722018513 03 01 01 JB John Benjamins Publishing Company 01 JB code LAL 34 Eb 15 9789027261953 06 10.1075/lal.34 13 2019030625 DG 002 02 01 LAL 02 1569-3112 Linguistic Approaches to Literature 34 <TitleType>01</TitleType> <TitleText textformat="02">Style, Rhetoric and Creativity in Language</TitleText> <Subtitle textformat="02">In memory of Walter (Bill) Nash (1926-2015)</Subtitle> 01 lal.34 01 https://benjamins.com 02 https://benjamins.com/catalog/lal.34 1 B01 Paul Simpson Simpson, Paul Paul Simpson Liverpool University 01 eng 215 ix 205 LAN015000 v.2006 CFG 2 24 JB Subject Scheme LIN.DISC Discourse studies 24 JB Subject Scheme LIN.ENG English linguistics 24 JB Subject Scheme LIN.GERM Germanic linguistics 24 JB Subject Scheme LIN.PRAG Pragmatics 24 JB Subject Scheme LIT.ENGL English literature & literary studies 24 JB Subject Scheme LIT.THEOR Theoretical literature & literary studies 06 01 This commemorative volume comprises ten essays which celebrate the work of Walter (Bill) Nash. Bill Nash was an extraordinary scholar – a classicist, parodist, critic, musician, linguist, poet, polyglot, humourist and novelist. He was as adroit in his reading of the Old Norse sagas as he was in his analyses of the rhetorical composition of everyday English usage, and his published outputs embrace the stylistic, rhetorical, compositional and creative topographies of both language and literature. The contributions that comprise this volume are all by well-known scholars in the field and each essay celebrates Nash’s prodigious offering by covering the academic fields with which he was particularly associated. These fields include composition, rhetoric, discourse analysis, English usage, comic discourse, creative writing and the stylistic exploration of literature from the Old English period to that of the present day. 04 09 01 https://benjamins.com/covers/475/lal.34.png 04 03 01 https://benjamins.com/covers/475_jpg/9789027204301.jpg 04 03 01 https://benjamins.com/covers/475_tif/9789027204301.tif 06 09 01 https://benjamins.com/covers/1200_front/lal.34.hb.png 07 09 01 https://benjamins.com/covers/125/lal.34.png 25 09 01 https://benjamins.com/covers/1200_back/lal.34.hb.png 27 09 01 https://benjamins.com/covers/3d_web/lal.34.hb.png 10 01 JB code lal.34.ack ix x 2 Miscellaneous 1 <TitleType>01</TitleType> <TitleText textformat="02">Acknowledgements</TitleText> 10 01 JB code lal.34.01sim 1 8 8 Chapter 2 <TitleType>01</TitleType> <TitleText textformat="02">Introduction</TitleText> 1 A01 Paul Simpson Simpson, Paul Paul Simpson Liverpool University 2 A01 Ronald Carter Carter, Ronald Ronald Carter Nottingham University 10 01 JB code lal.34.02nas 9 10 2 Chapter 3 <TitleType>01</TitleType> <TitleText textformat="02">An indicative list of publications by Walter Nash</TitleText> <TitlePrefix>An </TitlePrefix> <TitleWithoutPrefix textformat="02">indicative list of publications by Walter Nash</TitleWithoutPrefix> 10 01 JB code lal.34.03coc 11 36 26 Chapter 4 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;1. &#8220;Warmth of thought&#8221; in Walter Nash&#8217;s prose and verse</TitleText> 1 A01 Susan Cockcroft Cockcroft, Susan Susan Cockcroft Nottingham University 2 A01 Robert Cockcroft Cockcroft, Robert Robert Cockcroft Nottingham University 20 calor cogitationis 20 confessional 20 Quintilian 20 religious texts 20 rhetoric 20 secular writing 20 warmth (of thought) 01 This chapter explores the means through which Walter Nash engages readers of his prose and verse, centring on the concept of &#8220;warmth of thought&#8221;, which derives from Quintilian. Discussion of the poetry stresses the significance of the word &#8220;heart&#8221;, especially in personal and religious contexts&#160;&#8211; and in translation of Horace as representative of the secular tradition. It shows how the resources of verse are adapted by Nash as a poet, at once confessional and broadly empathetic, and how he explores the uses and resources of prose, in a whole range of genres, as seen in his publications beginning with <i>Designs in Prose.</i> Throughout, &#8220;warmth of thought&#8221; is a dominant characteristic as he enlightens, encourages and entertains both readers and prospective writers. 10 01 JB code lal.34.04sto 37 56 20 Chapter 5 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;2. Chrysanthemums for Bill</TitleText> <Subtitle textformat="02">On Lawrentian style and stylistics</Subtitle> 1 A01 Peter Stockwell Stockwell, Peter Peter Stockwell Nottingham University 20 attractor 20 critical theory 20 D."H. Lawrence 20 resonance 20 subliminal effects 20 texture 20 viewpoint 01 This chapter on a short story by D.