Pub Date : 2022-10-18DOI: 10.1177/09639470221122101
Rodney Hermeston
This article represents the first illustration of the tools of disability stylistics on a literary text. It does so by examining the representation of blindness in an extract from Robert Louis Stevenson’s novel Treasure Island in which the character Pew is introduced. The article outlines concepts relating to the othering of disabled people before describing two major cultural stereotypes of disability that scholars argue persist to the present day. These are the pathetic and pitiful disabled person and the disabled individual as evil. Disability scholars have identified language as a key area for the construction and perpetuation of stereotypes of disability. However, scholarship has tended to focus on labels, or discourse with language use considered in context. This article confirms that labels and basic description are crucial elements through a consideration of noun phrases. Nevertheless, the article also utilises the models of transitivity, speech acts and im/politeness, and elements of the framework of appraisal. The article identifies a pivotal moment in the extract in which Pew is transformed from a potentially (though ambiguous) pitiful figure into a realisation of the evil stereotype, and shows that all stylistic frameworks outlined permit these depictions to be analysed. The article calls for the tools to be used to test the claims that stereotypes persist into the present day. It also concludes that disability stylistics should be tested on representations of other disabilities. It argues that the tools need also to be used to analyse other disability stereotypes.
{"title":"Disability stylistics: An illustration based on Pew in Stevenson’s Treasure Island","authors":"Rodney Hermeston","doi":"10.1177/09639470221122101","DOIUrl":"https://doi.org/10.1177/09639470221122101","url":null,"abstract":"This article represents the first illustration of the tools of disability stylistics on a literary text. It does so by examining the representation of blindness in an extract from Robert Louis Stevenson’s novel Treasure Island in which the character Pew is introduced. The article outlines concepts relating to the othering of disabled people before describing two major cultural stereotypes of disability that scholars argue persist to the present day. These are the pathetic and pitiful disabled person and the disabled individual as evil. Disability scholars have identified language as a key area for the construction and perpetuation of stereotypes of disability. However, scholarship has tended to focus on labels, or discourse with language use considered in context. This article confirms that labels and basic description are crucial elements through a consideration of noun phrases. Nevertheless, the article also utilises the models of transitivity, speech acts and im/politeness, and elements of the framework of appraisal. The article identifies a pivotal moment in the extract in which Pew is transformed from a potentially (though ambiguous) pitiful figure into a realisation of the evil stereotype, and shows that all stylistic frameworks outlined permit these depictions to be analysed. The article calls for the tools to be used to test the claims that stereotypes persist into the present day. It also concludes that disability stylistics should be tested on representations of other disabilities. It argues that the tools need also to be used to analyse other disability stereotypes.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"173 - 194"},"PeriodicalIF":0.7,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48641103","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 : 2022-09-30DOI: 10.1177/09639470221096601
M. Bednarek, Liza-Mare Syron
While stylistics has successfully integrated the study of language use in film and television, relatively little research has tried to systematically classify the functions of television or film dialogue – i.e. to taxonomise its range of potential stylistic functions such as characterisation or the creation of consistency. Most stylistic research has also focussed on traditional US (Hollywood) or European narrative mass media, rather than culturally-diverse or Indigenous-authored film and television. This article aims to make a contribution to both of these under-examined fields by offering a case study of the stylistic functions of Australian Aboriginal English lexis in three successful Indigenous-authored television series. The three series (Redfern Now, Cleverman and Mystery Road) are all important for the television canon and were broadcast in Australia as well as exported internationally. Using an existing corpus with dialogue from these series as repository, this article illustrates the different functions of Australian Aboriginal English lexis in its surrounding text by critically examining multiple dialogue extracts from the three narratives. Quotations from Indigenous screen creatives are interwoven with the analysis where relevant. We argue that such lexis fulfils many functions beyond characterisation and demonstrate the significance of communicating culture and identity in Indigenous-authored drama. The study has implications both for the stylistic analysis of the multiple functions of television/film dialogue and for the study of narratives that feature significant creative involvement by marginalised, subjugated, colonised, or otherwise historically excluded communities – including but not limited to Aboriginal and/or Torres Strait islander people(s) in Australia.
