Pub Date : 2021-04-18DOI: 10.1177/09639470211009672
D. Kellogg, Somaye Aghajani Kalkhoran
The late linguist M.A.K. Halliday described the last paragraph of Darwin’s Origin of Species, with its description of a tangled bank, as one of the most remarkable paragraphs in the whole of literature. Yet it appears marred by an obvious grammatical mistake. In this article, we seek to show that the apparent mistake is actually the vestige of a now extinct form of paragraph in which the structure we now reserve for a single sentence could be extended over a whole paragraph or even many paragraphs. We first zoom out to show that the final sentence makes sense in the context of the paragraph as a whole, and then zoom out again to show that the modern paragraph itself is still a work in progress. Finally, we use a comparison between English and Farsi to try to show that all such grammatical choices mediate between humans and their environment. This relationship too is a work in progress in which the grammar of a language has an important role to play.
{"title":"‘And that’: Halliday’s logogenesis, sociogenesis, and phylogenesis in Darwin’s tangled bank","authors":"D. Kellogg, Somaye Aghajani Kalkhoran","doi":"10.1177/09639470211009672","DOIUrl":"https://doi.org/10.1177/09639470211009672","url":null,"abstract":"The late linguist M.A.K. Halliday described the last paragraph of Darwin’s Origin of Species, with its description of a tangled bank, as one of the most remarkable paragraphs in the whole of literature. Yet it appears marred by an obvious grammatical mistake. In this article, we seek to show that the apparent mistake is actually the vestige of a now extinct form of paragraph in which the structure we now reserve for a single sentence could be extended over a whole paragraph or even many paragraphs. We first zoom out to show that the final sentence makes sense in the context of the paragraph as a whole, and then zoom out again to show that the modern paragraph itself is still a work in progress. Finally, we use a comparison between English and Farsi to try to show that all such grammatical choices mediate between humans and their environment. This relationship too is a work in progress in which the grammar of a language has an important role to play.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"30 1","pages":"213 - 228"},"PeriodicalIF":0.7,"publicationDate":"2021-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/09639470211009672","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43302664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-18DOI: 10.1177/09639470211009748
Ella Wydrzynska
This article furthers the somewhat underdeveloped area of research regarding the consideration of complex theoretical concepts such as postmodernism and metafiction in relation to children’s literature by concentrating on a stunningly complex—although by no means rare—experimental text aimed at 8–12 year-olds. Using The Secret Series by Pseudonymous Bosch as example, I examine how children’s literature can use such strategies to engage a child-reader and make them a tangible part of the construction of the novel. Drawing on elements of Text World Theory, diegetic narrative levels and the concept of the internal author, this study primarily explores the role of the interactive, visibly inventing, postmodern narrator, and, by extension, the dramatization of the reader as a part of the story. Framed against an academic background in which children’s literature was deemed unworthy of study or outright dismissed, this article illustrates why children’s literature is not only worthy of rigorous academic study in its own right but also that it often readily displays enough literary, linguistic, and narratological complexities to rival even the most sophisticated literature for adult readers.
{"title":"‘I shouldn’t even be telling you that I shouldn’t be telling you the story’: Pseudonymous Bosch and the postmodern narrator in children’s literature","authors":"Ella Wydrzynska","doi":"10.1177/09639470211009748","DOIUrl":"https://doi.org/10.1177/09639470211009748","url":null,"abstract":"This article furthers the somewhat underdeveloped area of research regarding the consideration of complex theoretical concepts such as postmodernism and metafiction in relation to children’s literature by concentrating on a stunningly complex—although by no means rare—experimental text aimed at 8–12 year-olds. Using The Secret Series by Pseudonymous Bosch as example, I examine how children’s literature can use such strategies to engage a child-reader and make them a tangible part of the construction of the novel. Drawing on elements of Text World Theory, diegetic narrative levels and the concept of the internal author, this study primarily explores the role of the interactive, visibly inventing, postmodern narrator, and, by extension, the dramatization of the reader as a part of the story. Framed against an academic background in which children’s literature was deemed unworthy of study or outright dismissed, this article illustrates why children’s literature is not only worthy of rigorous academic study in its own right but also that it often readily displays enough literary, linguistic, and narratological complexities to rival even the most sophisticated literature for adult readers.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"30 1","pages":"229 - 248"},"PeriodicalIF":0.7,"publicationDate":"2021-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/09639470211009748","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49200555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-22DOI: 10.1177/0963947021999182
Mihailo Antović
This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so structured and the listener’s embodied experience; (3) affective, ascribing to this embodied appreciation dynamic sensations, as in the distinction between tense and lax parts of the perceptual flow; (4) conceptual, drawing analogies between such schematic and affective appreciation and elementary experiential imagery, resulting in outlines of narratives; (5) culturally rich, checking such a narrative outline against the recipient’s cultural knowledge; and (6) individual, adding to the levels above idiosyncratic recollections from the participant’s personal experience. The goal of the analysis is to show that the interpretation of constructs from different semiotic modes (music, vision and language) may rely on the same grounding levels as it ultimately depends on the same perceptual, embodied and contextual circumstances. Specifically, the article uses the system to analyse the possible reception of a section from the romance for violin and orchestra ‘The Lark Ascending’ by Ralph Vaughan Williams, the painting ‘The Last Supper’ by Leonardo da Vinci and the poem ‘No Man Is an Island’ by John Donne.
