This textbook presents a thought-provoking advent to the perform of literary stylistics. it truly is according to large instructing event, and makes new insights from linguistic and literary scholarship available to scholars of their day-by-day perform of examining, analysing and comparing literary texts. The twelve chapters, written by way of specialists within the box, supply a company starting place for the improvement of language and context-based literary feedback. The publication permits scholars to extend their artistic responsiveness to the interaction among textual content and context, and among language and social scenario.
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Extra info for 20TH CENTURY POETRY:TEXT CL (Interface)
MORE DETAILED STYLISTIC ANALYSIS I will now describe in detail each of the above sections of the poem in turn. General description plus general command (lines 1–4) The initial description has two clauses with stative verbs (‘roofs’, ‘paves’). ‘A green level of lily leaves’ is subject to both clauses, and they both have the same underlying syntactic structure, SVO. This parallelism helps bring out the janus-faced lexical contrast between ‘roofs’ and ‘paves’, and the contrast between ‘chamber’ (enclosed, and associated with quiet) and ‘arena’ (open, and associated with activity and noise).
The ‘pond bed’s matter of course’ is obviously opposed to the world above the surface of the water, and the way in which this underwater world is depicted contrasts dramatically with the world of the air. Note the use of remote deixis (‘that darkness’, ‘there’) in contrast with the close deixis we saw associated with the world of the flies. The beings referred to in the upper world (fly, dragonfly) were initially realized lexically by concrete nouns, but the underwater creatures are introduced abstractly with the noun ‘times’: Prehistoric bedragonned times Crawl that darkness with Latin names The associations here are with slowness, not speed.
In the years following the Second World War, it was often falsely asserted that anti-Semitism was entirely a (German) Nazi affair, but the speaker knows otherwise, and judges Europe (and its exemplar, Holland) to be Not half innocent and not half undone; I take the first phrase in this line literally: Europe’s nations were more guilty than innocent, in their preoccupation with feathering their own nests while other ‘nations and generations’ – archetypically the Jews, but colonized, exploited, and persecuted communities generally – are ‘lost’ (2:8–9).
20TH CENTURY POETRY:TEXT CL (Interface) by Verdonk