait or a landscape, an ani-
plans.
mate being or an event, etc. Secondly, is it nar-
If there is targeted delivery, then this also
rated with interruptions or as a complete contin-
involves a third party, whose role is to perceive
uum of reminisced facts? And finally the aim of
the expression (the person to whom the expres-
the description is also important as well as the
sion, representation is addressed).
level of the author’s participation. From the point
Content and expression plans are mental re-
of view of the cognitive tasks, it can be men-
flections and demonstrations of the material
tioned that as a rule, memoirs feature a factual
world. The expression plan4comprises the expres-
and creative description fusing together artistic,
sive means of the material, i.e. the expressive
aesthetic and emotional elements.
movements (gesticulation, facial expression,
The descriptions of literary nonfiction texts
etc.), verbal and written speech.
bring into high relief the key characteristic fea-
We model the stream of our sensations
ture of the person being described (i.e. the real,
through language norms thus building the multi-
nonfictional person). Authors with the gift of an
dimensional construction of the reality. The nar-
artist’s subtle perceptiveness portray the external
rative is a distinctive form of depicting and cog-
and internal characteristics of the people encoun-
nizing the reality (Brooner 2006: 114). This is a
tered, depicting those out through accurate and
writing style, through which ‘a story is told’. A
vivid comparisons. These are authentic episodes
narrative is often composed in the first or third
from where familiar characters, known and un-
person.
known people step out and from where engag-
A narrative first outlines the overall scheme
ing, amusing or sad incidents or intimate mo-
of the plot and then it is filled out with various
ments unfold.
Concepts are expressly evident in the liter-
4
G.Jahukyan calls the study of the expression plan
ary nonfiction genre. As indicators of the way of
expressionology, distinguishing three key subcatego-
thinking, concepts are cultural constructs that
ries: study of gestures, study of sounds and study of
take various semantic-structural forms in literary
writing. (Jahukyan 1974: 43)
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Ashot GALSTYAN
details. The characters and events related to
tain a disruption of some norms hidden within
them become more clearly outlined in the frame-
their narrative depth. The slightest change in the
work of this intra-genre paradigm.
balance struck between the characters, actions,
In the content of the texts and various sto-
situations may lead to the conflict precipitating
ries within the scope of the examined genre may
rapid developments. This conflict engages the
be permeated with autobiographical elements. In
reader’s curiosity and cognitive interest in the gi-
their interpretations of literary nonfiction texts,
ven situation.
memoirists construct various scenarios, within
Dialogues are an important element in a
the bounds of which the character of the prota-
conflict situation, particularly if a mutual under-
gonist is revealed and the details of his or her ac-
standing is to be reached across disagreements
tions are presented.
between certain views. Dialogues render the vol-
A narrative is often primarily developed in a
ume of memoir texts more succinct. A dialogue is
context of freedom of actions and naturally con-
viewed as an interaction, as a means of recasting
tains some interpretative elements. In this case
the relationships within the scope of everyday
the author aims to produce a compelling inter-
life.
pretation that would encourage the reader to
Further examples of conflicts are those ca-
delve ever more intently into every paragraph of
ses, where the situation is presented through two
the memoir, swaying the reader to accept the
dissimilar descriptions, each of which is essen-
engaging element of the memoir.
tially quite compelling and accurate when taken
As a rule, a literary nonfiction story follows a
separately. This makes us think in order to unra-
canonical pattern. However, since this canonical
vel how completely different impressions may re-
structure may not be as engaging in itself, the au-
sult from the same juncture.
thors tackle the task of mentally constructing the
Thus, literary nonfiction is an indissoluble
reality more flexibly in order to inject a sensation
unity of form and content. From among the con-
of freshness and elegance.
stituent elements of this form of compositions,
The literary nonfiction narrative seeks to
the linguistic shell of the examined genre plays a
find new ways and means of depicting the reality.
