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##########################################################################1.who is
stylistics?STYLISTICS looks like linguistics+literary criticism, and the steps of
literary criticism in a text are 3:the Linguistic Description; the Interpretation;
the Evaluation. -> we normally don�t wait to get to the end before judging a text!
We make hypoteses, understand and AFTER deducing what a line says, we interpret it.
BUT stylistics and Lc differ:S. doesn�t use evidence or text language to support
what it says, is interested in established and in new ones interpretations, and
tries to make description as detailed, as systematic and as torough as possible.#
#Normal/Abnormal Paradigm: set of possible substitution instances [to compare a
metaphorical construction and demonstrate that �daylight� is not a normal object
for �burn�].Ex: We burn paper (normal P.) - We burn daylight (abnormal P. because
it's a metaphor).Abnormal P. helps in rhetorical P.#AN APPROPRIATE INTERPRETATION
IS BASED ON linguistic, contextual and general knowledge ( linguistic features
constrain readers from inferring unreasonable meanings, and prompt them toward
reasonable ones. Similarly, authors can constrain the reader toward particular
interpretation, the range of possible interpretations is narrow -> stylistic
analysis helps to become more consciously aware of the processes of interpretation.
THE MEANING IS CONSTRAINED BUT VARIABLE = READERS INTERACT WITH WHAT THEY READ.A
good starting point for the analysis of any poem is to examine the foregrounded
parts, and provide an interpretation which links them together.Linguistic Deviation
= unexpected irregularity in a part of a text which is signalled as crucial to the
understanding of what is written-> we link together the foregrounded features->
Leech calls the strategy of linking together foregrounded features cohesion of
foregrounding.A line is marked in Stylistic = the line deviates from standard
English linguistic rules.The Deviation has a psychological effect (Foregrounding)
on readers and hearers, because that deviant part becomes more noticeable.
Foreground, in criticism, is that part of painting which is in the center and
towards the bottom of the canvas. linguistic form included in abnormal paradigm
which deviate from the normal rules. More visible.Background is what is
linguistically normal. Foregrounding is a result of deviation from linguistic and
non-linguistic norms of various kinds. = unmarked structure, usual, normal
paradigm. Less visible.In a stylistic analysis we can find ...Repetition �
Parallelism (some features, usually structural features, are held constant while
others - usually lexical items - change) invites the reader to search for meaning
connection between the parallel structures. We concentrate in what change.
Parallelism is one of the devices that a writer can use to control our
understanding and our associative connections and EXERCISES CONTROL ON THE READER
BECAUSE:- Parallelism helps readers to perceive some associations and not others;-
It pushes readers to perceive semantic relations between words & phrases, wich do
not exist as such in the language system as a whole;- By relating parts of a text
together, it acts as a powerful force in the COHESION OF FOREGROUNDINGParallelism
Rule: 'if 2 structures are obviously parallel in linguistic form, look for a
semantic relation as well'- �when readers come across parallel structures, they try
to find an apropriate semantic relation between the parallel parts�If a parallelism
exists, readers will try to find a semantic motivation for that parallelism, to
perceive semantic relation between words and phrases unusual in the language
system, thus the relating parts of text together act as a powerful force in the
cohesion of foregrounding.There are different kinds of deviation: Phonetic,
Graphological, Metrical, Morphological, Syntactic, Lexical, Discoursal, Semantic,
Pragmatic.Kind of Deviation:#Discoursal Deviation � When we don't follow the
prototypical discourse situation (a conversation between 2 people in a context of
situation) Context#Addresser------>Message------>Addressee Poet
Poem reader/hearerTEXT SHOULD BEGIN AT THE BEGINNING;PROTOTYPE IS A
CONVERSATION BETWEEN TWO PEOPLEWritten comunication -> no context shared | when the
speaker is not the poet, we call this spk PERSONA. There can be are mixed
addressers. Or the addressee is not the reader. Or a text could begin in the
middle and not from the start or could start in medias-res. Discourse is different
from Conversation: The first is more complex, has a context and involves ideologic
point of view. Conversation involves more people talking.Semantic Deviation � When
the meaning relations are logically inconsistent or paradoxical. Ex. midwinter
spring. Also Metaphor.Lexical Deviation - creation of new word that didn't
previously exist (Neologism) Ex. Forgettle= Forget + Kettle. Also converting a word
from one grammatical class to another (Functional Conversion), or insert a
different variery of English. Es to play guitar, the play (dramma teatrale). Poetry
is associated with romantic prototype (if not = deviant).Pre-modifier: coming
before the head noun; Post-modifier: coming after the head noun.Grammatical
Deviation � lots of rules mean the foregrounding possibilities via grammatical
deviation are lots, but some deviations are prototypical. Noun- adjective ordering
(instead of adjective-noun->NORMAL ORDER) and archaic Lexis. The Subject-verb
inversion.Morphological Deviation � [Morphemes are the building blocks for words.
