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El. knyga: Contemporary Stylistics: Language, Cognition, Interpretation

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Provides a clear introduction to the key terms and frameworks in cognitive poetics and stylisticsHow do texts create meaning? How do we arrive at our textual interpretations? Why do we become 'lost in a book' or feel deep emotion in response to a literary character? Through close attention to the way texts are written and the language they use, as well as what we know about the human mind, 'Contemporary Stylistics' provides readers with the tools to begin answering these questions. In doing so, it introduces the theoretical principles and practical frameworks of stylistics and cognitive poetics, supplying the practical skills to analyse your own responses to literary texts. Including innovative activities for students and with case studies of work by writers like Dylan Thomas, EL James and Kazuo Ishiguro, this is a detailed analysis of contemporary stylistics that offers both historical contextualization of the discipline and points towards its possible future direction.Key Features:Introduces the key terms for each contemporary stylistic frameworkOutlines the foundations of the discipline and addresses cutting-edge developments such as reader response research, corpus methods, multimodality and reader emotion Contains practical analyses, innovative exercises for students, and further reading suggestions in each chapterAddresses the recent attention to multimodal and digital literature and research into empiricism and emotionEach topic is explored through original analyses of a wide range of texts, including poetry, prose, dialogue, song lyrics, political discourse, and linguistic transcriptsThere are stylistic and cognitive poetic analyses through the book. The key case studies include:'The Canal' Lee Rourke (2010)'Zang Tumb Tumb' by Marinetti (1914)'River in Spate' by Louis MacNeice'Under Milk Wood' by Dylan Thomas (1954)'Space Sonnet & Polyfilla' by Edwin Morgan (1977)'In Defense of Our Overgrown Garden' by Matthea Harvey (2000)'House of Cards''What is the What' by Dave Eggers (2006)'Ash Wednesday' by Ethan Hawke (2002)'Fresh Meat''Fifty Shades of Grey' by E. L. James (2012)'Received Pronunciation' by Sally Goldsmith (2012)'The house is not the same since you left' by Henry Normal (1993)'The Lives of Others' by Neel Mukherjee (2014)'My Name is Lucy Barton' by Elizabeth Stroud (2016)'How to Get Filthy Rich in Rising Asia' by Mohsin Hamid (2013)'The Unconsoled' by Kazuo Ishiguro (2005)'The One Ronnie''The Girl on the Train' by Paula Hawkins (2015)'I Am The Song' by Charles Causley'Hypothetical' by Maria Taylor'This is the Poem in which I Have Not Left You' by Julia Copus (2012)'13, rue Therese' by Elena Mauli Shapiro (2011)'Illuminae' by Amie Kaufman and Jay Kristoff (2015)'Karen' by Blast Theory (2015)'Blood Story' by Melvin Burgess
List of figures xi
List of tables xii
Permission acknowledgements xiv
Acknowledgements xvii
Part I Introducing contemporary stylistics
1 Contemporary stylistics
3(12)
1.1 What is stylistics?
3(2)
1.2 How is it contemporary?
5(2)
1.3 The structure of this book
7(3)
1.4 The principles of stylistic analysis
10(1)
Further Reading and References
11(4)
Part II Literature as language
2 Foregrounding
15(12)
2.1 The development and devices of foregrounding
15(1)
2.2 Parallelism and repetition
16(3)
2.3 Deviation
19(3)
2.4 Foregrounding and character experience
22(2)
Keywords and Summary
24(1)
Activities
25(1)
Further Reading and References
25(2)
3 Phonemes to sound patterning
27(15)
3.1 Phonology and stylistics
27(4)
3.2 Onomatopoeia, consonance, and assonance
31(2)
3.3 Phonaesthesia and the phonaesthetic fallacy
33(1)
3.4 Rhyme and meter
34(5)
Keywords and Summary
39(1)
Activities
40(1)
Further Reading and References
40(2)
4 Morphemes to words
42(14)
4.1 Words
42(3)
4.2 Morphemes
45(2)
4.3 Morphological deviations
47(4)
4.4 Morphological play in concrete poetry
51(3)
Keywords and Summary
54(1)
Activities
54(1)
Further Reading and References
55(1)
5 Phrase to sentence
56(12)
5.1 Phrases, clauses, and sentences
56(2)
5.2 Coordination
58(2)
5.3 Subordination
60(3)
5.4 Poetic syntax
63(3)
Keywords and Summary
66(1)
Activities
66(1)
Further Reading and References
67(1)
6 Register, lexical semantics, and cohesion
68(15)
6.1 Register
68(3)
6.2 Lexical semantics: Synonyms and antonym
71(2)
6.3 Equivalence and opposition
73(3)
6.4 Cohesion
76(2)
Keywords and Summary
78(1)
Activities
79(1)
Further Reading and References
79(4)
Part III Literature as discourse
7 Dialogue and spoken discourse
83(13)
7.1 Meaning and context in spoken discourse
83(2)
7.2 Speech acts
85(4)
7.3 Politeness