&#8239;H. Lawrence revisits a key stylistic account of the text by Bill Nash, which was criticised both specifically and as a general representation of stylistic practice. The chapter addresses those criticisms, differentiating those that are misplaced from those that might have had a reasonable basis. It claims that many of these older objections can be addressed by more recent innovations in the discipline, and in fact that Nash prefigured some later literary linguistics, though he lacked the tools to develop his solutions at the time. In this analysis, these innovations are drawn from the broadening of stylistics to encompass matters that would previously have been regarded as extra-linguistic, in the form of a cognitive poetics. 10 01 JB code lal.34.05sta 57 76 20 Chapter 6 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;3. The doubling of design in Walter Nash&#8217;s <i>Rhetoric</i></TitleText> <Subtitle textformat="02"><i>The Wit of Persuasion</i></Subtitle> 1 A01 David E. Stacey Stacey, David E. David E. Stacey Humboldt State University 20 CNN 20 disposition (in rhetoric analysis) 20 'mythogram' 20 persuasion 20 political speech 20 rhetorical 20 taxis 01 This chapter takes as its point of departure a simple diagram which appears at the beginning of Walter Nash&#8217;s (1989)<x> </x> <i>Rhetoric: The Wit of Persuasion</i>. As argued, this diagram offers a key to understanding Nash&#8217;s unique conception of classical, renaissance and modern rhetoric. Focusing upon the rhetorical canon of <i>taxis/disposition</i>, or arrangement, the chapter explores how Nash celebrates the skill of writers of canonical literary texts, and of canny speakers in everyday situations, to design powerful schemes of persuasion. It is suggested that listeners and readers appreciate the aesthetic realization of language designed to persuade. The author observes how Nash&#8217;s approach is to encourage receivers of language actively to take power in rhetorical situations by parodying and rewriting, in order to critically understand and creatively revise these schemes of persuasion. These observations are complemented by an analysis of a press conference held by US President Donald Trump&#8217;s first press secretary, Sean Spicer. 10 01 JB code lal.34.06ver 77 84 8 Chapter 7 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;4. Riddling: The dominant rhetorical device in W.&#8239;H. Auden&#8217;s &#8220;The Wanderer&#8221;</TitleText> 1 A01 Peter Verdonk Verdonk, Peter Peter Verdonk University of Amsterdam 20 "Exeter Book" 20 "Wanderer, The" 20 Anglo-Saxon poetry 20 Auden, W. H. 20 kenning 20 riddles 01 This chapter focuses on rhetorical and stylistic patterns in W.&#8239;H. Auden&#8217;s &#8220;The Wanderer&#8221; (1966). After a preliminary stylistic analysis of the poem&#8217;s sound, grammar and vocabulary, the author shifts to consider aspects of the wider discoursal context in which Auden&#8217;s poem is framed. This enlarging of the poem&#8217;s context is assisted through the incorporation of relevant particulars from Auden&#8217;s biography, from around the time the poet was writing &#8220;The Wanderer&#8221;. It is pointed out how Auden himself talked of his fascination with Anglo-Saxon poetry, with its metrical and rhetorical devices. The chapter also explores the ways in which a stronger interpretation of the poem can be reached by positioning the poem&#8217;s language against the phonological and rhetorical arrangements of Anglo-Saxon poetry. Particular attention is paid both to the rhetorical device of <i>kenning</i> and to the stylistic and rhetorical composition of riddles in the Exeter Book. The chapter concludes that a rounder and more productive reading of Auden&#8217;s &#8220;The Wanderer&#8221; can be reached when it is informed by knowledge of the rhetorical and stylistic features of its literary precursor. 10 01 JB code lal.34.07cal 85 100 16 Chapter 8 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;5. &#8220;My Shakespeare, rise&#8221;</TitleText> <Subtitle textformat="02">Ben Jonson&#8217;s pronominal choices in &#8220;To the Memory of My Beloved, the Author&#8221; (1623)</Subtitle> 1 A01 Clara Calvo Calvo, Clara Clara Calvo University of Murcia 20 "To the Memory of My Beloved, the Author" 20 eulogy 20 First Folio 20 Jonson, Ben 20 pronominal choice 20 pronominal density 20 pronouns 20 rhetorical structure 01 This chapter focuses on the book <i>Mr. William Shakespeare&#8217;s Comedies, Histories and Tragedies</i> (1623), which is widely known today as the First Folio. When the First Folio was printed in 1623, the editors