Pub Date : 2022-01-13DOI: 10.1177/09639470211072153
M. Burke, Karen Coats
This article constitutes an introduction to the five articles that appear in this special issue. This framing process starts by highlighting the sparse, yet important, work that has been conducted over the past 20 years on children’s literature in the field of stylistics. The focus in the article then turns to a more general discussion of the language of children’s literature. Here, in this chronological overview of language usage in books written for children, an outline is sketched from the writers and philosophers of the enlightenment up to contemporary debates on literacy, cognition and theory of mind. In the section that follows, the five studies that appear in this special issue are briefly synopsized. What becomes apparent is the wide range of methodological approaches that have been taken by the scholars in question to analyze the texts that are under investigation, in both quantitative and qualitative ways. The article ends with a plea for more stylistic work to be conducted in the areas of both children’s literature and young adult fiction. This is especially pertinent because stylisticians possess the key linguistic and analytic skills and tools to help, in interdisciplinary settings, to address current social, emotional and cognitive challenges pertaining to child development through literacy and through reading in particular.
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Pub Date : 2022-01-05DOI: 10.1177/09639470211062705
Matthias Bauer, Judith Glaesser, A. Kelava, Leonie Kirchhoff, Angelika Zirker
This article introduces a test for literary text comprehension in university students of English as a second language. Poetry is especially suited for our purpose since it frequently shows features that offer challenges to comprehension in a limited space. An example is Shakespeare’s Sonnet 43, on which our test is based: it is suited for assessing not only if a text has been understood but also the ability of respondents to reflect on their own comprehension skills. We show that the test’s psychometric properties are satisfactory, and we demonstrate its validity by analysing relevant external indicators. Thus, we can show a direct link between general reading experience and text comprehension as tested: the more students read, the better do they perform. The collaboration of literary studies with psychometrics moreover allows for a statistically valid identification of specific challenges to comprehension and thus advance our knowledge of what readers find difficult. This will be of interest not only in a hermeneutic and linguistic perspective but also with a view to addressing those difficulties in an educational context. For example, asking someone whether they have understood an utterance (in this case: a line of poetry) does not elicit reliable answers. Being able to say how one has established the meaning of a line seems to be a more reliable indicator of actually having understood it.
{"title":"‘When most I wink, then’ – what? Assessing the comprehension of literary texts in university students of English as a second language","authors":"Matthias Bauer, Judith Glaesser, A. Kelava, Leonie Kirchhoff, Angelika Zirker","doi":"10.1177/09639470211062705","DOIUrl":"https://doi.org/10.1177/09639470211062705","url":null,"abstract":"This article introduces a test for literary text comprehension in university students of English as a second language. Poetry is especially suited for our purpose since it frequently shows features that offer challenges to comprehension in a limited space. An example is Shakespeare’s Sonnet 43, on which our test is based: it is suited for assessing not only if a text has been understood but also the ability of respondents to reflect on their own comprehension skills. We show that the test’s psychometric properties are satisfactory, and we demonstrate its validity by analysing relevant external indicators. Thus, we can show a direct link between general reading experience and text comprehension as tested: the more students read, the better do they perform. The collaboration of literary studies with psychometrics moreover allows for a statistically valid identification of specific challenges to comprehension and thus advance our knowledge of what readers find difficult. This will be of interest not only in a hermeneutic and linguistic perspective but also with a view to addressing those difficulties in an educational context. For example, asking someone whether they have understood an utterance (in this case: a line of poetry) does not elicit reliable answers. Being able to say how one has established the meaning of a line seems to be a more reliable indicator of actually having understood it.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"31 1","pages":"345 - 364"},"PeriodicalIF":0.7,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43509639","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 : 2022-01-02DOI: 10.1177/09639470211048159
Raksangob Wijitsopon
The present study adopts a corpus stylistic approach to: (1) examine a relationship between textual patterns of colour words in The Great Gatsby and their symbolic interpretations and (2) investigate the ways those patterns are handled in Thai translations. Distribution and co-occurrence patterns were analysed for colour words that are key in the novel: white, grey, yellow and lavender. The density and frequent patterns of each word are argued to foreground an association between the colour word and particular concepts, pointing to symbolic meaning potentials related to the novel’s themes of socioeconomic inequality and destructive wealth. The textual patterns are compared with what occurs in three Thai translations of the novel. While most of the colour images are directly translated, non-equivalents tend to be applied to figurative uses of the colour terms. This results in some changes in textual patterns of the colour words in the translated texts, which can in turn affect readers’ interpretations of colour symbolism in the novel.
