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العنوان
The Processing of Lexical and Structural Ambiguity in Beckett’s Waiting for Godot and Pinter’s The Caretaker :
المؤلف
Gomaa,Amal Ismail Ibrahim.
هيئة الاعداد
باحث / Amal Ismail ibrahim Gomaa
مشرف / Zeinab M. Raafat
مشرف / Hassan A. Taman
مناقش / Zeinab M. Raafat
الموضوع
English Language - - history and criticism. English Literature - - history and criticism.
تاريخ النشر
2007.
عدد الصفحات
143 p. :
اللغة
الإنجليزية
الدرجة
ماجستير
التخصص
اللغة واللسانيات
تاريخ الإجازة
1/1/2007
مكان الإجازة
جامعة الاسكندريه - كلية الاداب - قسم اللغة الإنجليزية
الفهرس
Only 14 pages are availabe for public view

from 143

from 143

Abstract

The aim of this research is to analyze the utilization of lexical and structural ambiguity in literary works. It deals with the process of language comprehension in English literature and the effect of lexical and structural ambiguity on it. It also discusses the purpose behind the writers’ use of these techniques.
This thesis is organized as follows: Chapter One discusses several types of ambiguity and the difference between ambiguity and other literary techniques. Chapter Two gives a thorough definition of lexical and structural ambiguity and illustrates their interdependency in language processing. The different factors affecting ambiguity resolution will be portrayed indicating the complexity of assigning specific rules in the ambiguity resolution process. Chapter Three discusses the use of intentional and unintentional ambiguity in literature. It aims at analyzing the utilization of lexical and structural ambiguity. It includes a diverse corpus of literary works and analyzes the effects of such ambiguous representations on the reader. Finally, the Conclusion contains a summary of the research, indicating that ambiguity is an extremely effective technique in literary enhancement although unintentional use may destroy the effect altogether.
The research attempts to portray the effects of ambiguity on the comprehension process and its use in literature to enhance the artistic work. In a play, the processor becomes an active producer of the drama. His/her contribution intensifies the effect of the play as he/she introduces his/her own experience using imagination to fill in all the particulars the dramatist leaves open.