(Im)politeness in McEwan’s Fiction: Literary Pragma-Stylistics

Acknowledgements
Contents
1 Why Ian McEwan and Literary Pragma-Stylistics?
	1.1 Introduction
	1.2 Approach and Methodology
	1.3 Structure of the Book
	1.4 Aims of the Book
	References
2 Pragmatics and the Analysis of Fiction
	2.1 Introduction
	2.2 Politeness and Impoliteness: Key Concepts and Theories
		2.2.1 Linguistic Politeness
		2.2.2 Linguistic Impoliteness
	2.3 (Im)politeness in Literature: An Overview
		2.3.1 (Im)politeness in Old English and Middle English Literature
		2.3.2 (Im)politeness in Renaissance Literature
		2.3.3 (Im)politeness in the Eighteenth-Century Novel and Drama
		2.3.4 (Im)politeness in Contemporary Drama and Fiction
	2.4 Summary
	Notes
	References
3 Narrative Tradition in Fiction: A Pragma-Stylistic Approach
	3.1 Introduction
	3.2 Implied Author, Implied Reader and the Question of Intention
	3.3 Stylistics and Fictional Analysis
		3.3.1 From Russian Formalism to Stylistics, Speech Acts and Implicature
		3.3.2 Stylistics and Schema Theory
		3.3.3 Stylistics, Point of View and Speech and Thought Presentation
			3.3.3.1 Linguistic Indicators of Viewpoint
			3.3.3.2 Speech and Thought Presentation: Free Indirect Speech (FIS) and Free Indirect Thought (FIT)
	3.4 Ian McEwan: The Stylistic Tradition in Fiction
	3.5 Summary
	Notes
	References
4 Intradiegetic (Im)politeness or How the (Im)politeness Theory Is Used for Internal Characterisation
	4.1 Introduction
	4.2 (Im)politeness, Science and Religion in Enduring Love
	4.3 Impoliteness and Immorality in Amsterdam
	4.4 Atonement, (Im)politeness and Empathy
	4.5 Summary
	Notes
	References
5 Extradiegetic (Im)politeness or How the Implied Author Communicates with the Reader
	5.1 Introduction
	5.2 Saturday: Terrorism and (a Lack of) Imagination
	5.3 Collapsible Viewpoints and Their Consequences in Solar
	5.4 Nutshell or Political Incorrectness in Utero
	5.5 Summary
	Notes
	References
6 Conclusion
	References
References
Index