目錄
Foreword
Preface to the second edition
Acknowledgements
Publisher's acknowledgements
Introduction
Aim
Language in prose and poetry
Where linguistics comes in
The scope and design of this book
Notes
PART ONE: APPROACHES AND METHODS
1 Style and choice
1.1 The domain of style
1.2 Stylistics
1.3 Style and content
1.3.1 Style as the 『dress of thought': one kind of dualism
1.3.2 Style as manner of expression: another kind of dualism
1.3.3 The inseparability of style and content: monism
1.4 Comparing dualism and monism
1.5 Pluralism: analysing style in terms of functions
1.6 A multilevel approach to style
1.7 Conclusion: meanings of style
Notes
2 Style, text and frequency
2.1 The problem of 『measuring' style
2.2 The uses of arithmetic
2.3 Deviance, prominence and literary relevance
2.4 Relative norms
2.5 Primary and secondary norms
2.6 Internal deviation
2.7 Pervasive and local characteristics of style
2.8 Variations in style
2.9 Features of style
2.10 Style markers and the principle of selection
2.11 Conclusion
Notes
3 A method of analysis and some examples
3.1 A checklist of linguistic and stylistic categories
3.2 Notes on the categories
3.3 Joseph Conrad: example 1
3.4 D.H. Lawrence: example 2
3.5 Henry James: example 3
3.6 Conclusion
3.7 Quantitative appendix
Notes
4 Levels of style
4.1 Language as a cognitive code
4.2 Messages and models of reality
4.3 An example: Katherine Mansfield
4.3.1 The semantic level
4.3.2 The syntactic level
4.3.3 The graphological level
4.3.4 Phonological effects
4.4 A justification for studying stylistic variants
4.5 Levels and functions
4.6 Style and qualitative foregrounding
4.7 The remainder of this book
Notes
PART TWO: ASPECTS OF STYLE
5 Language and the fictional world
5.1 Language, reality and realism
5.2 Reality and mock reality
5.3 Specification of detail: symbolism and realism
5.4 Real speech and fictional speech
5.4.1 Realism in conversation
5.4.2 Dialect and idiolect
5.4.3 Speech and character
5.5 The rendering of the fiction
5.5.1 Fictional point of view
5.5.2 Fictional sequencing
5.5.3 Descriptive focus
5.6 Conclusion
Notes
6 Mind style
6.1 How linguistic choices affect mind style
6.2 A comparison of three normal mind styles
6.3 Some more unusual mind styles
6.4 A very unusual mind style
6.4.1 General structure
6.4.2 Lexis
6.4.3 Syntax
6.4.4 Textual relations
Notes
7 The rhetoric of text
7.1 The rhetoric of text and discourse
7.2 The linearity of text
7.3 The principle of end-focus
7.4 Segmentation
7.4.1 The 『rhythm of prose'
7.4.2 Segmentation and syntax
7.5 Simple and complex sentences
7.5.1 Coordination and subordination
7.5.2 The principle of climax: 『last is most important'
7.5.3 Periodic sentence structure
7.5.4 Loose sentence structure
7.6 Addresser-based rhetoric: writing imitating speech
7.7 Iconicity: the imitation principle
7.7.1 Three principles of sequencing
7.7.2 Juxtaposition
7.7.3 Other forms of iconicity
7.8 Cohesion
7.8.1 Cross-reference
7.8.2 Linkage
7.9 Conclusion
Notes
8 Discourse and the discourse situation
8.1 The discourse situation of literature
8.1.1 Implied author and implied reader
8.1.2 Authors and narrators
8.1.3 Narrators and characters
8.2 Point of view and value language
8.3 Multiplicity of values
8.4 Irony
8.5 Authorial tone
8.6 Conclusion
Notes
9 Conversation in the novel
9.1 Pragmatics and the interpretation of conversation
9.1.1 Speech acts
9.1.2 Conversational implicature
9.2 Pragmatics and thought
9.3 『Conversation'between authors and readers
9.4 An extended pragmatic analysis
9.5 Conversational tone
9.5.1 An example: references to people
9.5.2 Other indicators of politeness
9.5.3 Politeness and formality
9.6 Conclusion
Notes
10 Speech and thought presentation
10.1 The presentation of speech
10.1.1 Direct and indirect speech (Ds and 1s)
10.1.2 Free direct speech (FDS)
10.1.3 The narrative report of speech acts (NRSA)
10.1.4 Free indirect speech (FIS)
10.1.5 The effects and uses of FIs
10.2 The presentation of thought
10.2.1 The categorisation of thought presentation
10.2.2 The relationship between inner speech and point of view
10.2.3 Uses of the categories of thought presentation
10.3 Conclusion
Notes
11 Stylistics and fiction 25 years on
11.1 The development of stylistics as a sub-discipline
11.2 New developments in the stylistic analysis of prose fiction and what, with hindsight, we would add to Style in Fiction
11.2.1 Story/plot
11.2.2 Fictional worlds, text worlds, mental spaces
11.2.3 Character and characterisation
11.3 New developments in the stylistics of prose fiction and what, with hindsight, we would change in Style in Fiction
11.3.1 Different kinds of viewpoint and different linguistic indicators of viewpoint
11.3.2 Narratological aspects of viewpoint
11.3.3 Speech, thought and writing presentation
11.4 Detail and precision, and the way ahead
12 The Bucket and the Rope'
12.1 T.F.Powys
12.2 『The Bucket and the Rope'
12.3 Discussion of 『The Bucket and the Rope'
12.3.1 Provisional interpretative comments on the story
12.3.2 The title of the story: schemata and associations
12.3.3 The story's discourse structure: narration, speech presentation and 『framing'
12.3.4 The story's structure
12.3.5 Structuralist and possible worlds accounts of literary narratives: Claude Br?mond and Marie-Laure Ryan
12.3.6 Linking structure and interpretation: Claude L?vi-Strauss
12.3.7 Fictional worlds and viewpoint
12.3.8 Textual analysis in terms of lexis, grammar and meaning
12.3.9 Characterisation
12.4 Assessing the new techniques
Notes
Passages and topics for further study
Further reading
Bibliography
Index of works discussed
General index
[