{"title":"Multilevel grounded semantics across cognitive modalities: Music, vision, poetry","authors":"Mihailo Antović","doi":"10.1177/0963947021999182","DOIUrl":"https://doi.org/10.1177/0963947021999182","url":null,"abstract":"This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so structured and the listener’s embodied experience; (3) affective, ascribing to this embodied appreciation dynamic sensations, as in the distinction between tense and lax parts of the perceptual flow; (4) conceptual, drawing analogies between such schematic and affective appreciation and elementary experiential imagery, resulting in outlines of narratives; (5) culturally rich, checking such a narrative outline against the recipient’s cultural knowledge; and (6) individual, adding to the levels above idiosyncratic recollections from the participant’s personal experience. The goal of the analysis is to show that the interpretation of constructs from different semiotic modes (music, vision and language) may rely on the same grounding levels as it ultimately depends on the same perceptual, embodied and contextual circumstances. Specifically, the article uses the system to analyse the possible reception of a section from the romance for violin and orchestra ‘The Lark Ascending’ by Ralph Vaughan Williams, the painting ‘The Last Supper’ by Leonardo da Vinci and the poem ‘No Man Is an Island’ by John Donne.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"30 1","pages":"147 - 173"},"PeriodicalIF":0.7,"publicationDate":"2021-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0963947021999182","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46678567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-12DOI: 10.1177/0963947020983108
Guy Cook
The article discusses the morality of W. B. Yeats’ sonnet Leda and the Swan in the context of a widening gap between the sexual mores of earlier times and our own, and whether the poem remains a suitable choice for the teaching of stylistics. I begin by examining stylistics treatments of the poem, and its political, social and artistic context, then move on to consider charges of misogyny against the poem for eroticising and failing to condemn the rape it depicts. To assess these charges I examine other literary uses of the Leda myth both before and after Yeats, including earlier poems which romanticise the rape, and later ones which vilify it. I also consider the implications of my discussion for the teaching of other canonical poems on similar themes. The last part of the paper discusses more generally the place of morality in literature and literature teaching, including stylistics: whether teachers and analysts should promote a moral world view and moral behaviour through their choice of texts and comments on them, or whether there are other valid criteria for selecting and describing a text such as Leda and the Swan. To elucidate current views, I draw parallels with the moral didacticism of the highly influential literary critic F. R. Leavis in the mid twentieth century, and ask whether aspects of his patrician view have undergone a surreptitious revival in some contemporary pedagogy and criticism at the beginning of the twenty first.
