Preface

Acknowledgements

1.  Introduction: about this book, its content and its viewpoint

            1.1 Stylistics as an ‘interdiscipline’

            1.2  The chapter-by-chapter progression of this book.

            1.3  A digression on ‘literariness’

            1.4  A list of texts examined

            Notes

2.   Linguistics and the figures of rhetoric

            2.1  Introduction

            2.2  A linguistic perspective on literary language

            2.3  Figures of speech as deviant or foregrounded phenomena in language

            2.4  Classifying figures of speech

            2.5  Linguistic analysis and critical appreciation

            Notes

3.   ‘This Bread I Break’ – language and interpretation

            3.1  Cohesion in a text

            3.2  Foregrounding

            3.3  Cohesion of foregrounding

            3.4  Implications of context

            3.5  Conclusion: interpretation

            Notes

4. Literary criticism and linguistic description

            4.1  The nature of critical statements

            4.2  The nature of linguistic statements

            4.3  The relation between critical and linguistic statements

            4.4  Leavis on Keats’ ‘Ode to a Nightingale’

            4.5  Linguistic support for Leavis’s account

            4.6  Conclusion

            Notes

5. Stylistics

            5.1  Introduction

            5.2  The text: ‘Ode to the West Wind’ by Percy B. Shelley

            5.3  Stylistic analysis: deviation and foregrounding

            5.4  Secondary and tertiary deviation

            5.5  Coherence of foregrounding

            5.6  The poem’s interpretation

            5.7  Conclusion

            Notes

6.   Music and metre: ‘sprung rhythm’ in Victorian poetry

            6.1  Introduction

            6.2  A multi-levelled account of metre: four levels of metrical form

            6.3  Why we need an extra layer of musical scansion

            6.4  Sprung rhythm

            6.5  Conclusion

            Appendix: Further examples of musical scansion

            Notes

7.  Pragmatics, discourse analysis, stylistics and ‘The Celebrated Letter’

            7.1  The close affinity between pragmatics, discourse analysis and          stylistics: a                    goal-oriented framework

            7.2  Politeness and irony in a multi-goaled view of communication

            7.3  Samuel Johnson’s ‘Celebrated Letter’ as a demonstration text

            7.4  Conclusion: there is no dichotomy between literary and non-literary texts

            Notes

8.  Stylistics and functionalism

            8.1 Roman Jakobson: a formalistic functionalist

            8.2 A goal-oriented multifunctionalism

            8.3 Typologies of language function and kinds of meaning

            8.4 Functionalism in terms of a threefold hierarchy

            8.5 Applications to literature

            8.6 Jakobson’s poetic function revisited: autotelism

            8.7 Conclusion

            Notes

9.  Pragmatic principles in Shaw’s You Never Can Tell

            9.1  Introduction

            9.2  The plot of Shaw’s You Never Can Tell

            9.3  Pragmatic principles and pragmatic deviation

            9.4  (Un)cooperative and (im)polite behaviour in the play

            9.5  Quality and quantity: rights and obligations

            9.6  Pragmatic abnormalities of character

            9.7  A system of pragmatic contrasts

            9.8  ‘You never can tell’

            Notes

10.  Style in interior monologue: Virginia Woolf’s ‘The Mark on the Wall’

            10.1  Introduction

            10.2  The formal levels of phonology, lexigrammar and semantics

            10.3  A digression on the stream of consciousness

            10.4  The textual function

            10.5  The ideational function: representation of (mock) reality

            10.6  The interpersonal function

            10.7  Conclusion

            Notes

11.  Work in progress in corpus stylistics: a method of finding ‘deviant’ or ‘key’ features of texts, and its application to ‘The Mark on the Wall’

            11.1  A method in corpus stylistics: WMatrix

            11.2  The results

            11.3  Conclusion

            Notes

12.   Closing statement: text, interpretation, history and education

            12.1  The book’s relation to other work

            12.2  What is a text?

            12.3   Ambiguity and interpretation

            12.4  Historical and educational viewpoints

            12.5  Conclusion

            Notes

References

Index