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While customarily considered 'peripheral' linguistic phenomena, both parenthesis and ellipsis raise interesting and far-reaching theoretical questions. It is worth bearing in mind that research in theoretical linguistics has frequently been able to derive conclusions of general significance from the study of what appear at first glance to be quirks of the grammar. Following this tradition, the goal of this volume is to present recent research into parenthesis and ellipsis phenomena and heir interactions, in order to advance our understanding of grammar as a whole. We will now briefly highlight the main issues raised by each empirical domain, then show how investigating their intersection can help illuminate them.
Punctuation Revisited is an advanced, comprehensive guide to the importance of punctuation in conveying meaning and augmenting the power of a message. Richard Kallan provides guidance on how to structure sentences accurately and in a manner that enhances their readability and rhetorical appeal. This book discusses in fine detail not just when and how to employ specific punctuation marks, but the rationale behind them. It also notes when the major academic style manuals differ in their punctuation advice. These unique features are designed to benefit beginning, intermediate, and advanced students of standard punctuation practice. Punctuation Revisited is a wonderful resource for students of composition and writing, an essential read for writing center tutors and faculty, as well as the perfect addition to anyone’s professional library.
Descendants of Waverley examines contemporary novelists’ combination of historical authority and narrative art to create authentic and accessible depictions of the past. This technique, the “romance of history,” challenges conventional theories that the novel as a genre erased the romance. Individual chapters establish the critical framework, analyze the strategies that authors use to romance history, and demonstrate the subgenres that exist in current historical fiction. While the author does not consider Walter Scott to be the inventor of historical fiction, she demonstrates the ways in which contemporary fiction’s techniques reflect the form of the genre that Scott both developed and theorized in the Waverley novels (1814–1832). In writing his “historical romances,” Scott drew on the forms of the fictions that preceded his work, especially Gothic fiction, and was influenced by the fluid definitions of “romance” that permeated the theorizing of the novel and its development in the eighteenth century, where fiction was described as evolving from and replacing romances and referred to as “romances” themselves. She begins by tracing this history and moves on to discuss contemporary fiction, both as technique, in the uses of intertextuality, and in as form, in the increasing hybridity of contemporary fiction. This hybridity is reflected in such forms as the historical detective novel, the embedded narrative, and the biographical novel; the pedagogical elements inherent in the historical novel before Scott’s oeuvre continue into the present. The book ends with the recent phenomenon of historical fantasy; in this subgenre, the traits of more conventional historical fiction, such as intertextuality and the tension between the familiar and strange, combine with a playful form of fantasy that releases revenants among the Luddites and wizards into the Battle of Waterloo. John Frow’s theory of the slipperiness of genre is a critical component for explicating the most recent metamorphoses of historical fiction. The critical framework also develops from recent and eighteenth-century histories of the novel, twentieth- and twenty-first-century theories of Scott’s influence, and contemporary writers’ own reflections on what they do when they write historical novels.
"Malcolm discusses the novelist's use of major twentieth-century historical events to shape and deform the lives of his characters; his focus on the distortions and evasions that characterize the discussion of personal, local, and national histories; and his fascination with the complexities, sufferings, and joys that mark individual lives. Malcolm suggests that despite Swift's dark vision of human suffering, he tempers his writing with an intermittent focus on that which can redeem our failures, our losses, and our cruelties."--BOOK JACKET.
This volume presents a cross-section of research addressing the interaction of two prominent areas in linguistic theory: parenthesis and ellipsis. The contributions address various theoretical questions raised by 'incomplete' parenthetical constituents, covering a diverse empirical domain and various subfields of linguistics.
Main Clause Phenomena: New Horizons takes the study of Main Clause Phenomena (MCP) into the 21st century, without neglecting the origins of the topic. It brings together work by both established and up-and-coming scholars, who present analyses for a wide range of MCP, from a variety of languages, with a particular focus on particles and agreement markers, complementizers and verb second, and the licensing of MCP in different types of clauses. Besides enriching the empirical domain, this volume also engages with the theoretical question of how best to capture the distribution of MCP and, in particular, to what extent they are embeddable and why. The diverse patterns and analyses presented challenge the idea that MCP constitute a homogeneous class. Main Clause Phenomena: New Horizons is of interest not just to scholars specializing in the study of MCP, but to all linguists interested in the syntax and/or semantics of the clause.
Grounded in a detailed and compelling account of the philosophy guiding such a project, Ma's book traces a continuity of thought and practice through the very different poetic work of objectivists Louis Zukofsky, George Oppen, Carl Rakosi, and John Cage and language poets Susan Howe, Lyn Hejinian, Bruce Andrews, and Charles Bernstein. His deft individual readings provide an opening into this notoriously difficult work, even as his larger critique reveals a new and clarifying perspective on American modernist and post-modernist avant-garde poetics. Ma shows how we cannot understand these poets according to the usual way of reading but must see how they deliberately use redundancy, unpredictability, and irrationality to undermine the meaning-oriented foundations of American modernism--and to force a new and different kind of reading."--Pub. desc.
Unfinished Austen examines four texts that Jane Austen left incomplete: Catharine, or the Bower (1792–-3), Lady Susan (1795?), The Watsons (1803–-4?) and Sanditon (1817), none of them published till well after her death. Since very little in manuscript form survives from the six famous novels, these four manuscript texts offer insight into the novelist in the process of creation. They also problematize the romance plot prominent in the published novels by presenting this in a nebulous or incipient state that underlines its artificiality. These texts sometimes show how the romance plot is inflected by the financial condition in which young marriageable women can find themselves. Moreover, the stories (other than Catharine) have aroused the interest of many later writers—including writers for theatre and screen—who are eager to complete or to amplify them. They may do this through developing the stories to some kind of dénouement. Perhaps more intriguingly, however, these texts induce some writers to question the very enterprise of concluding an unfinished text.