and printers included in its preliminary matter several poems in praise of Shakespeare. Among these were two by the author&#8217;s friend and rival, Ben Jonson. One of the poems, &#8220;To the Memory of My Beloved, the Author&#8221;, displays an unusual pronominal density and contains some intriguing pronominal choices. This chapter examines the rhetorical fabric of Jonson&#8217;s eulogy for Shakespeare and dissects the critical and ideological implications of its peculiar use of the pronominal system. It focuses in particular on the use of first person possessive pronouns such as &#8220;my&#8221; and &#8220;ours&#8221; in relation to Jonson&#8217;s personal agenda: his self-fashioning as literary critic and his support, as Poet Laureate in all but name, for King James&#8217;s vision of a united Britain. 10 01 JB code lal.34.08sho 101 112 12 Chapter 9 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;6. Discourse presentation and point of view in &#8220;Cheating at Canasta&#8221; by William Trevor</TitleText> 1 A01 Mick Short Short, Mick Mick Short University of Lancaster 20 focaliser 20 politeness 20 speech presentation 20 text worlds 20 thought presentation 20 turn taking 01 This chapter examines the closing section of William Trevor&#8217;s short story, &#8220;Cheating at Canasta&#8221; (2007). Focussing on shifts in narrative viewpoint in the passage, the chapter teases out the complex transitions in viewpoint features, showing how Mallory, the story&#8217;s focaliser, engages in changing perceptions of, and reactions to, his immediate environment. Viewpoint transitions at the level of narrative style, it is argued, engender parallel shifts in the character&#8217;s changing cognitive purview, including memory, response and flashback as well as his internal assumptions and hypotheses. The author shows how a subtle understanding of the passage (and indeed the story as a whole) can enable an appreciation of the quality of the writing, concluding that stylistic analyses help to show not just how we <i>understand</i> literary texts but also why and how we <i>appreciate</i> them. 10 01 JB code lal.34.09too 113 126 14 Chapter 10 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;7. Doing and teaching</TitleText> <Subtitle textformat="02">From <i>Kettle of Roses</i> to <i>Language and Creative Illusion</i> and back again</Subtitle> 1 A01 Michael Toolan Toolan, Michael Michael Toolan University of Birmingham 20 creativity 20 heightened engagement 20 illusion 20 narrative closure 01 This chapter explores the continuity between Bill Nash&#8217;s academic work on style and stylistics and his fiction writing. In both forms, Nash aimed to instruct and entertain, and saw that to achieve those ends one had to be seriously playful and use a creative imagination. The chapter focusses specifically on the stylistic means by which Nash closes his short novel, <i>Kettle of Roses</i>, a novel that takes the form of eighteen expansive letters from Edna Pugh to a childhood friend, reporting the recent developments in Edna&#8217;s life. There seems no decisive basis in plot or logic for the letters to leave off where they do, so arguably Nash is faced with a problem: how to bring the novel to a satisfying close. The author shows how stylistic analysis of a paragraph in the final letter highlights the presence of many of the features he has called High Emotional Involvement (HEI) narration, a style of narration that creates a more intense engagement, emotionally and ethically, in the story situation than is encountered elsewhere in the narrative. The author has found HEI narration used near the close of many modern short stories, where it seems to be used in part to make the imminent ending satisfying and acceptable to the reader. It serves a similar function in <i>Kettle of Roses</i>. 10 01 JB code lal.34.10stu 127 148 22 Chapter 11 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;8. Fact, fiction and French flights of fancy</TitleText> 1 A01 Michael Stubbs Stubbs, Michael Michael Stubbs University of Trier 20 caricature 20 fictional worlds 20 French intellectuals 20 intertextual references 20 ordinary versus professional readers 20 parody 20 satire 20 semiotics 01 This chapter discusses a satirical novel: <i>La septi&#232;me fonction du langage</i> by Laurent Binet, published in 2015. The book is a thriller with a deliberately absurd plot about a search for a lost manuscript which holds the secret of ultimate rhetorical power: the ability to convince anyone to do anything. Although the characters in the novel include some &#8220;real people&#8221;, such as two former