{"title":"Corpus stylistics and colour symbolism in The Great Gatsby and its Thai translations","authors":"Raksangob Wijitsopon","doi":"10.1177/09639470211048159","DOIUrl":"https://doi.org/10.1177/09639470211048159","url":null,"abstract":"The present study adopts a corpus stylistic approach to: (1) examine a relationship between textual patterns of colour words in The Great Gatsby and their symbolic interpretations and (2) investigate the ways those patterns are handled in Thai translations. Distribution and co-occurrence patterns were analysed for colour words that are key in the novel: white, grey, yellow and lavender. The density and frequent patterns of each word are argued to foreground an association between the colour word and particular concepts, pointing to symbolic meaning potentials related to the novel’s themes of socioeconomic inequality and destructive wealth. The textual patterns are compared with what occurs in three Thai translations of the novel. While most of the colour images are directly translated, non-equivalents tend to be applied to figurative uses of the colour terms. This results in some changes in textual patterns of the colour words in the translated texts, which can in turn affect readers’ interpretations of colour symbolism in the novel.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"31 1","pages":"267 - 295"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45421617","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 : 2021-12-14DOI: 10.1177/09639470211059254
Irene O’Leary
Interaction between text and reader is a prominent concern in stylistics. This paper focusses on interactions among stylistic processes and subconscious microcognitive processes that generate changes to narrative and interpretation during reading. Drawing on process philosophy and recent neuroscientific research, I articulate this dynamism through analysis of a brief narrative moment from each of The.PowerBook by Jeanette Winterson and Oryx and Crake by Margaret Atwood. I argue that high densities of stylistic and microcognitive perturbations lead to frequent narrative and interpretive changes in the two moments. The analyses reinforce portrayals of reading as intensely complex, dynamic and changeable. Complexity, dynamism and mutability also characterise the stylistic changes in the two narrative moments. This paper advocates greater attention to the role of volatile stylistic and cognitive microdynamics in shaping the reading of prose fiction.
{"title":"Literary dynamics in The.PowerBook by Jeanette Winterson and Oryx and Crake by Margaret Atwood","authors":"Irene O’Leary","doi":"10.1177/09639470211059254","DOIUrl":"https://doi.org/10.1177/09639470211059254","url":null,"abstract":"Interaction between text and reader is a prominent concern in stylistics. This paper focusses on interactions among stylistic processes and subconscious microcognitive processes that generate changes to narrative and interpretation during reading. Drawing on process philosophy and recent neuroscientific research, I articulate this dynamism through analysis of a brief narrative moment from each of The.PowerBook by Jeanette Winterson and Oryx and Crake by Margaret Atwood. I argue that high densities of stylistic and microcognitive perturbations lead to frequent narrative and interpretive changes in the two moments. The analyses reinforce portrayals of reading as intensely complex, dynamic and changeable. Complexity, dynamism and mutability also characterise the stylistic changes in the two narrative moments. This paper advocates greater attention to the role of volatile stylistic and cognitive microdynamics in shaping the reading of prose fiction.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"31 1","pages":"325 - 344"},"PeriodicalIF":0.7,"publicationDate":"2021-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45355707","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 : 2021-12-07DOI: 10.1177/09639470211054647
Orsolya Papp-Zipernovszky, Anne Mangen, A. Jacobs, J. Lüdtke
The present study combines literary theory and cognitive psychology to empirically explore some cognitive and emotional facets of poetry reading, exemplified by the reading of three Shakespeare sonnets. Specifically, predictions generated combining quantitative textual analysis according to the Neurocognitive Poetics model with qualitative textual analysis based on the Foregrounding assessment Matrix of sonnets no. 27, 60 and 66 are empirically tested by analyzing 45 subjects’ ratings of the three sonnets. Reflecting the differences in foregrounding potential of the three sonnets found in the textual analysis, we expected to find different reader responses, accordingly. Our dependent variables are well-established categories of emotional evaluation (e.g. valence and arousal) and cognitive, affective and aesthetic aspects of readers’ responses (e.g. liking and understanding) as well as less common ones (e.g. wonder, delight and mental images). The statistical analyses suggest that the type of foregrounding is more important than the number of foregrounded elements. This finding motivated further qualitative exploration of reader responses to open questions regarding mental images and perceived feelings. Comparing the free recall data about the feelings perceived in the sonnets with the ratings data about Valence and Arousal indicated that only the former one reflects a clear distinction between all three sonnets, whereas the readers’ overall evaluations did not sustain this variety of feelings. Multi-method, interdisciplinary research of this kind contributes to improving our understanding of the potentially unique mechanisms involved in poetry reception, and to forming more precise hypotheses for future experimental studies using, for example, eye tracking.
