tóm tắt luận án tiến sĩ tiếng anh khảo sát lời độc thoại nội tâm nhân vật trong truyện ngắn nguyễn minh châu, nguyễn huy thiệp, nguyễn thị thu huệ

INTRODUCTION
1. Rationale
1.1. Utterance is a premise-meaning concept, the central object of pragmatics.
And pragmatics, instead of studying language in the static form, with the rigid,
invariant rules and structures, focus on how language used for communication,
and consider the relationship between utterances and their context, between
utterances and their users. This approach allows pragmatics to recognize
patterns, functional principles and language’s variety.
1.2. In communication, utterances are organized in two types: dialogue and
interior monologue. Dialogue always shows the interactive relationship
between the speaker and the direct listener, their visual presence during the
process of communication. Therefore, it is the important resource for
pragmatics to find out the functional principles and the operating
characteristics of the language. In communicatin, interior monologue often
occurs implicitly, is directed not to anybody ouside except the subject of
interior monologue. It is an exchange, that the speaker uses to communicate to
himself - a special audience. That is why study of interior monologue from the
conversation theory is almost vacated.
1.3. Interior monologue exists quite common in the actual use of language to
communicate, but it is present obviously and particularly only in dramas,
novels, short stories. Interior monologue reproduced in dramas, novels, short
stories… obviously can not ensure the absolute impartiality, and the origin of
this form of word, but on a certain level, the writers must always respect the
characteristics of nature, the arise principles and its functions. So, when the
conditions to materialize the interior monologue are not enough in real life,
interior monologue in the artworks is a reliable source for the study of it can
1
achieve the initial basic results. To study this form word in literary works is
also to study the methods of organizing language of the writers, to contribute
to forming the language style of the author.
1.4. After 1975, Vietnamese literature stepped to a new period of

development, with the powerful conversion of ideas and creation methods.
The writings focused on the lives of individuals and war consequences in
peacetime. In this innovation, short stories is the genre that has gained the
most achievements.
Nguyen Minh Chau is one of the pioneering writers of literary innovation
process. His short stories, right from the early '80s (20th century), have
revealed clearly the desire to explore the inner life of people in the new age,
especially soldiers returning after the war. The character’s interior monologue
is a means of language that he used very effectively to reflect this true scope,
contributed to the unique style of the author.
In comparison with Nguyen Minh Chau, Nguyen Huy Thiep and Nguyen
Thi Thu Hue are the writers of the next generation. In the ‘90s (20th century),
they are two famous short stories authors. Nguyen Huy Thiep’s short stories
language are very sharp, showing prominently in the dialogue of his
characters. Language in Nguyen Thi Thu Hue short stories is feminine rich,
suitable to reproduce the spiritual, emotional life of female characters.
Studying the characters’ interior monologue in their stories will allow the
study of this form of speech becomes more comprehensive and more
complete.
From the theoretical and practical issues above, we have chosen the topic
"Study the characters’ interior monologue in short stories of Nguyen Minh
Chau, Nguyen Huy Thiep, Nguyen Thi Thu Hue”.
2. History of the study
2
2.1. The premise results of the study on the interior monologue (monologue
intérieur)
Although monologue appeared very early (associated with the occurrence
of drama - a theatrical art form) but interior monologue began only to be
noticed in the late 18th century and has really been focused on study from the
early 20th century. The dissertation generalizes the results of interior

