Addresser, Address, Addressee

2. Addresser, Address, Addressee

3. three main components of any act of communication: someone (addresser) communicates something (address) to someone (addressee)

4. subject position: 'speakingsubject' (first person, I/we) 'spoken-aboutsubject' (third person she/he/they/it) 'spoken-tosubject' (second person, you)

5. Althusser, Lenin and Philosophy • "all ideology hails or interpellates concrete individuals as concrete subjects“ • "Assuming that the theoretical scene I have imagined takes place in the street, the hailed individual will turn round. By this mere one-hundred-and-eighty-degree physical conversion, he becomes a subject“

6. Other ways to express relation, depending on medium speech: speaker-speech-audience writing, print: writer-text-reader theatre, film, TV: performer-play-audience, producer-programme/film-viewer

7. We see ADDRESS as something caught in the act between ADDRESSER and ADDRESSEE we cannot concentrate only on 'words on the page' = NEW CRITICISM or form and structure of text itself = FORMALIST cannot be fully grasped independantly of relationship between the elements This equals a FUNCTIONALIST and CONTEXTUAL approach to communication ROMANJAKOBSON drew attention to other elements

8. takes place in a general context: (1960s, Nigeria, President Trump’s bedroom) involves a specific moment of contact: (meeting in a bar by chance) form of a specific message: (sequence of words or images) draws on a particular code: (spoken, written, photography, film)

9. Addresser-centered communication is expressive (I feel I need to tell someone...) Addressee-centered communication is directive (You, tell him) Context-centered communication is referential (That is what she said) Context-centered communication is phatic and checks that channels of communication are open (You know she said that, OK?) Message-centered communication is poetic and plays around wtih the materiality of the message (Telling-shmelling) Code-centered communication is metalinguistic, a comment on language in language (I'm telling you in her very words)

10. Can help break down act into functions, but basically for a monologic (one-way, linear) model direct flow from addresser to addressee, ignores two way, many-way, dialogic communication addresser and addresee are usually changing places exchange and interaction, not just send and receive distinguish between 'actual' and 'implied' addresees: NARRATIVE more than one moment involved can be a base if all these things kept in mind

11. Jakobson Language must be investigated in all the variety of its functions. Before discussing the poetic function we must define its place among the other functions of language. An outline of those functions demands a concise survey of the constitutive factors in any speech event, in any act of verbal communication. The addresser sends a message to the addressee. To be operative, the message requires a context referred to, seizable by the addressee, and either verbal or capable of being verbalized; a code fully, or at least partially, common to the addresser and the addressee; and finally, a contact, a physical channel and psychological connection betweeen the addresser and the addressee, enabling both of them to enter and stay in communication. - from “Linguistics and Poetics”

12. Visualizing a text from a variety of perspectives and in a variety of dimensions foreground, what appears closes and most prominent to someone background, what appears remotest and most inconspicuous point of view, vantage point from which a particular even is seen, and by extension, heard, felt and otherwise perceived

14. Paul Garvin used term foregrounding as translation of Czech aktualisace, actualising, used in the 1930s Prague school of stylistics this is whenver a linguistic item, device or strategy draws attention to itself against the assumed background norms of the language result if a fresh perception both of the event represetned and of the nature of language itself this is where defamiliarisation occurs. examples, in jokes whre the ambiguity or incongruity of an item draws attention to itself 'My dog smells awful, How does yours smell? (With its nose) also along with poetry, a heightening of sound-pattern can also omit commas, line breaks, etc... Also deviation is used o describe instances where the routine norms and expectations of the language are bent of broken, deliberately or accidentally e.e. cummings: anyone lived in a pretty how town problem is that it assumes we all have the same norms and expectations

15. I love you not I love you not I love you not I love you not I love you not I love you not I love you not I love you notwithstanding

16. She was standing by the door. The light went on. While she was standing by the door, the light went on. She was standing by the door when the light went on. The light went on. She was standing by the door!