{"title":"Shakespeare sonnet reading: An empirical study of emotional responses","authors":"Orsolya Papp-Zipernovszky, Anne Mangen, A. Jacobs, J. Lüdtke","doi":"10.1177/09639470211054647","DOIUrl":"https://doi.org/10.1177/09639470211054647","url":null,"abstract":"The present study combines literary theory and cognitive psychology to empirically explore some cognitive and emotional facets of poetry reading, exemplified by the reading of three Shakespeare sonnets. Specifically, predictions generated combining quantitative textual analysis according to the Neurocognitive Poetics model with qualitative textual analysis based on the Foregrounding assessment Matrix of sonnets no. 27, 60 and 66 are empirically tested by analyzing 45 subjects’ ratings of the three sonnets. Reflecting the differences in foregrounding potential of the three sonnets found in the textual analysis, we expected to find different reader responses, accordingly. Our dependent variables are well-established categories of emotional evaluation (e.g. valence and arousal) and cognitive, affective and aesthetic aspects of readers’ responses (e.g. liking and understanding) as well as less common ones (e.g. wonder, delight and mental images). The statistical analyses suggest that the type of foregrounding is more important than the number of foregrounded elements. This finding motivated further qualitative exploration of reader responses to open questions regarding mental images and perceived feelings. Comparing the free recall data about the feelings perceived in the sonnets with the ratings data about Valence and Arousal indicated that only the former one reflects a clear distinction between all three sonnets, whereas the readers’ overall evaluations did not sustain this variety of feelings. Multi-method, interdisciplinary research of this kind contributes to improving our understanding of the potentially unique mechanisms involved in poetry reception, and to forming more precise hypotheses for future experimental studies using, for example, eye tracking.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"31 1","pages":"296 - 324"},"PeriodicalIF":0.7,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43212374","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 : 2021-10-24DOI: 10.1177/09639470211056687
Simon Statham
When I signed off the previous ‘Year’s work’ article I naively looked forward to a year ahead of restored travel to international conferences and other trappings of the ‘old normal’. Instead it has been another year of Zooming here and Teaming there and e-books and e-learning. All of this has brought such disruption and steep learning curves that, even amongst the few positives which academics may have found in our ongoing lockdown lives, we could be forgiven for not producing any new work at all. Not so stylisticians. To Simpson’s (2014: 4) three ‘Rs’, we can now add ‘resilience’, for stylisticians seem to have responded to the crisis of the pandemic by continuing to produce work of incredible breadth and depth. To paraphrase the epigraph from Bram Stoker, it is really wonderful how much resilience there is in stylistics. The same resilience cannot be necessarily attributed to me, so I wish to bring forward the disclaimer that often comes at the end of the ‘Year’s work’ that it is not possible to acknowledge all of the work produced in stylistics in a single year in a single article. Trying to be as comprehensive as possible has been complicated by the conditions of lockdown, for example where ‘remote access’ has not been granted or where publishers refuse steadfastly to stray from the new e-book obsession. Nonetheless the article aims to be a fairly thorough snapshot, if there is such a thing, into the resilient and unfaltering stylistics of 2020. As always, articles published in Language and Literature are not included in the references section to protect the impact factor of the journal but they are given with relevant volume and issue numbers so that readers can locate them. The sections into which the article is organised are not necessarily intended to indicate definitive
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Pub Date : 2021-09-29DOI: 10.1177/09639470211047751
Andreas H. Jucker
This paper explores the pervasiveness of features of orality in the language of performed fiction. Features of orality are typical of spontaneous spoken conversations where they are the result of the ongoing planning process and the interaction between the interlocutors, but they also occur in the context of performed fiction (movies and plays) and in narrative fiction (e.g. novels). In these contexts, they are not the result of the spontaneous planning process but are generally produced to imitate such processes. In this paper, I explore a small range of such features (contractions, interjections, discourse markers, response forms and hesitators) in four corpora of performed fiction that have recently become available (Corpus of American Soap Operas, TV Corpus, Movies Corpus and Sydney Corpus of Television Dialogue) and compare their frequency patterns with spontaneous face-to-face conversations in the Santa Barbara Corpus of Spoken American English and with narrative fiction and academic writing in the Corpus of Contemporary American English (COCA). The results confirm that the selected features of orality are used regularly in performed fiction but less frequently than in spontaneous face-to-face interactions while they are rare in narrative fiction and almost entirely absent in academic writing. The results also show that the status of the transcriptions contained in these corpora needs to be assessed very carefully if they are to be used for a study of pragmatic features.