Presidents of France, Stubbs argues that Binet&#8217;s characters in general embody an extreme mix of factual and fictional characteristics, and the merciless satire expressed in their mixed ontological status has left many ordinary readers and professional critics uncertain how to evaluate the novel. Stubbs employs various models of analysis, including John Searle&#8217;s observations on the logical status of fictional discourse, and contends that, while useful, this approach does not explain in full how readers distinguish fact from fiction, nor indeed how far writers can appropriately go with outrageous caricatures of living persons. In sum, the chapter shows how the novel provides textual problems which have not been solved by either literary scholars or language philosophers. 10 01 JB code lal.34.11car 149 170 22 Chapter 12 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;9. Common Language</TitleText> <Subtitle textformat="02">Corpus, creativity and cognition*</Subtitle> 1 A01 Ronald Carter Carter, Ronald Ronald Carter Nottingham University 20 creativity 20 linguistic and literary theory 20 literariness 20 literary language 20 pleasure 20 spoken discourse 20 verbal play 01 This chapter takes further debates concerning the nature of literary language and the presence of literariness in a range of discourses by exploring the extent to which everyday conversational discourse displays literary properties. The author argues that studies of literary discourse, and of the continuities between literary and non-literary discourse, have tended to focus on written language or on representations of spoken discourse in fictional or dramatic dialogues. This emphasis has made for questionable connections between literature, literacy and the written language because it assumes that spoken language is no more than a less patterned version of written language. Using the Cambridge and Nottingham Corpus of Discourse in English (CANCODE), the author shows how verbal inventiveness is pervasive in ordinary talk. The chapter concludes that common, everyday language is far from being either everyday or common&#160;&#8211; on the contrary, it is pervasively &#8220;poetic&#8221;. 10 01 JB code lal.34.12sim 171 192 22 Chapter 13 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;10. &#8220;Americans don&#8217;t do Irony&#8221;</TitleText> <Subtitle textformat="02">Cross-cultural perspectives on the pragmatics of irony</Subtitle> 1 A01 Paul Simpson Simpson, Paul Paul Simpson Liverpool University 20 'folk' linguistics 20 humorous language 20 ironic situations 20 irony 20 non-ironic situations 20 quantification 20 situational irony 01 This chapter probes the common (and perhaps controversial) perception of many in the UK and Ireland that people from North America &#8220;don&#8217;t do&#8221; irony. Stimulated by the type of discussion found in Nash&#8217;s <i>The Language of Humour</i> (1985), the author interrogates this folk belief by developing a quantitative methodology to capture the ways in which ironic situations are interpreted by people from diverse national backgrounds. This methodology comprises an anonymous online experiment which gathers reactions to six narrative scenarios from over 300 informants world-wide. Each informant is required to provide a one-word response to each scenario after which they may offer an optional, longer free-text commentary on the same story. In the course of the chapter, the author advances a theoretical model of situational irony, while the results elicited from the survey shed some light on what people from different parts of the world understand as an <i>ironic</i> situation. 10 01 JB code lal.34.p1 Section header 14 <TitleType>01</TitleType> <TitleText textformat="02">POEM</TitleText> 10 01 JB code lal.34.13coc 193 194 2 Miscellaneous 15 <TitleType>01</TitleType> <TitleText textformat="02">Defunct Address</TitleText> 10 01 JB code lal.34.ind1 195 197 3 Miscellaneous 16 <TitleType>01</TitleType> <TitleText textformat="02">Name index</TitleText> 10 01 JB code lal.34.ind2 199 205 7 Miscellaneous 17 <TitleType>01</TitleType> <TitleText textformat="02">Subject index</TitleText> 02 JBENJAMINS John Benjamins Publishing Company 01 John Benjamins Publishing Company Amsterdam/Philadelphia NL 04 20191128 2019 John Benjamins B.V. 02 WORLD 13 15 9789027204301 01 JB 3 John Benjamins e-Platform 03 jbe-platform.com 09 WORLD 21 01 00 95.00 EUR R 01 00 80.00 GBP Z 01 gen 00 143.00 USD S 906018512 03 01 01 JB John Benjamins Publishing Company 01 JB code LAL 34 Hb 15 9789027204301 13 2019030624 BB 01 LAL 02 1569-3112 Linguistic Approaches to Literature 