89(1)
7.4 Power play in dialogue
90(4)
Keywords and Summary
94(1)
Activities
94(1)
Further Reading and References
95(1)
8 Speech, thought, and narration
96(13)
8.1 Speech and thought (and writing)
96(3)
8.2 Narrators and free indirect discourse
99(2)
8.3 Shifting viewpoints
101(3)
8.4 We-narration
104(2)
Keywords and Summary
106(1)
Activities
106(1)
Further Reading and References
107(2)
9 Modality and point of view
109(12)
9.1 Types of modality
109(4)
9.2 Modal shading
113(1)
9.3 Analysing modal shading
114(4)
9.4 Modal shading and point of view
118(1)
Keywords and Summary
119(1)
Activities
119(1)
Further Reading and References
120(1)
10 Transitivity and ideology
121(14)
10.1 Transitivity and choice
121(2)
10.2 Transitivity categories
123(5)
10.3 Transitivity patterns in longer texts
128(1)
10.4 Gender representation in romance fiction
129(4)
Keywords and Summary
133(1)
Activities
133(1)
Further Reading and References
134(1)
11 Varieties and invented languages
135(14)
11.1 Language varieties
135(1)
11.2 Strategies for representing linguistic varieties in writing
136(3)
11.3 Style switching in poetry
139(3)
11.4 Invented dialects
142(3)
Keywords and Summary
145(1)
Activities
145(1)
Further Reading and References
146(3)
Part IV Text as cognition
12 Figure and ground
149(13)
12.1 Cognitive stylistics
149(1)
12.2 Figure and ground
150(4)
12.3 Attraction and neglect
154(2)
12.4 Attention and atmosphere
156(3)
Keywords and Summary
159(1)
Activities
160(1)
Further Reading and References
160(2)
13 Deixis and deictic shift
162(13)
13.1 Cognitive deixis
162(2)
13.2 Deictic shifts
164(3)
13.3 Perceptual deixis and projection relations
167(1)
13.4 Double deixis
168(3)
Keywords and Summary
171(1)
Activities
171(2)
Further Reading and References
173(2)
14 Schemas, scripts, and prototypes
175(14)
14.1 Knowledge: Schemas and scripts
175(2)
14.2 Categorisation: Prototypes
177(1)
14.3 Responding to schema disruption
178(4)
14.4 Schemas and humour
182(3)
Keywords and Summary
185(1)
Activities
186(1)
Further Reading and References
187(2)
15 Cognitive grammar and construal
189(16)
15.1 What's cognitive about grammar?
189(1)
15.2 Dimensions of construal
190(5)
15.3 Construal and narrative point of view
195(3)
15.4 Construal and conceptual deviance
198(1)
Keywords and Summary
199(1)
Activities
200(1)
Further Reading and References
200(5)
Part V Reading as mental spaces
16 Conceptual metaphor and conceptual integration
205(16)
16.1 Metaphorical cognition and conceptual mapping
205(3)
16.2 Conceptual metaphor and conceptual metonymy in literature
208(2)
16.3 Image-schema metaphors
210(3)
16.4 Interanimation and conceptual integration
213(4)
Keywords and Summary
217(1)
Activities
218(2)
Further Reading and References
220(1)
17 Text-worlds
221(15)
17.1 Language, conceptualisation, and Text World Theory
221(1)
17.2 Building and switching text-worlds
222(4)
17.3 Modal-worlds: Attitudes and ontology
226(5)
17.4 Play with worlds
231(3)
Keywords and Summary
234(1)
Activities
234(1)
Further Reading and References
235(1)
18 Negation and lacuna
236(13)
18.1 Negation
236(2)
18.2 Negation and cognition
238(2)
18.3 Negation and attention
240(1)
18.4 Negation in poetry
241(3)
Keywords and Summary
244(1)
Activities
245(1)
Further Reading and References
246(3)
Part VI Reading as experience
19 Analysing the multimodal text
249(18)
19.1 Modes and multimodality
249(1)
19.2 Analysing multimodal literature
250(4)
19.3 Multimodality and genre
254(4)
19.4 Multimodality and digital fiction
258(6)
Keywords and Summary
264(1)
Activities
264(2)
Further Reading and References
266(1)
20 Understanding emotions
267(18)
20.1 Emotional involvement in reading
267(1)
20.2 Psychological projection and mind-modelling
268(2)
20.3 Identification and resistance
270(4)
20.4 Narrative perspective and positioning
274(4)
Keywords and Summary
278(1)
Activities
278(2)
Further Reading and References
280(5)
Part VII Reading as data
21 Corpus stylistics
285(16)
21.1 Corpus linguistics, stylistics, and corpora
285(1)
21.2 Corpus stylistics and word lists
286(5)
21.3 Keywords and keyness
291(3)
21.4 Concordances and collocations
294(5)
Keywords and Summary
299(1)
Activities
299(1)
Further Reading and References
300(1)
22 Investigating readers
301(20)
22.1 Collecting data about readers and reading in stylistics
301(2)
22.2 Thinking aloud
303(4)
22.3 Questionnaires
307(3)
22.4 Post-processing: 'Naturalistic' data
310(4)
Keywords and Summary
314(2)
Activities
316(1)
Further Reading and References
317(4)
Part VIII Conclusion
23 Future stylistics
321(8)
23.1 Past resonances
321(2)
23.2 Present trends
323(2)
23.3 Future directions: Situated contemporary stylistics
325(4)
References 329(38)
Index 367
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