Walter Nash – författare

The broad aim of this lively and engaging book is to examine relationships between the linguistic patterns, the stylistic functions, and the social and cultural contexts of humour. The material used in illustration is of corresponding breadth: schoolyard jokes, graffiti, aphorisms, advertisements, arguments, anecdotes, puns, parodies, passages of comic fiction, all come under Dr Nash's scrutiny.

First published in 1991, An Uncommon Tongue explores the theme of usage in its widest sense: usage as what we say or write; usage as a social question; usage as a literary convention; usage and creativity.

The book reflects on the practice and status of the English language in the modern world and the demands it makes on its academic disciplines. It puts forward the argument that the study of usage transcends both the ‘prescriptive’ and ‘descriptive’ and is ultimately ‘constructive’, displaying the resources of language and exploring their use.

First published in 1990, Language in Popular Fiction was written to provide a comprehensive and illuminating look at the way language is used in thrillers and romantic fiction.

The book examines the use of language across three interrelated levels: a level of verbal organisation, a level of narrative structure, and a level at which stylistic options and devices are related to notions of gender. It introduces ‘the protocol of pulchritude’ and makes use of detailed stylistic and linguistic analysis to investigate a wide range of ‘popfiction’ and ‘magfiction’. In doing so, it provokes serious reflection on popular fiction and its claims on the reader.

First published in 1991, An Uncommon Tongue explores the theme of usage in its widest sense: usage as what we say or write; usage as a social question; usage as a literary convention; usage and creativity.

The book reflects on the practice and status of the English language in the modern world and the demands it makes on its academic disciplines. It puts forward the argument that the study of usage transcends both the ‘prescriptive’ and ‘descriptive’ and is ultimately ‘constructive’, displaying the resources of language and exploring their use.

First published in 1990, Language in Popular Fiction was written to provide a comprehensive and illuminating look at the way language is used in thrillers and romantic fiction.

The book examines the use of language across three interrelated levels: a level of verbal organisation, a level of narrative structure, and a level at which stylistic options and devices are related to notions of gender. It introduces ‘the protocol of pulchritude’ and makes use of detailed stylistic and linguistic analysis to investigate a wide range of ‘popfiction’ and ‘magfiction’. In doing so, it provokes serious reflection on popular fiction and its claims on the reader.

First published in 1986, this book examines the changing patterns in English usage and style. It encourages a constructive attitude to language, demonstrating the creative resources of grammar, discussing in detail the options of written style, and challenging the authoritarian spirit that inhibits usage. The central chapters are concerned with written usage, and pay close attention to questions of syntax and punctuation. The sense of writing, however, is always related to speech, and the value of usage as a social act is emphasised in the exploration of style as an individual function. Technical terms are explained and the text is illustrated with examples from literature and journalism.

First published in 1986, this book examines the changing patterns in English usage and style. It encourages a constructive attitude to language, demonstrating the creative resources of grammar, discussing in detail the options of written style, and challenging the authoritarian spirit that inhibits usage. The central chapters are concerned with written usage, and pay close attention to questions of syntax and punctuation. The sense of writing, however, is always related to speech, and the value of usage as a social act is emphasised in the exploration of style as an individual function. Technical terms are explained and the text is illustrated with examples from literature and journalism.

The broad aim of this lively and engaging book is to examine relationships between the linguistic patterns, the stylistic functions, and the social and cultural contexts of humour. The material used in illustration is of corresponding breadth: schoolyard jokes, graffiti, aphorisms, advertisements, arguments, anecdotes, puns, parodies, passages of comic fiction, all come under Dr Nash''s scrutiny.

The broad aim of this lively and engaging book is to examine relationships between the linguistic patterns, the stylistic functions, and the social and cultural contexts of humour. The material used in illustration is of corresponding breadth: schoolyard jokes, graffiti, aphorisms, advertisements, arguments, anecdotes, puns, parodies, passages of comic fiction, all come under Dr Nash''s scrutiny.

Creating Texts emphasises a practical approach to composition and enables students to understand what is involved in the creation of a text and to learn from the practice of other writers. Extensively rewritten and updated from Walter Nash''s earlier volume, Designs in Prose, attention is paid to the general theory of composition, in both traditional and original terms, so that students are made familiar with the basic resources of composition, in grammar and in the lexicon.The essence of every chapter is the discussion of examples of text, sometimes devised by the authors, but more often drawn from the work of authors writing in diverse styles of English. This practical approach is most evident in the final section of the book where detailed suggestions for projects and exercises reinforce the connection between theory and practice, and encourage students to develop their creative sense and to adapt their style of writing to fit the particular audience and context. In addition, this section is cross-referenced to the main text to allow students to consult easily the relevant chapter.