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Language of Contemporary Poetry: A Framework for Poetic Analysis 2022 ed. [Hardback]

  • Formāts: Hardback, 282 pages, height x width: 235x155 mm, weight: 629 g, 3 Illustrations, color; 14 Illustrations, black and white; XXIII, 282 p. 17 illus., 3 illus. in color., 1 Hardback
  • Sērija : Palgrave Studies in Language, Literature and Style
  • Izdošanas datums: 01-Oct-2022
  • Izdevniecība: Palgrave Macmillan
  • ISBN-10: 3031097483
  • ISBN-13: 9783031097485
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Language of Contemporary Poetry: A Framework for Poetic Analysis 2022 ed.Palielināt
  • Formāts: Hardback, 282 pages, height x width: 235x155 mm, weight: 629 g, 3 Illustrations, color; 14 Illustrations, black and white; XXIII, 282 p. 17 illus., 3 illus. in color., 1 Hardback
  • Sērija : Palgrave Studies in Language, Literature and Style
  • Izdošanas datums: 01-Oct-2022
  • Izdevniecība: Palgrave Macmillan
  • ISBN-10: 3031097483
  • ISBN-13: 9783031097485
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9783031097485.html
Keywords:

This book introduces a new way of looking at how poems mean, drawing on the framework first developed in the author’s book Critical Stylistics, but applied here to aesthetic more than ideological meaning. The aim is to empower readers of poetry to articulate the features of poetic language that they come across and explain to themselves and others why these features convey the meanings that they do. While this volume focuses on contemporary poets writing in English and mostly based in the UK and Ireland, the framework will work just as well for other eras’ poetry, as well as for other cultures and languages.