monologue study on two scopes: in Vietnam and abroad.
2.1.1. The results of interior monologue study abroad
Foreign researchers focus to study the interior monologue on two issues:
The first problem is to determine the existence status of interior monologue in
novels and short stories. We can generalize the study of this problem into two
basic trends: interior monologue as a technique, a method of the writer in the
construction of works (Wiliam Flin Thrall & Mario Klarer’s point of view)
and interior monologue as a form of speech, the characters use to perform
communication (VB Kasevich’s opinion).
The second problem is the determination of interior monologue, distinguish
it from the concept of consciousness stream. Some authors identified these
two concepts, typically Motilova Tamara. However, most of researchers
suggests that interior monologue and consciousness stream are two different
concepts, although they have a close relationship.
2.1.2. The results of interior monologue study in Vietnam
In Vietnam, specific studies on interior monologue have very limited
quantities. However, authors such as: Dang Anh Dao, Nguyen Thai Hoa, Tran
Dinh Su have some particular emphasis given to interior monologue when
they refer to the innovation of stories metrics and modern novels. Besides
pointing out the role of interior monologue to the stories metrics, the authors
also offer observations, analysis of the personal pronoun of interior
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monologue (Dang Anh Dao), speaker’s role, listener’s role and signs of nature
of actions in interior monologue (Nguyen Thai Hoa) etc.
Many Vietnamese linguists have studied interior monologue as a form of
human speech. Do Huu Chau said that the speech exchange process takes
place in interior monologue due to the dichotomy of personality: the listener
personality and speaker personality. Studying the form of narration, Mai Thi
Hao Yen has paid attention to the types of language action appear in the
narration of interior monologue etc.

The study results of previous authors on interior monologue are important
premise suggestions for this dissertation. However, the lack of study on
interior monologue as a specific subject, considering it as a form of human
speech used to communicate makes the interior monologue can not really
reveal all functional characteristics as well as its role as appearing in literature.
Our dissertation was developed to initially solve these problems.
3. Subjects of the study and sources of data
3.1. Subjects of the study
The dissertation surveys and studies the interior monologue which is done
directly by characters in 94 short stories by Nguyen Minh Chau (NMC),
Nguyen Huy Thiep (NHT) and Nguyen Thi Thu Hue (NTTH).
3.2. Sources of data
This study is implemented on the short stories by NMC, NHT, NTTH in
the stage of ’80s – ’90s in the 20
th
century.
4. Aims of the study
This dissertation aims are:
- Identification and definetion of the interior monologue characters in
NMC, NHT, NTTH short stories.
4
- Totalization and description of the speech acts in the interior monologue
of the character and the factors governing the choice of speech acts when the
character makes an interior monologue.
- Description of the groups of interior monologue and indication of the
factors governing the semantics meaning of words.
- Generalization of the salient features of interior monologue in the NMC,
NHT, NTTH’s short stories, indication of the role of interior monologue in the
theory of conversation in general, the important role of interior monologue for
the representation of the basic aspects of a literary works such as: character,

language style of writers, the work content and story metrics in particular.
5. Methods of the study
The dissertation combines the following research methods:
- Statistics - classification - description
- Semantic meanings - activities analysis
- Analysis - generalisation
- Comparison
6. Contributions of the study
Conducting the dissertation Study the characters’ interior monologue in
short stories of Nguyen Minh Chau, Nguyen Huy Thiep, Nguyen Thi Thu Hue,
we determine the contribution of the dissertation on the following aspects:
Firstly, the dissertation mainly focuses on a deep study of the interior
monologue in light of the theory of conversation and pragmatics, research it as
a form of speech which is used to communicate.
Secondly, from the achieved results, the study will confirm some issues of
conversation theory (the role of the audience factor, the governing of outer-
language factors to the use of language, the nature of the speech act ),
confirm the close relationship between linguistic and interdisciplinary sciences
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such as cultural study, poetics, literary theory, sociology, psychology.
Thirdly, the important aspects of literary works such as: character,
language style of authors, story metrics will be seen from the functional
characteristics of the interior monologue - a form of communication via
language.
The dissertation includes four chapters:
Chapter 1: Theoretical background
Chapter 2: Speech acts of the character’s interior monologue in
Nguyen Minh Chau, Nguyen Huy Thiep and Nguyen Thi Thu Hue
short stories
Chapter 3: Semantic meanings of the interior monologue in Nguyen

