Passage to India Analysis

Stylistics (literature) From Wikipedia, the free encyclopedia This articlest angiotensin-converting enzymeor style whitethorn not reflect the encyclopedic tone used on Wikipedia. travel to Wikipediasguide to writing better articlesfor suggestions. (October 2010) Stylisticsis the engage and interpretation of texts from a lingual perspective. As a discipline it linksliterary criticismandlinguistics, only if has no autonomous domain of its own. 12The preferred object of stylistic studies isliterature, exclusively not exclusively high literature exactly also different forms of written texts such as text from the domains ofadvertising,pop culture,politicsorreligion. 3 Stylistics also attempts to establish principles capable of explaining the particular choices made by individuals and complaisant groups in their use of lecture, such associalisation, the production and reception ofmeaning, full of lifediscourse summaryandliterary criticism.Other births of stylistics include th e use ofdialogue, including regionalaccentsand tidy sumsdialects, descriptive lyric poem, the use ofgrammar, such as the brisk exampleorpassive voice, the distri providedion ofsentencelengths, the use of particular oral communication files, etc. In addition, stylistics is a diaphanousive term that may be used to determine the connections between the form and effects within a particular variety of lecture. Therefore, stylistics matters at what is going on within the run-in what the linguistic associations be that the style of vocabulary reveals.Contentshide * 1Early 20th century * 2Late twentieth century * 3literary stylistics * 3. 1Poetry * 3. 2Implicature * 3. 3Tense * 3. 4The horizontal surface of song * 4See also * 5Notes * 6References and cerebrate reading * 7External links - editEarly twentieth century The analysis of literary style goes back toClassical rhetoric, but modern stylistics has its root inRussian Formalism,4and the relatedPrague School, in the early tw entieth century. In 1909,Charles BallysTraite de tylistique francaisehad proposed stylistics as a distinct academic discipline to complementSaussureanlinguistics. For Bally, Saussures linguistics by itself couldnt fully describe the language of personal expression. 5Ballys programme fitted well with the aims of the Prague School. 6 build on the root words of the Russian Formalists, the Prague School developed the concept offoregrounding, whereby poetical language stands extinct from the background of non-literary language by means ofdeviation(from the norms of cursory language) orparallelism. 7According to the Prague School, the background language isnt fixed, and the likenessship between poetic and everyday language is always shifting. 8 - editLate twentieth century Roman Jakobsonhad been an active member of the Russian Formalists and the Prague School, before emigrating to America in the 1940s. He brought in concert Russian Formalism and AmericanNew Criticismin his stoppage Statementat a conference on stylistics at inch Universityin 1958. 9Published asLinguistics and Poeticsin 1960, Jakobsons lecture is a lot credited with be the first coherent formulation of stylistics, and his argument was that the study of poetic language should be a sub-branch of linguistics. 10Thepoetic functionwas one of six generalfunctions of languagehe described in the lecture. Michael Hallidayis an heavy figure in the development of British stylistics. 11His 1971 studyLinguistic turn and Literary Style An Inquiry into the Language of William Goldings The Inheritorsis a key essay. 12virtuoso of Hallidays contributions has been the use of the termregisterto explain the connections between language and its scene. 13For Halliday register is distinct fromdialect. Dialect refers to the habitual language of a particular drug user in a specific geographical or social context. cash register describes the choices made by the user,14choices which depend on three variablesfield(wh at the participants argon actually engaged in doing, for instance, discussing a specific subject or topic),15 high-pitched(who is taking part in the exchange) andmode(the use to which the language is being put).Fowler comments that different fields produce different language, most straightforwardly at the level ofvocabulary(Fowler. 1996, 192) The linguistDavid Crystal requests out that Hallidays tenor stands as a roughly equivalent term for style, which is a more specific alternative used by linguists to avoid ambiguity. (Crystal. 1985, 292) Hallidays third category,mode, is what he refers to as the symbolic organisation of the situation. Downes recognises two distinct aspects within the category of mode and suggests that not only does it describe the relation to the medium written, spoken, and so on, but also describes thegenreof the text. Downes. 1998, 316) Halliday refers to genre as pre-coded language, language that has not solely been used before, but that predetermines the se lection of textual meanings. The linguistWilliam Downesmakes the rank that the principal characteristic of register, no matter how unique or diverse, is that it is obvious and immediately recognisable. (Downes. 