《语言的方式:言语注意的情节》加勒特·斯图尔特著(书评)

IF 0.7 1区 文学 0 LITERATURE, BRITISH ISLES DICKENS QUARTERLY Pub Date : 2023-11-29 DOI:10.1353/dqt.2023.a913288
Tamsin Evernden
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Building upon previous work on \"the linguistic infrastructure of […] textured prose\" (from the blurb of Stewart's 2018 monograph, <em>The One, Other, and Only Dickens</em>), <em>The Ways of the Word</em> sets out to explore \"simply letting verbal texture have its say\" through a series of \"readings <em>in</em>, rather than readings <em>of</em>, fiction\" (19). The switch of preposition presages the book's focus upon the dividends of illogic. It also forewarns the reader of an echo chamber of analyses, so far-reaching in individual measure that the flow of argument is sometimes lost. However, in this Stewart exactly replicates his point, and fulfils it. \"The Ways of the Word\" are centrifugal in his eyes, to his ears, carrying sense through divergent tracks of etymology, phonetics, and ambiguity <em>per se</em>. The business of reading represents not so much a continuum as a series of pockets, each with expansive potential.</p> <p>Stewart's book incentivizes the kind of competitive critique wherein metaphor outdoes metaphor. His consideration of how \"words work overtime in literary prose\" includes the implicit (industry), artisanship (\"its woven way\"), and living organism (\"<em>weigh</em> those words […] take their pulse\") (3; 19; 58). Inveterate word and, by extension, image play infiltrates practical criticism from Empson and Leavis to Kermode. (Stewart does not deviate <strong>[End Page 490]</strong> from the Western canon, although he does give thought to writing outside a native language). This idiom represents a true pleasure in wording, capturing the heft or inflection or mood of writing, its tonal climate. However, there's a balance to be struck. To shed an appreciative light upon a primary text is to widen the sphere of understanding, whereas to pull away into intellectual pyrotechnics is grandstanding. Stewart implies that appreciation is lost in (and on) the modern academy, \"whose mainstream weathervanes are tooled for other disciplinary crosscurrents than wording's high- or low-pressure fronts\" (4). The likely reality is that only appreciation as actively incisive as it is awed and in abeyance can stand in the stead of schools of criticism that are institutionally validated.</p> <p>Although he cites him many times, Stewart does not abide by George Orwell's edict of plain writing. He articulates his points in long, multifarious sentences; facets of argument and apposite words dually collaborate. This creates richness or tautology, depending. Stewart quotes Emily Dickinson's wonderful line: \"The brain is wider than the sky\" (219). Dickinson pinions the way consciousness is not attendant to space, or time, but in order to compute her imaged thought we must see an un-variegated sky, otherwise comprehension gets thwarted by visualization. Analogously, Stewart's frequently fine observations cannot equate to seismic horizon change. Finding examples of the ways of the word is both infinite variety in detail, and infinite similitude in mode. An unexpected pedagogical takeaway from this book is how the pattern of transcription and analysis can seem burdensome when endlessly repeated. It made me realize something else too. Once we transcribe, we appropriate, and can play on different terms, in different tempo, because we feel the writing surreptitiously ours: moored.</p> <p>Stewart's argument is ostensibly shuttled into three different provinces: \"page, stage, and inner perceptual screen\" (23). The multiple registers of the printed word are established territory. Stewart uses a performed (eight-hour) reading of <em>The Great Gatsby, Gatz</em> (2010), to explicate the effect of \"oralized text\" (90). I felt anchored by his reminding us of literature's aural heritage, and an example of Shakespeare on stage that sent him back to the text. Axiomatic, but somehow providing grip within his complex arguments. Stewart's chapters on the \"screened\" sentence are poised and lucid (115). Here he has form, having examined the conflation of film and literature before. I enjoyed his analysis of cinematic distance in literary prose; a trope being Hardy's placing of his characters in vast landscapes, but Stewart bypasses the \"so to...