Minh Chau, Nguyen Huy Thiep and Nguyen Thi Thu Hue short stories
Chapter 4: Role of interior monologue in Nguyen Minh Chau, Nguyen
Huy Thiep and Nguyen Thi Thu Hue short stories
6
Chapter 1
THEORETICAL BACKGROUND
1.1. Some concepts of conversation theory related to the interior monologue
Interior monologue is a form of organizing language into speech to make
communication. Therefore, the interior monologue still has close relationship
with the basic concepts of the theory of conversation. The analysis of
concepts: conversation, utterance turn, contextual communication, speaker
role and listener role create the theoretical premise to clarify the functional
characteristics of interior monologue.
1.2. Interior monologue in short stories
1.2.1. Monologue, interior monologue, and stream of consciousness
1.2.1.1. The concept of monologue
The dissertation distinguishes two interpretations of monologue: theatrical
monologue - speech of the characters on stage (mostly drama), not directly
towards the other speaker to get answers and understanding monologue in a
broad sense - all the statements and documents by the author (the speaker and
the writer) present continuously, full content of them that do not directly (or
very little) receive feedback from the receiver. In two interpretations here,
theatrical monologue has a close relationship with interior monologue.
1.2.1.2. The concept of interior monologue (monologue intérieur)
After presenting the typical definitions of interior monologue of the initial
authors, the dissertation offers a definition of interior monologue to work on:
Interior monologue is a form of speech which is used by speaker to
communicate with oneself, do not directly toward the second hearer. It
usually takes place implicitly within the speaker’s inner feelings, reflect the
7

thoughts, feelings, reactions of the speaker in a certain context, with a
suitable syntactic structure.
1.2.1.3. Interior monologue and stream of consciousness
The distinction between interior monologue and stream of consciousness is
expressed mainly in three aspects: formal structure, contents and forms of
expression.
1.2.2. Characters’ interior monologue of and the author’s words
In interior monologue, character’s words could be "role-borrowed" by the
author to express his thoughts, reviews, perceptions about life. In the interior
monologue of the characters, we can notice the characteristics of the language,
the tone of the writer. However, at a certain level, the characters still exist
quite independently with the author as an individual, has a separate spiritual
life, emotion, cognitive needs and characteristics. Thus, despite of the author
"intrusion", interior monologue directly made by characters that is still the
personal statements of character should be analyzed and investigated.
1.2.3. Types of interior monologue of the characters in short stories
In short stories, interior monologue of the character exists in two forms:
directly interior monologue and indirectly interior monologue. The
dissertation focuses only on directly interior monologue.
1.3. Criteria to identify the interior monologue of characters in Nguyen Minh
Chau, Nguyen Huy Thiep, Nguyen Thi Thu Hue short stories
The dissertation offers four criteria for determining the interior monologue
of characters in short stories by NMC, NHT, NTTH: formal criteria, structural
criteria, contextual criteria and subjective criteria. Based on this criteria
system, we has identified 467 interior monologues of characters in 94 short
stories of three authors.
1.4. Summary
8
Determining that interior monologue is a form of speech what is used to
perform communication, the dissertation has employed a number of

theoretical concepts of dialogue that are necessary to analyze and determine
function of interior monologue in short stories: conversations, exchange,
utterance turns, communication context, speaker role, listener role. Thanks to
these concepts, the dissertation has identified and distinguished the limits of
an interior monologue turn (also called an interior monologue) and initially
showed some characteristics of this tacit form of speech on communication
aspect.
The appearance of interior monologue and its content closely associates
with two concepts: monologue and approach of consciousness. However,
interior monologue is not an intermediate phenomenon between monologue
and approach of consciousness. The existence of interior monologue in short
stories has an independent position, plays an important role, has a popular
nature when writers want to reflect the tacit emotions and awareness of
characters.
In short stories, interior monologue is a form of speech that characters use
to communicate with himself. So identifying interior monologue, the
dissertation has based on a system of criteria mainly pertaining to the
important concepts of the theory of conversation and pragmatics, such as form
of narration, vocative words, speech acts, context The fully meeting these
criteria confirms the speech status of interior monologue.
Above is the theoretical basis as the nature premise for us to develop the
second, third and fourth chapter of the dissertation.
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Chapter 2
SPEECH ACTS OF THE CHARACTER’S INTERIOR MONOLOGUE IN
NGUYEN MINH CHAU, NGUYEN HUY THIEP AND NGUYEN THI THU
HUE SHORT STORIES
2.1. Speech acts
In this dissertation, we choose the understanding of J.R. Searle about the
utterance (speech act) to conduct the analysis and description of the actions of