1 Contemporary Poetry and Textual Meaning
1(28)
1.2 Introduction to Contemporary Poetry and the Scope of the Book
1(4)
1.1.1 What is Textual Meaning?
2(1)
1.1.2 What Do I Mean by Contemporary Poetry?
3(1)
1.1.3 What Am I not Going to Cover in This Book?
4(1)
1.2 Introduction to the Textual Meaning Framework
5(8)
1.2.1 What is the Critical Stylistic Framework?
6(2)
1.2.2 Why Widen It? (to Poetry)
8(1)
1.2.3 Existing Textual-Conceptual Functions
9(1)
1.2.4 What's Missing?
10(2)
1.2.5 Core vs. Periphery?
12(1)
1.3 Research Questions and Methods
13(3)
1.3.1 Aims of the Research
13(1)
1.3.2 Research Questions
14(1)
1.3.3 Methodology
14(1)
1.3.4 Questions of Research Quality: Rigour, Significance and Originality
15(1)
1.4 How Textual Meaning Links to Stylistics
16(1)
1.5 The Poems
17(5)
1.6 Guide to the Rest of the Book
22(7)
References
24(5)
Part I Core Features of Textual Meaning
2 Naming and Describing: People, Places and Things in Poems
29(26)
2.1 Why Naming?
29(3)
2.2 How People and Things Are Named
32(3)
2.3 The Effects of Naming---Conjuring Up and Populating
35(6)
2.3.1 Making the Reader See Anew
36(2)
2.3.2 The Thrill of Recognition
38(2)
2.3.3 Naming and Creating
40(1)
2.4 The Names in a Poem---Patterns and Developments
41(6)
2.4.1 Prayer
42(1)
2.4.2 Summer Evening
43(2)
2.4.3 Men on Allotments
45(2)
2.5 Overlaps with Other Textual Effects
47(6)
2.5.1 Semantically Separate but Adjacent/Co-Occurring/Embedded TCFs
48(3)
2.5.2 TCFs Contributing to a Single Effect Jointly
51(2)
2.6 Naming as Poetic Technique
53(2)
References
54(1)
3 Representing Processes: Actions, States and Events in Poetry
55(22)
3.1 How We Represent Processes
56(6)
3.2 Foregrounded Verb Choices (External Deviation)
62(5)
3.3 Verbal Choices in Creating the Conditions for Internal Deviation
67(5)
3.4 Overlaps with Other Textual Effects
72(2)
3.5 Verb Choices in Poetry
74(3)
References
75(2)
4 Prioritising: Subordination and Information Structure in Poems
77(14)
4.1 How Syntax Prioritises and Why
78(5)
4.1.1 Main Versus Subordinate Clauses
78(1)
4.1.2 Focus and Marked Clause Structures
79(3)
4.1.3 Unwieldy Syntax in Contemporary Poetry
82(1)
4.2 How Priorities Work in Poetry
83(5)
4.3 Prioritising as Poetic Technique
88(3)
References
89(2)
5 Representing Time, Space and Society: Constructing the World of the Poem
91(12)
5.1 Deixis and Text Worlds
92(2)
5.2 Time in Poems
94(2)
5.3 Space in Poems
96(3)
5.4 Person in Poems
99(1)
5.5 The Space-time-Person Envelope in Contemporary Poetry
100(3)
References
100(3)
Part II Intermittent Features of Textual Meaning
6 Equating and Contrasting: Constructing Equivalence and Opposition in Poems
103(22)
6.1 Equating
104(11)
6.1.1 Producing Equivalence Through Similes
105(4)
6.1.2 Equating by Intensive Relational Process
109(2)
6.1.3 Equating by Apposition
111(2)
6.1.4 Equating in Conjunction with Other TCFs
113(2)
6.2 Contrasting
115(8)
6.2.1 Reimagining or Unpicking of Conventional Opposites
118(1)
6.2.2 Unconventional Uses of Conventional Opposites
119(2)
6.2.3 Auto-Evocation of Opposites
121(1)
6.2.4 Whole Poems Based on Oppositional Strands
122(1)
6.3 Equating and Contrasting in Poems
123(2)
References
124(1)
7 Enumerating and Equating: Lists and Open Meaning in Poems
125(2)
7.1 Lists of 2
128(2)
7.2 List or Apposition?
130(2)
7.3 Symbolic Lists of Three (and More)
132(2)
7.4 Lists of 4
134(3)
7.5 Poems Made of Lists---and Embedded Lists
137(2)
7.6 Lists in Contemporary Poetry
139(2)
References
139(2)
8 Negating: Poetic Construction of What is Not
141(14)
8.1 Grammatical Negation in Contemporary Poetry
144(3)
8.2 Morphological Negation in Contemporary Poetry
147(2)
8.3 Lexical Negators
149(1)
8.4 Thematic Negation
150(3)
8.5 Negating in Contemporary Poetry
153(2)
References
153(2)
9 Hypothesising: Possible Worlds, Hypothetical Scenarios and Wish Fulfilment in Poems
155(14)
9.1 Deontic and Boulomaic Modality
160(1)
9.2 Epistemic and Perception Modality
161(7)
9.2.1 Present Reference
161(2)
9.2.2 Future Reference
163(1)
9.2.3 Past Reference
163(3)
9.2.4 Habitual Modality
166(1)
9.2.5 Asking Modal Questions
167(1)
9.3 Hypothesising in Poetry
168(1)
References
168(1)
10 Alluding: Implying and Assuming in Poems
169(14)
10.1 Presupposition and Implicature
170(4)
10.2 Nominal and Logical Presupposition in Poems
174(3)
10.3 Alluding Through Implying: Conventional and Conversational Implicature
177(3)
10.4 Alluding in Contemporary Poetry
180(3)
References
181(2)
11 Presenting Others' Speech and Thought: Multiple Voices in Poems
183(16)
11.1 Speech and Thought Presentation---A Model
185(1)
11.2 Speech and Thought Presentation in Poems
186(7)
11.2.1 Direct Speech
186(3)
11.2.2 Indirect Speech
189(1)
11.2.3 Narrative Presentation of Speech Acts
189(2)
11.2.4 Narrative Presentation of Voice
191(2)
11.3 Thought Presentation in Poetry
193(4)
11.3.1 Direct Thought
193(1)
11.3.2 Free Indirect Thought
194(1)
11.3.3 Indirect Thought
195(1)
11.3.4 Narrative Presentation of a Thought Act
196(1)
11.4 Speech, Writing and Thought Presentation in Poetry
197(2)
References
198(1)
12 Evoking: Experiencing the Poem's World
199(24)
12.1 Iconicity
200(5)
12.2 Direct and Indirect Evocation by Sound and Image
205(4)
12.3 Evocation Through Manipulation of Poetic Form
209(4)
12.4 EVOCATION Through Syntax
213(5)
12.5 Evocation in Contemporary Poetry
218(5)
References
218(5)
Part III Conclusions
13 Putting It All Together: Integrated Analysis of Poems
223(20)
13.1 Jimmy Knight (David Constantine 2021)
223(4)
13.2 Important People (Gina Wilson 2020)
227(2)
13.3 A Square of Sunlight (Meg Cox 2021)
229(4)
13.4 Victoria Avenue (Alan Payne 2020)
233(3)
13.5 Dai (Stephen Payne 2019)
236(4)
13.6 I Was Na'amah (Shash Trevett 2021)
240(2)
13.7 Approaching New Poems
242(1)
References
242(1)
14 Textual Meaning, Linguistic Theory and the Stylistics of Poetry
243(12)
14.1 What Have We Learnt About Linguistic Theory?
245(1)
14.1.1 Textual Meaning
245(1)
14.1.2 Tripartite Structure of Language
246(1)
14.1.3 Learning from Descriptive Linguistics
246(1)
14.2 What Have We Learnt About Textual Meaning in Relation to Poetry?
246(1)
14.3 What Have We Learnt About Style in Contemporary Poetry?
247(5)
14.3.1 Observations from the TCFs
247(4)
14.3.2 Poetry in the Round
251(1)
14.4 More Work to Do
252(3)
14.4.1 Work on the Model
252(1)
14.4.2 Work on Theory
253(1)
14.4.3 Work on Poetry
253(1)
References
253(2)
Appendix 255(18)
References 273(6)
Index 279
Lesley Jeffries is a retired Professor of English Language and Linguistics and an independent scholar living and working in Leeds, UK. She has published widely in stylistics, focussing on the style of contemporary poetry and ideology in news reporting and political discourse. She is also co-editor (with Dan Mcintyre) of Babel: The Language Magazine.