If they can stay on their own as words they are called Free, otherwise it's a
Bound.]There's Morphological Deviation when: the writer adds an ending to a word
would be not normally be added to (Ex. perhapless). Separate morphemes off (Ex.
king � dom). Put no gaps between different words (Ex. Nigeledwin Edwinigel)
Phonological and Graphological Deviation � the written equivalent of phonological
is the graphological level. Because of the relations between writing and speech,
THE INFERENCES ABOUT MEANING AND SIGNIFICANCE HAVE TO DO WITH HOW WE MIGHT READ THE
TEXT OUT LOUD -> CAPITAL letters (capital letter would have special pronunciation,
more marked, saying it louder, more slowly and wide pitch span) | splitting up of
phrases.Words are pronounced or stressed oddly (Ex wind /waind/) to conform to a
rhyme scheme;. Not all the GD is relatable to a some phonetic reality:Spaces
between words, absence of punctuation and the use of asterisks. These kind of D.
form an important part of what is involved in reading and understanding poetry.
Internal/external deviation � deviation from some norm which is internal or
external to the textExternal -> English language, genre norms, period normsInternal
-> The norm is set up by the text itselfI.D. often is the opposite of parallelism.
Ex. A poem has a parallel structure or a particular style and, in a certain point,
that structure or style change with a foregrounding effect.Parallel structures
prompt readers to infer parallel meanings between those structuresIf 2 structures
are obviously parallel in linguistic form, look for a semantic relation as well!At
the base of foregrounding and parallelism, there is the LINGUISTIC CHOICE.#3-STYLE
VARIATION: importing in a text a word which belongs to another variety of language
Tenor Dialectal Medium Domain Dialectal
Variation = concern the different linguistic levels (lexical, morphological and
grammatical). Dialectal variation is related to the geografical place and the
social class. It is a semi-permanent phenomenon (it can change after time). When a
poet uses it, he is making a socio-political act or he is suggesting a particular
accent (dialect sound).Tenor Variation = concern the relationship between a
speaker and a hearer characterized by greater or lesser formality. We choose the
tenor to suit our relationship with people we are talking to: direct and informal
with friends; indirect and formal with those we are not so close or in a superior
social position.Social distance can be negotiated through talk, like imposition or
degree of friendliness.Medium Variation = concern the variation between spoken
language and written language. Spoken language = is unrehearsed (improvvisato) and
produce for external consumption at very high speed. It's full of 'performance
errors', pauses, repetitions and false starts. It consists of short and simple
sentences.Written language = give the opportunity to rework what we say. Written
sentences are often longer and complex. There's also an informal way of writing
that takes characteristics of spoken. In literature, written language tries to
imitate spoken language when a talk between character is represented.Domain
Variation = is related at the 'jargon' so how the style chang about to the topic
and the domain: Legal, Technology, Economy, Science. It has consequences for the
linguistic feature and can be used
for characterization or parody.4 - sound, meaning and effect � phonetic schemes
are examples of phonetic parallelism, therefore they are interpretable via the
PARALLELISM RULE. 3 distinctive pronunciation features to identify a sound: point
(place)of articulation(labial,fricative,velar), mode of articulation (stopped),
voiced or voiceless (vibration of vocal chord)Alliteration = involves the
repetition of the same or similar consonants.It can be: Loose (if it isn't perfect
because has only 2 features of sound)Full (when it's perfect because it has the 3
features of sound)Eye Rhyme (no phonetic alliteration but graphological
parallelism).Assonance = like alliteration, connects important words together and
helps the reader notice meaning connections between them. It consists of patterns
of repetition between vowel sounds (long or short). The vowels are 12 + the
diphthongs (d. glide from a pure vowel to another). Rhyme -> when the end of 2 or
more sentences have the same sound/pronunciation. To have a rhyme we need the same
vowel and syllabel final consonants. The last stressed vowel must be the same.