interior monologue of characters in short stories by NMC, NHT, NTTH.
These are the actions done when uttering something, such as creating a
promise, making a question, giving a name [quoted in 5, p.89]. When giving a
monologue in a specific context, the character makes a speech act, in order to
achieve a certain goal. Their effectiveness is the effectiveness of the language,
directly impact the subject of the monologue.
2.2. Distinguish speech acts in dialogue and speech acts in monologue
Dialogue and interior monologue from the side of speech acts, has the
distinction on: the ability to express the nature of speech acts, the direction of
fit between words and world and effectivness of utterance, the role of
performative verbs in the expression of specific action.
2.2.1. Ability to express the essence of the speech act
In the dialogue, the nature of speech acts can be shown visually and
clearly. Responses, actions, attitude of the listener after receiving the
exchange from the speaker are the most typical and particular manifestations
for speech act types.
10
In the monologue, speakers use utterances to effect in themselves some
change of thoughts, emotions, actions. However, this interaction occurs inside
the speakers, not visually, clearly as in dialogue.
2.2.2. Direction apply and effect of the speech acts
When using speech acts in the dialogue, direction of impact and effect of
utterances are given mainly towards the listeners. Meanwhile, in the interior
monologue they are applied on the subject and effect the subjects’ (speakers’)
perceptions, emotions, action-orientation of the.
2.2.3. The role of performative verbs for the representation of speech acts
In dialogue, performative verbs have specific roles, such as: express the
corresponding illocutionary acts, emphasize the responsibility to implement
the illocutionary force of the speaker, express some speakers feelings,
attitude…

In interior monologue, the performative verbs are rarely used in the internal
structure of the utterance but usually stand out in order to make the description
of the author to lead, signal the appearance of the monologue. Also, they are
not able to emphasize the pragmatic nuances of the language as in dialogue.
2.3. Criteria for determining speech acts in interior monologue
To determine speech acts of utterance in interior monologue, the
dissertation has based on three criteria: performative verbs in utterances in
interior monologue, linguistic means of expressing the action and illocutionary
point.
From three criteria above, the illocutionary point is the most important for
determining speech acts.
2.4. Statistics, analyzing speech acts of interior monologue in Nguyen Minh
Chau, Nguyen Huy Thiep, Nguyen Thi Thu Hue short stories
2.4.1. Statistics and classification
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2.4.1.1. Statistics results and appearance frequency of interior monologue
Survey process and identification of the interior monologue in the short
stories of the three authors show that the frequency of interior monologue is
different. Specific results are shown in Table 2.1.
Table 2.1: Appearance frequency of interior monologue
No. Source
Number of pages in
surveyed story
Total of interior
monologue
Appearance frequency of
interior monologue
1
NMC's short
stories

527 190 0, 358 times per page
2
NHT’s short
stories
534 103 0, 192 times per page
3
NTTH’s
short stories
512 174 0, 339 times per page
NMC’s characters have the most introspective conversation with the
frequency of 0.358 times per page. Characters in NTTH short stories need less
monologue with the frequency of 0, 339 times per page. NHT's character
made fewest interior monologue number of uterances: 0.192 times per page.
2.4.1.2. Statistics results of speech acts of interior monologue
Table 2.2 (see original text, p. 75) has listed 40 types of speech acts of
utterances in interior monologue with specific data for each type of acts. Three
common speech act groups are: cognitive action group (typically is ask,
confirm); expressive action group (typically is insult) and causative action
group (typically is ordered action). Speech act group which is uesed to
establish relations (greeting, asking, congratulating, introducing ) does not
appear in the 467 utterances of surveyed interior monologues.
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2.4.2. Conditions for use of speech acts of interior monologue
Conditions for making speech acts of the dialogue and identifying them are
always realized in the conversational relationships between speakers and
listeners. In interior monologue, conditions for making illocutionary acts are
mainly carried out from the speakers.
2.4.3. Conditions for use of typical speech acts of interior monologue in short
stories by Nguyen Minh Chau, Nguyen Huy Thiep, Nguyen Thi Thu Hue
Based on the number of occurrences of each type of acts, we focuse only