particularly important role: it is usually formed
And the reader seeks to find novelty, thus indi-
through the epistemological-motivational bases
rectly encouraging authors to innovate. It may be
of literary nonfiction and helps the authors to
argued that the narrative has two functions: first-
create distinctive images and descriptions. The
ly, it on the whole presents to the reader the ob-
language of the composition is yet another cru-
jective reality, and secondly, it compels to look at
cially important factor among the elements of
events and phenomena from a different angle.
the literary nonfiction genre, serving as the one
A literary nonfiction story is a complete
chain of events in itself. These events are inter-
and only, irreplaceable form of depicting and
cognizing the reality.
linked and may lead to one another. Here the au-
The language of literary nonfiction compri-
thor strives to derive an event from another whe-
ses the word-stock used in the composition, the
never the dividing line between the past and the
grammatical structure, the full system of depicti-
present becomes apparent.
on and expression, in a word the full spectrum of
A conflict is an important element in a narrative. It is not uncommon for the stories to con1(6), 2016
26
language bases used in the construction of the
compositions of the genre under examination.
26
WISDOM
Nonetheless, it is amply evident that the key
to see the limits of the given person’s life, to un-
distinctive feature of the literary nonfiction is
derstand his or her essence and mind-set.
that the story is primarily woven from the au-
J.Waxler is of the opinion that jumbled thoughts
thor’s strings of memories. The style and content
are in actual fact formed in memoirs just like mo-
of the composition, the individual characteristics
saic pieces. ‘Writing memoirs is form of treat-
of the author, etc. also play an important role. All
ment,’ concludes the psychologist (Waxler 2013:
of these factors may indeed have an impact on
1).
the language of the literary nonfiction text at
Although discussion of memoir therapy is
hand, introducing unique features of expression
outside the scope of this paper, a brief reference
and presentation.
to it may serve to spawn new ideas and studies.
There is another feature of memoir-writing
that may add to the significance of the current
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Ashot GEVORGYAN
UDC 001.893:004.65
Ashot GEVORGYAN
ADVANCED SCIENTOMETRIC DATABASES AS AN OBJECTIVE CRITERION
OF SCIENTIFIC ACTIVITIES
Abstract
The article is devoted to the analysis of some of the features and characteristics of the most popular
database systems: Web of Science and Scopus; as well as to the study of the improvement of the qualitative aspects of scholarly journals considering their requirements the given systems put forth. It touches upon the ideas that scholarly journals should oversee their quality and care for their academic reputation
which will inevitably result in the increase of quality citations and a positive change in their scientometric
status.
In conclusion, the article states: the 2 databases prove that despite all the shortcomings, the operating
mechanism that evaluates journals, as well as gets regulated and determined by the number of citations,
remains the only tool providing a more or less objective criterion that guides academic and related institutions during the process of evaluating researchers or the quality of researches.
Keywords: Web of Science, Scopus, journal, citation, scientometric databases.
The 214-N resolution1 by the RA Govern-
As far as the Doctor of Science dissertation is con-
ment dated 26th February 2015 brought about a
cerned, 20 academic articles are required, at
drastic change in the situation that has been pre-
least 5 of which must be published in a registered
vailing in the publishing sphere of the Armenian
journal.
academic works for over 2 decades (in a sense,
It goes without saying, that the Armenian
much longer). Pursuant to the resolution, the re-
academic society has always been interested in
quirement of 3 articles, previously represented
the above mentioned database systems (see at
for the defense of PhD dissertation, became
Gzoyan, Hovhannisyan, Aleksanyan, Ghazaryan
stricter, moreover, it made demands of either 6
2015), however, the processes of university ac-
or 3 articles (in this case the emphasis was put on
creditations, toughening of academic titles and
the quality of articles and the fact that at least
degrees provision boosted an increase in the in-
one of them should be published in a journal reg-
terest.
istered in a Web of Science or Scopus database).
1
th
RA Government Resolution. 26 February 2015, 214N/ RA Government Resolution on making changes
th
and additions in N 327 resolution dated 8 August
1997 and making changes in N 662 resolution dated
th
20 July 2001 https://www.e-gov.am/gov-decrees
/item/25569
This very increase explains the choice of our
subject which is about the analysis of some of the
characteristics and features of the international
journals and the given systems.
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