{"title":"Features of orality in the language of fiction: A corpus-based investigation","authors":"Andreas H. Jucker","doi":"10.1177/09639470211047751","DOIUrl":"https://doi.org/10.1177/09639470211047751","url":null,"abstract":"This paper explores the pervasiveness of features of orality in the language of performed fiction. Features of orality are typical of spontaneous spoken conversations where they are the result of the ongoing planning process and the interaction between the interlocutors, but they also occur in the context of performed fiction (movies and plays) and in narrative fiction (e.g. novels). In these contexts, they are not the result of the spontaneous planning process but are generally produced to imitate such processes. In this paper, I explore a small range of such features (contractions, interjections, discourse markers, response forms and hesitators) in four corpora of performed fiction that have recently become available (Corpus of American Soap Operas, TV Corpus, Movies Corpus and Sydney Corpus of Television Dialogue) and compare their frequency patterns with spontaneous face-to-face conversations in the Santa Barbara Corpus of Spoken American English and with narrative fiction and academic writing in the Corpus of Contemporary American English (COCA). The results confirm that the selected features of orality are used regularly in performed fiction but less frequently than in spontaneous face-to-face interactions while they are rare in narrative fiction and almost entirely absent in academic writing. The results also show that the status of the transcriptions contained in these corpora needs to be assessed very carefully if they are to be used for a study of pragmatic features.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"30 1","pages":"341 - 360"},"PeriodicalIF":0.7,"publicationDate":"2021-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45309623","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 : 2021-09-29DOI: 10.1177/09639470211047732
J. Gavins, S. Whiteley, Duygu Çandarlı
This article reports on some of the results of a project undertaken by researchers at the University of Sheffield with The National Trust in the UK, which seeks to examine the discourse found in guestbooks located in the Trust’s holiday rental cottages. Our key interests lie in the ways in which holidaymakers perform particular identities through the stylistic choices they make when writing entries in guestbooks, the role linguistic creativity plays in these performances, and the extent to which cognitive-linguistic analysis can help us understand guestbooks as socially and conceptually complex sites of linguistic interaction. Between 2014 and 2018, we collected over 800,000 words of data from 13 holiday cottages in two popular holiday regions in the UK: the Roseland Peninsula in South East Cornwall and the Port Quin area of Northern Cornwall. Our dataset was analysed and tagged using NVivo qualitative coding software, which enables the identification of both linguistic and non-linguistic features of the discourse and makes these items searchable. In the present discussion, we use Text World Theory to explore both the situational context of this discourse, or the ‘discourse-world’, and the conceptual structures, or ‘text-worlds’, which result from linguistic interaction in the minds of participants. We suggest that the unified examination of these two interacting levels of discourse enables a holistic investigation of the pragmatic and conceptual environment which surrounds the production and reception of the guestbook discourse; the linguistic and stylistic features of the texts themselves; and the mental representations that arise from them. In particular, we present a case-study analysis of the guestbooks of Caragloose, a three-bedroomed former farmhouse in South East Cornwall, which our study found to contain levels of linguistic creativity which were exceptional in our dataset. We outline the key stylistic features of this discourse and show how one collective linguistic endeavour in particular in Caragloose fosters an exceptionally experimental style across multiple entries. We reveal how the resulting discourse, although taking place between strangers separated in both time and space, exhibits a density of creativity more commonly associated with collaborative discourse produced between intimates in a face-to-face situation.
