tailieunhanh - Introdungcing English language part 11

Introdungcing English language part 11: 'In this exciting new textbook, Louise Mullany and Peter Stockwell have provided a fresh and imaginative set of alternatives for teaching and learning a huge amount about the English language. The book allows tor creative and lateral approaches to developing an understanding of important linguistic concepts and, together with the thought-provoking activities, and accessible readings, guarantees there is something to stimulate every learner. | All 46 INTRODUCTION KEY BASIC CONCEPTS Foregrounding can be analysed stylistically as a feature of textual organisation but of course it is also simultaneously a readerly and psychological feature. Features which are highly deviant or non-normative such as when Cathy says I am Heathcliff in Emily Brontë s Wuthering Heights or Roethke s the inexorable sadness of pencils or pity this busy monster manunkind are likely to be regarded as foregrounded elements by most readers but other patterns can be more subtle and give rise to more disagreement in interpretation. The fact that foregrounding is both a textual and readerly phenomenon is an unavoidable truth that makes stylistics neither purely objective nor purely subjective. Instead stylistic analysis can be regarded as intersubjective the arguments and evidence are presented in a systematic and disciplined manner for other researchers to consider. Since texts are generally uneven in texture and possess variable foregrounding there is often an organising and prominent feature that appears to be most significant in a literary work this is the dominant. Stylistic analyses tend to focus on this feature in order to get to the nub of the mechanics of the text s technique. For example the presentation of a heated argument in a play or in a passage of dialogue in a novel could profitably be analysed using frameworks from conversation analysis and the pragmatics of politeness see B3 and B5 . A short lyrical poem with apparent soundeffects and a very distinctive rhythm could usefully be analysed from the perspective of phonetics see A1 and metrics. A poem with odd clashes in meaning would be amenable to a semantic analysis A3 . A poem with syntactic sequencing that did not appear to match everyday language might be interesting under a syntactic exploration see A3 and B2 and so on. Of course almost no literary text is one dimensional. No doubt in the semantically odd poem or the phonetically interesting lyric there