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This study is intended to design measures for ethnographic description including speech acts in an etic instrumental approach, oriented toward an analysis of the functions of communicative events in relation to the ongoing stream of behavior. A revised taxonomy of speech acts is applied to an empirical corpus and is shown to produce a systematic set of behavioral measures which are potentially productive for cross-cultural comparison.
Pragmatics of Fiction provides systematic orientation in the emerging field of studying pragmatics with/in fictional data. It provides an authoritative and accessible overview of this versatile new field in its methodological and theoretical richness. Giving center stage to fictional language allows scholars to review key concepts in sociolinguistics such as genre, style, voice, stance, dialogue, participation structure or features of orality and literariness. The contributors explore language as one of the creative tools to craft story worlds and characters by drawing on concepts such as regional, social and ethnic language variation, as well as multilingualism. Themes such as emotion, taboo language or impoliteness in fiction receive attention just as the challenges of translation and dubbing, the creation of past and future languages, the impact of fictional language on language change or the fuzzy boundaries of narratives. Each contribution, written by a leading specialist, gives a succinct, representative and up-to-date overview of research questions, theories, methods and recent developments in the field.
Argues that the meaning of Greek myths can only be studied according to their artistic forms of expression. Using myths such as those of Persephone, Bellerophon, Helen and Teiresias, Claude Calame surveys Greek mythology as a category inseparable from the literature in which so much of it is found.
Pragmatics and Literature is an important collection of new work by leading practitioners working at the interface between pragmatic theory and literary analysis. The individual studies collected here draw on a variety of theoretical approaches and are concerned with a range of literary genres. All have a shared focus on applying ideas from specific pragmatic frameworks to understanding the production, interpretation and evaluation of literary texts. A full-length introductory chapter highlights distinctions and contrasts between pragmatic theories, but also brings out complementarities, shared aims and assumptions, and ways in which different pragmatic theories can make different contributions to our understanding of literary texts. The book as a whole encourages a sense of coherence for the field and presents insights from various approaches for systematic comparison. Building on previous work by the editors, the contributors and others, it makes a significant contribution to the growing field of pragmatic literary stylistics.
An addition to the Theory and Interpretation of Narrative series, Peel's book addresses how feminist utopian narratives attempt to persuade readers to adopt certain beliefs. Using three feminist utopian novels as her main examples, The Marriages between Zones Three, Four, and Five by Doris Lessing; The Left Hand of Darkness by Ursula K. Le Guin; and Les Guérillères by Monique Wittig, Peel examines how belief-bridging and protean metaphor in these works persuade readers. Literary persuasion, often dismissed as propaganda, in fact works in subtle and profound ways. The book presents major techniques by which narrative literature exercises this sophisticated influence on beliefs. Ultimately concluding that the pragmatic works better than the static in utopian feminism, Peel shows how, in novels such as those under discussion, the narrative techniques support pragmatism. Inquiring how narrative form can shape political belief by affecting readers' responses, the author integrates topics that are rarely combined. The book investigates three theoretical issues: utopian belief, distinguishing the perfectionism of the static from the vitality of the pragmatic and showing how the latter creates narrative energy; the persuasive process, tracing narrative form and asking how implied readers match real ones and how readers are swayed by belief-bridging and protean metaphor; and feminist belief, a nuanced definition that accounts both for what links feminists and what makes them diverse. Politics, Persuasion, and Pragmatism explores the rhetorical and ethical power of narrative literature.
Meaning in Interaction: An Introduction to Pragmatics is a comprehensive introductory text which discusses the development of pragmatics - its aims and methodology - and also introduces themes that are not generally covered in other texts. Jenny Thomas focuses on the dynamic nature of speaker meaning, considering the central roles of both speaker and hearer, and takes into account the social and psychological factors involved in the generation and interpretation of utterances. The book includes a detailed examination of the development of Pragmatics as a discipline, drawing attention to problems encountered in earlier work, and brings the reader up to date with recent discussion in the field. The book is written principally for students with no previous knowledge of pragmatics, and the basic concepts are covered in considerable detail. Theoretical and more complicated information is highlighted with examples that have been drawn from the media, fiction and real-life interaction, and makes the study more accessible to newcomers. It is an ideal introductory textbook for students of linguistics and for all who are interested in analysing problems in communication.
