Free Indirect Discourse and Its Transformation in the Georgian Language (According to D. H. Lawrence’s Short Prose)

Abstract

At the beginning of the 20th century, in the modernist era, when the techniques of direct and indirect discourse first appeared in the works of writers of that time, the seemingly strange narrative fascinated researchers of literature and language alike. One of its methods, the free indirect style, has become the subject of wide discussion since its active role in the work of fiction has not yet been clarified. The above-mentioned debates were shaped by two controversies: whether the free indirect style technique is of linguistic origin and what can be attributed to the perspective expressed in it. Both questions, although different, are intertwined. Based on the views of researchers on the issue of its linguistic origin, their further analysis of voice and perspective is caused by the free indirect style. Contradictory positions in these debates can be identified both in the opinions expressed about the development of the theory of monophonic free indirect style, as well as in the theories of double voice. Proponents of the dual-voice theory argue that this style combines two voices at once, which are often difficult to distinguish. This is the voice of the narrator and the voice of the character, and offers rich possibilities for interpretation. The dual-voice interpretation is usually accompanied by the belief that the origin of the style lies in everyday interaction. The present study also deals with the methods and ways of translating free indirect discourse passages in D.H. Lawrences’s short fiction and compares them with the source language text.