20TH CENTURY POETRY:TEXT CL (Interface) by Verdonk

By Verdonk

This textbook offers a thought-provoking advent to the perform of literary stylistics. it really is in keeping with huge educating adventure, and makes new insights from linguistic and literary scholarship available to scholars of their day-by-day perform of analyzing, analysing and comparing literary texts. The twelve chapters, written by means of specialists within the box, offer an organization origin for the improvement of language and context-based literary feedback. The booklet permits scholars to extend their artistic responsiveness to the interaction among textual content and context, and among language and social state of affairs.

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By Verdonk

This textbook offers a thought-provoking advent to the perform of literary stylistics. it really is in keeping with huge educating adventure, and makes new insights from linguistic and literary scholarship available to scholars of their day-by-day perform of analyzing, analysing and comparing literary texts. The twelve chapters, written by means of specialists within the box, offer an organization origin for the improvement of language and context-based literary feedback. The booklet permits scholars to extend their artistic responsiveness to the interaction among textual content and context, and among language and social state of affairs.

Show description

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But what of the lines in between? They too, I suggest, are expressive of this ambivalence. And again, it is the grammatical category of person that is crucial. Consider the second-person pronoun in the first two lines of the second verse. It occurs three times. But it does not have a participant sense. It is the informal equivalent of the third-person impersonal pronoun ‘one’: One couldn’t just drop in, one had to phone . . And this is the non-participant equivalent of the first-person pronoun ‘I’: I couldn’t just drop in, I had to phone .

To analyse a poem stylistically The Tyger (final version) Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare be aspire? What the hand, dare seize the fire? And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? and what dread feet? What the hammer? what the chain? In what furnace was thy brain?

V. SEARCHING FOR WORDS How can the less well-armed reader ‘break into’ a difficult poem (and carry off its jewels)? That is the kind of question I shall try to give a kind of answer to here. By a less well-armed reader I mean someone who may be a non-native speaker, with a relatively limited experience with the range of written and spoken genres of a language (it has to be said that quite a few native speakers, in our technologized world, driven more and more by the computer chip and less and less by the book, also fit this description); or someone who has read little poetry, and who therefore approaches a difficult modern poem very much as a novice.

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