This is a ground-breaking work that offers a new explanation of the power and popularity of literary fictional texts. It does this by explaining the multiple dimensions of any fictional text and why it is that fictional literature cannot be reduced to a subset of these dimensions. This book offers an expansion of the field of pragmatics, “the philosophy of the act,” in which the three categories of fictional actors—author, character and reader—can be given their due. It achieves this by bringing together schools of thought that are too often kept apart: Anglo-American pragmatics and European philosophy. Drawing on a range of thinkers, from Charles Morris and John Searle to Friedrich Nietzsche, M. M. Bakhtin and Georg Lukács, the book applies a unique framework to a range of modern fictional texts. Key concepts here are ethical intention and the agon of authorship.
This volume brings together distinguished scholars from all over the world to present an authoritative, thorough, and yet accessible state-of-the-art survey of current issues in pragmatics. Following an introduction by the editor, the volume is divided into five thematic parts. Chapters in Part I are concerned with schools of thought, foundations, and theories, while Part II deals with central topics in pragmatics, including implicature, presupposition, speech acts, deixis, reference, and context. In Part III, the focus is on cognitively-oriented pragmatics, covering topics such as computational, experimental, and neuropragmatics. Part IV takes a look at socially and culturally-oriented pragmatics such as politeness/impoliteness studies, cross- and intercultural, and interlanguage pragmatics. Finally, the chapters in Part V explore the interfaces of pragmatics with semantics, grammar, morphology, the lexicon, prosody, language change, and information structure. The Oxford Handbook of Pragmatics will be an indispensable reference for scholars and students of pragmatics of all theoretical stripes. It will also be a valuable resource for linguists in other fields, including philosophy of language, semantics, morphosyntax, prosody, psycholinguistics, and sociolinguistics, and for researchers and students in the fields of cognitive science, artificial intelligence, computer science, anthropology, and sociology.
This volume brings together new research on fiction from the fields of philosophy and linguistics. Fiction has long been a topic of interest in philosophy, but recent years have also seen a surge in work on fictional discourse at the intersection between linguistics and philosophy of language. In particular, there has been a growing interest in examining long-standing issues concerning fiction from a perspective that is informed both by philosophy and linguistic theory. Following a detailed introduction by the editors, The Language of Fiction contains 14 chapters by leading scholars in linguistics and philosophy, organized into three parts. Part I, 'Truth, Reference, and Imagination', offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, 'Storytelling', deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, 'Perspective Shift', focuses on an alleged key characteristic of fictional narratives, namely how we get access to the fictional characters' inner lives, through a variety of literary techniques for representing what they say, think, or see. The volume will be of interest to scholars from graduate level upwards in the fields of discourse analysis, semantics and pragmatics, philosophy of language, psychology, cognitive science, and literary studies.
In the general area of style study or stylistics there is no shortage of ideas, definitions or published works. It is hoped, in the present volume, to contribute to the prosperity of the discipline mainly by clarifying and exemplifying how pragmatic considerations may be relevant to any study of style, in the conviction that pragmastylistics is more interesting and useful than stylistics on its own. The starting point must be a brief survey of the definitions and style and stylistics. The very form of the latter term suggests a scientific and orderly, rather than an intuitive or impressionistic, investigation of style. There are two separate levels of study: one, a general, methodical and scientific discipline; the other, an application of its methods or postulates to the analysis of the ‘style’ of a specific utterance, text, speaker, writer, movement or period. It is clear that, in order to approach either, we must first attempt to understand style.