</p> </p>","PeriodicalId":41747,"journal":{"name":"DICKENS QUARTERLY","volume":"218 4","pages":""},"PeriodicalIF":0.7000,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Ways of the Word: Episodes in Verbal Attention by Garrett Stewart (review)\",\"authors\":\"Tamsin Evernden\",\"doi\":\"10.1353/dqt.2023.a913288\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\\n<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Ways of the Word: Episodes in Verbal Attention</em> by Garrett Stewart <!-- /html_title --></li> <li> Tamsin Evernden (bio) </li> </ul> Garrett Stewart. <em>The Ways of the Word: Episodes in Verbal Attention</em>. Cornell UP, 2021. Pp. i + 239. $24.95. ISBN 978-1-5017-6140-9 (pb). <p>Garrett Stewart's eighteenth book has a doubly self-reflexive thesis. Building upon previous work on \\\"the linguistic infrastructure of […] textured prose\\\" (from the blurb of Stewart's 2018 monograph, <em>The One, Other, and Only Dickens</em>), <em>The Ways of the Word</em> sets out to explore \\\"simply letting verbal texture have its say\\\" through a series of \\\"readings <em>in</em>, rather than readings <em>of</em>, fiction\\\" (19). The switch of preposition presages the book's focus upon the dividends of illogic. It also forewarns the reader of an echo chamber of analyses, so far-reaching in individual measure that the flow of argument is sometimes lost. However, in this Stewart exactly replicates his point, and fulfils it. \\\"The Ways of the Word\\\" are centrifugal in his eyes, to his ears, carrying sense through divergent tracks of etymology, phonetics, and ambiguity <em>per se</em>. The business of reading represents not so much a continuum as a series of pockets, each with expansive potential.</p> <p>Stewart's book incentivizes the kind of competitive critique wherein metaphor outdoes metaphor. His consideration of how \\\"words work overtime in literary prose\\\" includes the implicit (industry), artisanship (\\\"its woven way\\\"), and living organism (\\\"<em>weigh</em> those words […] take their pulse\\\") (3; 19; 58). Inveterate word and, by extension, image play infiltrates practical criticism from Empson and Leavis to Kermode. (Stewart does not deviate <strong>[End Page 490]</strong> from the Western canon, although he does give thought to writing outside a native language). This idiom represents a true pleasure in wording, capturing the heft or inflection or mood of writing, its tonal climate. However, there's a balance to be struck. To shed an appreciative light upon a primary text is to widen the sphere of understanding, whereas to pull away into intellectual pyrotechnics is grandstanding. Stewart implies that appreciation is lost in (and on) the modern academy, \\\"whose mainstream weathervanes are tooled for other disciplinary crosscurrents than wording's high- or low-pressure fronts\\\" (4). The likely reality is that only appreciation as actively incisive as it is awed and in abeyance can stand in the stead of schools of criticism that are institutionally validated.</p> <p>Although he cites him many times, Stewart does not abide by George Orwell's edict of plain writing. He articulates his points in long, multifarious sentences; facets of argument and apposite words dually collaborate. This creates richness or tautology, depending. Stewart quotes Emily Dickinson's wonderful line: \\\"The brain is wider than the sky\\\" (219). Dickinson pinions the way consciousness is not attendant to space, or time, but in order to compute her imaged thought we must see an un-variegated sky, otherwise comprehension gets thwarted by visualization. Analogously, Stewart's frequently fine observations cannot equate to seismic horizon change. Finding examples of the ways of the word is both infinite variety in detail, and infinite similitude in mode. An unexpected pedagogical takeaway from this book is how the pattern of transcription and analysis can seem burdensome when endlessly repeated. It made me realize something else too. Once we transcribe, we appropriate, and can play on different terms, in different tempo, because we feel the writing surreptitiously ours: moored.</p> <p>Stewart's argument is ostensibly shuttled into three different provinces: \\\"page, stage, and inner perceptual screen\\\" (23). The multiple registers of the printed word are established territory. 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引用次数: 0