on analyzing the typical types of acts, which have the number of occurrences
of more than 10 times. Accordingly, the typical speech acts are: asking,
asserting, predicting, concluding, evaluating, insulting, negating, ordering,
showing exclamation. These actions are described in turn with the conditions:
the speakers’ experience (cognitive experience and psychological experience),
the content and effect to the speaker, attitude and the response of the speaker.
The description of each type of speech acts shows the differences between
dialogue and interior monologue in performing specific speech acts.
2.5. Factors governing the choice of speech act of the interior monologue
The typical speech acts in the interior monologue of character such as
asking, asserting, evaluating are quite frequently used and accounted for a
large number in NMC, NHT and NTTH short stories. Their appearance is not
particular, individual, and random but in a certain degree it has maxims and
popularity. They are the speech acts that are capable of operating function in
the monologue field. In other words, when using speech to communicate
oneself, the characters/speakers choose just a little number of appropriate
speech acts under the control of some specific factors.
Differently from dialogue, speech acts in utterancess of interior monologue
are chosen only under the individual control of the "personal" features of
13
speakers; from all of them three the most powerful factors are: purpose and
orientation of communication, cognitive demands of speakers and their
personality traits.
2.6. Summary
In NMC, NHT, NTTH short stories, the characters use 467 interior
monologue utterances with variety of speech acts. Classes of speech acts of
interior monologue utterances have specific characteristics, that distinguish
from dialogue utterances in appearance of sub-classes of illocutionary acts and
their conditions.
The restriction on the number of speech act classes in interior monologue

proves that the subjects of monologue can be bound by certain factors when
they choose definite speech acts. Three factors that have the most likely
impact to the subjects choosing are: purpose and orientation of
communication, cognitive demands and personality traits of speakers. Their
impact occurs simultaneously, equally and makes speakers use this
illocutionary acts or another ones.
Characters in short story of each author also have differences from the
others’ ones in using speech acts. This differences appeare in number of their
definite illocutionary acts and the rate of this class of speech acts and the
others. Insulting is the speech acts that NMC charaters use more often than
NMC, NTTH characters. In NTTH short stories, the percentage of asking and
assertives is much mre than in the stories of the other authors These
differences represent the domination of "personal" of the subjects in interior
monologue.
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Chapter 3
SEMANTIC MEANING OF THE INTERIOR MONOLOGUE
IN NGUYEN MINH CHAU, NGUYEN HUY THIEP
AND NGUYEN THI THU HUE SHORT STORIES
3.1. Semantic meanings of utterances
To determine the semantics of interior monologue utterances, we begin
learning elementary meanings of words, thereby determine the utterance
meanings (representation meanings) and integrate this meanings into certain
reality scopes. Utterance semantic meanings of the interior monologue are all
the information about things, events and people from possible world that are
expressed, represented by utterance elements in interior monologue. However,
semantics are always appeared in relationships between contexts and the users
(utterance subjects of monologue) and only in this case semantic meanings of
the utterances can be seenn more clearly. So that, in addition to describing the
fundamental semantic groups, the dissertation also pays attention on the

factors governing utterance semantic meanings of interior monologue.
3.2. Factors govern the semantic meaning of interior monologue
Being a form of interior communication of the speakers to himself, interior
monologue and its meanings are dominated by three factors: space of
monologue (spactial factor), time of monologue (temporal factor) and mental
status of speakers while they are making monologue.
3.2.1. Space of monologue (spactial factor)
In NMC, NHT, NTTH short stories, number of interior monologue
performed in public space is 294 utterances, and there are 163 utterances are
made in the families. Public space with the main features that always has the
15
presence of many people with many relationships, many different and
unexpected events, activities, is easy for characters/speakers to appear their
needs for themselves-discovery, awareness of possible world. Family space is
close, familiar but its scene has a little change, so there ability to influence the
needs of awareness of characters is lower than in public space. However, the
isolation, privacy and quiet features of the family space are also the favorable
factors for the characters to make interior monologue.
3.2.2. Time of monologue (temporal factor)
The characters make interior monologue in the day time more than night
time. This difference is consistent with the difference in space of monologue.
The day time is the time people mostly live in public spaces, make social
relationships. Night time is the time people mostly live in family space with
private relationships.
3.2.3. Mental status
Interior monologue utteranes made by the characters in negative moods
(anxiety, bitterness, worry, angry ) are more numerous than those in interior
monologue made in positive moods (joyful, happiness, peace ). In 467
surveyed interior monologue utterances, there are 351 interior monologue
utterances done in a negative mood, 116 interior monologue utterances done

