The Stylistics of ‘You': Second-Person Pronoun and its Pragmatic Effects

Cover
Half-title
Title page
Copyright information
Contents
List of Figures and Table
Preface
Acknowledgements
1 Theorising the \'You Effects\'
	1.1 A General Trend across Genres?
		1.1.1 The Personalising Game in Marketing
		1.1.2 The Expansion of \'You\'-Oriented Strategies across Genres
		1.1.3 How Odd Are \'You Narratives\'?
	1.2 A Linguistic Starting-Point
		1.2.1 Face-to-Face Interaction
		1.2.2 Adapting the Model to Written Narratives
		1.2.3 The Flesh-and-Blood Reader
	1.3 A Pragma-Rhetorical Approach
		1.3.1 Putting the Author Back into the Equation
		1.3.2 The Ethics of the Second-Person Pronoun
		1.3.3 Pragmatic Speech Acts
	1.4 The Stylistics of You: Rationale and Content
PART I Singularising and Sharing: The Dialectics of \'You\'
	2 George Orwell\'s Down and Out in Paris and London (1933): Putting Yourself in the Shoes of a Tramp
		2.1 You1: A More Remote Subjectivity
		2.2 You2: Speaking on Behalf of Us Poor
		2.3 You3: Dilution of (Inter)subjectivity
		2.4 You4: The Other-Oriented Specific-Generic \'You\'
		2.5 Conclusion: Effects and Affects of Specific-Generic \'You\'
	3 Paul Auster\'s Ordinary Life and Yours: Blendable Singularities?
		3.1 A Doubly Subjective \'You\'
		3.2 A Fitting Choice?
		3.3 Inviting the Actual Audience
PART II The Role of \'You\' in the Writing of Traumatic Events
	4 Performing \'Self-Othering\' in Winter Birds by Jim Grimsley (1994)
		4.1 Personae and World-Switching
		4.2 Performing Vulnerability
		4.3 Coping Mechanisms: Testifying and Witnessing
	5 Pronominal \'Veering\' in Quilt by Nicholas Royle (2010)
		5.1 Going Down the Pronominal Paradigm
		5.2 Subverting the \'Animacy Hierarchy\'
		5.3 A Rayfying \'You\'
		5.4 Writing Is Calling
Part III The Author-Reader Channel across Time, Gender, Sex and Race
	6 Two Ways of Conversing with the Reader
		6.1 Authorial Hierarchy: Henry Fielding\'s Joseph Andrews (1742)
			6.1.1 An Author-Centred Narrative
			6.1.2 Polite Mitigations
			6.1.3 Flouting the Maxims: To Entertain and Ethically Instruct
			6.1.4 Play between Interpellations
		6.2 Confiding to the Reader: Jane Eyre by Charlotte Brontë (1847)
			6.2.1 An Engaging Narrator
			6.2.2 Engaging Strategies: Persuasion and Complicity-Seeking
			6.2.3 Multiple Targets
	7 Empathy for Sexual Minorities in Skin Lane by Neil Bartlett (2007)
		7.1 Storytelling and the Reader: Directing the Ethical Response
		7.2 Up and Down the Ladder: \'You\' as Facilitator
		7.3 The Ethics of the Told and the Ethics of the Telling
	8 The Ethics and Politics of the Second Person in \'Postcolonial\' Writing
		8.1 Interpellation of the Reader in Jamaica Kincaid\'s Essay A Small Place (1988)
		8.2 \'You\' in Chimamanda Ngozi Adichie\'s Short Story \'The Thing Around Your Neck\' (2009)
PART IV New Ways of Implicating Through the Digital Medium?
	9 From Paratext to Hypertext: Interactivity Revisited
		9.1 Two Technological Revolutions: Print and Digital Fiction
		9.2 Readerly Freedom Questioned
		9.3 The Distanced and the Engaged Audience
	10 Coercing without Edifying: Kevin Spacey\'s \'Creepy\' 2018 YouTube Video Explained
		10.1 Divide and Conquer: Manipulating Reception
		10.2 Transgressing Media Frontiers
Conclusion
References
Index