1998, 309) - editLiterary stylistics InThe Cambridge Encyclopedia of Language, Crystal observes that, in practice, most stylistic analysis has attempted to deal with the complex and treasured language within literature, i. . literary stylistics. He goes on to say that in such examination the scope is sometimes narrowed to concentrate on the more striking features of literary language, for instance, its deviant and abnormal features, rather than the broader structures that are ground in whole texts or discourses. For example, the compact language of poetry is more likely to reveal the secrets of its construction to thestylisticianthan is the language of plays and novels. (Crystal. 1987, 71). editPoetryAs well as conventional styles of language in that respect are the unco nventional the most obvious of which ispoetry. InPractical Stylistics,HG Widdowsonexamines the traditional form of theepitaph, as found on headstones in a cemetery. For example His memory is dear like a shot As in the hour he passed away. (Ernest C. Draper Ern. Died 4. 1. 38) (Widdowson. 1992, 6) Widdowson makes the point that such sentiments are usually not very interesting and suggests that they may as yet be dismissed as crude oral carvings and crude verbal disturbance (Widdowson, 3).Nevertheless, Widdowson recognises that they are a very real attempt to impart feelings of pitying loss and preserve affectionate recollections of a beloved title-holder or family member. However, what may be seen as poetic in this language is not so much in the formulaicphraseologybut in where it appears. The verse may be given undue respect precisely because of the sombre situation in which it is placed. Widdowson suggests that, unlike words furbish up in stone in a graveyard, poetry is un orthodox language that vibrates with inter-textual implications. Widdowson. 1992, 4) Two problems with a stylistic analysis of poetry are renowned byPM WetherillinLiterary Text An Examination of detailed Methods. The first is that there may be an over-preoccupation with one particular feature that may well minimise the significance of opposites that are equally important. (Wetherill. 1974, 133) The chip is that any attempt to see a text as simply a collection of stylistic elements will tend to ignore other ways whereby meaning is produced. (Wetherill. 1974, 133) editImplicatureIn Poetic Effects fromLiterary Pragmatics, thelinguistAdrian Pilkingtonanalyses the idea of implicature, as instigated in the previous work ofDan SperberandDeirdre Wilson. Implicature may be change integrity into two categories strong and wobbly implicature, yet between the two extremes there are a variety of other alternatives. The strongest implicature is what is emphatically implied by the talker or w riter, while weaker implicatures are the all-inclusiver possibilities of meaning that the hearer or lecturer may conclude.Pilkingtons poetic effects, as he footing the concept, are those that achieve most relevance through a wide array of weak implicatures and not those meanings that are simply read in by the hearer or reader. Yet the distinguishing instant at which weak implicatures and the hearer or readers conjecture of meaning start remains highly subjective. As Pilkington says there is no clear cut-off point between assumptions which the speaker certainly endorses and assumptions derived purely on the hearers responsibility. (Pilkington. 991, 53) In addition, the stylistic qualities of poetry can be seen as an concomitant to Pilkingtons poetic effects in understanding a poems meaning. editTense Widdowson points out that inSamuel Taylor Coleridges poem The Rime of the Ancient Mariner (1798), the conundrum of the Mariners abrupt appearance is sustained by an single use of tense. (Widdowson. 1992, 40) For instance, the Mariner holds the wedding-guest with his skinny hand in thepresent tense, but releases it in thepast tense( his hands dropt he. ) only to hold him again, this time with his seem eye, in the present. Widdowson. 1992, 41) editThe point of poetry Widdowson notices that when the content of poetry is summarised, it a good deal refers to very general and unimpressive observations, such as nature is elegant love is great life is lonely time passes, and so on. (Widdowson. 1992, 9) however to say Like as the waves make towards the pebbled shore, So do our proceeding hasten to their end William Shakespeare, 60. Or, indeed Love, all alike, no chasten knows nor clime, Nor hours, days months, which are the rags of time John Donne, The Sun Rising,Poems(1633)This language gives uswho? a new perspective on familiar themes and allows us to look at them without the personal or social conditioning that we unconsciously unite with them. (Widdowson . 1992, 9) So, although wewho? may still use the same exhausted words and unclear terms like love, heart and soul to refer to human experience, to place these words in a new and refreshing context allows the poet the ability to represent humanity and communicate honestly. This, in part, is stylistics, and this, according to Widdowson, is the point of poetry (Widdowson. 1992, 76).