34 <TitleType>01</TitleType> <TitleText textformat="02">Style, Rhetoric and Creativity in Language</TitleText> <Subtitle textformat="02">In memory of Walter (Bill) Nash (1926-2015)</Subtitle> 01 lal.34 01 https://benjamins.com 02 https://benjamins.com/catalog/lal.34 1 B01 Paul Simpson Simpson, Paul Paul Simpson Liverpool University 01 eng 215 ix 205 LAN015000 v.2006 CFG 2 24 JB Subject Scheme LIN.DISC Discourse studies 24 JB Subject Scheme LIN.ENG English linguistics 24 JB Subject Scheme LIN.GERM Germanic linguistics 24 JB Subject Scheme LIN.PRAG Pragmatics 24 JB Subject Scheme LIT.ENGL English literature & literary studies 24 JB Subject Scheme LIT.THEOR Theoretical literature & literary studies 06 01 This commemorative volume comprises ten essays which celebrate the work of Walter (Bill) Nash. Bill Nash was an extraordinary scholar – a classicist, parodist, critic, musician, linguist, poet, polyglot, humourist and novelist. He was as adroit in his reading of the Old Norse sagas as he was in his analyses of the rhetorical composition of everyday English usage, and his published outputs embrace the stylistic, rhetorical, compositional and creative topographies of both language and literature. The contributions that comprise this volume are all by well-known scholars in the field and each essay celebrates Nash’s prodigious offering by covering the academic fields with which he was particularly associated. These fields include composition, rhetoric, discourse analysis, English usage, comic discourse, creative writing and the stylistic exploration of literature from the Old English period to that of the present day. 04 09 01 https://benjamins.com/covers/475/lal.34.png 04 03 01 https://benjamins.com/covers/475_jpg/9789027204301.jpg 04 03 01 https://benjamins.com/covers/475_tif/9789027204301.tif 06 09 01 https://benjamins.com/covers/1200_front/lal.34.hb.png 07 09 01 https://benjamins.com/covers/125/lal.34.png 25 09 01 https://benjamins.com/covers/1200_back/lal.34.hb.png 27 09 01 https://benjamins.com/covers/3d_web/lal.34.hb.png 10 01 JB code lal.34.ack ix x 2 Miscellaneous 1 <TitleType>01</TitleType> <TitleText textformat="02">Acknowledgements</TitleText> 10 01 JB code lal.34.01sim 1 8 8 Chapter 2 <TitleType>01</TitleType> <TitleText textformat="02">Introduction</TitleText> 1 A01 Paul Simpson Simpson, Paul Paul Simpson Liverpool University 2 A01 Ronald Carter Carter, Ronald Ronald Carter Nottingham University 10 01 JB code lal.34.02nas 9 10 2 Chapter 3 <TitleType>01</TitleType> <TitleText textformat="02">An indicative list of publications by Walter Nash</TitleText> <TitlePrefix>An </TitlePrefix> <TitleWithoutPrefix textformat="02">indicative list of publications by Walter Nash</TitleWithoutPrefix> 10 01 JB code lal.34.03coc 11 36 26 Chapter 4 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;1. &#8220;Warmth of thought&#8221; in Walter Nash&#8217;s prose and verse</TitleText> 1 A01 Susan Cockcroft Cockcroft, Susan Susan Cockcroft Nottingham University 2 A01 Robert Cockcroft Cockcroft, Robert Robert Cockcroft Nottingham University 20 calor cogitationis 20 confessional 20 Quintilian 20 religious texts 20 rhetoric 20 secular writing 20 warmth (of thought) 01 This chapter explores the means through which Walter Nash engages readers of his prose and verse, centring on the concept of &#8220;warmth of thought&#8221;, which derives from Quintilian. Discussion of the poetry stresses the significance of the word &#8220;heart&#8221;, especially in personal and religious contexts&#160;&#8211; and in translation of Horace as representative of the secular tradition. It shows how the resources of verse are adapted by Nash as a poet, at once confessional and broadly empathetic, and how he explores the uses and resources of prose, in a whole range of genres, as seen in his publications beginning with <i>Designs in Prose.</i> Throughout, &#8220;warmth of thought&#8221; is a dominant characteristic as he enlightens, encourages and entertains both readers and prospective writers. 10 01 JB code lal.34.04sto 37 56 20 Chapter 5 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;2. Chrysanthemums for Bill</TitleText> <Subtitle textformat="02">On Lawrentian style and stylistics</Subtitle> 1 A01 Peter Stockwell Stockwell, Peter Peter Stockwell Nottingham University 20 attractor 20 critical theory 20 D."H. Lawrence 20 resonance 20 subliminal effects 20 texture 20 viewpoint 01 This chapter on a short story by D.