摘要

代替摘要,这里是内容的简短摘录:复习:the Ways of the Word: Episodes In Verbal Attention by Garrett Stewart(传记)。语言的方式:言语注意的情节。康奈尔大学,2021年。第i + 239页。24.95美元。ISBN 978-1-5017-6140-9 (pb)。加勒特·斯图尔特的第十八本书有一个双重自我反思的论点。在之前关于“有质感散文的语言结构”的研究基础上(来自斯图尔特2018年的专著《一个,另一个,只有狄更斯》的简介),《文字之道》开始探索通过一系列“阅读小说,而不是阅读小说”,“简单地让语言质感有自己的话语权”(19)。介词的转换预示着这本书将重点放在非逻辑的好处上。它还预先警告读者注意分析的回音室,这些分析在个别方面影响深远,以至于有时会失去论点的连贯性。然而,在这一点上,斯图尔特完全复制了他的观点,并实现了它。“The Ways of The Word”在他的眼中是离心的,在他的耳朵里是离心的,通过词源学、语音学和歧义本身的不同轨迹来传递意义。阅读与其说是一个连续体,不如说是一系列口袋,每个口袋都有广阔的潜力。斯图尔特的书鼓励了那种暗喻胜过暗喻的竞争性批评。他对“文字在文学散文中如何加班”的思考包括含蓄(勤勉)、手工(“其编织方式”)和活的有机体(“衡量那些文字[…]把握它们的脉搏”)(3;19;58)。从Empson和Leavis到Kermode,根深蒂固的文字和形象游戏渗透到实践批评中。(斯图尔特并没有偏离西方经典,尽管他确实考虑过用母语以外的语言写作)。这个成语代表了对措辞的真正享受,抓住了写作的分量、变化或情绪,它的音调气候。然而,要找到一个平衡点。以欣赏的眼光看待一个主要的文本,是在拓宽理解的范围,而把自己拉进智力的烟火中,则是在哗众取宠。斯图尔特暗示,鉴赏在现代学术中已经消失,“其主流风向标被用于其他学科的交叉潮流,而不是措辞的高压或低压前沿”(4)。可能的现实是,只有敬畏和搁置的积极敏锐的鉴赏才能取代体制上得到验证的批评流派。尽管斯图尔特多次引用他的话,但他并没有遵守乔治·奥威尔(George Orwell)关于平实写作的规定。他用冗长而多样的句子表达自己的观点;论证的各个方面和对词是相互协作的。这就创造了丰富性或重复。斯图尔特引用了艾米丽·狄金森(Emily Dickinson)的妙语:“大脑比天空更宽”(219页)。狄金森认为,意识与空间或时间无关,但为了计算她想象的思想,我们必须看到一个没有杂色的天空,否则想象会阻碍理解。同样,斯图尔特频繁的精细观测也不能等同于地震视界的变化。寻找这个词的方式的例子,在细节上有无限的变化,在模式上有无限的相似。这本书的一个意想不到的教学收获是,当无休止地重复时,抄写和分析的模式似乎是繁重的。这也让我意识到了别的东西。一旦我们抄写,我们就会改写,并且可以用不同的方式、不同的节奏演奏,因为我们觉得写作是我们自己的:被束缚住了。斯图尔特的论点表面上分为三个不同的领域:“页面、舞台和内在感知屏幕”(23)。印刷字的多个寄存器是已建立的域。斯图尔特用表演(8小时)阅读《了不起的盖茨比》(The Great Gatsby, Gatz, 2010)来解释“口头文本”的影响(90)。他提醒我们文学的听觉遗产,以及莎士比亚在舞台上的一个例子,让他回到了文本中,这让我感到锚定。不言自明,但不知何故在他复杂的论点中提供了抓地力。斯图尔特关于“筛选”句子的章节是平稳而清晰的(115)。在这里,他有了形式,之前已经研究了电影和文学的合并。我喜欢他对文学散文中电影般的距离的分析;哈代把他的人物置于广阔的风景中,这是一个比喻,但斯图尔特绕过了“如此……
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The Ways of the Word: Episodes in Verbal Attention by Garrett Stewart (review)
In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • The Ways of the Word: Episodes in Verbal Attention by Garrett Stewart
  • Tamsin Evernden (bio)
Garrett Stewart. The Ways of the Word: Episodes in Verbal Attention. Cornell UP, 2021. Pp. i + 239. $24.95. ISBN 978-1-5017-6140-9 (pb).

