“I stand under a tree” Stylistics = relating linguistic facts to meaning in as EXPLICIT a way as possible. The combination of linguistic, contextual, and general world knowledge becomes the basic for INFERRING.
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“I stand under a tree”
Stylistics = relating linguistic facts to meaning in as EXPLICIT a way as
possible. The combination of linguistic, contextual, and general world knowledge
becomes the basic for INFERRING.
Linguistic Deviation = Foregrounding
Repetition (and parallelism):
“blow, blow, thou winter wind (As You Like It, II, vii, 174)
“Come hither, come hither, come hither. (As You Like It, II, v, 5)
“but he was wounded for our transgression, he was bruised for our iniquities. (Isaiah,
53, v)“Please, eat and renk the cake, serve
yourself”
Off the case with Figurative Language
Figurative Language = LIE. Problem is: How BEAUTIFUL can
you lie?
Compare:To equate what is not
Animate:To enlive what is not
Negate:To say what
is not
As English possesses an abundance rules of grammar, suffice it to say that it has also EQUALLY, probably even MORE, ways to break such rules. Some of the most common are:
• Phrasal Inversion Adj + N == N + adj“mind chaotic enough to shatter the world”
• Clausal Inversion NP + VP == VP + NP“and there goes she bearing the soul tormented by the sacred relic, forever”
• Re-emergence of conjunctions “She doubts and hesitates and ponders and, suddenly and simply, stops...”
• Emission of commas and/or connectors “The mixed of always the lunatic enigmatic hypocritical mind-boggling society continues to amuse me”
Grammatical Deviation
MORPHOLOGICAL DEVIATIONMorpheme: bound and free
misplacing
“perhapsless mystery of paradise”(e. e. cummings, 'from spiralling ecstatiscally this')
misbreaking
I caught this morning morning's minion, king-dom of daylight's dauphin, dapple-dawn-drawn Falcon...
(G. M. Hopkins, 'The Windhover')
Phonological and Graphological Deviation
How do you pronounce ‘love’ in this poem:'Love,' said God. 'Say,
Love.''No, no,' said God,
'Say Love. Now try it. LOVE.'
'A final try,' said God. 'Now, LOVE.'(Ted Hughes, 'Crow's First Lesson')
Now, try reading this one from e.e. cummings
ygUDuh ydoan yunnuhstan
ydoan o yunnuhstand dem yguduh ged
yunnuhstan dem doidee yguduh ged riduh ydoan o nudn
LISN bud LISN
dem gud am
lidl yelluh bas tuds weer goin
duhSIVILEYEzum
Parallelism further aboutParallelism is simply an effort, a POETIC DEVICE, to make two things 'equivalent' in some way
And now a gusty shower wrapsThe grimy scraps
Of withered leaves about your feetAnd newspaper from vacant lots;
(T. S. Eliot, 'Precludes: 1')Parallelism is often used to both OPEN-UP and SUPPRESS associations (being ir/relevant to text) as readers make processing TENDENCY:(i) it helps readers to achieve some, and NOT other,
associations (ii) it pushes readers towards arriving at CERTAIN semantic relations between words and phrases(iii) it acts as powerful FORCE to cohere all of the foregrounding parts working in a text
POETIC DEVICE = POETIC CONTROL
Deviation: the TypeEXTERNAL the normative mechanisms being used to foreground the text come from OUTSIDE. - Parallelisms- Genre (e.e. cummings and ‘lower case’)- Archaism (bringing back the old/dead words re-introduced to stimulate particular effects) INTERNAL when the text deviates the norms it establishes itself. It, therefore, is often a REVERSE of parallelism.
STYLE VARIATION in TEXTDIALECT Territorial (northern-southern), Social classes (high-
low).However, it is a semi permanent phenomenon as it can change due to situation such as education, neighbourhood, etc.
MEDIUM the tool used in delivering the ideasspoken high speed production pausing interlude “um/er/ellipsis”written slower more correct and standardized
TENOR relationship between the speaker and hearer, often characterized by greater or lesser formality. Legend has it that philosopher B. Russell, then a young child, did make this set of words when replying to his mother asking if he is alright after an accident: “the pain, madam, has somewhat abated.”
DOMAIN roughly the same with SUBJECT MATTER (FUNCTION) ==> legal, scientific, literary, economic, etc
When applied to literary works, it is to be noticed that each style produce effect(s) desirable to control readers' reading process, especially when there is an OVERLAP in the style variation.
Language of PoemSOUND
SOUND, MEANING, and EFFECTAlliteration repetition of IDENTICAL or SIMILAR consonants. The ARTICULATORY FEATURES are what matter
FULL: two or more sounds share ALL features
- VIBRATION: voiced/voiceless; - LOCATION:
bilabial/palatal/dental/velar; - MOTION (of air): stop/fricative. LOOSE: only ONE or TWO features are
shared must NEVER be confused with 'EYE RHYME‘ “bough/cough” is NO ally; but “cold/bold” is.
SoundAssonance Sound-vowel repetition There are 12 pure English sound-vowel (not to include DIPHTHONGS or gliding between one pure sound to another)
Vowels are differentiated according to:- LENGTH: amount of time needed to produce the sound long/short - POSITIONING: the highest point of tongue in the mouth low/mid/high AND front/mid/back
• RHYME• Sound Symbolism: Length, Pitch, Indistinctness, Phonaesthemes
METRE:• a. Rhythm• b. Metric and syllabic arrangement
• c. Stress: Intonation, Timing, Silent Stress.
• d. Foot, line, and grammar
Language of StageDRAMA
discourse structure of drama
• real vs unreal conversation: Speech Realism in drama
Author Text Reade
r
SPEECH ACTSSpeech acts: definition and description
• Illocutionary• Locutionary• Perlocutionary• b. Turn-taking and topic control• c. Politeness: positive and negative face
INFERENCEAssumption:Schema Theory: Presupposition:• b. Inference: conversational rules (maxims), breaking maxims covertly, flouting the maxims overtly
Language of ProseNARRATIVE
• POINT OF VIEW:• a. discourse structure of fiction: I-narrator, Third-person narrator, “discourse architecture”, less common Second –person of ‘you’
• b. POV Indicators: schema-oriented, value-laden, given vs new information, characters’ thoughts or perceptions, deixis, social deixis, sequence of actions, ideological perspective
• SPEECH PRESENTATION:• a. the cline (continuum) of speech presentation
• b. Narrator’s Representation of Action (NRA)
• c. Narrator’s Representation of Speech (NRS)
• d. Narrator’s Representation of Speech Acts (NRSA)
• e. Direct Speech (DS)• f. Indirect Speech (IS)
• THOUGHT PRESENTATION:• a. Direct Thought (DT)• b. Free Indirect Thought (FIT)• c. Stream of Consciousness (SoC)
Continuum of SpeechDirect Speech
• - students could analyze and (re)produce the working mechanism of PROSE STYLE:
• a. Authorial Style: related to meaning, unrelated to meaning (fingerprinting), intrinsically related to meaning (text style)
• b. Let’s do the counting (Yes! That very mathematical counting): Lies, Damned Lies, and Statistics (a usual attribution to Disraeli)
• c. Lexis: open vs closed class words• d. Grammar: phrase, clause, and sentence structures
• e. Cohesion and Coherence• f. ‘Poetic features’: alliteration and metaphor• g. Aspects of Irony
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