&#8239;H. Lawrence revisits a key stylistic account of the text by Bill Nash, which was criticised both specifically and as a general representation of stylistic practice. The chapter addresses those criticisms, differentiating those that are misplaced from those that might have had a reasonable basis. It claims that many of these older objections can be addressed by more recent innovations in the discipline, and in fact that Nash prefigured some later literary linguistics, though he lacked the tools to develop his solutions at the time. In this analysis, these innovations are drawn from the broadening of stylistics to encompass matters that would previously have been regarded as extra-linguistic, in the form of a cognitive poetics. 10 01 JB code lal.34.05sta 57 76 20 Chapter 6 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;3. The doubling of design in Walter Nash&#8217;s <i>Rhetoric</i></TitleText> <Subtitle textformat="02"><i>The Wit of Persuasion</i></Subtitle> 1 A01 David E. Stacey Stacey, David E. David E. Stacey Humboldt State University 20 CNN 20 disposition (in rhetoric analysis) 20 'mythogram' 20 persuasion 20 political speech 20 rhetorical 20 taxis 01 This chapter takes as its point of departure a simple diagram which appears at the beginning of Walter Nash&#8217;s (1989)<x> </x> <i>Rhetoric: The Wit of Persuasion</i>. As argued, this diagram offers a key to understanding Nash&#8217;s unique conception of classical, renaissance and modern rhetoric. Focusing upon the rhetorical canon of <i>taxis/disposition</i>, or arrangement, the chapter explores how Nash celebrates the skill of writers of canonical literary texts, and of canny speakers in everyday situations, to design powerful schemes of persuasion. It is suggested that listeners and readers appreciate the aesthetic realization of language designed to persuade. The author observes how Nash&#8217;s approach is to encourage receivers of language actively to take power in rhetorical situations by parodying and rewriting, in order to critically understand and creatively revise these schemes of persuasion. These observations are complemented by an analysis of a press conference held by US President Donald Trump&#8217;s first press secretary, Sean Spicer. 10 01 JB code lal.34.06ver 77 84 8 Chapter 7 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;4. Riddling: The dominant rhetorical device in W.&#8239;H. Auden&#8217;s &#8220;The Wanderer&#8221;</TitleText> 1 A01 Peter Verdonk Verdonk, Peter Peter Verdonk University of Amsterdam 20 "Exeter Book" 20 "Wanderer, The" 20 Anglo-Saxon poetry 20 Auden, W. H. 20 kenning 20 riddles 01 This chapter focuses on rhetorical and stylistic patterns in W.&#8239;H. Auden&#8217;s &#8220;The Wanderer&#8221; (1966). After a preliminary stylistic analysis of the poem&#8217;s sound, grammar and vocabulary, the author shifts to consider aspects of the wider discoursal context in which Auden&#8217;s poem is framed. This enlarging of the poem&#8217;s context is assisted through the incorporation of relevant particulars from Auden&#8217;s biography, from around the time the poet was writing &#8220;The Wanderer&#8221;. It is pointed out how Auden himself talked of his fascination with Anglo-Saxon poetry, with its metrical and rhetorical devices. The chapter also explores the ways in which a stronger interpretation of the poem can be reached by positioning the poem&#8217;s language against the phonological and rhetorical arrangements of Anglo-Saxon poetry. Particular attention is paid both to the rhetorical device of <i>kenning</i> and to the stylistic and rhetorical composition of riddles in the Exeter Book. The chapter concludes that a rounder and more productive reading of Auden&#8217;s &#8220;The Wanderer&#8221; can be reached when it is informed by knowledge of the rhetorical and stylistic features of its literary precursor. 10 01 JB code lal.34.07cal 85 100 16 Chapter 8 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;5. &#8220;My Shakespeare, rise&#8221;</TitleText> <Subtitle textformat="02">Ben Jonson&#8217;s pronominal choices in &#8220;To the Memory of My Beloved, the Author&#8221; (1623)</Subtitle> 1 A01 Clara Calvo Calvo, Clara Clara Calvo University of Murcia 20 "To the Memory of My Beloved, the Author" 20 eulogy 20 First Folio 20 Jonson, Ben 20 pronominal choice 20 pronominal density 20 pronouns 20 rhetorical structure 01 This chapter focuses on the book <i>Mr. William Shakespeare&#8217;s Comedies, Histories and Tragedies</i> (1623), which is widely known today as the First Folio. When the First Folio was printed in 1623, the editors and printers included in its preliminary matter several poems in praise of Shakespeare. Among these were two by the author&#8217;s friend and rival, Ben Jonson. One of the poems, &#8220;To the Memory of My Beloved, the Author&#8221;, displays an unusual pronominal density and contains some intriguing pronominal choices. This chapter examines the rhetorical fabric of Jonson&#8217;s eulogy for Shakespeare and dissects the critical and ideological implications of its peculiar use of the pronominal system. It focuses in particular on the use of first person possessive pronouns such as &#8220;my&#8221; and &#8220;ours&#8221; in relation to Jonson&#8217;s personal agenda: his self-fashioning as literary critic and his support, as Poet Laureate in all but name, for King James&#8217;s vision of a united Britain. 