Palgrave Studies in Language, Literature and Style – serie

This book presents a cognitive stylistic analysis of the writing of Siegfried Sassoon, a First World War poet who has typically been perceived as a poet of protest and irony, but whose work is in fact multi-faceted and complex in theme and shifted in style considerably throughout his lifetime. The author starts from the premise that a more systematic account of Sassoon’s style is possible using the methodology of contemporary stylistics, in particular Cognitive Grammar. Using this as a starting point, he revisits common ideas from Sassoon scholarship and reconfigures them through the lens of cognitive stylistics to provide a fresh perspective on Sassoon's style. This book will be of interest to students and scholars of stylistics, war poetry, twentieth-century literature, and cognitive linguistics.

This book presents a cognitive stylistic analysis of the writing of Siegfried Sassoon, a First World War poet who has typically been perceived as a poet of protest and irony, but whose work is in fact multi-faceted and complex in theme and shifted in style considerably throughout his lifetime. The author starts from the premise that a more systematic account of Sassoon’s style is possible using the methodology of contemporary stylistics, in particular Cognitive Grammar. Using this as a starting point, he revisits common ideas from Sassoon scholarship and reconfigures them through the lens of cognitive stylistics to provide a fresh perspective on Sassoon's style. This book will be of interest to students and scholars of stylistics, war poetry, twentieth-century literature, and cognitive linguistics.

This book presents an extended account of the language of dystopia, exploring the creativity and style of dystopian narratives and mapping the development of the genre from its early origins through to contemporary practice. Drawing upon stylistic, cognitive-poetic and narratological approaches, the work proposes a stylistic profile of dystopia, arguing for a reader-led discussion of genre that takes into account reader subjectivity and personal conceptualisations of prototypicality. In examining and identifying those aspects of language that characterise dystopian narratives and the experience of reading dystopian fictions, the work discusses in particular the manipulation and construction of dystopian languages, the conceptualisation of dystopian worlds, the reading of dystopian minds, the projection of dystopian ethics, the unreliability of dystopian refraction, and the evolution and hybridity of the dystopian genre.

This book presents an extended account of the language of dystopia, exploring the creativity and style of dystopian narratives and mapping the development of the genre from its early origins through to contemporary practice. Drawing upon stylistic, cognitive-poetic and narratological approaches, the work proposes a stylistic profile of dystopia, arguing for a reader-led discussion of genre that takes into account reader subjectivity and personal conceptualisations of prototypicality. In examining and identifying those aspects of language that characterise dystopian narratives and the experience of reading dystopian fictions, the work discusses in particular the manipulation and construction of dystopian languages, the conceptualisation of dystopian worlds, the reading of dystopian minds, the projection of dystopian ethics, the unreliability of dystopian refraction, and the evolution and hybridity of the dystopian genre.

This book introduces a new way of looking at how poems mean, drawing on the framework first developed in the author’s book Critical Stylistics, but applied here to aesthetic more than ideological meaning. The aim is to empower readers of poetry to articulate the features of poetic language that they come across and explain to themselves and others why these features convey the meanings that they do. While this volume focuses on contemporary poets writing in English and mostly based in the UK and Ireland, the framework will work just as well for other eras’ poetry, as well as for other cultures and languages.

This book introduces a new way of looking at how poems mean, drawing on the framework first developed in the author’s book Critical Stylistics, but applied here to aesthetic more than ideological meaning. The aim is to empower readers of poetry to articulate the features of poetic language that they come across and explain to themselves and others why these features convey the meanings that they do. While this volume focuses on contemporary poets writing in English and mostly based in the UK and Ireland, the framework will work just as well for other eras’ poetry, as well as for other cultures and languages.

This book explores Margaret Atwood’s distinctive use of language and style, across a selection of her prose texts, through reader-centred, cognitive stylistic analyses. It examines how strategies of misdirection, processes of doubling, and the creation of textual ambience play an essential role in Atwood’s contemporary prose fiction style. With reference to contemporary scholarship in stylistics and literary criticism, each chapter presents a detailed linguistic analysis of a different text from Atwood’s oeuvre, from Alias Grace (1996) to Old Babes in the Wood (2023). Above all, the book studies experiences of reading Atwood’s works, situating and contextualising her signature linguistic choices in relation to real readers’ responses to her writing. The book should be of interest to readers specialising in the work of Margaret Atwood, including those with stylistics, cognitive linguistics, and literary studies backgrounds.

This book explores Margaret Atwood’s distinctive use of language and style, across a selection of her prose texts, through reader-centred, cognitive stylistic analyses. It examines how strategies of misdirection, processes of doubling, and the creation of textual ambience play an essential role in Atwood’s contemporary prose fiction style. With reference to contemporary scholarship in stylistics and literary criticism, each chapter presents a detailed linguistic analysis of a different text from Atwood’s oeuvre, from Alias Grace (1996) to Old Babes in the Wood (2023). Above all, the book studies experiences of reading Atwood’s works, situating and contextualising her signature linguistic choices in relation to real readers’ responses to her writing. The book should be of interest to readers specialising in the work of Margaret Atwood, including those with stylistics, cognitive linguistics, and literary studies backgrounds.

This book is the first monograph devoted entirely to English dialect literature published between the sixteenth and the nineteenth centuries. Over the course of six chapters, the author employs frameworks from stylistics, sociolinguistics, pragmatics and other cognate fields to reveal the rich and varied forms that linguistic creativity takes in the work of dialect writers from across England between 1547 and 1877, ranging from Cumbria in the north-west and Newcastle in the north-east, to Cornwall in the south-west and Kent in the south-east. Challenging the traditional view of dialect literature as backwards-looking and conventional, this book makes a case for its stylistic ambitiousness and complexity. It covers a crucial phase in the history of dialect literature, from the sporadic early attempts of song-writers and pastoralists, to the heyday of the Victorian era, when regional writing flourished in almost every county of England. This book will be of interest to students and scholars of language, literature, dialect, regional writing and identity more generally; as well as students of renaissance, eighteenth-century, romantic and Victorian literature.

Joe Bray’s careful analysis of Jane Austen’s stylistic techniques reveals that the genius of her writing is far from effortless; rather he makes the case for her as a meticulous craftswoman and a radical stylistic pioneer. Countering those who have detected in her novels a dominant, authoritative perspective, Bray begins by highlighting the complex, ever-shifting and ambiguous nature of the point of view through which her narratives are presented. This argument is then advanced through an exploration of the subtle representation of speech, thought and writing in Austen’s novels. Subsequent chapters investigate and challenge the common critical associations of Austen’s style with moral prescriptivism, ideas of balance and harmony, and literal as opposed to figurative expression. The book demonstrates that the wit and humour of her fiction is derived instead from a complex and subtle interplay between different styles. This compelling reassessment of Austen’s language will offer a valuable resource for students and scholars of stylistics, English literature and language and linguistics.