Contemporary StylisticsMarina Lambrou, Peter Stockwell Bloomsbury Academic, 2007 - 287 páginas Contemporary Stylistics presents a comprehensive survey of the current state of the integrated study of language and literature. Written by internationally renowned researchers in stylistics, this volume of twenty chapters provides a showcase for the range of approaches and practices which form modern stylistics: from cognitive poetics to corpus linguistics, from explorations of mind-style and spoken discourse in narrative to the workings of viewpoint in lyric poetry, from word-meanings to the meanings and emotions of literary worlds, and more. Each chapter is introduced and set in context by a key figure in stylistics. The book represents the best of current stylistics practice, including the traditions, roots and rigour of the discipline. This one volume reference will be invaluable to students and researchers in stylistics. |
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Página 49
... final line , the opening establishes an ontological dichotomy between the Actual World and the Textual Actual World , which is common in many other fictional texts . However , despite a comforting familiarity , the direct second person ...
... final line , the opening establishes an ontological dichotomy between the Actual World and the Textual Actual World , which is common in many other fictional texts . However , despite a comforting familiarity , the direct second person ...
Página 141
... final actions , ' I don't , I stick with Verlaine ' . In line 19 , however , an anaphoric refer- ence is made back to the decision process again , causing a world - switch to a past- time zone and a modalized world . The final and most ...
... final actions , ' I don't , I stick with Verlaine ' . In line 19 , however , an anaphoric refer- ence is made back to the decision process again , causing a world - switch to a past- time zone and a modalized world . The final and most ...
Página 154
... final line ( 33 ) all support the notion of progression through space . That space is structurally demarcated with ' dawn ' ( 2 and 9 ) , ' day ' ( 16 ) , ' dusk ' ( 24 ) and ' dark ' ( 26 ) , which act like milestones on the pathway of ...
... final line ( 33 ) all support the notion of progression through space . That space is structurally demarcated with ' dawn ' ( 2 and 9 ) , ' day ' ( 16 ) , ' dusk ' ( 24 ) and ' dark ' ( 26 ) , which act like milestones on the pathway of ...
Contenido
Woolfs Experiments with Consciousness | 7 |
Mapping the Minds | 32 |
Empathy | 56 |
Derechos de autor | |
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action Al Purdy Alden Nowlan approach argues behaviour Berry-Dee Bridget Bridget Jones's Diary Brother Cadfael Cappuccino Fiction chapter character's characters Chick Lit clusters cognitive linguistics cognitive poetics cognitive rhetoric collocations concept consciousness context corpus linguistics corpus stylistics Countess critical crossover fiction Crucible Culpeper day lady died deictic deixis described deviation Dickens discourse Edward Edward III emotions empathy example experience Falstaff feelings feminist narratology feminist stylistics foregrounding free indirect functions gender genre hyperfiction impoliteness interaction interpretation King landscape language literary texts literature lyric Mal Waldron means metafictive metaphor mind style narrative narrator novel Nowlan O'Hara's Oedipa ontological particular patterns perspective play poem poetic persona poetry readers reading recounts reference rhetoric role Routledge schema semantic Semino serial killers shift social specific speech story structure stylistic analysis stylisticians suggests text-world Textual Actual World thought viewpoint vocatives words