10 01 JB code lal.34.08sho 101 112 12 Chapter 9 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;6. Discourse presentation and point of view in &#8220;Cheating at Canasta&#8221; by William Trevor</TitleText> 1 A01 Mick Short Short, Mick Mick Short University of Lancaster 20 focaliser 20 politeness 20 speech presentation 20 text worlds 20 thought presentation 20 turn taking 01 This chapter examines the closing section of William Trevor&#8217;s short story, &#8220;Cheating at Canasta&#8221; (2007). Focussing on shifts in narrative viewpoint in the passage, the chapter teases out the complex transitions in viewpoint features, showing how Mallory, the story&#8217;s focaliser, engages in changing perceptions of, and reactions to, his immediate environment. Viewpoint transitions at the level of narrative style, it is argued, engender parallel shifts in the character&#8217;s changing cognitive purview, including memory, response and flashback as well as his internal assumptions and hypotheses. The author shows how a subtle understanding of the passage (and indeed the story as a whole) can enable an appreciation of the quality of the writing, concluding that stylistic analyses help to show not just how we <i>understand</i> literary texts but also why and how we <i>appreciate</i> them. 10 01 JB code lal.34.09too 113 126 14 Chapter 10 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;7. Doing and teaching</TitleText> <Subtitle textformat="02">From <i>Kettle of Roses</i> to <i>Language and Creative Illusion</i> and back again</Subtitle> 1 A01 Michael Toolan Toolan, Michael Michael Toolan University of Birmingham 20 creativity 20 heightened engagement 20 illusion 20 narrative closure 01 This chapter explores the continuity between Bill Nash&#8217;s academic work on style and stylistics and his fiction writing. In both forms, Nash aimed to instruct and entertain, and saw that to achieve those ends one had to be seriously playful and use a creative imagination. The chapter focusses specifically on the stylistic means by which Nash closes his short novel, <i>Kettle of Roses</i>, a novel that takes the form of eighteen expansive letters from Edna Pugh to a childhood friend, reporting the recent developments in Edna&#8217;s life. There seems no decisive basis in plot or logic for the letters to leave off where they do, so arguably Nash is faced with a problem: how to bring the novel to a satisfying close. The author shows how stylistic analysis of a paragraph in the final letter highlights the presence of many of the features he has called High Emotional Involvement (HEI) narration, a style of narration that creates a more intense engagement, emotionally and ethically, in the story situation than is encountered elsewhere in the narrative. The author has found HEI narration used near the close of many modern short stories, where it seems to be used in part to make the imminent ending satisfying and acceptable to the reader. It serves a similar function in <i>Kettle of Roses</i>. 10 01 JB code lal.34.10stu 127 148 22 Chapter 11 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;8. Fact, fiction and French flights of fancy</TitleText> 1 A01 Michael Stubbs Stubbs, Michael Michael Stubbs University of Trier 20 caricature 20 fictional worlds 20 French intellectuals 20 intertextual references 20 ordinary versus professional readers 20 parody 20 satire 20 semiotics 01 This chapter discusses a satirical novel: <i>La septi&#232;me fonction du langage</i> by Laurent Binet, published in 2015. The book is a thriller with a deliberately absurd plot about a search for a lost manuscript which holds the secret of ultimate rhetorical power: the ability to convince anyone to do anything. Although the characters in the novel include some &#8220;real people&#8221;, such as two former Presidents of France, Stubbs argues that Binet&#8217;s characters in general embody an extreme mix of factual and fictional characteristics, and the merciless satire expressed in their mixed ontological status has left many ordinary readers and professional critics uncertain how to evaluate the novel. Stubbs employs various models of analysis, including John Searle&#8217;s observations on the logical status of fictional discourse, and contends that, while useful, this approach does not explain in full how readers distinguish fact from fiction, nor indeed how far writers can appropriately go with outrageous caricatures of living persons. In sum, the chapter shows how the novel provides textual problems which have not been solved by either literary scholars or language philosophers. 