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• 1. Introduction: the organization as a corporate actor--
• 2. Styling: from persons to organizations--
• 3. Enterprise culture as a master ethical regime--
• 4. Size matters: the semiotics of big versus small businesses--
• 5. When Peter meets Harry: the emotional labor of organizations--
• 6. Organizational restyling--
• 7. Styling the organizational other--
• 8. Organizations and speakers: structure and agency in language.
• (source: Nielsen Book Data)

The ways in which commercial organizations and service providers 'style' themselves - creating the image they wish to portray to their potential consumers - is a long-established area of research in the fields of sociology and business studies. However, language also plays an important role in organizational styling, something which until now has been largely overlooked in the literature. This is the first book-length study of the linguistics of organizational styling, looking at the language and semiotic resources used by holiday resorts, pharmaceutical companies, restaurants and insurance companies in order to project their identities, and style themselves. It discusses in detail a number of case studies and presents an innovative take on the notion of style, as well as bringing together work from linguistics, business studies and sociology. This interdisciplinary book will be of interest to scholars and advanced students in sociolinguistics, and scholars of sociology and business studies.
(source: Nielsen Book Data)

This text aims to explain prose style, and in doing so, provokes the reader to consider style, not as an elegant accessory of effective prose, but as its very heart. At a time when writing skills have virtually disappeared, wh at can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? This book says no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as this work points out, that there are many styles with different standards. In the first half of the book the authors introduce a range of styles - reflexive, practical, plain, contemplative, romantic, prophetic, and others - contrasting them to classic style. Its principles are simple: the writer adopts the pose that the motive is truth, the purpose is presentation, the reader is an intellectual equal, and the occasion is informal. Classic style is at home in everything from business memos to personal letters, from magazine articles to university writing. The second half of the book is a tour of examples - the exquisite and the execrable - showing what has worked and what hasn't. Classic prose is found everywhere: from Thomas Jefferson to Junichiro Tanizaki, from Mark Twain to the observations of an undergraduate. Here are many fine performances in classic style, each clear and simple as the truth.
(source: Nielsen Book Data)

• Du micro-linguistique au macro-contexte (et retour)
• Pratique textuelle : grammaire et effets stylistiques
• Métafonction interpersonnelle
• Le domaine nominal
• La modalité
• Pensées "rapportées"
• Métafonction idéationnelle
• La question de la transitivité
• Le temps (tense)
• Les aspects
• Rhétorique, pragmatique, stylistique : facteurs linguistiques et non linguistiques
• Le genre, le registre et le style
• Pour une stylistique socio-cognitive (inclusive)
• Lire et écrire : deux activités complémentaires
• Grammaire et style
• Des marqueurs de style
• Marqueurs lexicaux et syntaxiques
• La cohésion et la gestion de l'information
• Mise en pratique
• Défamiliarisation et foregrounding : surprendre et créer
• Collocations et néologismes
• Régularités et irrégularités inattendues
• Déviance générique : la parodie ou le pastiche
• Cadre narratif et focalisation
• Schéma de la communication littéraire
• L'interprétation : perspective pragmatique
• Métalepses narratives : inclusions et exclusions
• Des catégories narratologiques traditionnelles remaniées
• Une théorie linguistique du point de vue
• Des récits aux pronoms peu habituels : odd pronominal narratives
• La (re)présentation des paroles et des pensées
• Les types de discours
• Les paroles et les pensées rapportées
• Le Discours Indirect Libre : description et études de cas
• Monologue intérieur et stream of consciousness
• Échanges verbaux et caractérisation
• La force pragmatique du langage
• Le Principe Coopératif
• (Im)politesse et personnages de théâtre
• Le tournant cognitif en stylistique
• Cognition et processus de lecture
• La théorie des cadres contextuels (contextual frame theory)
• La théorie des mondes textuels (Text World Theory)
• Langage, corps, culture
• Perception et émotion
• Métaphore et métonymie : point de vue socio-cognitif.

"Ce manuel offre un tour d'horizon des théories de la stylistique anglaise, des plus traditionnelles aux plus récentes (prenant notamment en compte des facteurs pragmatiques et cognitifs). Il effectue une synthèse des principaux outils façonnés ou empruntés par les stylisticiens, en France et à l'étranger, pour l'analyse et l'interprétation de textes de langue anglaise (essentiellement littéraires) appartenant à des genres et à des époques variés. Inédit par son effort d'intégration des travaux anglophones trop rarement mobilisés en France, il propose en outre des applications pratiques de ces théories afin d'en saisir les potentialités tant pour l'étude des textes que pour la pratique de l'écriture. Il met en effet en lumière les liens étroits qui se tissent entre les apprentissages de la grammaire et du style. Enfin, il propose des pistes d'exploration contribuant à l'orientation actuelle des travaux dans le domaine. Mettant la recherche avancée au service des préoccupations pédagogiques, cet ouvrage s'adresse à tous les étudiants anglicistes, de la Licence au Master, intéressés par les effets stylistiques et les enjeux pragmatiques des discours. Il espère dans le même temps satisfaire certaines des attentes des doctorants, enseignants et chercheurs désireux d'une mise à jour de l'état des savoirs dans ce qui constitue désormais un domaine consolidé de l'anglistique."--P. [4] of cover.