17. Background 'historical background' 'background reading' somehow, people think, literature is detachable from social and historical conditions in which it is produced study the text, but what about the context, and intertextuality? however, foreground = literature = primary text background = society/history = context this is a position, and just one among many all works are witten, received and read in a history (ontic) but by practical necessity we must focus on something, choose make something the foreground, something background but be aware these are fluid

18. points of view variety of postions within and outside the text ex: acutal author's attitudes and values, e.g. Defoe's Robinson Crusoe narrator's piont of view, Robinson Crusoe's character's pont of view, Friday's implied reader's point of view, seen in 'dear reader' form of address, or 'of course' actual reader's responses, eg what you and I actually see or look for what most engages us is shifts or switches in point of view, hte ways in which attitudes and values of charcter, author, narrator, change, collide, diferge and converge ina story. a fixed point of view, like fixed foreground or background, is boring

19. Focalization Focalization- "introduced by Gerard Genette to distinguish the activity of the narrator recounting the events of the fictional world from the activity of the character from whose perspective events are perceived, or FOCALIZED. The distinction between the narrator and the FOCALIZER is commonly described in literary theory as a distinction between the agent 'who speaks' and the agent 'who sees.' (Stam et al). Focalization is different from point of view in that it is focuses on the diegetic level of the text, to the level of characters and actions... Different types defined by Genette: Internal focalization - "occurs when a narrative is presented entirely from a given character's perspective, with the limitations and restrictions this implies" (ibid.).Genette - "the angle of vision, from which the life or the action is looked at".

20. Also - Facets of focalization - Perceptual facet, psychological facet, ideological facet. Internal focalization can be fixed - limited to a single character, variable, when focalization shifts with a scene or film from one character to another, or multiple - one even is viewed from several different perspectives. Another type is EXTERNAL FOCALIZATION - "narratives in which our knowledge of the characters is restricted simply to their external actions and words, without the 'subjectivity' of the characters, their thoughts and feelings, being invoked. Problematic. Also, NON-FOCALIZED or ZERO FOCALIZATION - no character is privileged. Also CHARACTER-FOCALIZER. (Stam et al). John Ford, Stagecoach (1939)

21. “The first term [zero focalization] corresponds to what English-language criticism calls narrative with omniscient narrator and Pouillon ‘vision from behind,’ and which Todorov symbolizes by the formula Narrator > Character (where the narrator knows more than the character, or more exactly, says more than any of the characters knows). In the second term [internal focalization], Narrator = Character (the narrator says only what a given character knows); this is narrative with ‘point of view’ after Lubbock, or with ‘restricted field’ after Blin; Pouillon calls it ‘vision with.’ In the third term [external focalization], Narrator < Character (the narrator says less than the character knows); this is the ‘objective’ or ‘behaviorist’ narrative, what Pouillon calls ‘vision from without’” (Genette [1972] 1980: 188–89).

22. Internal Focalization, Virginia Woolf, Mrs Dalloway “And there the motor car stood, with drawn blinds, and upon them a curious pattern like a tree, Septimus thought, and this gradual drawing together of everything to one centre before his eyes, as if some horror had almost come to surface and was about to burst into flames, terrified him” (Woolf 15)

23. Raymond Carver « The Bridle » • The old station wagon with Minnesota plates pulls into a parking space in front of the window. There’s a man and woman in the front seat, two boys in the back. It’s July, temperature’s one hundred plus. These people looked whipped. There are clothes hanging inside; suitcases, boxes, and such piled in back. (external focalization) • From what Harley and I put together later, that’s all they had left after the bank in Minnesota took their house, their pickup, their tractor, the farm implements, and a few cows. (internal focalization)

24. “The Ruin” Well-wrought this wall: Wierds broke it. The stronghold burst.... Snapped rooftrees, towers fallen, The work of the Giants, the stonesmiths, Mouldereth. Rime scoureth gatetowers rime on mortar. Shattered the showershields, roofs ruined, age under-ate them. And the wielders & wrights? Earthgrip holds them – gone, long gone, Fast in gravesgrip while fifty fathers And sons have passed.

25. Stephen Herben, “The Ruin” MLN (1939) The poem usually called “The Ruin is to be found on f. 124 of the Exeter Book, except for its first seven words which form the last line of the preceeding folio. The last twelve pages of this codex have been mutilated by fire, apparently by a brand which fell upon the book when it was face down, destroying many lines of text. About one quater of the poem here considered is thus irrevocably lost; what remains is excessively puzzling. The fragment abounds in hapax legomena, scribal errors and ambiguities. The poem itself is a ruin.

26. From Beowulf, lines 863-873 At times the war-band broke into a gallop, letting their chestnut horses race whenever they found the going good on those well-known tracks.  Meanwhile, a thane of the king’s household, a carrier of tales, a traditional singer deeply schooled in the lore of the past, linked a new theme to a strict meter.  The man started to recite with skill, rehearsing Beowulf’s triumphs and feats in well-fashioned lines, entwining his words.