Point of View in The Da Vinci Code A Stylistic Analysis of The Da Vinci Code – jebidal.com
Point of View in The Da Vinci Code A Stylistic Analysis of The Da Vinci Code part 12
Category A and Category B Positive narratives are similar to Fowler’s internal type A. There are several characteristics for recognition of such narratives, namely verba sentiendi, foregrounded deontic and boulomaic modality, and a high number of evaluative adjectives and generic sentences that possess “universal or timeless reference” (Simpson, 1993: 39; 56).
Category A and Category B Negative narratives exhibit exactly those features absent from Category A and Category B Positive. These characteristics are the use of epistemic and perception modality systems. Epistemic modal auxiliaries, modal adverbs and modal lexical verbs, as well as perception adverbs, such as ‘evidently’ and ‘apparently’ are characteristic of Category A and Category B Negative. Simpson also states that phrases with a basis in human perception such as “it appeared”, “it looked as if” and “it seemed to be” are more prevalent (58). Words of estrangement are also frequent in these texts and because epistemic and perception modal systems are highlighted as well, an atmosphere of alienation and bewilderment is created (Simpson, 1993: 64).
The third type of shading in Category A and Category B is Neutral. It is noticeable for its “complete absence of narrational modality” (Simpson, 1993: 60). This is the most impersonal category, in which the narrator provides little or no modalized language. There is a complete absence of direct description or analysis concerning the thoughts and feelings of characters (Simpson, 1993: 67). The above outline of Category A and B is summarised in the diagram below.
The Da Vinci Code has not been analysed in its entirety due to space limitations. Instead, a selection of chapters has been made from the chapters in the beginning (Chapter 1, 9 and 12), the middle (Chapter 54-58 and 60-62), and end of the novel (Chapter 104, 105 and the epilogue) in order to be able to compare and contrast the findings in these chapters. The selection of chapters was made on the basis of several criteria. First, it was deemed important that the protagonist Robert Langdon was present in every chapter in the selection because the events of the narrative have mainly been narrated from his point of view; the exception to this are the chapters that involve the characters Bishop Aringarosa, Silas and Rémy Legaludec, and short sections that are narrated from the point of view of Sophie Neveu, Bezu Fache, Sister Sandrine and police officer Jerome Collet. Furthermore, chapters with interaction between protagonist Robert Langdon and Sophie Neveu were deliberately chosen because the representation of Sophie Neveu was deemed significant in relating point of view to the confusion of the readership of The Da Vinci Code.
Analysis of The Da Vinci Code to be continued… (part 13).
Point of View in The Da Vinci Code A Stylistic Analysis of The Da Vinci Code part 11
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| Point of View in The Da Vinci Code A Stylistic Analysis of The Da Vinci Code part 12 |
Point of View in The Da Vinci Code A Stylistic Analysis of The Da Vinci Code part 7
Point of View in The Da Vinci Code A Stylistic Analysis of The Da Vinci Code part 12
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