Garrett Stewart's eighteenth book has a doubly self-reflexive thesis. Building upon previous work on "the linguistic infrastructure of […] textured prose" (from the blurb of Stewart's 2018 monograph, The One, Other, and Only Dickens), The Ways of the Word sets out to explore "simply letting verbal texture have its say" through a series of "readings in, rather than readings of, fiction" (19). The switch of preposition presages the book's focus upon the dividends of illogic. It also forewarns the reader of an echo chamber of analyses, so far-reaching in individual measure that the flow of argument is sometimes lost. However, in this Stewart exactly replicates his point, and fulfils it. "The Ways of the Word" are centrifugal in his eyes, to his ears, carrying sense through divergent tracks of etymology, phonetics, and ambiguity per se. The business of reading represents not so much a continuum as a series of pockets, each with expansive potential.

Stewart's book incentivizes the kind of competitive critique wherein metaphor outdoes metaphor. His consideration of how "words work overtime in literary prose" includes the implicit (industry), artisanship ("its woven way"), and living organism ("weigh those words […] take their pulse") (3; 19; 58). Inveterate word and, by extension, image play infiltrates practical criticism from Empson and Leavis to Kermode. (Stewart does not deviate [End Page 490] from the Western canon, although he does give thought to writing outside a native language). This idiom represents a true pleasure in wording, capturing the heft or inflection or mood of writing, its tonal climate. However, there's a balance to be struck. To shed an appreciative light upon a primary text is to widen the sphere of understanding, whereas to pull away into intellectual pyrotechnics is grandstanding. Stewart implies that appreciation is lost in (and on) the modern academy, "whose mainstream weathervanes are tooled for other disciplinary crosscurrents than wording's high- or low-pressure fronts" (4). The likely reality is that only appreciation as actively incisive as it is awed and in abeyance can stand in the stead of schools of criticism that are institutionally validated.

Although he cites him many times, Stewart does not abide by George Orwell's edict of plain writing. He articulates his points in long, multifarious sentences; facets of argument and apposite words dually collaborate. This creates richness or tautology, depending. Stewart quotes Emily Dickinson's wonderful line: "The brain is wider than the sky" (219). Dickinson pinions the way consciousness is not attendant to space, or time, but in order to compute her imaged thought we must see an un-variegated sky, otherwise comprehension gets thwarted by visualization. Analogously, Stewart's frequently fine observations cannot equate to seismic horizon change. Finding examples of the ways of the word is both infinite variety in detail, and infinite similitude in mode. An unexpected pedagogical takeaway from this book is how the pattern of transcription and analysis can seem burdensome when endlessly repeated. It made me realize something else too. Once we transcribe, we appropriate, and can play on different terms, in different tempo, because we feel the writing surreptitiously ours: moored.

Stewart's argument is ostensibly shuttled into three different provinces: "page, stage, and inner perceptual screen" (23). The multiple registers of the printed word are established territory. Stewart uses a performed (eight-hour) reading of The Great Gatsby, Gatz (2010), to explicate the effect of "oralized text" (90). I felt anchored by his reminding us of literature's aural heritage, and an example of Shakespeare on stage that sent him back to the text. Axiomatic, but somehow providing grip within his complex arguments. Stewart's chapters on the "screened" sentence are poised and lucid (115). Here he has form, having examined the conflation of film and literature before. I enjoyed his analysis of cinematic distance in literary prose; a trope being Hardy's placing of his characters in vast landscapes, but Stewart bypasses the "so to...

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来源期刊
DICKENS QUARTERLY
DICKENS QUARTERLY LITERATURE, BRITISH ISLES-
CiteScore
0.20
自引率
16.70%
发文量
33
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