Internal Rhyme -> when the rhyme is before the end of the verse or before the end
of the word. Half Rhyme -> when the 2 words shared 2 features in common
(five/fife). Sound Symbolism � concerns relations between meaning and phoneticIs
not very common because the cases where there is a SS connection are less common
than NO-SS connection! There is no intrinsic relation between meaning and phonetic,
however. There are various words where we can see the sound of the word that seems
to reproduce the sound of the word to referes toOnomatopoeia= reproduces
phonetically the sound which the words refers to (crack reproduce the sound of
cracking).Length = long-short sounds might mirror some extralinguistic realityPitch
IndistinctnessPhonestheme: it's � morpheme(smallest linguistin unit with a meaning)
and � phoneme (distinctive speech sound without meaning). It's a cluster that
alone doesn't mean nothing, but when it's at the begin of words gives a meaning
(Ex. Glean glimmer glisten glare glint glance � the meaning is similar sharing 'GL'
that refers to light and sight). Words which are associated and share a common
phoneme sequence are called 'Phonesthetic Series'5. rhythm&metre in the reading of
poetryRhythm -> the following of stresses. Variation of the length and accentuation
of a series of sounds or events.EACH LEXICALLY FULL WORD HAS A MAJOR STRESS ON ONE
OF ITS SYLLABLESMetre = an extra layer (strato) of rhythmic structuring. Metrical
structure is the level of poetic organization directly connected with meaning. The
number of syllable of verse, the length of the verse. It is NOT rhythm, but it
helps R�s perception.Why is poetry metred?1) metrication is one of the formal
features which sets poetry off2) metrication adds new foregrounding dimension.A
poem is metred WHEN the line-length & metrical patterns are close enough to feel a
basic pattern of equivalence from line to line. This pattern disappears in Free
Verse ( the line lengths are very irregular.Metre is based on a TWO TERM CONTRAST
between positions in a line which contain STRONG and WEAK syllables ( ICTUS /
-strong-| �n� |REMISS X �weak- ( they can be combinated in a Foot = the basic
metrical union between Ictus and Remiss.Open Class= Noun, Adjective, Verbs, Adverbs
: have a main strong stress (Ictus)Close Class= have a weak stress (Remiss)Trochee
(Trochaic) Foot= when we have first an Ictus and then a RemissIambic (Iamb) Foot=
when we have first a Remiss and then an Ictus. It's the most important because
it's the most used in great poetry.Iambic Pentameter = the metrical norm for
English poetry from the fifteenth-century.The poet can choose to use words which
don�t fit the pattern ( tension between METRE and GRAMMAR!-the grammar can win-the
metre can win-the �pentameter rule� can be relaxed-the pronunciation of words can
be deformed- syllables can be deleted (if it doesn�t carry fundamental information
and the result is phonetically permissible) #Or relax the metrical rulesOr relax
the language rules##End-stopped line= the line- end coincides with a major
syntactic boundary of the sentence.Run-on = Enjambment= when the line stops but the
sentence continues in the next linePrototypical discourse structure of Poetry:
Poet--->Poem---->readerPoetry is the easiest genre because it has just a level.