本文讨论了叶芝十四行诗《Leda and The Swan》的道德观，以及这首诗是否仍然是文体学教学的合适选择。我首先研究了这首诗的文体学处理方式，以及它的政治、社会和艺术背景，然后考虑了对这首诗进行色情创作和未能谴责强奸的厌女指控。为了评估这些指控，我考察了叶芝前后莱达神话的其他文学用途，包括早期将强奸浪漫化的诗歌和后来诋毁强奸的诗歌。我还考虑了我的讨论对其他类似主题的经典诗歌教学的影响。文章的最后一部分更广泛地讨论了道德在文学和文学教学中的地位，包括文体学：教师和分析人员是否应该通过对文本的选择和评论来促进道德世界观和道德行为，或者是否有其他有效的标准来选择和描述文本，如《莱达》和《天鹅》。为了阐明当前的观点，我将其与20世纪中期极具影响力的文学评论家F.R.Leavis的道德说教相提并论，并询问他的贵族观点是否在21世纪初的一些当代教育学和批评中悄然复兴。
{"title":"#Ledatoo: The morality of Leda and the Swan in teaching stylistics","authors":"Guy Cook","doi":"10.1177/0963947020983108","DOIUrl":"https://doi.org/10.1177/0963947020983108","url":null,"abstract":"The article discusses the morality of W. B. Yeats’ sonnet Leda and the Swan in the context of a widening gap between the sexual mores of earlier times and our own, and whether the poem remains a suitable choice for the teaching of stylistics. I begin by examining stylistics treatments of the poem, and its political, social and artistic context, then move on to consider charges of misogyny against the poem for eroticising and failing to condemn the rape it depicts. To assess these charges I examine other literary uses of the Leda myth both before and after Yeats, including earlier poems which romanticise the rape, and later ones which vilify it. I also consider the implications of my discussion for the teaching of other canonical poems on similar themes. The last part of the paper discusses more generally the place of morality in literature and literature teaching, including stylistics: whether teachers and analysts should promote a moral world view and moral behaviour through their choice of texts and comments on them, or whether there are other valid criteria for selecting and describing a text such as Leda and the Swan. To elucidate current views, I draw parallels with the moral didacticism of the highly influential literary critic F. R. Leavis in the mid twentieth century, and ask whether aspects of his patrician view have undergone a surreptitious revival in some contemporary pedagogy and criticism at the beginning of the twenty first.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"30 1","pages":"127 - 146"},"PeriodicalIF":0.7,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0963947020983108","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47381125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-27DOI: 10.1177/0963947020971997
D. Allington, Beatriz L Buarque, Daniel Barker Flores
Conspiracy fantasy or – to use the more common but less accurately descriptive term – ‘conspiracy theory’ is an enduring genre of discourse historically associated with authoritarian political movements. This article presents a literature review of research on conspiracy fantasy as well as two empirical studies of YouTube videos by three leading conspiracy fantasists. Two of these fantasists have been linked to the far right, while one maintains connections to figures on the far right and the far left. The first study employs content analysis of the 10 most popular videos uploaded by each of the three, and the second employs corpus analysis of keywords in comments posted on all videos uploaded by the three fantasists. Jewish-related entities such as Israel, Zionists and the Rothschild family are found to be among the entities most frequently accused of conspiracy in the videos. Conspiracy accusations against other Western nations (especially the United States and the United Kingdom), as well as their leaders and their media, were also common. Jewish-related lexical items such as ‘Zionist’, ‘Zionists’, ‘Rothschild’ and ‘Jews’ are found to be mentioned with disproportionate frequency in user comments. These findings would appear to reflect the conspiracy fantasy genre’s continuing proximity to its roots in the European antisemitic tradition and add weight to existing findings suggesting that the active YouTube audience responds to latently antisemitic content with more explicitly antisemitic comments.
{"title":"Antisemitic conspiracy fantasy in the age of digital media: Three ‘conspiracy theorists’ and their YouTube audiences","authors":"D. Allington, Beatriz L Buarque, Daniel Barker Flores","doi":"10.1177/0963947020971997","DOIUrl":"https://doi.org/10.1177/0963947020971997","url":null,"abstract":"Conspiracy fantasy or – to use the more common but less accurately descriptive term – ‘conspiracy theory’ is an enduring genre of discourse historically associated with authoritarian political movements. This article presents a literature review of research on conspiracy fantasy as well as two empirical studies of YouTube videos by three leading conspiracy fantasists. Two of these fantasists have been linked to the far right, while one maintains connections to figures on the far right and the far left. The first study employs content analysis of the 10 most popular videos uploaded by each of the three, and the second employs corpus analysis of keywords in comments posted on all videos uploaded by the three fantasists. Jewish-related entities such as Israel, Zionists and the Rothschild family are found to be among the entities most frequently accused of conspiracy in the videos. Conspiracy accusations against other Western nations (especially the United States and the United Kingdom), as well as their leaders and their media, were also common. Jewish-related lexical items such as ‘Zionist’, ‘Zionists’, ‘Rothschild’ and ‘Jews’ are found to be mentioned with disproportionate frequency in user comments. These findings would appear to reflect the conspiracy fantasy genre’s continuing proximity to its roots in the European antisemitic tradition and add weight to existing findings suggesting that the active YouTube audience responds to latently antisemitic content with more explicitly antisemitic comments.