The Bloomsbury Companion to Stylistics

Title Page\nCopyright Page\nContents\nPart 1 The Discipline of Stylistics\n	Chapter 1 Introduction\n		Violeta Sotirova, University of Nottingham\n		References\nPart 2 Theoretical Approaches and Research Methods\n	Chapter 2 Structuralism and Stylistics\n		Linda Pillière, Aix Marseille Université\n		1 The Key Ideas\n		2 Saussure’s Legacy\n		3 Woolf and Linearity\n		4 Visible Breaks in the Linearity\n		5 Subverting the Word Order\n		6 Subverting Temporal Linearity\n		7 Subverting the Paradigmatic Axis\n		8 Repetition and Parallel Structures\n		Notes\n		References\n	Chapter 3 Generative Grammar and Stylistics\n		Andrew Caink, University of Westminster\n		1 Introduction\n		2 The Scientific Study of Language\n		3 Knowledge about Language\n		4 Theory and Stylistic Research\n		5 A Formal Contribution to Literary Interpretation and Evaluation\n		6 Conclusion\n	Chapter 4 Functional Stylistics\n		Benedict Lin, Nanyang Technological University, Singapore\n		1 Introduction\n		2 SFL – A Brief Introduction\n		3 Overview of Work in Functional Stylistics\n		4 A Brief Example of Functional Stylistics in Action\n		5 Evaluation\n		6 Conclusion\n	Chapter 5 Pragmatics and Stylistics\n		Siobhan Chapman, University of Liverpool\n		1 Introduction\n		2 Pragmatic Approaches to Stylistics\n		3 Neo-Gricean Pragmatics\n		4 Reading a Passage from Elizabeth Bowen’s The Last September\n		5 Conclusions\n		References\n	Chapter 6 Discourse Stylistics\n		Marina Lambrou, Kingston University\n		1 Introduction\n		2 From Text to Discourse\n		3 Discourse and Stylistics\n		4 Language as Rhetoric, Rhetoric as Discourse\n		5 What is Rhetoric?\n		6 The Stylistics of Rhetoric\n		7 Politicians and Political Speeches\n		8 For President Bush, it was Time to Act\n		9 Logos: Analysis of Rhetorical Devices\n		10 Conclusion\n		References\n	Chapter 7 Cognitive Stylistics\n		David West, University of Düsseldorf\n		1 What is Cognitive Stylistics?\n		2 My Object of Study\n		3 The Experiment: What Sounds do Readers Associate with Clarity?\n		4 Phonetic Properties of the Sonnet\n		5 Conclusion and Some Implications\n	Chapter 8 Feminist Stylistics\n		Clare Walsh, University of Bedfordshire\n		1 Introduction\n		2 The Fifty Shades Trilogy\n		3 Previous Work on Romance and Erotic Fiction\n		4 Macro-level Production and Reception\n		5 A Cotext-sensitive Approach to Transitivity Analysis\n		6 Transitivity Patterns and Markers of Affect in FSoG\n		7 Shifting Narrative Patterns Throughout the Trilogy\n		8 Refreshing the Schema of Popular Romance?\n		9 Affective Pleasures\n		10 Conclusion\n	Chapter 9 Corpus Stylistics\n		Michaela Mahlberg, University of Birmingham\n		1 Introduction\n		2 Corpus Linguistics\n		3 Computational Stylistics and the Digital Humanities\n		4 Corpus Stylistic Starting Points for Analysis\n		5 The Suspension as a Linguistic Unit\n		6 Conclusions\n	Chapter 10 Critical Stylistics\n		Lesley Jeffries, University of Huddersfield\n		1 Introduction\n		2 Critical Stylistics\n		3 Framework\n		4 Application\n		5 Summary\n		References\n	Chapter 11 New Historical Stylistics\n		Beatrix Busse, University of Heidelberg\n		1 Introduction\n		2 Horizon Scanning of New Historical Stylistics\n		3 Conclusions\n		References\n	Chapter 12 Empirical Stylistics\n		Frank Hakemulder, University of Utrecht and Willie van Peer, University of Munich\n		1 Introduction\n		2 A Historical Setting\n		3 Overview\n		4 Narrative Perspective\n		5 Deviation\n		6 Conclusion\n	Chapter 13 Pedagogical Stylistics: Charting Outcomes\n		Sonia Zyngier, Federal University of Rio de Janeiro and Olivia Fialho, Utrecht University\n		1 Introduction\n		2 Situating the Issue\n		3 Where does Pedagogical Stylistics Belong?