#6.Drama � Literary Genre which is most similar to conversation. Drama is designed
to be overheard by the audience. It largely consists of character-to-character
interaction ( SO ( the most profitable areas of language analysis to apply to drama
are those developed to describe face-to-face interaction and how we infer meaning
in context.Prototypical Discourse Structure of Drama: it's organized in 2 levels
because it's more difficult than poetry.##Addresser1 Message
Addressee (Playwright) (play)
(Audience) ###Addresser 2 Message
Addressee 2(Character A) (Turn)
(Character B)It's possible to have an other level: that one with the Narrator and
Narratee that stay outside the action of the play, like in fiction. The global
level of discourse is that between the playwright and the audience. Drama can be
treated as conversation. It's very useful applying (pragmatics) conversational
analysis, speech act theory and politeness to Drama. Drama is like real
conversation (Observation is used to infer the things suggested when people/char.
talkTurn- taking (not to talk all at the same time)Whithin each turn, the speech
counts as 1 or more act is being performedPeople behave in relation to their
previous experience ( much of what is meant about contextA thing is said, another
is meant.#Drama is NOT like real conversation (is written to be spoken,
conversation is unpreparedsome features (pauses,overlaps,false start) typical of
real conversation produce an implicature: the playwright wants to convey something
(a nervous character recreate the real life communication)on stage there's no
feedback (to not distract the audience)##7- the meaning of speech acts, turn-taking
and politeness Character, using more indirect speech act, could be less assertive.
In plays, a SA can usually only operate inside one level. A SA is an action
performed via utterance.Certain contextual conditions have to be in place for an
utterance to function properly as a particular SA: the FELICITY CONDITIONS (general
� content � preparatory � sincerity � essential)There is no 1:1 relationship
between a sentence and a speech actA whole set of sentences may consist of a series
of SA which will add up to one overarching MACRO SA.Direct speech is more assertive
and self-confident. But it depends on the context.A SA consists of 3 related acts:
Locutionary Act � produce a meaningful linguistic expression;Illocutionary Act �
the function of the Utterance; Perlocutionary Act � the goal to reach with the
Utterance,Each of these Act has a Force, so Locutionary Force, Illocutionary Force
(the communicative force of Ut.),Perlocutionary Force (the assumption that the
hearer will recognize the effect intended by speaker). Perlocutionary Act is
divided in Intended (what we WANT obtain) and Actual (what we obtain with the Ut.)
When Locutionary and Illocutionary Act coincide and pragmatic function and
grammatical function coincides we have a Direct Speech Act otherwise it's an
Indirect Speech Act.There's an Illocutionary Force indicating DEVICE when the
Utterance explicits a Performative Verb (so the loc and illoc acts coincides) or
changing the word order, with the stress and intonation.#9-Fictional prose & point
of viewin general, novel is much more accessible than other 2 major literary
genres, and is also the most difficult to analyze stylistically!Novels are LONG and
COMPLEX ( it leads its complexity in terms of DISCOURSE STRUCTURE:Fiction has
almost the same structure except a part (3 level)##Addresser1 Message
Addressee (Author/Novellist) (play)
(Audience) 2 messages
##Addresser2 Message Addressee2(Narrator)
(Ideology) (Narratee) ####Addresser 3
Message Addressee 3(Character A) (Turn)
(Character B)First and third level of Novel are the same of Drama. But at the
second level of Novel there's the Narrator and the Author's view Point (Ideology).
