1st ed. - Harlow, England ; New York : Pearson Longman, c2008.
xii, 222 p. : ill. ; 22 cm.
Includes bibliographical references (p. -217) and index.
Preface Acknowledgements 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 Notes 2. Linguistics and the figures of rhetoric 2.1 Introduction 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 Notes 3. This Bread I Break' language and interpretation 3.1 Cohesion in a text 3.2 Foregrounding 3.3 Cohesion of foregrounding 3.4 Implications of context 3.5 Conclusion: interpretation Notes 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 Leavis's account 4.6 Conclusion Notes 5. Stylistics 5.1 Introduction 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 poem's interpretation 5.7 Conclusion Notes 6. Music and metre: sprung rhythm' in Victorian poetry 6.1 Introduction 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 6.5 Conclusion Appendix: Further examples of musical scansion Notes 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 multi-goaled view of communication 7.3 Samuel Johnson's Celebrated Letter' as a demonstration text 7.4 Conclusion: there is no dichotomy between literary and non-literary texts Notes 8. Stylistics and functionalism 8.1 Roman Jakobson: a formalistic functionalist 8.2 A goal-oriented multifunctionalism 8.3 Typologies of language function and kinds of meaning 8.4 Functionalism in terms of a threefold hierarchy 8.5 Applications to literature 8.6 Jakobson's poetic function revisited: autotelism 8.7 Conclusion Notes 9. Pragmatic principles in Shaw's You Never Can Tell 9.1 Introduction 9.2 The plot of Shaw's You Never Can Tell 9.3 Pragmatic principles and pragmatic deviation 9.4 (Un)cooperative and (im)polite behaviour in the play 9.5 Quality and quantity: rights and obligations 9.6 Pragmatic abnormalities of character 9.7 A system of pragmatic contrasts 9.8 You never can tell' Notes 10. Style in interior monologue: Virginia Woolf's The Mark on the Wall' 10.1 Introduction 10.2 The formal levels of phonology, lexigrammar and semantics 10.3 A digression on the stream of consciousness 10.4 The textual function 10.5 The ideational function: representation of (mock) reality 10.6 The interpersonal function 10.7 Conclusion Notes 11. Work in progress in corpus stylistics: a method of finding deviant' or key' features of texts, and its application to The Mark on the Wall' 11.1 A method in corpus stylistics: WMatrix 11.2 The results 11.3 Conclusion Notes 12. Closing statement: text, interpretation, history and education 12.1 The book's relation to other work 12.2 What is a text? 12.3 Ambiguity and interpretation 12.4 Historical and educational viewpoints 12.5 Conclusion Notes References Index.
(source: Nielsen Book Data)
Over a period of over 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, read previously only by a restricted audience, 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' (also known as defamiliarization) 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. (source: Nielsen Book Data)