in a positive mood.
3.3. The semantic meaning groups of interior monologue
3.3.1. Statistical results of semantic meaning groups of interior monologue
3.3.1.1. Basis of classification of semantic meaning groups of interior
monologue
The classification of semantic meaning groups of interior monologue
payers is based on two criteria:
- The interior monologue utterance subjects,
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- General content that the illocutionary acts mention.
3.3.1.2. Summary table of the statistical results of semantic meaning groups
On semantic meaning content, interior monologue utterances are divided
into five groups:
- Thoughts, comments, evaluation of the subjects about themselves
- Thoughts, comments, evaluation of the subjects about people around
- Awareness of subjects about things and objective events
- Opinions of the subjects about life
- Awareness of the subjects about love, happiness.
3.3.2. Description of specific semantic meaning groups of interior monologue
Specific semantic meaning groups are divided into small groups and it is
easy to learn details of each group. The comparison of the relative numbers of
interior monologue of each group shows the trend of real awareness of the
subjects, and points out some differences between short stories of the three
authors.
3.3.3. Comments
Firstly, conducting interior monologue, characters focus only on a certain
range of semantic meanings. Specifically, the characters mainly use interior
monologue to learn, review and understand people around them, about
themselves and about things, objective phenomenon. These three semantic
meaning groups account for the great number of appearance: 398/467

utterances.
Secondly, generally, the problems of human beings and human life are
always a major concern of the characters when they are making interior
monologue.
Thirdly, statistics also show that characters in short stories of each author
do not have the same choice for the same semantic meaning group.
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3.4. Summary
Due to the dominant of communicative orientation, semantic meanings of
interior monologue have specific characteristics, different from ones in
dialogue.
Semantic meanings of interior monologue are not dominated by the listener
as in dialogue. In a conversation between two independent entities, the
semantic meanings of the utterance must come from the consensus, harmony
of the parties. In the interior monologue, semantic meanings are only the
realistic perception of speakers, under the direct impact of three factors: the
space of monologue, time of monologue and mental status of the subjects
when they are making monologue. In general, interior monologue appears
more in public space, in day time and when the characters are in the negative
mood (sadness, pain, anxiety, angry, panic, disgust ).
Semantic meanings of interior monologue in NMC, NHT, NTTH short
stories reflect five reality scopes: thoughts, comments, reviews of subjects on
themselves, thoughts, comments, reviews of the subjects on people around
them, perception of subjects about things, objective events, subject perception
about love, happiness and subject opinion expression of life . Among them,
the matters of individual entities are the content of 173 interior monologue
utterances- accounted for the largest number in the referred scopes. This
phenomenon confirmed the peculiar inward features of interior monologue.
The choice of the semantic of the characters as making interior monologue
in the short stories of the three authors has different points, expressed by the

differences in the number of utterances between the groups. Characters of
NMC, NHT often talk about themselves and generalize all the problems of
real life into the philosophy matters of human life, but the characters of NTTH
pay more attention to those around them (especially to the relatives in their
18
families), focus on issues of love, happiness. These differences difine the
impact of factors such as personality, gender of subjects to orgnization of
interior monologue.
Semantics is the most important aspects of exchanges of conversation in
general and of interior monologue in particular. The dominant factors and
semantic meaning groups of the interior monologue always have different
properties and they are different from the dialogue utterances. Along with the
features on the uses of speech acts, semantic meanings of utterances provide
background information for identifying roles of interior monologue in short
stories.
Chapter 4
ROLE OF INTERIOR MONOLOGUE IN NGUYEN MINH CHAU,
NGUYEN HUY THIEP AND NGUYEN THI THU HUE
SHORT STORIES
4.1. Roles of showing psychological status and characters’ trait in dialogue
features of interior monologue utterances
In NMC, NHT, NTTH short stories, some interior monologue utterance
groups reveal specific dialogue features, and thereby highlight the character
psychological status and their characteristics are expressed clearly and
accurately. They are:
- The interior monologue groups expressing the inner conflicts of
characters,
- The interior monologue groups expressing of the character needs of social
communication.
19

