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 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 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” History of the study 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 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 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 20th century Aims of the study This dissertation aims are: - Identification and definetion of the interior monologue characters in NMC, NHT, NTTH short stories - 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 Methods of the study The dissertation combines the following research methods: - Statistics - classification - description - Semantic meanings - activities analysis - Analysis - generalisation - Comparison 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 outerlanguage factors to the use of language, the nature of the speech act ), confirm the close relationship between linguistic and interdisciplinary sciences 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 Chapter 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 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, not directly toward the second hearer It usually takes place implicitly within the speaker’s inner feelings, reflect the 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 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 Chapter 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 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 14 Chapter 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, 16 - 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 not have the same choice for the same semantic meaning group 17 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 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 21 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 22 CONCLUSION 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 tables for the use of speech acts, 14 tables for semantic meanings, 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 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 23 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 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 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 24 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 25 character psychological status, personality and play an important role in organizing the basic aspects of literature works Interior monologue is one of linguistic forms of human communication, that is used to express individual information-exchange needs and to create his social relationship Its function, appearing in the literature, although strongly influenced by writer artistic ideas, assert and clarifies many theorical issues in the theory of conversation From all these issues, the most prominent issues are the ones about the role of the speakers - subjects of speech acts, the interactive relationship between the utterances and their contexts, the representation of the personal characteristics of the subject in the utterances The dissertation resuls shows that, the distinction between dialogue utterances and interior monologue ones mainly come mainly from the speaker communicative intention Awareness of a non-exist, directly presented listeners makes speakers a complete right of autonomy to use all the kinds of speech acts (not only illocutionary acts but also locutionary acts) in interior monologue utterances The personalized natures of speakers such as characteristics, psychological status, social relationship, needs of life cognition are expressed truthfully and deeply in interior monologue utterances Thereby, readers can identify the particular and individual trends of definite writers while they are creating story characters The important elements of author art styles such as tone, ideas, thoughts of human life, usability to use and combin linguistic means in the literature works… are also revealed naturally and effectively Interior monologue utterances in NMC, NHT, NTTH short stories perform linguistic communicative function as well as their aesthetic cognitive function The dissertation, approaching the interior monologue utterances of characters from conversational theory and pragmatics, and basing on their 26 characteristics, rules of their organization, has pointed out the roles of interior monologue utterances and explained them This aproach allows to identify the value of literary works properly and evidently and indicate the close relationship, harmony between the artistic aspects of the literary works and their expressions Since then, the important issues of language and thinking, language and communication, language and literature are seen more completely and comprehensively 27 ... 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... 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... 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