| Foreword |
|
x | |
| Preface to the second edition |
|
xii | |
| Acknowledgements |
|
xiv | |
| Publisher's acknowledgements |
|
xv | |
| Introduction |
|
1 | (8) |
|
|
|
1 | (1) |
|
Language in prose and poetry |
|
|
2 | (1) |
|
Where linguistics comes in |
|
|
3 | (2) |
|
The scope and design of this book |
|
|
5 | (1) |
|
|
|
6 | (3) |
|
Part One Approaches and Methods |
|
|
|
|
|
9 | (25) |
|
|
|
9 | (2) |
|
|
|
11 | (2) |
|
|
|
13 | (9) |
|
1.3.1 Style as the `dress of thought': one kind of dualism |
|
|
13 | (3) |
|
1.3.2 Style as manner of expression: another kind of dualism |
|
|
16 | (4) |
|
1.3.3 The inseparability of style and content: monism |
|
|
20 | (2) |
|
1.4 Comparing dualism and monism |
|
|
22 | (2) |
|
1.5 Pluralism: analysing style in terms of functions |
|
|
24 | (4) |
|
1.6 A multilevel approach to style |
|
|
28 | (3) |
|
1.7 Conclusion: meanings of style |
|
|
31 | (3) |
|
|
|
32 | (2) |
|
2 Style, text and frequency |
|
|
34 | (26) |
|
2.1 The problem of `measuring' style |
|
|
34 | (3) |
|
2.2 The uses of arithmetic |
|
|
37 | (2) |
|
2.3 Deviance, prominence and literary relevance |
|
|
39 | (2) |
|
|
|
41 | (3) |
|
2.5 Primary and secondary norms |
|
|
44 | (1) |
|
|
|
44 | (1) |
|
2.7 Pervasive and local characteristics of style |
|
|
45 | (1) |
|
|
|
46 | (6) |
|
|
|
52 | (3) |
|
2.10 Style markers and the principle of selection |
|
|
55 | (1) |
|
|
|
56 | (4) |
|
|
|
57 | (3) |
|
3 A method of analysis and some examples |
|
|
60 | (35) |
|
3.1 A checklist of linguistic and stylistic categories |
|
|
61 | (3) |
|
3.2 Notes on the categories |
|
|
64 | (2) |
|
3.3 Joseph Conrad: example 1 |
|
|
66 | (6) |
|
3.4 D.H. Lawrence: example 2 |
|
|
72 | (6) |
|
3.5 Henry James: example 3 |
|
|
78 | (10) |
|
|
|
88 | (1) |
|
3.7 Quantitative appendix |
|
|
88 | (7) |
|
|
|
94 | (1) |
|
|
|
95 | (26) |
|
4.1 Language as a cognitive code |
|
|
95 | (4) |
|
4.2 Messages and models of reality |
|
|
99 | (1) |
|
4.3 An example: Katherine Mansfield |
|
|
100 | (6) |
|
|
|
101 | (2) |
|
4.3.2 The syntactic level |
|
|
103 | (1) |
|
4.3.3 The graphological level |
|
|
104 | (1) |
|
4.3.4 Phonological effects |
|
|
105 | (1) |
|
4.4 A justification for studying stylistic variants |
|
|
106 | (2) |
|
|
|
108 | (2) |
|
4.6 Style and qualitative foregrounding |
|
|
110 | (6) |
|
4.7 The remainder of this book |
|
|
116 | (5) |
|
|
|
117 | (4) |
|
Part Two Aspects of Style |
|
|
|
5 Language and the fictional world |
|
|
121 | (29) |
|
5.1 Language, reality and realism |
|
|
121 | (2) |
|
5.2 Reality and mock reality |
|
|
123 | (2) |
|
5.3 Specification of detail: symbolism and realism |
|
|
125 | (3) |
|
5.4 Real speech and fictional speech |
|
|
128 | (11) |
|
5.4.1 Realism in conversation |
|
|
129 | (5) |
|
5.4.2 Dialect and idiolect |
|
|
134 | (3) |
|
5.4.3 Speech and character |
|
|
137 | (2) |
|
5.5 The rendering of the fiction |
|
|
139 | (9) |
|
5.5.1 Fictional point of view |
|
|
139 | (2) |
|
5.5.2 Fictional sequencing |
|
|
141 | (3) |
|
|
|
144 | (4) |
|
|
|
148 | (2) |
|
|
|
149 | (1) |
|
|
|
150 | (18) |
|
6.1 How linguistic choices affect mind style |
|
|
152 | (2) |
|
6.2 A comparison of three normal mind styles |
|
|
154 | (4) |
|
6.3 Some more unusual mind styles |
|
|
158 | (4) |
|
6.4 A very unusual mind style |
|
|
162 | (6) |
|
|
|
163 | (1) |
|
|
|
163 | (1) |
|
|
|
163 | (2) |
|
|
|
165 | (1) |
|
|
|
166 | (2) |
|
|
|
168 | (38) |
|
7.1 The rhetoric of text and discourse |
|
|
168 | (1) |
|
7.2 The linearity of text |
|
|
169 | (1) |
|
7.3 The principle of end-focus |
|
|
170 | (2) |
|
|
|
172 | (4) |
|
7.4.1 The `rhythm of prose' |
|
|
173 | (2) |
|
7.4.2 Segmentation and syntax |
|
|
175 | (1) |
|
7.5 Simple and complex sentences |
|
|
176 | (9) |
|
7.5.1 Coordination and subordination |
|
|
177 | (2) |
|
7.5.2 The principle of climax: `last is most important' |
|
|
179 | (2) |
|
7.5.3 Periodic sentence structure |
|
|
181 | (2) |
|
7.5.4 Loose sentence structure |
|
|
183 | (2) |
|
7.6 Addresser-based rhetoric: writing imitating speech |
