چکیده:
The present study sets out to investigate the narrator’s textual position in Grass’s The Tin Drum. Although authorial self-dramatization through affinities with one or more characters in the work is undeniable, this study mainly concentrates on the inner interpenetrations of heteroglot utterances as uttered by an unreliable first-person narrator, Oskar Matzerath, in the light of the Bakhtinian concepts of carnivalesque and polyphony. Through the evasiveness and irresponsibility of the narrator’s act of story-telling, a carnivalesque world is created—a world in which numerous marginalized, unvoiced, and alien utterances interact with the phallocentric as well as the logocentric forces of the dominant culture. In brief, the present study made use of the notion of narrative vagueness in Grass’s The Tin Drum to demonstrate the Bakhtinian sociodialectical principle operating through the stratified, heteroglot utterances of other-speechedness, a functional and yet thematic principle working through the tempospatial, chronotopic nature of languages.
خلاصه ماشینی:
Narrative Vagueness in Grass’s The Tin Drum: A Text- Centric Model of Narration to Reveal Dialogized Heteroglossia Mahmoud Daram¹ & Mojtaba Kharrasi² ¹Corresponding author, Shahid Chamran University of Ahvaz, mdaram2000@yahoo.
Although authorial self-dramatization through affinities with one or more characters in the work is undeniable, this study mainly concentrates on the inner interpenetrations of heteroglot utterances as uttered by an unreliable first- person narrator, Oskar Matzerath, in the light of the Bakhtinian concepts of carnivalesque and polyphony.
In brief, the present study made use of the notion of narrative vagueness in Grass’s The Tin Drum to demonstrate the Bakhtinian sociodialectical principle operating through the stratified, heteroglot utterances of other-speechedness, a functional and yet thematic principle working through the tempospatial, chronotopic nature of languages.
This indicates the presence of the alien, marginalized female consciousness in the discourse of patriarchal subconscious, as indicated by the absences in Oskar’s labyrinthine act of story-telling: She screamed: go away, and he wanted to go away, but he couldn’t, because Oskar was on top of them before he could go away, because I had plunked down my drum on the small of his back and was pounding it with the sticks, because I couldn’t stand listening any more to their go away go away, because my drum was louder than their go away, because I wouldn’t allow him to go away as Jan Bronski had always gone away from my mother; for Mama had always said go away to Jan and go away to Matzerath, go away, go away.
4. Conclusion The presented study has investigated the possibility of dialogized heteroglossia through the internal stratification of different languages—both centripetal and centrifugal forces—as demonstrated by the grotesque and irresponsible utterances of Oskar Matzerath, the protagonist-cum-narrator in Grass’s The Tin Drum.