4.2. Roles of characters action-oriented in argument structures of interior
monologue utterances
The argument structures of interior monologue utterances are different from
argument structure of dialogue utterances:
- The structure of an argument usually consists of two parts: the argument
and conclusion. However, in the interior monologue utterance, the argument
may only consist the conclusion without the presence of the argument.
- The argument in interior monologue utterances is mainly single argument.
- The foundation of the argument is often evaluating, commenting
foundation, less using the describing foundation.
- Conclusion is always made explicitly.
- Conclusion often precedes argument.
The characteristics in organizing argument above make the interior
monologue utterances has a high effect in orienting perceptions, actions of the
characters.
4.3. Roles of demonstrating the reality scope in short story through gender
nuances of interior monologue utterances
Gender nuances of characters are embodied in the semantic meanings; the
use of speech acts; in the organization of words and syntax of utterance
represent the real scopes that the characters attend to reflect. Gender nuance
distinctions in the interior monologue utterance of male and female characters
in interior monologue also reflect the distinctions of life cognition of the
character and the way of expressing reality of each author.
4.4. Roles of engraving the authors’ language style of interior monologue
utterance
Roles of engraving the authors’ lingustic styles of the interior monologue
utterances are clearly shown in some aspects: number of utterances and their
20
semantic meanings of the interior monologue contribute art tone of the
authors; the uses of illocutionary acts create narrative speed in the narrative

language.
4.5. Role of demonstrating the innovation poetics of short stories in the
interior monologue utterances
The presence and organization of character’s interior monologue utterances
in the short stories have certain significance for story poetics:
- The interior monologue utterances contribute the connection of event
systems in short stories.
- The interior monologue utterances have the ability to change the artistic
time in short stories.
- The interior monologue utterances represent the innovation on the artistic
conception about the human beings of the authors.
- The interior monologue utterances create the multi-sound, polyphonic for
short story language.
4.6. Summary
In Chapter 4, the dissertation focuses on the purpose of pointing of the
roles of interior monologue utterances for the most basic aspects of literature
works: characters, contents, linguistic styles of the authors and poetics of
stories.
The dialogue features of interior monologue utterances is the basis to
reflect truthly and accurately psychological features and characteristics of
characters. Speech act expressions epresentation, utterance structures and their
organizational forms, dialogue features allow readers to identify the
contradictions within the characters, the tacit social communication needs of
characters.
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Argument structures of interior monologue have many distinctions and
differ from dialogue utterance in their orgnization. Due to the dominant of
communicative orientation, subjects of monologue often organizes, designs
argument structures briefly and clearly, suitable for purpose of orientation of
illocutionary forces.

Gender of subjects/charaters monologue expresses its dominant to interior
monologue in three aspects: the semantic contents, the use of speech acts and
the characteristics of words, syntax of utterances. On every aspect, gender
specification of male characters and female characters allows to show the
distinction in short stories of each author on the scopes of reflected possible
world, orientation perception of characters of existing as well as the attitude
and social relationships of the characters in real world.
The interior monologue utterances have ability to perform the special
features, unique in linguistic style of the authors. NMC's short stories often
have a very slow narrative speed wich creates the tone of reflection, quiet,
deep and rich philosophical. Narrative speed in NHT short stories is quick,
story language is shorten and minimized, and the author’s tone is so objective
that it is glacial, unemotional. NTTH language shows rich-feminine linguistic
style, sometimes is lyrical, full of emotional charateristic, and sometimes it is
sharp, bitter
Interior monologue, in the field of story poetics, the has certain impacts on
the way of connecting different events and organization of artistic time in the
literature works. The use of interior monologue is means that shows
innovation on the artistic conception of the writers to human beings and
creates the modern features of short story language.
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CONCLUSION
1. Interior monologue utterances are much used in human communication,
but they are not approached seriously in the aspects of conversational theory
and pragmatics. This dissertation has studied interior monologue in details as a
specific object and applied the theoretical premise of the conversational theory
to recognize the functions of interior monologue. With the data of more than
5000 notes, the dissertation has surveyed and studied 467 interior monologue
utterances of characters in NMC, NHT, NTTH short stories on the basic
aspects of dialogue. The specific data in 23 tables of statistics (in which, there