• PREFACE-- A Few Points of Grammar-- The Arrangement of Words-- Rhythm-- Ornate Style-- A Few Figures of Speech-- A Few More Figures-- Parallelism and Antithesis-- Periodic Construction-- Excess-- The Paragraph and Beyond-- The Morphology of the Novel.
• (source: Nielsen Book Data)

Clark begins with the small and ends with the large. He progresses from describing the techniques used in grammar, word arrangement, and rhythm, through ornate style, figures of speech, and parallelism, to sentence, paragraphs, and the structure and conventions of novels. His method throughout is descriptive rather than prescriptive: he illustrates his points by examples drawn from literature and refrains from elaborate systems of his own construction. Assuming his readers know the basics of grammar and style, Clark provides an engaging description of the importance of style for the serious writer and experienced editor.
(source: Nielsen Book Data)

• What is style?-- grammar and speech acts in literature-- analyzing vocabulary in literary texts-- literature as discourse-- some contemporary issues in stylistics. Appendix: passages with commentary.
• (source: Nielsen Book Data)

• Preface. Acknowledgements.
• 1. Language and Style.
• 2. Language, Style and Literariness.
• 3. Sample Cases.
• 4. Style, Composition and Creativeness. Exercises. Further Reading. Bibliography. Glossarial Index. Index of Extracts.
• (source: Nielsen Book Data)

This is an introduction to literary stylistics and the study of discourse. The book's aim is to introduce students to models and techniques of analysis and to provide a basis for an understanding of how levels of discourse operate, both in literature and in other, non-literary forms of language. It covers syntax, vocabulary, phonology and social context in relation to different literary conventions, allowing readers to understand style as both a linguistic property and an interactional and social phenomenon. The book is aimed at students and specialists of English language and literature and students and specialists in discourse analysis.
(source: Nielsen Book Data)
Riddle: Why is a telescope like a bad excuse? Answer: Because anyone can see through it. The authors of this book would like to help anyone - but particularly students of English - to "see through" language, whether as the instrument of perception or as the evasive code. They write about texts, and the making of texts, and how texts are made to carry various kinds of meaning; and the topics they choose to write about range from the lexicon of car maintenance manuals to the role of grammatical modality in literary criticism. Their aim is to help students who may have little experience of linguistic studies to develop the articulate awareness of language that may subsequently be of service to them.The book has something to say about aesthetics, but it is not addressed to aesthetes; and much to say about the functions of language. One of its aims is to be of value to students and teachers of English by providing close and extensive readings of non-literary as well as literary texts. It is thus a demonstration of techniques and themes in stylistics, but it also has claims as a manual of self-defence for citizens beset by the salesmanship of words. Above all, it is concerned with creativeness, particularly as developed through the complementary processes of textual analysis and textual composition. The programme of exercises with which the book concludes is designed to enhance not only the student's understanding of various types of text, but also the ability to turn perception into productivity through the process of writing.
(source: Nielsen Book Data)

This acclaimed book is a master teacher's tested program for turning clumsy prose into clear, powerful, and effective writing. A logical, expert, easy-to-use plan for achieving excellence in expression, Style offers neither simplistic rules nor endless lists of dos and don'ts. Rather, Joseph Williams explains how to be concise, how to be focused, how to be organized. Filled with realistic examples of good, bad, and better writing, and step-by-step strategies for crafting a sentence or organizing a paragraph, Style does much more than teach mechanics: it helps anyone who must write clearly and persuasively transform even the roughest of drafts into a polished work of clarity, coherence, impact, and personality. A textbook edition with exercises, Style is available from Longman.
(source: Nielsen Book Data)

This acclaimed book is a master teacher's tested program for turning clumsy prose into clear, powerful, and effective writing. A logical, expert, easy-to-use plan for achieving excellence in expression, Style offers neither simplistic rules nor endless lists of dos and don'ts. Rather, Joseph Williams explains how to be concise, how to be focused, how to be organized. Filled with realistic examples of good, bad, and better writing, and step-by-step strategies for crafting a sentence or organizing a paragraph, Style does much more than teach mechanics: it helps anyone who must write clearly and persuasively transform even the roughest of drafts into a polished work of clarity, coherence, impact, and personality. A textbook edition with exercises, Style is available from Longman.
(source: Nielsen Book Data)