This textbook presents a thought-provoking advent to the perform of literary stylistics. it truly is in accordance with wide educating adventure, and makes new insights from linguistic and literary scholarship available to scholars of their day-by-day perform of interpreting, analysing and comparing literary texts. The twelve chapters, written by way of specialists within the box, supply an organization beginning 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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Additional info for 20TH CENTURY POETRY:TEXT CL (Interface)
But it does not have a participant sense. It is the informal equivalent of the third-person impersonal pronoun ‘one’: One couldn’t just drop in, one had to phone . . And this is the non-participant equivalent of the first-person pronoun ‘I’: I couldn’t just drop in, I had to phone . . Again, there is distancing, but at the same time some retention of affective involvement represented by the residual participant force of the second-person pronoun ‘you’. Consider now how the third person is used to talk about the father in the poem.
By a less well-armed reader I mean someone who may be a non-native speaker, with a relatively limited experience with the range of written and spoken genres of a language (it has to be said that quite a few native speakers, in our technologized world, driven more and more by the computer chip and less and less by the book, also fit this description); or someone who has read little poetry, and who therefore approaches a difficult modern poem very much as a novice. Or it might be someone who thinks they are less well-equipped to handle poetry.
Notice that this ambivalence is suggested even by the phrase ‘there’s your name’ not ‘here’s your name’: distal, not proximal; there (and then) not here (and now). And notice too that the number is ‘there’, as if it appeared on its own. There is no indication of human agency. The line does not after all read: In my new phone book I write down your name . . The line is disconnected, then, the parents dead. He still calls, just the same. ‘Just the same’: the concessive phrase that ends the poem itself relates to those that precede (‘though’ makes an appearance in each verse).