Since Speech within the English Novel first seemed in 1973, it has received overseas reputation as an immense pioneering examine of a subject that lies at the frontiers of literature and linguistics - the character and serve as of fictional discussion and its courting to actual speech. Drawing on quite a lot of examples from many classes, the ebook comprises common and theoretical chapters and likewise case-studies of specific texts, in addition to a complete bankruptcy dedicated to Dickens. it's been discovered stimulating and worthy via academics and scholars in lots of international locations, and has been praised via various students. The Year's paintings in English reviews defined it as a 'classic'; Studia Neophilologica acknowledged that it 'opened up new vistas for research'; Language and magnificence came upon that it 'admirably bridges the space among linguistics and English studies', and English reports judged it 'a completely readable or even pleasing book'. This new version contains quite a few revisions, new examples, and additions to the bibliographies.
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Additional info for Speech in the English Novel
The two different methods may be illustrated by contrasting two passages by Dickens. When Mr Pecksniff is intoxicated (Martin Chuzzlewit, Ch 9), we are told that he speaks 'with imperfect articulation', and there are subsequent reminders of his condition in references to his 'thick and husky voice' and his 'stuttering', but the dialogue itself bears no orthographic or other evidence of this state. " I said thickly, "Lorblessmer! "' (David Copperfield, Ch 24). There can be little doubt which example arrests the reader's attention more readily by its linguistic vitality.
The first of these follows eighteenth-century practice in enclosing the substance of Wentworth's speech in quotation marks, though it is clearly not his 'actual words' that we are given. The use of free indirect speech here, in place of the more usual direct form, has the effect of merging dialogue with narrative and retaining the consistent viewpoint of the heroine, whose emotional state remains the centre of attention. Part of the smoothness of the transition from narrative to speech is owed to the fact that the first- and second-person pronouns of direct speech can, in free indirect speech, appear as the third-person pronouns normal in narrative.
Chapman, Linguistics and Literature, 1973. M. Evans, 'Elizabethan Spoken English', Cambridge Journal, 4, 1951,401-14. R. Fowler, Linguistics and the Novel, 1977. G. N. Leech and M. H. Short, Style in Fiction, 1981. A. Mcintosh and M. Halliday, Patterns of Language, 1966. R. Quirk, The Use of English, 1968. M. Riffaterre, 'Criteria for Style Analysis', Word, 15, 1959, 154-74. A. H. Smith and R. Quirk, 'Some Problems of Verbal Communication', Transactions of the Yorkshire Dialect Society, 9, 1955, 10-20.