By Katie Wales
Designed either as a dictionary and a guide-book, this quantity comprises over six hundred alphabetically-listed phrases in terms of the examine of stylistics. utilizing fabric drawn from a number assets, together with poetic and conventional rhetoric, sociolinguistics and semiotics, it contains quotations and factors of grammatical conception. it's going to be precious to top university scholars of English for whom it's a first language; undergraduate scholars of English literature and language, linguistics, communications reviews and picture and drama; and scholars of English as a international language.
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The foregrounding of the sounds can be used for emphasis, and to aid memorability. : While melting music steals upon the sky, And soften’d sounds along the waters die (Alexander Pope: The Rape of the Lock) (2) Occurrences of more than two alliterated words seem marked to the modern reader, even over-emphatic. g. Piers Plowman, Sir Gawain and the Green Knight). The alliterated syllables are also the strongly accented or stressed syllables, and so are related to the rhythmic pattern. As well as what can be seen as continuous alliteration (x x x x) there are patterns of transverse alliteration (x y x y), etc.
2) The concept of an animateness hierarchy became popular through the work of cognitive linguists like George Lakoff and Mark Turner (1989), to describe the tendency towards culturally determined anthropocentrism and personification. So nouns in English can be ranked conceptually on a scale of animateness, where human beings usually precede animals, animals precede plants, and plants precede objects, etc. This Lakoff & Turner term the ‘Great Chain of Being’, so invoking the medieval and Elizabethan world order with God and angels at the apex.
Theoretical and critical approaches have been variously centred upon each of these three ‘nodes’, as Terry Eagleton (1996) outlined. Traditional literary criticism, inherited from the nineteenth century, has been preoccupied with the author; whereas affective stylistics and reception theory in the 1970s, and currently cognitive poetics, have focused on the responses and responsibilities of the reader. The analysis of texts as texts has been central in 37 AUTHOR(SHIP); AUTHOREDNESS; AUTHORITY, ETC.