Table Of Contents:
Preface: how to use this book xi
Author's acknowledgements xiv
Publisher's acknowledgements xv

Who is stylistics? 1(35)

Introduction 1(9)

Foregrounding 10(6)

An example of stylistic analysis 16(11)

Who was stylistics? 27(9)

Discussion of exercises 28(4)

Notes 32(1)

Further reading 33(1)

Checksheet 1: deviation, parallelism and foregrounding 34(2)

More on foregrounding, deviation and parallelism 36(44)

Introduction 36(1)

Kinds of deviation 37(26)

More about parallelism 63(5)

Meaning, style and choice 68(12)

Discussion of exercises 72(6)

Notes 78(1)

Further reading 79(1)

Style variation in texts 80(26)

Style variation in English 80(7)

Literature and dialect 87(4)

Literature and medium 91(1)

Literature and tenor 91(2)

Medium and tenor intertwined 93(3)

Literature and domain 96(2)

An extended example of style variation 98(3)

How finicky can you get? 101(5)

Discussion of exercises 103(1)

Notes 104(1)

Further reading 104(1)

Checksheet 2: style variation 105(1)

Sound, meaning and effect 106(19)

Introduction 106(1)

Alliteration, assonance, rhyme and related matters 107(7)

Sound symbolism 114(5)

Phonaesthemes 119(6)

Discussion of exercises 122(1)

Notes 123(1)

Further reading 124(1)

Checksheet 3: phonetic structure 124(1)

Rhythm and metre in the reading of poetry 125(43)

What is rhythm? 125(1)

Rhythm in language 126(1)

Metre 127(4)

Different kinds of metre 131(3)

Fitting together the metre and what a poet wants to say 134(8)

Intonation, or `sentence stress' 142(4)

Metrical and phonetic organisation put to appropriate use 146(4)

Rhythm and timing 150(5)

Foot, line and grammar 155(3)

An extended analysis 158(10)

Discussion of exercises 162(3)

Notes 165(1)

Further reading 166(1)

Checksheet 4: metrical structure 166(2)

Drama: the conversational genre 168(27)

Introduction 168(1)

The discourse structure of drama 169(4)

How like real conversation is dramatic dialogue? 173(22)

Discussion of exercises 189(4)

Note 193(1)

Further reading 193(1)

Checksheet 5: discourse structure and speech realism 194(1)

The meaning of speech acts, turn-taking and politeness 195(27)

Speech acts 195(10)

Turn-taking and topic control 205(7)

Politeness 212(10)

Discussion of exercises 217(1)

Notes 217(2)

Further reading 219(1)

Checksheet 6: turn-taking, speech acts and politeness 219(3)

Assumptions, presuppositions and the inferring of meaning 222(33)

Introduction 222(5)

Schema theory 227(5)

Presuppositions 232(6)

Inference 238(8)

An example analysis 246(9)

Discussion of exercises 250(2)

Further reading 252(1)

Checksheet 7: inferring meaning 252(3)

Fictional prose and point of view 255(33)

Introduction 255(1)

The discourse structure of fictional prose 256(7)

Linguistic indicators of viewpoint 263(16)

A more extended example 279(9)

Discussion of exercises 282(4)

Further reading 286(1)

Checksheet 8: linguistic indicators of point of view 286(2)

Speech and thought presentation 288(38)

Introduction 288(3)

An example of variation in speech presentation 291(4)

The categories of speech presentation discussed in detail 295(16)

Thought presentation 311(15)

Discussion of exercises 320(3)

Notes 323(1)

Further reading 324(1)

Checksheet 9: speech and thought presentation 324(2)

Prose style 326(28)

Introduction: authorial style and text style 326(5)

Lies, damned lies and statistics 331(3)

What language features should we examine to elucidate text style? 334(1)

Analysisng style and meaning in a passage from The Great Gatsby 335(13)

Concluding remarks 348(6)

Discussion of exercises 349(1)

Notes 349(1)

Further reading 350(1)

Checksheet 10: style features of narrative description 350(4)

Bringing it all together 354(21)

Introduction 354(1)

How to go about a stylistic analysis 355(3)

Lady Macbeth tries to calm Macbeth 358(9)

Doris begins to realise that she does not really know the man she has married 367(6)

Concluding remarks 373(2)

Notes 374(1)
Appendix: a list of English phonemes 375(2)
References 377(9)
Index 386