10 01 JB code lal.34.11car 149 170 22 Chapter 12 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;9. Common Language</TitleText> <Subtitle textformat="02">Corpus, creativity and cognition*</Subtitle> 1 A01 Ronald Carter Carter, Ronald Ronald Carter Nottingham University 20 creativity 20 linguistic and literary theory 20 literariness 20 literary language 20 pleasure 20 spoken discourse 20 verbal play 01 This chapter takes further debates concerning the nature of literary language and the presence of literariness in a range of discourses by exploring the extent to which everyday conversational discourse displays literary properties. The author argues that studies of literary discourse, and of the continuities between literary and non-literary discourse, have tended to focus on written language or on representations of spoken discourse in fictional or dramatic dialogues. This emphasis has made for questionable connections between literature, literacy and the written language because it assumes that spoken language is no more than a less patterned version of written language. Using the Cambridge and Nottingham Corpus of Discourse in English (CANCODE), the author shows how verbal inventiveness is pervasive in ordinary talk. The chapter concludes that common, everyday language is far from being either everyday or common&#160;&#8211; on the contrary, it is pervasively &#8220;poetic&#8221;. 10 01 JB code lal.34.12sim 171 192 22 Chapter 13 <TitleType>01</TitleType> <TitleText textformat="02">Chapter&#160;10. &#8220;Americans don&#8217;t do Irony&#8221;</TitleText> <Subtitle textformat="02">Cross-cultural perspectives on the pragmatics of irony</Subtitle> 1 A01 Paul Simpson Simpson, Paul Paul Simpson Liverpool University 20 'folk' linguistics 20 humorous language 20 ironic situations 20 irony 20 non-ironic situations 20 quantification 20 situational irony 01 This chapter probes the common (and perhaps controversial) perception of many in the UK and Ireland that people from North America &#8220;don&#8217;t do&#8221; irony. Stimulated by the type of discussion found in Nash&#8217;s <i>The Language of Humour</i> (1985), the author interrogates this folk belief by developing a quantitative methodology to capture the ways in which ironic situations are interpreted by people from diverse national backgrounds. This methodology comprises an anonymous online experiment which gathers reactions to six narrative scenarios from over 300 informants world-wide. Each informant is required to provide a one-word response to each scenario after which they may offer an optional, longer free-text commentary on the same story. In the course of the chapter, the author advances a theoretical model of situational irony, while the results elicited from the survey shed some light on what people from different parts of the world understand as an <i>ironic</i> situation. 10 01 JB code lal.34.p1 Section header 14 <TitleType>01</TitleType> <TitleText textformat="02">POEM</TitleText> 10 01 JB code lal.34.13coc 193 194 2 Miscellaneous 15 <TitleType>01</TitleType> <TitleText textformat="02">Defunct Address</TitleText> 10 01 JB code lal.34.ind1 195 197 3 Miscellaneous 16 <TitleType>01</TitleType> <TitleText textformat="02">Name index</TitleText> 10 01 JB code lal.34.ind2 199 205 7 Miscellaneous 17 <TitleType>01</TitleType> <TitleText textformat="02">Subject index</TitleText> 02 JBENJAMINS John Benjamins Publishing Company 01 John Benjamins Publishing Company Amsterdam/Philadelphia NL 04 20191128 2019 John Benjamins B.V. 02 WORLD 08 525 gr 01 JB 1 John Benjamins Publishing Company +31 20 6304747 +31 20 6739773 bookorder@benjamins.nl 01 https://benjamins.com 01 WORLD US CA MX 21 90 24 01 02 JB 1 00 95.00 EUR R 02 02 JB 1 00 100.70 EUR R 01 JB 10 bebc +44 1202 712 934 +44 1202 712 913 sales@bebc.co.uk 03 GB 21 24 02 02 JB 1 00 80.00 GBP Z 01 JB 2 John Benjamins North America +1 800 562-5666 +1 703 661-1501 benjamins@presswarehouse.com 01 https://benjamins.com 01 US CA MX 21 1 24 01 gen 02 JB 1 00 143.00 USD