\n		4 In Search of Roots\n		5 A Survey of Methodologies\n		6 Posing Questions: An Empirical Study\n		7 Conclusion\n		8 Acknowledgement\n	Chapter 14 Stylistics and Translation\n		Jean Boase-Beier, University of East Anglia\n		1 Origins and Interactions\n		2 Reading an Original Text for Translation\n		3 Reading the Translated Text\n		4 Reading the Original Text through Translation\n		5 The Importance of Translation for Stylistics\n	Chapter 15 Stylistics and Literary Theory\n		Geoff Hall, University of Nottingham Ningbo China\n		1 Preliminaries. Theory as a Sceptical Orientation. The Problematic Relation Between Stylistics and Literary Theory1\n		2 Historical Perspectives, Theory as Poetics, Formalism, Structuralism\n		3 ‘Language’ in Theory and in Stylistics\n		4 Discourse in Theory and in Stylistics. Poststructuralism\n		5 Some Productive Precedents for Theoretically Informed Discourse Stylistics\n		6 Futures/Conclusion\n	Chapter 16 Sociolinguistics and Stylistics\n		Sylvia Adamson, University of Sheffield and University of Cambridge\n		1 From Variety to Stereotype1\n		2 From Stereotype to Satire\n		3 From Satire to Illusionism\n		Notes\n		References\nPart 3 Current Areas of Research\n	Chapter 17 Defamiliarization and Foregrounding\n		Catherine Emmott and Marc Alexander, University of Glasgow\n		1 Introduction\n		2 Defamiliarization and Foregrounding: Presenting Experience Afresh and with Emphasis\n		3 Four Autobiographies about Neurological Illness\n		4 Language Reflecting Change\n		5 Conclusion\n	Chapter 18 Metaphor\n		Gerard Steen, University of Amsterdam\n		1 Introduction\n		2 Metaphorical Conceptualization, Genre and Style (‘metaphor in thought’)\n		3 Metaphorical Expression, Genre and Style (‘metaphor in language’)\n		4 Metaphorical Communication, Genre and Style (‘metaphor in interaction’)\n		5 Conclusion\n		References\n	Chapter 19 Mind-Style\n		David L. Hoover, New York University\n		1 Introduction\n		2 Ideological Point of View\n		3 Satire\n		4 Horror\n		5 Characterization\n		6 Quintessential Mind-style\n		7 Conclusion\n		Notes\n		References\n	Chapter 20 Narrative Point of View\n		Joe Bray, University of Sheffield\n		I Introduction\n		2 The Epistolary Novel and Internal Perspective\n		3 Les Liaisons dangereuses\n		4 Internal Perspectives and the Reader\n		5 Two Email Novels\n		6 Conclusion\n		References\n	Chapter 21 Speech and Thought Presentation\n		Reiko Ikeo, Senshu University\n		1 Speech and Thought Presentation Models\n		2 The Text: To the Lighthouse\n		3 The Corpus Annotation of the Text\n		4 Discourse Presentation in the Novel\n		5 Viewpoint Shifting by ‘for’\n		6 Conclusion\n	Chapter 22 Consciousness\n		Eric Rundquist, University of Nottingham\n		1 Woolf\n		2 Lawrence\n		3 Joyce\n		References\n	Chapter 23 Deixis in Literature\n		Keith Green, Sheffield Hallam University\n		1 Deixis and Literature\n		2 Deixis and the Notion of the ‘cognitive’\n		3 Deixis Revisited\n		4 Poetry Revisited: The Case of Thomas Wyatt\n		Notes\n		References\n	Chapter 24 Dialect in Literature\n		Jane Hodson, University of Sheffield\n		1 Introduction\n		2 The Novels\n		3 Indexicality\n		4 Conclusion\n		References\n	Chapter 25 Dialogue\n		Dan McIntyre, University of Huddersfield\n		1 Introduction\n		2 Studying Drama as Discourse\n		3 How like Naturally Occurring Speech is Dramatic Dialogue?\n		4 Creating Credible Dialogue: From Downton Abbey to the Roman Empire\n		5 Conclusion\n	Chapter 26 Text-Worlds\n		Joanna Gavins, University of Sheffield\n		1 Text-worlds in Stylistic Analysis\n		2 Literary Text-worlds in a Discourse Context\n		3 Discourse-worlds and Textured Reading\n	Chapter 27 Texture\n		Peter Stockwell, University of Nottingham\n		1 Capturing Texture\n		2 Transitions in Attention\n		3 Transitions in Ambience\n		4 Experiencing Literary Texture\n		References\n	Chapter 28 Iconicity\n		Christina Ljungberg, University of Zurich\n		1 What is Iconicity?