Stylistics (The New Critical Idiom)
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Richard Bradford provides a definitive introductory guide to modern critical ideas on literary style and stylistics. It will provide students with a basic grasp of stylistics and literary analysis.
This comprehensive and accessible guidebook for undergraduates examines:
* the terminology of literary form
* how literary style has evolved since the sixteenth century
* the role of stylistics in twentieth century criticism
* the discipline of stylistics from classical rhetoric to post-structuralism
* the relationship between literary style and its historical context
* style and gender
* examples of poems, plays and novels from Shakespeare to the present day.
locutionary change do TEXTUALISM I: POETRY 49 not alter the task of both poets in adapting their language to the configurations of five iambic feet. Every act of poetic writing is influenced by the two dimensions of the double pattern. The poet is obliged to consider the accumulated conventions of style that constitute the existing canon of poems: which metrical forms should he/she employ, adapt or discard? At the same time he/she is working with a linguistic framework informed by the
conventional gender stereotypes by judging aggressive, direct, concise sentences as male and more elaborate, grammatically complex and consequently less purposive sentences as female (see also Cameron’s Feminism and Linguistic Theory, 1985). These surveys indicate that the parallels between style and gender have as much to do with the expectations of the reader as with the intrinsic mental, psychological and cultural characteristics of men and women: Mills reprints a sequence from a novel by Iris
eighteenth and nineteenth centuries caused their verse to reflect the dissociations and mechanical categorizations of rational discourse. Crucially Eliot identifies the cause of this change as a pattern of influences within the community and discourse of poetic writing (initiated by Dryden and Milton). In Eliot’s model the changes that occurred in poetic style were influenced by the decisions of poets, not by the position of poetry within a broader impersonal discourse of ideological formations
NATURALIZATION Sir Tristram violer d’amores fr’over the short sea, had passencore re-arrived from North America on this side the scraggy isthmus of Europe Minor to wielderfight his penisolate war. . . It is impossible to find a framework of broad narrative structuring that will allow us to specify in Perry’s terms the Various data of the text’, and we might attempt with this extract to identify a more local stylistic register. The extra-textual resonances are numerous and multilayered. Sir
relation between tenor and vehicle. The metaphor will involve a self-conscious 24 TEXTUALISM I: POETRY departure from the routine and familiar relationship between language and reality. It would be regarded as bizarre and mildly disturbing if the conversationalist were to allow the original metaphor to dominate the rest of his/her discourse: ‘I sank through the broken ice into the cold water of the boardroom. There we all were: fishes swimming through a dark hostile world…’. In poems, however,