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This concise and highly accessible textbook outlines the principles and techniques of storytelling. It is intended as a high-school and college-level introduction to the central concepts of narrative theory – concepts that will aid students in developing their competence not only in analysing and interpreting short stories and novels, but also in writing them. This textbook prioritises clarity over intricacy of theory, equipping its readers with the necessary tools to embark on further study of literature, literary theory and creative writing. Building on a ‘semiotic model of narrative,’ it is structured around the key elements of narratological theory, with chapters on plot, setting, characterisation, and narration, as well as on language and theme – elements which are underrepresented in existing textbooks on narrative theory. The chapter on language constitutes essential reading for those students unfamiliar with rhetoric, while the chapter on theme draws together significant perspectives from contemporary critical theory (including feminism and postcolonialism). This textbook is engaging and easily navigable, with key concepts highlighted and clearly explained, both in the text and in a full glossary located at the end of the book. Throughout the textbook the reader is aided by diagrams, images, quotes from prominent theorists, and instructive examples from classical and popular short stories and novels (such as Jane Austen’s Pride and Prejudice, Franz Kafka’s ‘The Metamorphosis,’ J. K. Rowling’s Harry Potter, or Dostoyevsky’s The Brothers Karamazov, amongst many others). Prose Fiction: An Introduction to the Semiotics of Narrative can either be incorporated as the main textbook into a wider syllabus on narrative theory and creative writing, or it can be used as a supplementary reference book for readers interested in narrative fiction. The textbook is a must-read for beginning students of narratology, especially those with no or limited prior experience in this area. It is of especial relevance to English and Humanities major students in Asia, for whom it was conceived and written.
Linguistics and Literature is the first book to offer an overview of how linguistic theory can be applied to the oral and written literatures of the world
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Patterns in Languageaddresses the real needs of students in modular systems who may not have a background either in traditional literature or in linguistic theory. This student-friendly textbook uses the principles of linguistic analysis to investigate the aesthetic use of language in literary (and non-literary) texts. Written in straightforward, accessible language with imaginative examples and humour, it shows how linguistic knowledge can enhance and enrich the analysis of texts. The authors borrow from traditional stylistics but focus primarily on the recurring linguistic patterns which are used by writers of poetry, fiction and drama. Textual examples include canonical literature and modern literary texts, as well as references to popular fiction, television and the language of advertising. Tasks, including textual analysis, are provided at every stage, and sample answers are also included.
There is a marked awareness about the language of literature and its meaning both in Indian and Western aesthetic thinking. The aestheticians of both schools hold that the language of literature embodies a significant aspect of human experience, and represents a creative pattern of verbal structure to impart meaning effectively. Modern Western aesthetic thinking, which includes theories like formalism, new criticism, stylistics, structuralism, post-structuralism, deconstruction, discourse analysis, semiotics and dialogic criticism, in one way or another emphasizes the study of the language of literature in order to understand its meaning. Similarly, there is a distinct focus on the language of literature and its meaning in Indian literary theories which include the theory of rasa (aesthetic experience), alaṁkāra (the poetic figure), rīti (diction), dhvani (suggestion), vakrokti (oblique expression) and aucitya (propriety). This book explores how the language of literature and its meaning have been dealt with in both Indian and Western aesthetic thinking. In doing so, the study concentrates on Kuntaka’s theory of vakrokti and Ānandavardhana’s theory of dhvani in Indian aesthetic thinking and Russian formalism and deconstruction in Western thinking. The book categorically focuses on the intersection between the theory of vakrokti and Russian formalism and the meeting-point between the theory of dhvani and deconstruction.
This volume studies how the literary elements in the Qur'an function in conveying its religious message effectively. It is divided into three parts. Part one includes studies of the whole Qur'an or large segments of it belonging to one historical period of its revelation; these studies concentrate on the analysis of its language, its style, its structural composition, its aesthetic characteristics, its rhetorical devices, its imagery, and the impact of these elements and their significance. Part two includes studies on individual suras of the Qur'an, each of which focuses on the sura's literary elements and how they produce meaning; each also explores the structure of this meaning and the coherence of its effect. Part three includes studies on Muslim appreciations of the literary aspects of the Qur'an in past generations and shows how modern linguistic, semantic, semiotic, and literary scholarship can add to their contributions.
Absent Narratives is a book about the defining difference between medieval and modern stories. In chapters devoted to the major writers of the late medieval period - Chaucer, Gower, the Gawain -poet and Malory - it presents and then analyzes a set of unique and unnoticed phenomena in medieval narrative, namely the persistent appearance of missing stories: stories implied, alluded to, or fragmented by a larger narrative. Far from being trivial digressions or passing curiosities, these absent narratives prove central to the way these medieval works function and to why they have affected readers in particular ways. Traditionally unseen, ignored, or explained away by critics, absent narratives offer a valuable new strategy for reading medieval texts and the historically specific textual culture in which they were written.