|
|
185 | (2) |
|
7.7 Iconicity: the imitation principle |
|
|
187 | (9) |
|
7.7.1 Three principles of sequencing |
|
|
190 | (2) |
|
|
|
192 | (3) |
|
7.7.3 Other forms of iconicity |
|
|
195 | (1) |
|
|
|
196 | (8) |
|
|
|
198 | (3) |
|
|
|
201 | (3) |
|
|
|
204 | (2) |
|
|
|
204 | (2) |
|
8 Discourse and the discourse situation |
|
|
206 | (25) |
|
8.1 The discourse situation of literature |
|
|
206 | (12) |
|
8.1.1 Implied author and implied reader |
|
|
207 | (3) |
|
8.1.2 Authors and narrators |
|
|
210 | (5) |
|
8.1.3 Narrators and characters |
|
|
215 | (3) |
|
8.2 Point of view and value language |
|
|
218 | (3) |
|
8.3 Multiplicity of values |
|
|
221 | (1) |
|
|
|
222 | (3) |
|
|
|
225 | (4) |
|
|
|
229 | (2) |
|
|
|
230 | (1) |
|
9 Conversation in the novel |
|
|
231 | (24) |
|
9.1 Pragmatics and the interpretation of conversation |
|
|
231 | (9) |
|
|
|
233 | (3) |
|
9.1.2 Conversational implicature |
|
|
236 | (4) |
|
9.2 Pragmatics and thought |
|
|
240 | (2) |
|
9.3 `Conversation' between authors and readers |
|
|
242 | (3) |
|
9.4 An extended pragmatic analysis |
|
|
245 | (2) |
|
|
|
247 | (6) |
|
9.5.1 An example: references to people |
|
|
248 | (2) |
|
9.5.2 Other indicators of politeness |
|
|
250 | (2) |
|
9.5.3 Politeness and formality |
|
|
252 | (1) |
|
|
|
253 | (2) |
|
|
|
254 | (1) |
|
10 Speech and thought presentation |
|
|
255 | (27) |
|
10.1 The presentation of speech |
|
|
255 | (15) |
|
10.1.1 Direct and indirect speech (Ds and Is) |
|
|
255 | (3) |
|
10.1.2 Free direct speech (Fds) |
|
|
258 | (1) |
|
10.1.3 The narrative report of speech acts (Nrsa) |
|
|
259 | (1) |
|
10.1.4 Free indirect speech (Fis) |
|
|
260 | (8) |
|
10.1.5 The effects and uses of Fis |
|
|
268 | (2) |
|
10.2 The presentation of thought |
|
|
270 | (9) |
|
10.2.1 The categorisation of thought presentation |
|
|
270 | (3) |
|
10.2.2 The relationship between inner speech and point of view |
|
|
273 | (1) |
|
10.2.3 Uses of the categories of thought presentation |
|
|
274 | (5) |
|
|
|
279 | (3) |
|
|
|
281 | (1) |
|
11 Stylistics and fiction 25 years on |
|
|
282 | (23) |
|
11.1 The development of stylistics as a sub-discipline |
|
|
282 | (7) |
|
11.2 New developments in the stylistic analysis of prose fiction and what, with hindsight, we would add to Style in Fiction |
|
|
289 | (9) |
|
|
|
289 | (5) |
|
11.2.2 Fictional worlds, text worlds, mental spaces |
|
|
294 | (2) |
|
11.2.3 Character and characterisation |
|
|
296 | (2) |
|
11.3 New developments in the stylistics of prose fiction and what, with hindsight, we would change in Style in Fiction |
|
|
298 | (5) |
|
11.3.1 Different kinds of viewpoint and different linguistic indicators of viewpoint |
|
|
298 | (1) |
|
11.3.2 Narratological aspects of viewpoint |
|
|
299 | (3) |
|
11.3.3 Speech, thought and writing presentation |
|
|
302 | (1) |
|
11.4 Detail and precision, and the way ahead |
|
|
303 | (2) |
|
12 `The Bucket and the Rope' |
|
|
305 | (39) |
|
|
|
306 | (1) |
|
12.2 `The Bucket and the Rope' |
|
|
307 | (6) |
|
12.3 Discussion of `The Bucket and the Rope' |
|
|
313 | (28) |
|
12.3.1 Provisional interpretative comments on the story |
|
|
313 | (1) |
|
12.3.2 The title of the story: schemata and associations |
|
|
314 | (1) |
|
12.3.3 The story's discourse structure: narration, speech presentation and `framing' |
|
|
315 | (1) |
|
12.3.4 The story's structure |
|
|
316 | (1) |
|
12.3.5 Structuralist and possible worlds accounts of literary narratives: Claude Bremond and Marie-Laure Ryan |
|
|
317 | (5) |
|
12.3.6 Linking structure and interpretation: Claude Levi-Strauss |
|
|
322 | (3) |
|
12.3.7 Fictional worlds and viewpoint |
|
|
325 | (9) |
|
12.3.8 Textual analysis in terms of lexis, grammar and meaning |
|
|
334 | (3) |
|
|
|
337 | (4) |
|
12.4 Assessing the new techniques |
|
|
341 | (3) |
|
|
|
342 | (2) |
| Passages and topics for further study |
|
344 | (25) |
| Further reading |
|
369 | (12) |
| Bibliography |
|
381 | (14) |
| Index of works discussed |
|
395 | (2) |
| General index |
|
397 | |
