Read e-book online Cultural Climate and Linguistic Style: Change in English PDF

By Gillian Cawthra

ISBN-10: 1349094021

ISBN-13: 9781349094028

ISBN-10: 1349094048

ISBN-13: 9781349094042

A publication exploring the relation among tradition and syntax on the finish of the nineteenth and the start of the twentieth centuries. The research of specific syntactic beneficial properties in novels of the time indicates transparent transformations of utilization that may be noticeable to mirror present social upheaval.

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Read or Download Cultural Climate and Linguistic Style: Change in English Fictional Prose from the Late Victorian to the Early Modern Period PDF

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Additional info for Cultural Climate and Linguistic Style: Change in English Fictional Prose from the Late Victorian to the Early Modern Period

Example text

None of these verbal forms requires a complement and so the pattern S P C is inappropriate. The second part of the second sentence does have the pattern S P C, but the predicator group is split up so that the subject and complement groups apparently fall within it. The same is true of the eleventh sentence (18 words), where again the predicator element is interrupted; and of the ninth sentence (57 words), where both the predicator and the subject elements are interrupted. In the tenth sentence (17 words) both subjects can govern both predicators and both predicators can Patterns of Language 27 govern both complements, but the underlying pattern is still S P C.

2, 7, 3, 9, 2, 2, 5; 10, 2, 5, 8; 8, 7, 2. This pattern breaks down into 14 full stops, no colons, two semicolons, 31 commas, no dashes, no exclamation marks, no question marks, and four single inverted commas (in tWo pairs, used to isolate two words). Lawrence's punctuation breaks the text down into fairly small sections. There is one section with 18 words, and 11 sections with only one or two words, but most contain five to eleven words. There are four varieties of punctuation used, but the comma is by far the most frequent.

We try to use the visual images of 'glow', 'eye', 'bright relief', and so on, to create a picture, but it is not possible. The language is clearly not literal, but as metaphor it refers to something we cannot follow. This whimsicality continues throughout the passage, so that there are key ideas which we can make little sense of: the Comic Spirit, the Book of Earth or Egoism, the notable humourist, the sheets of leaves stretching from the Lizard to the edge of the Pole (explorers tell us), that solitary majestic outsider, our great lord and master, and so on.

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Cultural Climate and Linguistic Style: Change in English Fictional Prose from the Late Victorian to the Early Modern Period by Gillian Cawthra


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