Publisher:
Pearson Education Limited, [Harlow]
;
Routledge Taylor & Francis Group, London
Over a period of over forty years, Geoffrey Leech has made notable contributions to the field of literary stylistics, using the interplay between linguistic form and literary function as a key to the ?mystery' of how a text comes to be invested with...
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Over a period of over forty years, Geoffrey Leech has made notable contributions to the field of literary stylistics, using the interplay between linguistic form and literary function as a key to the ?mystery' of how a text comes to be invested with artistic potential. In this book, seven earlier papers and articles, read previously only by a restricted audience, have been brought together with four new chapters, the whole volume showing a continuity of approach across a period when all too often literary and linguistic studies have appeared to drift further apart. Leech sets the concept of
Cover; Title; Copyright; Contents; Preface; Acknowledgements; 1 Introduction: about this book, its content and its viewpoint; 1.1 Stylistics as an 'interdiscipline'; 1.2 The chapter-by-chapter progression of this book; 1.3 A digression on 'literariness'; 1.4 A list of texts examined; Notes; 2 Linguistics and the figures of rhetoric; 2.1 Introduction; 2.2 A linguistic perspective on literary language; 2.3 Figures of speech as deviant or foregrounded phenomena in language; 2.4 Classifying figures of speech; 2.5 Linguistic analysis and criticial appreciation; Notes
3 'This bread I break' - language and interpretation3.1 Cohesion in a text; 3.2 Foregrounding; 3.3 Cohesion of foregrounding; 3.4 Implications of context; 3.5 Conclusion: interpretation; Notes; 4 Literary criticism and linguistic description; 4.1 The nature of critical statements; 4.2 The nature of linguistic statements; 4.3 The relation between critical and linguistic statements; 4.4 Leavis on Keats's 'Ode to a Nightingale'; 4.5 Linguistic support for Leavis's account; 4.6 Conclusion; Notes; 5 Stylistics; 5.1 Introduction; 5.2 The text: 'Ode to the West Wind' by Percy B. Shelley
5.3 Stylistic analysis: deviation and foregrounding5.4 Secondary and tertiary deviation; 5.5 Coherence of foregrounding; 5.6 The poem's interpretation; 5.7 Conclusion; Notes; 6 Music in metre: 'sprung rhythm' in Victorian poetry; 6.1 Introduction; 6.2 A multilevelled account of metre: four levels of metrical form; 6.3 Why we need a separate layer of musical scansion; 6.4 Sprung rhythm; 6.5 Conclusion; Appendix: Further illustrations of musical scansion; Notes; 7 Pragmatics, discourse analysis, stylistics and 'The Celebrated Letter'
7.1 The close affinity between pragmatics, discourse analysis and stylistics: a goal-oriented framework7.2 Politeness and irony in a multi-goaled view of communication; 7.3 Samuel Johnson's 'Celebrated Letter' as a demonstration text; 7.4 Conclusion: there is no dichotomy between literary and non-literary texts; Notes; 8 Stylistics and functionalism; 8.1 Roman Jakobson: a formalistic functionalist; 8.2 A goal-oriented multifunctionalism; 8.3 Typologies of language function and kinds of meaning; 8.4 Functionalism in terms of a threefold hierarchy; 8.5 Applications to literature
8.6 Jakobson's poetic function revisited: autotelism8.7 Conclusion; Notes; 9 Pragmatic principles in Shaw's You Never Can Tell; 9.1 Introduction; 9.2 The plot of Shaw's You Never Can Tell; 9.3 Pragmatic principles and pragmatic deviation; 9.4 (Un)cooperative and (im)polite behaviour in the play; 9.5 Quality and quantity: rights and obligations; 9.6 Pragmatic abnormalities of character; 9.7 A system of pragmatic contrasts; 9.8 'You never can tell'; Notes; 10 Style in interior monologue: Virginia Woolf's 'The Mark on the Wall'; 10.1 Introduction
10.2 The formal levels of phonology, lexigrammar and semantics