Author and Narrator are different and very rarely they coincide. Not always the
message is for the audience. Why there's the second level? The Narratee is the
ideal reader, sometimes very different from real audience. The Narratee builds
assumptions on what reads (Ex In science fiction the audience doesn't believe in
time-journey but the Narratee do).First Person: I-Narrator � convey only narrator's
point of view: it's limited (doesn't know all the facts) and unreliable ( could
tell you lies about events and character) ( mistery storiesThird Person Narrator �
it doesn't corresponds to the author and it isn't a character in the fictional
world. Less limited than first person narr. and more reliable, but could also be
limited and unreliable to obtain foregrounding effects. This is the dominant
narrator type. When 3-narr. is limited and unreliable the effect is very
foregrounding!!! ( because we assume 3rd N more reliable, we give it precedence if
there are inconsistancies
between 3rdN and 1stN.Fiction: novels and short stories. Linguistic choices of the
autor control the VIEWPOINT:He can choose to describe only what could be seen from
a particular positionHe can choose WHAT to describe and HOW to describe it (with
evaluative expressions)Distinction of Point of view ( between what is described and
the perspective from what is described. A house can be described from the outside
or from inside. The equivalent in the novel is the fictional world and how it is
portrayed: from what perspective. The events and conditions are always construed by
the reader from the description itself and cannot be verified. Instead in the NON-
fictional world we can perceive things and compare them with the description of
other. Linguistic indicators of VPA way in which VP can be controlled is through
choosing to describe what could be seen from a particular position.DENOTATION �
definition on dictionary of a word (female parent)CONOTATION � the meaning the
world acquire in order of context and cotext. (mum- informal, mother- formal)Value-
Laden expression (lexemes) � negative/positive/ neutral (that become pos. or neg.
in the contextual)VP could be indicate by choosing what to describe and by how it
is described through expressions which are evaluative in nature. So negative or
positive value laden.....Given Vs New InformationThe Novelist take his addressee's
VP into account using indefinite reference (if it's not already known to the
addressee) and definite reference (it it's already known in the general background
of knowledge).Indicators of a particular character's thoughts or perceptions.
Character viewpoint can be indicated through the use of verbs of perception and
cognition (see, hear, believe) or through verbs/adverbs related to factivity (the
truth status depends upon the verb of the main clause ( truth status: 'they KNOW he
was ill'; 'he PRETENDED he was ill' is a counter-factual verb because false; 'they
BELIEVE he was ill' it's non-factive verb because we don't know for certain).The
sequencing and organisation of actions and events to indicate VP.Grammatical
organisation of clauses can be used by writers for VP manipulation: in 'Horatio
opened the door' we know who opened the door and we are viewing he action from the
side of Horatio. In 'the door opened' we don't know who open the door and we have
been positioned on the other side of the door. The last example give an effect
called 'psychological sequencing': information which would normally be supplied
straight away is withheld for a moment. This prompt us to infer that the narrator
must have departed from the norm for some reason, to represent the narrator's
perceptions, rather than the fictional reality. Psychological Sequencing recreate
the perceptions of the narrator/character at the time the events happened.
Ideological VP or 'world-view'Groups of indicators are linked together
interpretatively. So the VP has to do with generalised mind-set or outlook on the
world that a person or a group might have. This mind-set might manifest itself
linguistically in a number of ways.UnderlexicaliseOverlexicalise = to know more
specific words10-speech and Thought PresentationDirect Speech and Indirect Speech
differ: -In their linguistic form � DS has inverted commas and inside them the
speech is unmediated by the reporter, IS has explicit grammatical subordination of
the reported clause to the reporting clause- ; -In their effects and functions (IS
� background ; DS � foreground).Direct Speech and Indirect Speech are 2 places in a
continuum of Speech Presentation in the novel. ID claims olny to represent the
original propositional contentThere's also a continuum of Thought Representation
but DS and DT are different...There are 2 speech situations when a person reports
what is said: a - reported speech situation (anterior) where the person being
reported originally said what is now being reported; <--- Reported Clause
----character-----b � reporting situation (posterior) where the person doing the
reporting presents what was said. <---Reporting Clause -----narrator----In the
novel there is no anterior speech situation. The novelist makes it all up. Speech
Presentation � speech in fiction; Speech Representation � non-fictional discourse.