{"title":"Functions of dialogue in (television) drama: A case study of Indigenous-authored television narratives","authors":"M. Bednarek, Liza-Mare Syron","doi":"10.1177/09639470221096601","DOIUrl":"https://doi.org/10.1177/09639470221096601","url":null,"abstract":"While stylistics has successfully integrated the study of language use in film and television, relatively little research has tried to systematically classify the functions of television or film dialogue – i.e. to taxonomise its range of potential stylistic functions such as characterisation or the creation of consistency. Most stylistic research has also focussed on traditional US (Hollywood) or European narrative mass media, rather than culturally-diverse or Indigenous-authored film and television. This article aims to make a contribution to both of these under-examined fields by offering a case study of the stylistic functions of Australian Aboriginal English lexis in three successful Indigenous-authored television series. The three series (Redfern Now, Cleverman and Mystery Road) are all important for the television canon and were broadcast in Australia as well as exported internationally. Using an existing corpus with dialogue from these series as repository, this article illustrates the different functions of Australian Aboriginal English lexis in its surrounding text by critically examining multiple dialogue extracts from the three narratives. Quotations from Indigenous screen creatives are interwoven with the analysis where relevant. We argue that such lexis fulfils many functions beyond characterisation and demonstrate the significance of communicating culture and identity in Indigenous-authored drama. The study has implications both for the stylistic analysis of the multiple functions of television/film dialogue and for the study of narratives that feature significant creative involvement by marginalised, subjugated, colonised, or otherwise historically excluded communities – including but not limited to Aboriginal and/or Torres Strait islander people(s) in Australia.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"3 - 27"},"PeriodicalIF":0.7,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46171088","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 : 2022-08-17DOI: 10.1177/09639470221115033
Shu Zeng
This article discusses Steinbeck’s linguistic creation of Chinese personae in his fiction, which develops from the early practice of using silence in ‘Johnny Bear’ (1938) to chronologically progressive engagement with Chinese Pidgin English (CPE) in Cannery Row (1945) and East of Eden (1952). This change is evident from the increase of CPE dialogues in his later works and best exemplified in the turn to taking non-standard English as a key concern by investing style-shifting with stylistic and thematic meaning in East of Eden. Silence and implicatures are strategically employed in ‘Johnny Bear’ to keep the narrative suspense and broach the antinarratable subject of interracial romance and illegitimate pregnancy so as not to offend the reader. Steinbeck’s later experimentation with CPE demonstrates conformity and discrepancy with sociolinguistic observations, whilst in his representation of CPE the author uses metalanguage to guide readers towards a better understanding of this language variety and a sympathetic interpretation of the Chinese characters. Existing alongside real sociolinguistic systems, the ficto-linguistic system in Steinbeck’s fiction subtly critiques the supposedly ‘correct’ language expected of ethnic groups and skilfully denounces discriminatory racial distinctions. The author’s incorporation of Chinese presence and CPE into his writings serves the grander scheme of scrutinizing American identity and society.
