TUESDAY, OCTOBER 22, 2013 CH 9 STYLISTICS, 274-86 Stylistics: Stylistics is the study of how language functions in texts to achieve

certain meanings and effects linguistic readers: apply their linguistic knowledge in analyzing the language of a text to discover what it means and what its effects are by examining how it means. It is a methodology (as well as a field) that strives to create an objective basis for further analysis and interpretation It often but not exclusively studies literary texts, poetry, and unusual language Stylistic Analysis: Stylistic analysis involves two main steps: 1) systematic labeling or description of language in the text (empirical, objective), 2) critical analysis of the effects of that language (interpretive, subjective) In stylistics, language and literature (or text) come together, and both form and content are at issue. Examines authorial choices and their effects (intellectual, emotional, aesthetic) on the reader: some choices will be individual, others generic Preliminary Questions to Ask When Doing Stylistic Analysis To what genre does the text belong? Is it literary or non-literary? Who is its audience? What do we expect of it? Whats its purpose? What choices did the author make and why? What else about the use of language in it is noticeable? E.g., the novel as democratic or revolutionary; or the privilege of poetry [education, class] Genres and Registers Genre refers to text types categorized according to formal features or to the situations and contexts that require them (poetry, prose, drama; and subtypes, etc.) Register refers to language varieties categorized according to their purpose and use in social situations (literary or non-literary, formal or informal, spoken or written, poetic language not in a poem?, etc.) Again, were looking at what features and conventions characterize different texts; e.g., rsum, argument essay

Note that expectations and assumptions (on the part of authors and audience) can determineCohesion and Cohesive Devices

Cohesion refers to how linguistic features connect parts (sentences) into a single unified text (cf. list vs. poem) several such ties used to connect the parts into a whole: reference across sentences (e.g., pronouns, demonstratives, comparatives), ellipsis and substitution (info is left out or substituted), conjunction across clauses (joining words or punctuation indicating necessary relationships, e.g., therefore), lexical cohesion (via word repetition or use of synonyms or collocations) Note the ties are objective not subjective though their meaning and/or effectiveness Narrative Structures A narrative: is an interesting and structured arrangement of events over time usu. involving a conflict or complication; it is not mere description or exposition; (cf. story vs. plot, contra description) Depending on whose analysis it is, and on the kind of narrative, a narrative will have a certain number of functioning parts or features (cf. Freytag) Again, we read expecting those structures and features Cf. narratology, if interested

Narrative, cont. Authors of narrative make linguistic choices about perspective, speech or dialogue, and action to achieve certain (intended) effects Choice of perspective can help develop theme or connect with readers, incl. emotionally; e.g. 1st vs. 3rd person; cf. personal deictics Choice to convey speech directly or indirectly can influence audience reaction and interpretation; e.g., reliability; is dialogue like real conversation? Is dialogue subtly enacting character conflict? Choice of how to convey action, esp. in terms of participant roles and voice (who gets to do what to whom and why) and use of verbs Diction (Word Choice) The precise word matters; writers (should) choose carefully Diction can involve all areas of English linguistics (phonology, morphology, syntax, semantics, etc.) to achieve different effects Think of the various processes weve studied and accordingly all the choices available to a writer;

e.g. sound changes or semantic changes or morphological processes Literary writers, esp. poets, use diction to great effect, incl. metaphors, archaic language, nonce words, slant rhymes, etc.

Stylistics and Poetry In poetry esp. we notice how language matters beyond its ability merely to convey meaning or refer to something Poets use or play with expected poetic conventions like meter, rhyme, anaphora, enjambment, alliteration, etc. to achieve effects for the poem as a whole E.g., Whats rhyme, that staple of poetry, if not phonology in

action, as well as semantic connection or cohesion

E.g., Alliteration as cohesive in poetry

Jakobsons two poetic axes: horizontal combination (metonymy; e.g., plot, syntax) and vertical selection (metaphor; e.g., diction)
Methodological Suggestions for Stylistic Analysis 1. Maybe start with a sense of the poems overall meaning and consider

2.

cohesion! Notice linguistic elements systematically:

Orthography (Spelling) Phonology Morphology Syntax Semantics 3. Return to the question of meaning via select standout linguistic elements and stylistic choices, also considering matters of genre, register, reader expectations, structure (rhythmical or narrative), speech acts, diction, figurative devices, etc.
E.E. Cummings, Me up at does Me up at does

out of the floor quietly Stare a poisoned mouse still who alive is asking What have i done that Sample Analysis (Selective) Violent syntax reflects violent content of the poem Disordered syntax reflects a disorderly (and violent, unequal) world or world-view Language doesnt play by the grammatical rules to highlight how creatures (esp. humans) dont play by the rules Use of pronouns is confrontational and/or guilty (opening me; Difference in capitalization of pronouns indicates creatures supposed inequality (but Stare contradicts this and last line meaningfully unites them); Pronouns and personification together indicate a (ethical) I-thou not I-it relationship; The meter

34 of the points will be you doing stylistic analysis of a given passage (cf. 9.6.2)