are 3 tables for the use of speech acts, 14 tables for semantic meanings, 6
tables for the functional features of the interior monologue) have reflect the
similarities and differences of the interior monologue in the comparative
relationship with the dialogue, and also allow to identify the particular roles of
this form of utterance in literary works.
2. When using speech acts, the interior monologue utterances have specific
characteristics, in which they differ from the dialogue utterances. The interior
monologue does not point attention to any audience except the speaker of the
utterance so it only allows a group of common actions appeared. That is the
cognitive action group with a large number of occurrences of two classes of
speech acts: questions and assertives. Next, the other classes can be mentioned
as expressive class (typically is insult acts) and derestives (typically is
requests). In particular, due to the dominant communicative orientation (the
speaker talk to himself), the setting up relations group: greeting, visiting,
wishing, introducing absolutely doesn’t appear in 467 surveyed interior
monologue utterances.
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The choice of speech act class in interior monologue that bears on the
direct impact of the factors belongs to the speakers, including: purpose and
direction of fit, cognitive demands of the speakers and characteristics of
the speakers. Under the simultaneously impact of three factors, in the definite
communicational situations, speakers decide to choose this type of speech acts
another. The features of speacker cognition, personality, mood also cause
differences in the quantity and rate of occurrence of the speech acts in interior
monologue utterances.
3. Semantic meanings of interior monologue utterances in NMC, NHT,
NTTH short stories cover a wide broad and variety of realistic range. In it,
speaker charaters (actions, thoughts, desires ) is represented more
frequently. This phenomenon asserts the nature of peculiar inward of
utterances in interior monologue. By using utterances in interior monologue as

means to talk to oneself, speakers hava their needs to learn, awareness of
oneself on all aspects. The dissertation has focused on analyzing and
determining the three factors that directly dominate utterance semantic
meanings of interior monologue, including space, time and subject’s
psychology when making monologue. In general, interior monologue
utterances are often presented in a public space, day time and when speakers is
in some negative mood (sadness, pain, anger, panic ). The interplay between
these factors is the basis premises for appearing interior monologue
utterances.
4. Based on the highlights characteristics of interior monologue utterances,
the dissertation has clearly shown roles of this kinds of utterances in NMC,
NHT, NTTH short stories.
Dialogue features of the interior monologue allow to assert that interior
monologue is a unspoken form of character’s dialogue in definite context and
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of monologue subject. Between interior monologue and its context there are
always a close interaction. Interior monologue is an inward form of
communication, but its utterances are not a unilateral form of speech acts,
completely isolated from their contexts. This is the salient characteristics of
interior monologue utterances, that often create mobility flexible for event
systems, and expresses the characters psychological status deeply when they
are used in literature.
Argument in the interior monologue has a specific structures and differ
from dialogue in the argumentative organization, positions of conclusions and
in deploying arguments Thus, the arguments of the interior monologue
utterances are usualy expressed in a short form and clearify their content, are
approprate to character purpose-oriented awareness and actions in definite
situations and help readers to identify the exact nature and characteristic of
characters.
Nuances of the gender shown in interior monologue are clearly expressed

in the choice of speech act, the organization of argument, communication
strategies and the use of language media. Interior monologue of the male
characters are often brief, definitive, rational rich, aims to act, but the interior
monologue of the female characters are light, flexible oriented, often use
words, phrases denote ability; long, complex expression, consistent with the
needs of expressing feelings, a detailed analysis of the speaker's reality. From
the nuanced distinctions about gender, we can see the distinction between
male characters and female characters in the range of realistic options for
expression as well as in dealing with reality.
Three characteristics of the interior monologue about dialogue features, the
argument structures and gender characteristics allow us to conclude, that
interior monologue utterances are linguistic means that can reveal exactly the
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