Language, Discourse, Style

Name: Language, Discourse, Style | Selected works of John McH. Sinclair
Brand: John Benjamins Publishing Company
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Selected works of John McH. Sinclair

Sonia Zyngier(Editor)

John Benjamins Publishing Company

1st Edition

Published on 15. December 2016

X, 272 pages

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978-90-272-6737-5 (ISBN)

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Intro
Language, Discourse, Style
Editorial page
Untitled
Title page
LCC data
Table of contents
Acknowledgements
Editor's preface
Introduction
Part I. Education, language teaching and stylistics
1. Linguistics and the teaching of English
1.1 Introduction
1.2 Direct teaching
1.3 The teacher as a linguist
1.4 Traditional grammar
1.5 The native speaker as learner
1.6 Section I: Summary
1.7 Linguistic theories
1.8 Language development
1.9 Comprehensiveness
1.10 Internal relations
1.11 Language skills
1.12 Section II: Summary
2. The integration of language and literature in the English curriculum
2.1 Introduction
2.2 Command of a language
2.3 Shortcomings of linguistics in relation to command of a language
2.4 Shortcomings of literary criticism in relation to command of a language
2.5 The curriculum
2.6 An extended example
3. Language awareness in six easy lessons
3.1 Introduction
3.2 Productivity
3.3 Creativity
3.4 Stability and change
3.5 Social variation
3.6 How to do things with language
3.7 The two-layered code
4. Large corpus research and foreign language teaching
4.1 The advent of large corpora
4.2 New evidence
4.3 Implications for teaching the language
4.4 Conclusion
Part II. Linguistic stylistics
5. When is a poem like a sunset?
5.1 Introduction
5.2 Poem as sample of language
5.3 The Experiment
5.3.1 Tabulation of changes
5.3.2 Stylistic categories
5.4 Summary
6. Taking a poem to pieces
6.1 Introduction
6.2 Analysis of First Sight
6.2.1 Sentence structure
6.2.2 Clause structure
6.2.3 Line boundaries
6.2.4 Groups: Verbal, adverbial and nominal
6.3 Conclusion
7. A technique of stylistic description
7.1 Introduction
7.2 Analytical principles
7.3 Verse paragraphs
7.4 Acceleration
7.5 Sentence structure
7.6 Stanza 1
7.7 Topic
7.8 Clause-to-line fit
7.9 Clause-to-line fit: Initiation
7.10 Stanza types
7.11 Clause structure
7.12 Verb classification
7.13 The definite article
7.14 Clause structure concluded
7.15 Verbal group structure
7.16 Nominal group structure
7.17 Adverbial groups
7.18 Part versus whole
7.19 Conclusion
8. Lines about "Lines"
8.1 Introduction: Focats
8.2 Metrical and meaningful units
8.3 "Tight" to "loose" structures
8.4 Copying
8.5 Arrest
8.6 Extension
8.7 Rank
8.8 Process of analysis
8.9 Summary
9. The linguistic basis of style
9.1 Introduction
9.2 Arbitrariness
9.2.1 Between sign and referent
9.2.2 Between proposition and exponence
9.3 Structural superfluity
9.4 Derivational hierarchy
9.5 Idiom
9.6 Reference systems and their referents
9.7 Conclusion
Part III. Style and discourse
10. Mirror for a text
10.1 Introduction
10.2 The model
10.3 Verb tense
10.4 Attribution
10.5 Integration
10.6 Time
10.7 People
10.8 Narrative
10.9 Mopping up
10.10 Conclusion
11. Poetic discourse
11.1 Introduction
11.2 General commentary
11.3 Layout and punctuation
11.3.1 Constant features of layout
11.3.2 Punctuation
11.3.2.1 Mid- and end-lines
11.3.2.2 Chunking
11.4 Metrics
11.4.1 Line length
11.4.2 Commentary
11.5 Syntax
11.5.1 Lists
11.5.2 Arrest
11.5.3 Continue
11.5.4 Transitivity
11.5.5 Obscurity
11.5.5.1 Stanza 1, line 2
11.5.5.2 Stanza 1, line 3
11.5.5.3 Stanza 1, line 5
11.5.5.4 Stanza 1, lines 10-12
11.5.5.5 Stanza 2, lines 16 and 17
11.5.5.6 Stanza 2, line 22
11.5.5.7 Stanza 3, line 30
11.5.5.8 Stanza 3, line 32
11.5.5.9 Stanza 3, line 33
11.5.6 Commentary
11.5.6.1 Parallelism
11.5.6.2 Text shape
11.6 Grammetrics
11.7 Lexis
11.7.1 First grouping
11.7.2 Second grouping
11.7.3 Third grouping
11.8 Information structure
11.8.1 Pattern 1
11.8.2 Pattern 2
11.8.3 Pattern 3
11.8.4 Pattern 4
11.8.5 Pattern 5
11.9 Discourse structure
11.10 Final comments
12. The exploitation of meaning
12.1 Introduction
12.2 Objectivity
12.3 Computing methodology
12.4 PALA priorities
12.5 Heroic couplets
12.6 A commentary on Pope's verses
12.7 A local grammar for the Essay on Man
12.8 The Couplet
12.9 Conclusion
12.10 Coda
13. Fictional worlds revisited
13.1 Introduction
13.2 Fact and averral
13.3 Correspondence
13.4 Discourse
13.5 Misleading language
13.6 Artefact
13.7 Fictional worlds
13.8 Fictional narrator
13.9 Communicative purpose
13.10 Conclusion
14. "Passion speechlesse lies"
14.1 Introduction
14.2 The poem as record of verbal interaction
14.3 Identifying and tracking participants
14.3.1 Pronouns
14.3.2 Imperatives
14.3.3 Personification
14.3.4 Discussion
14.4 Narrative techniques in storytelling
14.4.1 Verb Forms
14.4.2 Time frame
14.4.3 Arrest
14.4.4 Discussion
14.5 The poem and the context of situation
14.5.1 Informality
14.5.2 Interaction
14.5.3 Poetic Diction
14.5.4 Discussion
14.6 An Interpretation
Coda
15.1 Introduction
15.2 The latent debt to philosophy
15.3 The developmental link with literacy and lexicographic instrumentation
15.4 'Difficult stylistics': Grammar vs Subtext and the example of 'The Legs' by Robert Graves
15.5 Corpus-derived Subtext: A stylistic theory that 'wags the dog' and itself becomes a new linguistic theory
15.6 Do Sinclairan corpora provide for stylisticians what Dummett needed in order, fully, to settle his view of the philosophy of language?
15.7 Conclusion
15.7.1 Trends within Sinclair's stylistics
15.7.2 The debt to scholarship and to theory
References
Index of Authors, Names and Titles
Index

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