#Speech Presentation continuum : NRA NRS NRSA IS
FIS DSSpeech Presentation Continuum is a scale about the weight of the
'apparent' (because novel is appearance) influence of the character and the
narrator over what is reported. Only DS makes us feel we are witnessing what
character says with no inference. The rest of scale is a mixture of the
contributions of character and narrator. We assume that DS is the norm in the
novelist's representation of speech and any movement toward the narrator represents
narrational interference in the representation.NRA - Narrator's Representation of
Action = sentences of physical description ( actions, perceptions, events and
states of the fiction (non�speech phenomena).NRS � Narrator's Representation of
Speech = merely tells us that speech occurred, without an indication of WHAT was
said. is more minimalist of NRSA, tells that speech occurred without any indication
of what was said. Ex. 'We talked hours'.NRSA � Narrator's Representation of Speech
Acts = gives what SA is performed and some indication of the topic of the talk. A
summery of a long piece of discourse; NRSA is more backgrounded than an IS.IS �
Indirect Speech = it hasn't the quotation marks of DS (��); reported clause is
subordinated to the reporting. clause (with the conjunction: ' she said
that...');first the reporting then the reported. In IS the speaker is the person
doing the reporting and the various pf markers time, place and social relation will
be changed (from the DS) to be related to the narrator.FIS � Free Indirect Speech =
it's a mixture of DS and IS. More emotionally than IS but less than DS. It has the
grammatical features of IS and the deictic properties of DS. FIS indicates the
movement towards narrator control and VP. FIS could be also in I-narration and
Present Tense novels so thet our description could be altered.DS � Direct Speech =
Characters speak directly without being 'filtered' through the narrator. All
linguistic festures used must be related to the speaker's VP. Most Author use both
reporting clauses and punctuation marks to delineate DS; contextual information can
sometimes enable a novelist to omit the reporting clause and/or the punctuation
marks which connect Ds to narration without causing confusion; Ds create special
effects, bordering on bewilderment for the reader in some cases, allowing the
separation between what is done, what is said and what is thought.Thought
PresentationThe categories are the same as Speech, but the effects associated with
DT and FIT are different.NRT, NRTA, IT are relatively rare, instead FIT is the most
common form of thought presentation.DT is quite often used to represent imaginary
conversation which character have with themselves and others.Novelists use DS/DT
contrast to bring out the internal/external world distinction.With FIT we feel
close to the character, inside his head and sympathise with hisVP. This effect is
the opposite of the effect of FIS, which makes us feel distanced from the
character and is often a vehicle for irony.This because thoughts of other are never
accessible to us. We can only infer their thoughts from speech, actions, facial
expressions, so IT is our norm. for thought presentation.Stream of consciousness
writing � describes the free association of ideas and impressions in the mind (not
used in the majority of novels), can be in FIT and DT.11.Prose styleAuthorial Style
= a way of writing which recognisably belongs to a particular writer, is �the
Style� Writing Style = Mind Style or world of view of the writerStyle can be
perceived in any consistent behaviour (linguistics, music, sports�)To analyze style
we need to use statistics: - to count anything that is countable (but quantity
shouldn�t lead us to any conclusion)- to do a comparative work with equivalents
(other writers or other statistic works)- to calculate percentages of averages for
other texts- to answer to the question: �averages or percentages of what?� in
relation to the nearest relevant superordinate category- averages or % for an
entire passage may well conceal differences between one part of the passage to
another: analyze HOW MUCH internal average variation there is- determine if average
differences are attributable to random variation or not.In a text, we could examine
various areas:Foregrounded featuresPatterns of style variationDiscoursal
patterningsPatterns of viewpoint manipulationLexisGrammatical organisationTextual
organisationStylistic -> approach to the analysis of texts using the linguistic
description of style Stylistic tries to understand the relationship between the
literary text and how we understand and we are affected by it.Understanding
involves an important contribution from the READER, who brings important KNOWLEDGE
for inferring meaningOur understanding of the linguistic facts is normally
implicit, but we need to discuss the meaning in an explicit and detailed way ->
this helps us to understand better when we have interpretation problems as in: 'we
burn the daylight' (metaphor) : we have to see the sentence in its context | we
combine contextual, linguistic and general world -> the meaning comes from the
text! Linguistic features don�t constitute the meaning in themselves!!
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