ne feels compelled to justify yet another study of Citizen Kane (1941), but 45 years of erudite exegesis have not completely \"closed\" this most impenetrable text. Besides, debate still rages over important issues of current film discourse that require further clarification. In particular, this article will address three interrelated questions concerning point of view and narrative voice in Citizen Kane: 1) Is Kane an exemplar of polyphonic, multi-voiced discourse or, rather, is it a paradigmatic instance of monophonic authorial inscription in which the various narrational threads unite in a single metatextual construct--the implied author? 2) Is the film narrated from the points of view of its participants (à la Tolstoy) or described from the standpoint of an observer (à la Zola)? Finally; 4) Can specific formal articulations--camera movement, mise-enscene, dissolves, music and sound-as signifying codes, be meaningfully called textual \"voices\" or modes of spectatorial inscription? Orson Welles' first radio program was titled First Person Singular, and he often used an interlocutory limn of direct address to his audience before withdrawing to the \"wings\" to allow his characters to work through the plot machinations. His omniscience, however, remained; the players became mere functionaries of that \"singular\" narrational agency and magister ludi, Orson Welles, A similar narrational process may be observed in Citizen Kane. Marie-Claire Ropars is correct in asserting that the devalorization of the ostensible narrators of Citizen Kane--Thatcher, Bernstein, Leland, Susan, Raymond--reinforces the position occupied by the \"invisible narrator,\" the absent authority the spectator must discover, but she simplifies the issue by noting only two scenes--the prologue and epilogue--without an obvious narrator. Indeed, while these two narrative units can be said to be \"narrated\" by the implied author, a \"supra-

Narrate AND Describe?: Point of View and Narrative Voice in CITIZEN KANE's Thatcher Sequence

This paper examines the linguistic pragmatic rules that govern obituary notices in Malawian newspapers and how these notices are grounded in the cultural milieu of Malawian society. The guiding principle of this analysis is the notion that discourse should always be contextualized in particular circumstances of social life. A total of 63 obituary notices, sampled from two popular newspapers, were analyzed for both communicative and linguistic/sociolinguistic aspects. Using Gasparov's (1977) typology of discourses, the paper notes that Malawian obituary notices negotiate both public and private domains. The obituary is a predominantly private affair, which, however, uses a public forum for its consummation. Unlike obituary notices in other countries, the Malawian obituary notices are primarily addressed to the deceased rather than the reading public. The notices also incorporate features from African oral traditions, Christian traditions, and Western traditions, reflecting the multiple sources of ...

The Pragmatics of Obituary Notices in Malawian Newspapers

In light of revisiting the notion of advertising from the perspectives of the print media, this review article found that advertisements are transgeneric and multidimensional media artefacts capabl

Reviewing the Concept of Advertising from the Print Media Perspectives

Icelandic obituarial discourse negotiates public and private domains and employs expressions of past, present, and future to create "remembrances" of particular individuals. Detailed analysis of the discourse context in which the obituaries are set and of the expressive mechanisms that characterize the obituarial writings in general gives a concise view of the social and temporal dimensions of this form of Icelandic historical expression.

Social and Temporal Dimensions in Icelandic Obituarial Discourse

This review article was intended to examine related literature on how the discourse of death and dying is naturalised, normalised and communicated to the target audience as designed and portrayed by the producers of the death announcements. Findings from the critique revealed the way the supposedly language of bereavement in the world of death is normalised as well as utilised to realise other discursive purposes such as the preservation of oral traditions, religious and sociocultural properties of given societies in the face of modernity and the dominating powers of westernisation. In addition, evidence from the previous studies reviewed showed the extent to which the concept of death is totally normalised and naturalised and even celebrated in certain contexts, where the death announcers take pride and honour in doing the announcements, the bereaved families are congratulated and the occurrence of death is considered as attaining ‘martyrdom’, which always calls for jubilations. The review has also demonstrated how the pages of newspaper death announcements were taken advantage of as platforms for promoting ethnic disparities, class struggle and perpetuating social hegemony, with some segment of the social structure being Review Article Jibril; AJL2C, 2(1): 1-9, 2019; Article no.AJL2C.46912 2 privileged at the detriment of those perceived to be the minorities in the society. Previous studies reviewed in this article drew largely from the critical discourse analysis (Fairclough, 1989, 1992), Swalesian genre moves analysis (Swales, 1990; Bhatia, 1997; Kong, 1998), Kress and van Leeuwen’s (1996, 2006) multimodal approach to text analysis, quantitative content analysis (see, for example, Ergin, 2010, 2012) and genre-based approach to the discourse of death announcements (Elekaei, Faramarzi & Tabrizi, 2015).

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Normalising the Concept of Death and the Promotion of Religiosity, Sociocultural Norms and Prejudices in Newspaper Obituary Announcements: A Review

OLLOWING THE DISCOVERY of a parallelism between certain cultural phenomena and the act of communication in natural language, one of the most important tasks in contemporary semiotic analysis has become the construction, on the basis of this parallelism, of a typological model. The fruitfulness of such an approach has already been demonstrated.' The present essay examines in this light the narrative literary text, i.e., a verbal text which functions as a secondary modeling system in relation to the natural language in which it is written.2 This status of the literary text determines the similarity and the difference between such a text and an act of "practical" [bytovaya] communication, and it is precisely the system of similarities and differences on which is founded the model here presented. We shall first examine those basic parameters which in theory characterize any act of communication. Since the appearance of the famous Ogden-Richards "triangle"3 and the functional triad of C. S. Peirce4 and Charles Morris,5 the notion of connotation ("pragmatics") as an inseparable and constitutive part of semiosis has become firmly established in contemporary linguistics and semiotics. By connotation is understood information about the participants in the communicative act over and beyond denotation, i.e., information about the object of communication itself. For Biihler, connotation was further analyzed into the expressive and the appellative functions in accordance with the bilateral nature of the communicative act.6 A further distinc-

Boris Gasparov

Papers

The Narrative Text as an Act of Communication