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"30 1","pages":"78 - 102"},"PeriodicalIF":0.7,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0963947020971997","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45013138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-01DOI: 10.1177/0963947020968663
C. Gregoriou
This article considers the construction of the profilers and criminals in Thomas Harris’ (2013) [1988] novel Silence of the Lambs through the analysis of selected indicative criminal mind-related extracts. The aim is to consider such characters’ construction through analysis of schematic incongruity, conversational power play, language depicting the actual fictional criminal viewpoint and, lastly, psychological profiling language, the style of which has criminal mind style ‘potential’. Schematic incongruity has a role to play in generating impressions of both the normality and abnormality of psychological profilers and the killers they pursue. Serial killers are constructed as not only physically/psychologically ‘abnormal’ but also as ‘abnormals’ amongst other ‘abnormals’ in terms of their conversational patterns, too. Where some criminals’ apparent reluctance, or inability, to accord to conversational norms marks them as uncivilised, killer/profiler Lecter’s mostly conventional conversational politeness marks him out as indirectly mocking the social norms he sometimes chooses to accord to. Where killer Gumb is concerned, profiling language and language depicting his criminal viewpoint draws on metaphors and references to killing being likened to hunting, work and art, suggesting that killing is necessary, commendable and ceremonial, the victims’ mere things to be utilised in a venture that can only be described as worthy. Though Lecter is shown to be ‘born’ into deviant behaviour, and Gumb is suggested to have been ‘made’ into a criminal, the novel undoubtedly suggests connections, similarities even, between both such character types’ extreme criminal behaviour and those wanting to understand ‘criminal minds’ through the profiling practice.
本文通过对托马斯·哈里斯（Thomas Harris）（2013）[1988]小说《沉默的羔羊》（Silence of the Lambs）中与犯罪心理相关的指示性摘录的分析，考虑了该小说中的剖析者和罪犯的构建。其目的是通过对图式不协调、对话权力游戏、描绘真实犯罪视角的语言以及具有犯罪心理风格“潜力”的心理剖析语言的分析，来考虑这些人物的建构。示意性的不协调在心理剖析者和他们追捕的凶手的正常和异常印象中发挥着作用。连环杀手不仅在生理/心理上被构造为“异常”，而且在他们的对话模式方面，也被构造为其他“异常”中的“异常”。一些罪犯明显不愿意或无法遵守对话规范，这标志着他们不文明，而杀手/剖析者莱克特最传统的对话礼貌则标志着他间接地嘲笑了他有时选择遵守的社会规范，剖析语言和描述他的犯罪观点的语言利用了隐喻和提及杀戮被比作狩猎、工作和艺术，表明杀戮是必要的、值得赞扬的和仪式性的，受害者只是在一次只能被描述为有价值的冒险中使用的东西。尽管Lecter被证明是“天生”的越轨行为，Gumb被认为是“被塑造”成罪犯的，但这部小说无疑表明了这两种角色类型的极端犯罪行为与那些想通过剖析实践了解“犯罪心理”的人之间的联系，甚至是相似之处。
{"title":"Schematic incongruity, conversational power play and criminal mind style in Thomas Harris’ Silence of the Lambs","authors":"C. Gregoriou","doi":"10.1177/0963947020968663","DOIUrl":"https://doi.org/10.1177/0963947020968663","url":null,"abstract":"This article considers the construction of the profilers and criminals in Thomas Harris’ (2013) [1988] novel Silence of the Lambs through the analysis of selected indicative criminal mind-related extracts. The aim is to consider such characters’ construction through analysis of schematic incongruity, conversational power play, language depicting the actual fictional criminal viewpoint and, lastly, psychological profiling language, the style of which has criminal mind style ‘potential’. Schematic incongruity has a role to play in generating impressions of both the normality and abnormality of psychological profilers and the killers they pursue. Serial killers are constructed as not only physically/psychologically ‘abnormal’ but also as ‘abnormals’ amongst other ‘abnormals’ in terms of their conversational patterns, too. Where some criminals’ apparent reluctance, or inability, to accord to conversational norms marks them as uncivilised, killer/profiler Lecter’s mostly conventional conversational politeness marks him out as indirectly mocking the social norms he sometimes chooses to accord to. Where killer Gumb is concerned, profiling language and language depicting his criminal viewpoint draws on metaphors and references to killing being likened to hunting, work and art, suggesting that killing is necessary, commendable and ceremonial, the victims’ mere things to be utilised in a venture that can only be described as worthy. Though Lecter is shown to be ‘born’ into deviant behaviour, and Gumb is suggested to have been ‘made’ into a criminal, the novel undoubtedly suggests connections, similarities even, between both such character types’ extreme criminal behaviour and those wanting to understand ‘criminal minds’ through the profiling practice.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"29 1","pages":"373 - 388"},"PeriodicalIF":0.7,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0963947020968663","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48099471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-01DOI: 10.1177/0963947020968665