\n		2 The Relation Between Signs and Their Objects\n		3 Imagic Iconicity\n		4 Diagrammatic Iconicity\n		5 Metaphorical Iconicity\n	Chapter 29 Narrativity1\n		Yanna Popova\n		1 Overview: The Questions\n		2 Narrativity and Its Descriptions\n		3 Narrativity as Story Structure and as a Function of the Reader’s Reception\n		4 Narrativity as Enactive Experience\n		5 Narrativity in Chronicle of a Death Foretold\n	Chapter 30 Emotion\n		Sara Whiteley, University of Sheffield\n		1 Introduction\n		2 Emotion\n		3 Analysis: Never Let Me Go\n		4 Conclusion\n	Chapter 31 Verse\n		Nigel Fabb, University of Strathclyde\n		1 The Stylistics of Verse\n		2 Verse, How it is Processed, and How Markedness Arises\n		3 The Notion of ‘tension’\n		4 Verse and Working Memory\n		5 Generic Stylistic Effects of Verse\n		6 The Overt Recognition of Form\n		7 Conclusion\n		Acknowledgements\n		References\n	Chapter 32 Odd Pronominal Narratives\n		Manuel Jobert, Université de Lyon (Jean Moulin), CREA – Université Paris X – Nanterre\n		1 Introduction\n		2 Setting the Scene\n		3 A Protean Japanese Identity\n		4 An Unstable Sense of ‘we’-ness\n		5 The Dissolution of ‘we’ into ‘they’\n		6 Conclusion\n		Notes\n		References\n	Chapter 33 Irony\n		Massimiliano Morini, Università di Udine\n		1 Introducing Irony: Everywhere and Nowhere\n		2 Introducing the Passage: Reading Literally, Reading Rhetorically, and Reading Logically\n		3 Reading the Voice: Irony as Echoic Mention\n		4 Reading from the Right Angle: Irony and Point of View\n		5 Conclusion: An Eclectic Approach to Irony\n		Notes\n		References\nPart 4 Genres and Periods\n	Chapter 34 Old English Style\n		Sara M. Pons-Sanz, University of Westminster\n		Notes\n		References\n	Chapter 35 Middle English Style\n		Louise Sylvester, University of Westminster\n		1 Middle English\n		2 Linguistic Context\n		3 Functions and Genres\n		4 Semantic Choices\n		5 Conclusion\n	Chapter 36 Early Modern Style\n		Sylvia Adamson, University of Sheffield and University of Cambridge\n		1 Introduction: The Grand Style\n		2 Amplifying the Word\n		3 Amplifying the Phrase: Periodicity as a Structural Principle\n		References\n	Chapter 37 The Poetics of Everyday Discourse\n		Jessica Mason, University of Sheffield and Ronald Carter, University of Nottingham\n		1 What do we Mean by the Poetics of Everyday Discourse?\n		2 What is Creativity?\n		3 Poetics of Spoken Discourse – Verbal Duelling\n		4 Creativity in Context\n		5 The Poetics of Written Discourse: The Genius Debate\n		6 Stars Crossing Time and Space\n	Chapter 38 Dramatic Discourse\n		Sarah Grandage, University of Nottingham\n		1 Introduction\n		2 The Language of Drama\n		3 Focus on Dialogue: The Architecture of Dialogue\n		4 Focus on Dialogue: Pragmatics\n		5 Focus on Dialogue: (im)politeness\n		6 The Language of Shakespeare\n		7 Focus on Dialogue: Discourse Stylistics\n		8 Focus on Dialogue: A Language and Drama Approach\n		9 Countering Atomistic Tendencies: Cognitive and Corpus Approaches\n		10 Future Directions for Dramatic Discourse\n		11 ‘We Few, We Happy Few, We Band of Brothers’: The Rhetoric of Motivation in Shakespeare’s Henry V\n		12 Two Futures\n		13 Prophecy\n		14 Equality and Brotherhood: Creating the ‘in-group’ and ‘out-group’\n		15 We Band of Brothers\n		16 Memory, Epitaph and Immortality\n		17 The Speech in the Context of the Play\n		18 Brotherhood within the Play\n		19 Conclusion\n	Chapter 39 Style in Popular Literature\n		Rocío Montoro, Universidad de Granada\n		1 Introduction\n		2 What is Popular Literature/Fiction?\n		3 The Modern Vampire’s Identity\n		4 Conclusion\n	Chapter 40 Style in World Englishes Literature\n		E. Dawson Varughese\n		1 The Literary Postcolonial – and Beyond\n		2 India\n		3 Analysis of Battle For Bittora (2010)\n		4 Conclusions\n		References\n	Author Index\n	Subject Index\n	Literary Writers and Texts