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Language in Literature
Style and Foregrounding
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Lesley Jeffries, Professor of English Language, University of Huddersfield
I have been waiting expectantly for some years for this promised collection of Geoffrey Leechs Stylistics papers to be published. We now have a convenient location for all those influential Leechian papers scattered through journals and book collections as well as some fascinating new work.
Mick Short, Professor of English Language and Literature, Lancaster University
This volume, by a founder of British stylistics, is long overdue. His articles, now usefully 'refreshed', mark the development of the discipline over forty years, from formalist functionalism to corpus stylistics.
Katie Wales, Research Professor in English, University of Sheffield
Over a period of more than forty years, Geoffrey Leech has made notable contributions to the field of literary stylistics, using the interplay between linguistic form and literary function as a key to the mystery of how a text comes to be invested with artistic potential. In this book, seven earlier papers and articles have been brought together with four new chapters, the whole volume showing a continuity of approach across a period when all too often literary and linguistic studies have appeared to drift further apart. Leech sets the concept of foregrounding at the heart of the interplay between form and interpretation. Through practical and insightful examination of how poems, plays and prose works produce special meaning, he counteracts the flight from the text that has characterized thinking about language and literature in the last thirty years, when the response of the reader, rather than the characteristics and meaning potential of the text itself, have been given undue prominence. The book provides an enlightening analysis of well-known (as well as less well-known) texts of great writers of the past, including Keats, Shelley, Samuel Johnson, Shaw, Dylan Thomas, and Virginia Woolf.
Geoffrey Leech is Emeritus Professor of English Linguistics at Lancaster University. He has written, co-edited and co-authored over 25 books, including A Linguistic Guide to English Poetry, Style in Fiction (with Mick Short), and A Comprehensive Grammar of the English Language (with Sidney Greenbaum and Jan Svartvik). Professor Leech is a Fellow of the British Academy and a Member of Academia Europaea
Fler böcker av Geoffrey Leech
Bloggat om Language in Literature
Professor Leech is Emeritus Professor of English Linguistics at Lancaster University. He has written, co-edited and co-authored over 25 books and over 100 articles in the areas of linguistics and English language, especially in stylistics, English grammar, semantics, pragmatics and corpus linguistics. He was co-author, with Randolph Quirk, Sidney Greenbaum and Jan Svartvik, of the monumental and authoritative "A Comprehensive Grammar of the English Language "(Longman 1985). In pragmatics, too, his "Principles of Pragmatics" (Longman 1983) has been a landmark text. He is a Fellow of the British Academy, and a Member of Academia Europaea.
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
2. Linguistics and the figures of rhetoric
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
3. This Bread I Break language and interpretation
3.1 Cohesion in a text
3.3 Cohesion of foregrounding
3.4 Implications of context
3.5 Conclusion: interpretation
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 Leaviss account
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 poems interpretation
6. Music and metre: sprung rhythm in Victorian poetry
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
Appendix: Further examples of musical scansion
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 mul...