Ambiguity In Literature

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The artistry of literature has enchanted its admirers mainly of being 'ambiguous'; a mystical component that obscures more than it lets on, therefore each individual will interpret literature from different perspectives. However, the linguists distinct certain attributes between literary and non-literary texts in their inquiries. The English philosopher Paul Grice has set a profound presumed 'co-operative principle', to describe explicit verbal or oral interaction between participants, and termed quality, quantity, relation and manner; or so-called Grice's maxims. Whereas, literariness is usually implied by its implicit content and poetic features, to carry on the aesthetic effects. For that reason, literary language
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For example, the scholar Terry Eagleton states that "any piece of writing can be read poetically" (qtd. in Goodman et al., 11), such as brochures, and every utterance or a 'piece of writing' is a projection of the ideological foundation, which consists with scholar Ronald Carter's sociocultural approach of literary creativity (qtd. in Goodman et al., 6, 11-12). Additionally, mixing factual elements with fictions creates another dimension of literary ambiguity, and also stimulates a cognitive reception to verbal, oral or visual productions in receivers' minds (Goodman et al., 10). In the same stance, the Russian Formalist, Henry Widdowson, claims that literary ambiguity produces what he calls the "enclosing effect", which means that literary language tends to evoke an alternative internal (imaginative) reality within the receiver's head, rather than a projection of the external reality. Remarkably, Grice's maxims are crucial to Widdowson's argument, as he believes that these maxims distinguish between literary and non-literary language; while non-literary language abide with the maxims, literary language fails to put up with it (Widdowson qtd. in Goodman et al., 16-18). Furthermore, the English linguist Guy Cook presents another approach related to the cognitive poetic (the study that combines linguist analysis with cognitive science). In his approach, Cook argues that the poetic device of deviation challenges receivers' recognition, and while they are being subjective for any text, yet, in the same time they upload new images and meanings are relative to their stored knowledge in a form of something new, and that is what Cook calls the "schema refreshment" (qtd. in Goodman et al.,
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