{"title":"The creation of Chinese personae in Steinbeck’s fiction","authors":"Shu Zeng","doi":"10.1177/09639470221115033","DOIUrl":"https://doi.org/10.1177/09639470221115033","url":null,"abstract":"This article discusses Steinbeck’s linguistic creation of Chinese personae in his fiction, which develops from the early practice of using silence in ‘Johnny Bear’ (1938) to chronologically progressive engagement with Chinese Pidgin English (CPE) in Cannery Row (1945) and East of Eden (1952). This change is evident from the increase of CPE dialogues in his later works and best exemplified in the turn to taking non-standard English as a key concern by investing style-shifting with stylistic and thematic meaning in East of Eden. Silence and implicatures are strategically employed in ‘Johnny Bear’ to keep the narrative suspense and broach the antinarratable subject of interracial romance and illegitimate pregnancy so as not to offend the reader. Steinbeck’s later experimentation with CPE demonstrates conformity and discrepancy with sociolinguistic observations, whilst in his representation of CPE the author uses metalanguage to guide readers towards a better understanding of this language variety and a sympathetic interpretation of the Chinese characters. Existing alongside real sociolinguistic systems, the ficto-linguistic system in Steinbeck’s fiction subtly critiques the supposedly ‘correct’ language expected of ethnic groups and skilfully denounces discriminatory racial distinctions. The author’s incorporation of Chinese presence and CPE into his writings serves the grander scheme of scrutinizing American identity and society.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"78 - 97"},"PeriodicalIF":0.7,"publicationDate":"2022-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48090142","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 : 2022-08-15DOI: 10.1177/09639470221117674
Reiko Ikeo
The use of the present tense as the primary narrative tense has become a commonly encountered phenomenon in contemporary fiction. The textual effects of the use of the present narrative tense, however, have not yet been fully explored. This paper first reviews how the use of tenses contributes to constructing narrative worlds, focusing on three facets of narrative: the relationship between the narrator and the narrated, time frames within the narrative and characters’ discourse embedded in narrative. Then, using corpus data which includes both present- and past-tense fiction, I will show that the boundaries and distinctions which are consistently taken for granted in past-tense narrative can be blurred, crossed within narratorial structures and partly expanded at a meta-textual level from written discourse to spoken discourse.
{"title":"Contemporary present-tense fiction: Crossing boundaries in narrative","authors":"Reiko Ikeo","doi":"10.1177/09639470221117674","DOIUrl":"https://doi.org/10.1177/09639470221117674","url":null,"abstract":"The use of the present tense as the primary narrative tense has become a commonly encountered phenomenon in contemporary fiction. The textual effects of the use of the present narrative tense, however, have not yet been fully explored. This paper first reviews how the use of tenses contributes to constructing narrative worlds, focusing on three facets of narrative: the relationship between the narrator and the narrated, time frames within the narrative and characters’ discourse embedded in narrative. Then, using corpus data which includes both present- and past-tense fiction, I will show that the boundaries and distinctions which are consistently taken for granted in past-tense narrative can be blurred, crossed within narratorial structures and partly expanded at a meta-textual level from written discourse to spoken discourse.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"98 - 128"},"PeriodicalIF":0.7,"publicationDate":"2022-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48976173","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 : 2022-08-02DOI: 10.1177/09639470221114718
Zhijun Zhang, Shisheng Liu
‘A Mother’ by Joyce tells of Mrs. Kearney’s effort in enhancing her daughter’s musical reputation during the Irish Revival, revolving around a conflict between Mrs. Kearney and a male-dominated group at concerts. Although some studies tend to view Mrs. Kearney as a dominant female and others take her as a victim of gender discrimination, there is no interpretation from the perspective of social minds. This article aims at using social mind theory to explore how the characters manipulate social minds against each other for their own purposes. It is found that Joyce deploys ‘covert double cognitive narrative’, a new paradigm of social minds, to propel the plot, and utilizes behaviourist narration and dialogue predominantly in rendering social minds. Therefore, this new perspective commands a panoramic view of the social minds manipulations in ‘A Mother’. Tracing the social minds this way is essential in understanding the story, shedding light on the Irish cultural paralysis of the time.
{"title":"Panoramic social minds: Social minds manipulations in ‘A Mother’","authors":"Zhijun Zhang, Shisheng Liu","doi":"10.1177/09639470221114718","DOIUrl":"https://doi.org/10.1177/09639470221114718","url":null,"abstract":"‘A Mother’ by Joyce tells of Mrs. Kearney’s effort in enhancing her daughter’s musical reputation during the Irish Revival, revolving around a conflict between Mrs. Kearney and a male-dominated group at concerts. Although some studies tend to view Mrs. Kearney as a dominant female and others take her as a victim of gender discrimination, there is no interpretation from the perspective of social minds. This article aims at using social mind theory to explore how the characters manipulate social minds against each other for their own purposes. It is found that Joyce deploys ‘covert double cognitive narrative’, a new paradigm of social minds, to propel the plot, and utilizes behaviourist narration and dialogue predominantly in rendering social minds. Therefore, this new perspective commands a panoramic view of the social minds manipulations in ‘A Mother’. Tracing the social minds this way is essential in understanding the story, shedding light on the Irish cultural paralysis of the time.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"60 - 77"},"PeriodicalIF":0.7,"publicationDate":"2022-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48645054","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 : 2022-08-01DOI: 10.1177/09639470221120450
Fransina Stradling
so-called ‘synesthetic metaphors’ (such as sweet smell and loud colour) are neither synesthetic nor metaphorical. Rather, such adjectives as sweet and loud are ‘highly supramodal descriptors that encompass multiple senses’ (p. 238). Winter uses two arguments to back up this claim. One, ‘the involved perceptual modalities are highly integrated’ (p. 96), an observation that is the logical consequence of his rejection of the five senses folk model. In other words, since the senses are not discrete modalities, it serves no purpose to talk in terms of using one domain (e.g. the gustatory domain to which sweet belongs) to talk about another domain (the olfactory domain of smell). Two, ‘crossmodal uses simply follow from word-inherent evaluative meaning’ (p. 96), by which he means that an adjective such as sweet is used to talk about smell simply for its evaluative meaning, i.e. the fact that it has positive connotations. In other words, when we use what appears to be a synesthetic metaphor such as sweet smell, we do so because sweet is a positive adjective and not because sweet belongs to a different semantic domain to smell. As Winter points out, his ‘literal analysis of synesthetic metaphors’ has ‘far-reaching conclusions for lexical semantics and conceptual metaphor theory’, not least because it ‘compels us to see the continuity of the senses as reaching all the way down into the lexical representation of individual words’ (p. 238). This is a real and welcome challenge to conceptual metaphor theory with its implicit notion of discrete ‘domains’. Winter’s book, then, is valuable not least for its methodological rigour and its theoretical innovativeness. It provides sensory linguistics with a very firm foundation that future researchers can build upon. One possible path that sensory linguists might take (a path not signalled byWinter) is to explore (as Ullmann did in his 1945 article on Keats and Byron) how poetry in particular draws on the sensory nature of language. There are scattered references inWinter’s book to the important work in cognitive poetics of Reuven Tsur, but sensory linguistics would benefit from a much more sustained and comprehensive treatment of the sensoriness of poetic language.
{"title":"Book Review: Storyworld Possible Selves","authors":"Fransina Stradling","doi":"10.1177/09639470221120450","DOIUrl":"https://doi.org/10.1177/09639470221120450","url":null,"abstract":"so-called ‘synesthetic metaphors’ (such as sweet smell and loud colour) are neither synesthetic nor metaphorical. Rather, such adjectives as sweet and loud are ‘highly supramodal descriptors that encompass multiple senses’ (p. 238). Winter uses two arguments to back up this claim. One, ‘the involved perceptual modalities are highly integrated’ (p. 96), an observation that is the logical consequence of his rejection of the five senses folk model. In other words, since the senses are not discrete modalities, it serves no purpose to talk in terms of using one domain (e.g. the gustatory domain to which sweet belongs) to talk about another domain (the olfactory domain of smell). Two, ‘crossmodal uses simply follow from word-inherent evaluative meaning’ (p. 96), by which he means that an adjective such as sweet is used to talk about smell simply for its evaluative meaning, i.e. the fact that it has positive connotations. In other words, when we use what appears to be a synesthetic metaphor such as sweet smell, we do so because sweet is a positive adjective and not because sweet belongs to a different semantic domain to smell. As Winter points out, his ‘literal analysis of synesthetic metaphors’ has ‘far-reaching conclusions for lexical semantics and conceptual metaphor theory’, not least because it ‘compels us to see the continuity of the senses as reaching all the way down into the lexical representation of individual words’ (p. 238). This is a real and welcome challenge to conceptual metaphor theory with its implicit notion of discrete ‘domains’. Winter’s book, then, is valuable not least for its methodological rigour and its theoretical innovativeness. It provides sensory linguistics with a very firm foundation that future researchers can build upon. One possible path that sensory linguists might take (a path not signalled byWinter) is to explore (as Ullmann did in his 1945 article on Keats and Byron) how poetry in particular draws on the sensory nature of language. There are scattered references inWinter’s book to the important work in cognitive poetics of Reuven Tsur, but sensory linguistics would benefit from a much more sustained and comprehensive treatment of the sensoriness of poetic language.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"31 1","pages":"457 - 461"},"PeriodicalIF":0.7,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46952637","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 : 2022-07-13DOI: 10.1177/09639470221114573
Piergiorgio Trevisan
The representation of fictional minds that work in idiosyncratic ways has received significant attention in the past few decades, particularly regarding characters with some form of developmental delay or pathological disorder. The present paper attempts to investigate the mental functioning of the central character in Daniel Keyes’s widely acclaimed short-story Flowers for Algernon, which presents two versions of the same character: after being introduced as cognitively delayed and with a very low IQ, a futuristic treatment turns him into a neurotypical individual first, and into a genius later. With the unfolding of the plot, however, it soon becomes clear that the character’s mental gains are doomed to deteriorate by the end of the story, when he finds himself as cognitively delayed as he was at the beginning. By building on previous research, this paper is concerned with the effects of drastic changes in mind style in the course of the same story. More particularly, the final aim of this article is to study whether an abrupt shift in mind style may bear consequences on the character’s ability to interact with the other characters. Mental schemata and adherence/flouting of Grice’s maxims are closely investigated in the two versions of the characters, together with analyses of deictical patterns carried out by means of corpus techniques.
{"title":"Character’s mental functioning during a ‘neuro-transition’: Pragmatic failures in Flowers for Algernon","authors":"Piergiorgio Trevisan","doi":"10.1177/09639470221114573","DOIUrl":"https://doi.org/10.1177/09639470221114573","url":null,"abstract":"The representation of fictional minds that work in idiosyncratic ways has received significant attention in the past few decades, particularly regarding characters with some form of developmental delay or pathological disorder. The present paper attempts to investigate the mental functioning of the central character in Daniel Keyes’s widely acclaimed short-story Flowers for Algernon, which presents two versions of the same character: after being introduced as cognitively delayed and with a very low IQ, a futuristic treatment turns him into a neurotypical individual first, and into a genius later. With the unfolding of the plot, however, it soon becomes clear that the character’s mental gains are doomed to deteriorate by the end of the story, when he finds himself as cognitively delayed as he was at the beginning. By building on previous research, this paper is concerned with the effects of drastic changes in mind style in the course of the same story. More particularly, the final aim of this article is to study whether an abrupt shift in mind style may bear consequences on the character’s ability to interact with the other characters. Mental schemata and adherence/flouting of Grice’s maxims are closely investigated in the two versions of the characters, together with analyses of deictical patterns carried out by means of corpus techniques.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"46 - 59"},"PeriodicalIF":0.7,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48811643","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 : 2022-06-09DOI: 10.1177/09639470221106021
Kimberley Pager-McClymont
This article aims to provide a stylistically founded model of pathetic fallacy (PF hereafter). Pathetic fallacy is a Romantic literary technique used in art and literature to convey emotions through natural elements. This technique has been researched mostly from a literary viewpoint, but no linguistic model exists to define it. It is difficult to identify it precisely or consensually because definitions and uses vary, and it is often associated with other techniques (i.e. personification). Despite those inconsistencies, PF is likely to be taught as part of the Department for Education subject content in the English National Curriculum for students studying English Literature at GCSE and A Level. I thus conducted a survey of English teachers to collect data on PF, and based on their answers and suggested texts, created an updated stylistic model of PF using a combination of (cognitive) stylistic frameworks. The model defines PF as a projection of emotions from an animated entity onto the surroundings. I identify three ‘linguistic indicators’ of PF in my corpus: imagery, repetition and negation. I draw on metaphor research to further analyse the metaphorical nature of PF and its effects in texts from my corpus. Four effects of PF are identified: communicating implicit emotions, building ambience, building characters and plot foreshadowing.
{"title":"Linking Emotions to Surroundings: A Stylistic Model of Pathetic Fallacy","authors":"Kimberley Pager-McClymont","doi":"10.1177/09639470221106021","DOIUrl":"https://doi.org/10.1177/09639470221106021","url":null,"abstract":"This article aims to provide a stylistically founded model of pathetic fallacy (PF hereafter). Pathetic fallacy is a Romantic literary technique used in art and literature to convey emotions through natural elements. This technique has been researched mostly from a literary viewpoint, but no linguistic model exists to define it. It is difficult to identify it precisely or consensually because definitions and uses vary, and it is often associated with other techniques (i.e. personification). Despite those inconsistencies, PF is likely to be taught as part of the Department for Education subject content in the English National Curriculum for students studying English Literature at GCSE and A Level. I thus conducted a survey of English teachers to collect data on PF, and based on their answers and suggested texts, created an updated stylistic model of PF using a combination of (cognitive) stylistic frameworks. The model defines PF as a projection of emotions from an animated entity onto the surroundings. I identify three ‘linguistic indicators’ of PF in my corpus: imagery, repetition and negation. I draw on metaphor research to further analyse the metaphorical nature of PF and its effects in texts from my corpus. Four effects of PF are identified: communicating implicit emotions, building ambience, building characters and plot foreshadowing.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"31 1","pages":"428 - 454"},"PeriodicalIF":0.7,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45814545","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 : 2022-06-09DOI: 10.1177/09639470221106882
Megan Mansworth
This article uses a theoretical framework of possible worlds to explore the ways in which Janice Galloway’s novel about grief and depression, The Trick is to Keep Breathing, may elicit emotional responses in readers. I give an overview of some of the emotional responses expressed by readers by using online review data, before employing stylistic analysis to demonstrate how emotional effects may be created through the linguistic construction of degrees of possibility. Drawing on Possible Worlds Theory, I demonstrate how readers’ emotional responses may be linked both to the presentation of possibility and to the restriction of possibility. The combination of the empirical methodology utilised here alongside stylistic analysis allows me to harness the capacity of Possible Worlds Theory to cast light on constructions of textual possibility and actuality and to facilitate understanding of some of the mechanisms eliciting readers’ emotions.
{"title":"The restricted possible worlds of depression: A stylistic analysis of Janice Galloway’s The Trick is to Keep Breathing using a possible worlds framework","authors":"Megan Mansworth","doi":"10.1177/09639470221106882","DOIUrl":"https://doi.org/10.1177/09639470221106882","url":null,"abstract":"This article uses a theoretical framework of possible worlds to explore the ways in which Janice Galloway’s novel about grief and depression, The Trick is to Keep Breathing, may elicit emotional responses in readers. I give an overview of some of the emotional responses expressed by readers by using online review data, before employing stylistic analysis to demonstrate how emotional effects may be created through the linguistic construction of degrees of possibility. Drawing on Possible Worlds Theory, I demonstrate how readers’ emotional responses may be linked both to the presentation of possibility and to the restriction of possibility. The combination of the empirical methodology utilised here alongside stylistic analysis allows me to harness the capacity of Possible Worlds Theory to cast light on constructions of textual possibility and actuality and to facilitate understanding of some of the mechanisms eliciting readers’ emotions.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"32 1","pages":"28 - 45"},"PeriodicalIF":0.7,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46695851","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}
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