Marina Lambrou
This article describes how teaching in a second-year undergraduate stylistics workshop was transformed in my attempt to increase student attendance and engagement, and the strategies that were put in place to achieve this outcome. The personal account describes how I changed my teaching pedagogy to facilitate learning through collaborative strategies and how I evaluated the impact this had on student learning using action research (Bradbury, 2015 (ed) The SAGE Handbook of Action Research. London: SAGE) as the investigative approach. Using the model of Plan-Act-Observe-Reflect process (Kemmis and McTaggart, 1988 The Action Research Planner. 3rd edn. Geelong: Deakin University Press) and with data from a short questionnaire given to students, I was able to gain a deeper understanding of the value of the activities as perceived by students. The flipped classroom, where materials were given to students in advance to prepare, became critical for participation in the workshop and allowed for classroom time to be optimised for discussion and feedback. This article also presents photographs of the stylistic analysis produced on whiteboards as part of the collaborative activities with a summary of responses by students to the questionnaire which evaluated the impact that this approach to teaching had on their learning, confidence and preparation for the assessment.
本文描述了在我试图提高学生出勤率和参与度的过程中，大二本科生文体学研讨会的教学是如何转变的，以及为实现这一结果所采取的策略。个人账户描述了我如何改变我的教学方法，通过合作策略促进学习，以及我如何评估这对学生使用行动研究学习的影响(布拉德伯里，2015年(编辑)SAGE行动研究手册。伦敦:SAGE)作为调查方法。运用计划-行动-观察-反应过程模型(Kemmis and McTaggart, 1988)《行动研究计划》第3版。Geelong: Deakin University Press)，并通过给学生的简短问卷调查的数据，我能够更深入地了解学生认为这些活动的价值。在翻转课堂中，学生提前准备材料，这对参与研讨会至关重要，并允许课堂时间优化，以进行讨论和反馈。作为合作活动的一部分，本文还展示了白板上的风格分析照片，并总结了学生对问卷的反应，该问卷评估了这种教学方法对他们的学习、信心和评估准备的影响。
{"title":"The pedagogy of stylistics: Enhancing practice by flipping the classroom, using whiteboards and action research","authors":"Marina Lambrou","doi":"10.1177/0963947020968665","DOIUrl":"https://doi.org/10.1177/0963947020968665","url":null,"abstract":"This article describes how teaching in a second-year undergraduate stylistics workshop was transformed in my attempt to increase student attendance and engagement, and the strategies that were put in place to achieve this outcome. The personal account describes how I changed my teaching pedagogy to facilitate learning through collaborative strategies and how I evaluated the impact this had on student learning using action research (Bradbury, 2015 (ed) The SAGE Handbook of Action Research. London: SAGE) as the investigative approach. Using the model of Plan-Act-Observe-Reflect process (Kemmis and McTaggart, 1988 The Action Research Planner. 3rd edn. Geelong: Deakin University Press) and with data from a short questionnaire given to students, I was able to gain a deeper understanding of the value of the activities as perceived by students. The flipped classroom, where materials were given to students in advance to prepare, became critical for participation in the workshop and allowed for classroom time to be optimised for discussion and feedback. This article also presents photographs of the stylistic analysis produced on whiteboards as part of the collaborative activities with a summary of responses by students to the questionnaire which evaluated the impact that this approach to teaching had on their learning, confidence and preparation for the assessment.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"29 1","pages":"404 - 423"},"PeriodicalIF":0.7,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0963947020968665","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48853965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-01DOI: 10.1177/0963947020968666
S. Zyngier
It is my pleasure to contribute to a volume in honor of Urszula Clark. It was her intense involvement in pedagogical stylistics and commitment to education that brought us together and, upon her retirement, I am honored to pay tribute to her dedication and enthusiasm. Throughout her career, Urszula has always encouraged educational initiatives that, as we will see, have by now rendered substantial results and expanded into new territories. In this postscript, my aim is to briefly address 45 years of pedagogical approaches to stylistics and highlight Urszula Clark’s valuable contribution to the field. Deciding what actually inaugurates a new domain is rather tricky. Long before any founding stone can be said to have been laid, trends, ideas, and perspectives have already been circulating for some time. In the 1970s, interest in using literary texts in the classroom grew as a consequence of communicative approaches, especially in L2 learning, and the need for authentic materials and situations (see Brumfit, 1983). Literature was seen to provide both a rich source of life experience and of creative communication. These first concerns are expressed in the introduction to a collection of articles published by The British Council:
{"title":"Postscript: Pedagogical stylistics: Past and future","authors":"S. Zyngier","doi":"10.1177/0963947020968666","DOIUrl":"https://doi.org/10.1177/0963947020968666","url":null,"abstract":"It is my pleasure to contribute to a volume in honor of Urszula Clark. It was her intense involvement in pedagogical stylistics and commitment to education that brought us together and, upon her retirement, I am honored to pay tribute to her dedication and enthusiasm. Throughout her career, Urszula has always encouraged educational initiatives that, as we will see, have by now rendered substantial results and expanded into new territories. In this postscript, my aim is to briefly address 45 years of pedagogical approaches to stylistics and highlight Urszula Clark’s valuable contribution to the field. Deciding what actually inaugurates a new domain is rather tricky. Long before any founding stone can be said to have been laid, trends, ideas, and perspectives have already been circulating for some time. In the 1970s, interest in using literary texts in the classroom grew as a consequence of communicative approaches, especially in L2 learning, and the need for authentic materials and situations (see Brumfit, 1983). Literature was seen to provide both a rich source of life experience and of creative communication. These first concerns are expressed in the introduction to a collection of articles published by The British Council:","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"29 1","pages":"446 - 453"},"PeriodicalIF":0.7,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0963947020968666","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44146742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-01DOI: 10.1177/0963947020970658
Simon Statham
{"title":"The year’s work in stylistics 2019","authors":"Simon Statham","doi":"10.1177/0963947020970658","DOIUrl":"https://doi.org/10.1177/0963947020970658","url":null,"abstract":"","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"29 1","pages":"454 - 479"},"PeriodicalIF":0.7,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0963947020970658","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41404607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-01DOI: 10.1177/0963947020968661
P. Stockwell
The representation of non-standard and regional accent and dialect in literary fiction has been framed mainly sociolinguistically and treated as an index of authenticity, within an account of characterisation. The reader’s attitude to such speakers in literary fiction is manipulated narratorially and authorially. Since readerly effects, impressions and evaluations are the key issues involved, it seems plausible that a cognitive poetic approach to the reading of dialect in literature would also be productive. In the current deictic theory, the dimension of social deixis captures a broad range of stylistic features including register and dialectal representations. Cognitive deictic theory draws on an explicitly spatial metaphor in which characters are positioned in conceptual space. However, insufficient attention has been paid to the effect of readerly positioning and dispositioning. This article revisits social deixis and its points of transition and textural variation from a theoretical perspective. It develops a new angle on the representation and significance of accented and dialectal forms in literary fiction, with some illustrative examples drawn from 19th and 20th century British novels.
{"title":"Literary dialect as social deixis","authors":"P. Stockwell","doi":"10.1177/0963947020968661","DOIUrl":"https://doi.org/10.1177/0963947020968661","url":null,"abstract":"The representation of non-standard and regional accent and dialect in literary fiction has been framed mainly sociolinguistically and treated as an index of authenticity, within an account of characterisation. The reader’s attitude to such speakers in literary fiction is manipulated narratorially and authorially. Since readerly effects, impressions and evaluations are the key issues involved, it seems plausible that a cognitive poetic approach to the reading of dialect in literature would also be productive. In the current deictic theory, the dimension of social deixis captures a broad range of stylistic features including register and dialectal representations. Cognitive deictic theory draws on an explicitly spatial metaphor in which characters are positioned in conceptual space. However, insufficient attention has been paid to the effect of readerly positioning and dispositioning. This article revisits social deixis and its points of transition and textural variation from a theoretical perspective. It develops a new angle on the representation and significance of accented and dialectal forms in literary fiction, with some illustrative examples drawn from 19th and 20th century British novels.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"29 1","pages":"358 - 372"},"PeriodicalIF":0.7,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0963947020968661","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44638815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：