{"title":"Linguistic co-creativity and the performance of identity in the discourse of National Trust holiday cottage guestbooks","authors":"J. Gavins, S. Whiteley, Duygu Çandarlı","doi":"10.1177/09639470211047732","DOIUrl":"https://doi.org/10.1177/09639470211047732","url":null,"abstract":"This article reports on some of the results of a project undertaken by researchers at the University of Sheffield with The National Trust in the UK, which seeks to examine the discourse found in guestbooks located in the Trust’s holiday rental cottages. Our key interests lie in the ways in which holidaymakers perform particular identities through the stylistic choices they make when writing entries in guestbooks, the role linguistic creativity plays in these performances, and the extent to which cognitive-linguistic analysis can help us understand guestbooks as socially and conceptually complex sites of linguistic interaction. Between 2014 and 2018, we collected over 800,000 words of data from 13 holiday cottages in two popular holiday regions in the UK: the Roseland Peninsula in South East Cornwall and the Port Quin area of Northern Cornwall. Our dataset was analysed and tagged using NVivo qualitative coding software, which enables the identification of both linguistic and non-linguistic features of the discourse and makes these items searchable. In the present discussion, we use Text World Theory to explore both the situational context of this discourse, or the ‘discourse-world’, and the conceptual structures, or ‘text-worlds’, which result from linguistic interaction in the minds of participants. We suggest that the unified examination of these two interacting levels of discourse enables a holistic investigation of the pragmatic and conceptual environment which surrounds the production and reception of the guestbook discourse; the linguistic and stylistic features of the texts themselves; and the mental representations that arise from them. In particular, we present a case-study analysis of the guestbooks of Caragloose, a three-bedroomed former farmhouse in South East Cornwall, which our study found to contain levels of linguistic creativity which were exceptional in our dataset. We outline the key stylistic features of this discourse and show how one collective linguistic endeavour in particular in Caragloose fosters an exceptionally experimental style across multiple entries. We reveal how the resulting discourse, although taking place between strangers separated in both time and space, exhibits a density of creativity more commonly associated with collaborative discourse produced between intimates in a face-to-face situation.","PeriodicalId":45849,"journal":{"name":"Language and Literature","volume":"30 1","pages":"381 - 406"},"PeriodicalIF":0.7,"publicationDate":"2021-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43672087","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 : 2021-09-29DOI: 10.1177/09639470211047817
Edward De Vooght, Guylian Nemegeer
This article confronts the theoretical tenets of reader-oriented short story collection theory and its implications for a literary analysis of Benni’s Il bar sotto il mare (1987) with the results of an empirical study of 12 readers. Through free recall tasks and open questions, we collected their recall of stories, specific passages, recurring topics and general interpretation to assess the processes of reticulation (i.e. searching for recurring elements in stories) and modification (i.e. modifying initial hypotheses based on the identification of new elements) advanced by Audet (2014). This confrontation revealed noticeably disagreeing results. Our findings suggest that flesh-and-blood readers adopt a more straightforward and intuitive approach when reading and interpreting collections as they are subject to a strong primacy effect, privilege personal appreciation of specific stories and passages, and rely on a disinclination to alter initial interpretative hypotheses. The findings pave the way for further investigation into the readers of SSCs.
本文通过对12位读者的实证研究，直面读者导向短篇小说集理论的理论原则及其对本尼的《Il bar sotto Il mare》（1987）文学分析的启示。通过自由回忆任务和开放式问题，我们收集了他们对故事的回忆、特定段落、重复出现的主题和一般解释，以评估Audet（2014）提出的网状化（即在故事中寻找重复出现的元素）和修改（即在识别新元素的基础上修改初始假设）的过程。这场对峙显示出明显的分歧结果。我们的研究结果表明，有血有肉的读者在阅读和解释文集时采取了更直接、更直观的方法，因为他们受到强烈的首要效应的影响，对特定故事和段落的个人欣赏享有特权，并且不愿意改变最初的解释假设。这些发现为进一步调查SSC的读者铺平了道路。
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