3.3. Free interpretation and sharing stage:

Even if a student does not know what ideas, events and people brought James Joyce to write his novel (Ulysses) in a “stream-of- consciousness technique”, even if a student has read only some fragments of it, she or he, being a student of Letters will be able to extract a certain amount of information out of this passage. It is not demanded from a student to plunge into James Joyce’s draft versions, notebooks and letters, to read his contemporaries’ reminiscences and the variety of critical works and interpretations, though the knowledge of these would be of great help. We start from point that a text itself, even as complicated as Joycean, could provide all necessary information, as the author offers to the reader not his draft versions and notebooks but his final variant.

At first reading a peculiar punctuation will attract readers’ attention. A student will not find familiar full-stops, commas, colons, semicolons, and dashes. The absence of accepted punctuation marks will cause the supposition that that the author (Joyce) had an unusual concept of the text (a preliminary conceptual information) and an extraordinary intention. Further scrutiny of the text will help to extract textual linguistic information – a student will be able to define general features of a text type – reflection, inner monologue with descriptive elements. Further, the process of extracting linguistic and extralinguistic information will go simultaneously, though it will be more convenient to describe the results of text scrutiny separately. Thus, having compressed the text, a student will understand that it presents an inner monologue of a love-seeking woman in her late thirties who recollects Gibraltar as a heaven-like place of her birth and youth and romantic love. All this could be regarded as preliminary factual information.

QUESTIONS AND ASSIGNMENTS:

3.4. Systematization of realia:

Earlier it was pointed out that realia could be regarded a distinguishing marker of textual extralinguistic information. To understand how a realia functions it will be reasonable to perform a sort of classification. Such classification could be offered in the form of a table.

Table 2:

Classification of realia

	Geogra phic, toponymic realia	Biological (botanic) realia	Cultural realia	Another type of realia
	Howth head; the pier governers house; Europe; Duke street; Larby Sharons; Ronda; Algerias; see; deepdown torrent The Alameda gardens; Gibraltar; The Moorish Wall	Roses, primroses, violets; Rhododendrons; Figtrees donkey; the bulls;the jessamine, geraniums; cactuses	I wouldnt give a snap of my two fingers; atheists; priest; tweed suit; straw hat; I gave him thee bit of seedcake; The sailors playing all birds fly and I say stoop; white helmet; shawls; tall combs; the big wheels of the carts; old castle; turbans: the posadas glancing eyes a lattice hid for her lover to kiss the iron; castanets, wineshops: watchman	Leap year; 16years ago; Mulvey; Mr Stanhope; Hester; Captain Groves; the Spanish girls; the Greeks; the jews; the Arabs; Moors; Andalusian Girls

Comments: It is obvious that these realia render time-space characteristics of reminiscences situation (its deixis). It is obvious also that they help to shape a very concrete and detailed scene of Marion’s reminiscences. It should be noted, however, that the surface of the text is not overburden with realia. This device of presenting a detailed description with the help of realia is characteristic for Joycean style. In this text realia perform not only a function of presenting a perceptible, geographically concrete scene of Gibraltar Paradise where sensual, sinful love is accepted, but a function of presenting a personage, Marion, whose attitude to the recollected scene of love Joyce demonstrates with the help of realia (especially cultural and behavioral - see italicized phrases in the table).

QUESTIONS AND ASSIGNMENTS: