By Geoffrey N. Leech, Michael H. Short
"Stylistics" is the examine of language within the carrier of literary ends, and in Style in Fiction, Geoffrey Leech and Mick brief display how stylistic research should be utilized to novels and tales. Writing for either scholars of English language and English literature, they exhibit the sensible ways that linguistic research and literary appreciation should be mixed, and illuminated, throughout the examine of literary kind. Drawing ordinarily on significant works of fiction of the final one hundred fifty years, their useful and insightful exam of fashion via texts and extracts results in a deeper knowing of ways prose writers in attaining their results via language.
Since its first book in 1981, Style in Fiction has validated itself as a key textbook in its box, promoting approximately 30,000 copies. Now, during this revised version, the authors have extra colossal new fabric, together with thoroughly new concluding chapters. those supply an in depth, up to date survey of advancements within the box over the last 25 years, and observe the equipment provided in past chapters to an research of a complete brief tale. The extra examining part and the bibliographical references have additionally been completely updated.
In 2005 Style in Fiction was offered the twenty fifth Anniversary Prize by means of PALA (The Poetics and Linguistics organization) because the such a lot influential booklet released within the box of stylistics 1980. additional facts, if facts have been wanted, that Style in Fiction continues to be a vintage consultant to its discipline.
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Additional info for Style in Fiction: A Linguistic Introduction to English Fictional Prose
23 In keeping with this thesis, Lodge is prepared to see no difference between the kind of choice a writer makes in deciding to call a character dark or fair, and the choice between synonyms such as dark and swarthy. All the choices the author makes are equally matters of language. 4 Comparing dualism and monism We can see the justice of Lodge’s claim that there is no discontinuity between the way language is used in prose and in poetry. But this conclusion should lead us to an accommodation between dualism and monism rather than the rejection of one in favour of the other.
To put it most simply, dualism is happier with prose, and monism with poetry. But this oversimplifies a more complex situation. If the difference between prose and poetry is defined at its most banal level, by the absence or presence of verse form, then some types of poetry are more ‘prosaic’ than others, and some types of prose are more ‘poetic’ than others. Here we may confront Lodge with his fellow critic–novelist, Anthony Burgess, who in Joysprick: an introduction to the language of James Joyce, proposes a division of novelists into ‘Class 1’ and ‘Class 2’.
The desk and the shelf above it on which rested the ledgers in which McCaslin recorded the slow outward trickle of food and supplies and equipment which returned each fall as cotton made and ginned and sold . . This is then ‘destransformed’ as follows: 18 Style and choice  . . the desk. The shelf was above it. The ledgers rested on the shelf. The ledgers were old. McCaslin recorded the trickle of food in the ledgers. McCaslin recorded the trickle of supplies in the ledgers. McCaslin recorded the trickle of equipment in the ledgers.