The goal of the present thesis is a corpus stylistic analysis of Alice in Wonderland (1865), and it presents the possibilities of using corpus methods in the study of literary texts. In the theoretical part, the thesis is concerned with an explanation of the words norm, foregrounding, deviance and prominence (Leech, 2008), which are key terms in stylistics. The text then focuses in detail on various concerns connected to keywords and clusters, which are investigated later on in the theoretical part. The relation of keywords to the reference corpus and aspects of the length and frequency of occurrence of clusters are analyzed. An important element in a corpus-based analysis is that it is supposed to decrease bias, as the researcher studies statistically based significant markers of the text. The next part of the thesis focuses on the position of Alice in Wonderland between other members of the children's literature of the Golden Age (Knowles & Malmkjaer, 1995), and the role of nonsense and non-observance of pragmatic principles of interaction in the text. The reference corpora are described and primary hypotheses stated. In the practical part, keywords are studied first. They are divided into part of speech categories and interpreted from the point of view of their role and mutual relations in the text....

The purpose of this study is to trace and describe the form, origin and history of the praise poem ‘Ba Masemola’. This praise poem was included in the volume Seriti sa Thabantsho (1956). In that period, E. M. Ramaila collected and transcribed traditional praise poems of different groups, such as the Bapedi, the Batau, the Mapulana, and others. During his collection, Ramaila urged these groups not to forget their descent and history, and pointed out that these particulars were all brought together in their praise poems. Of the clans that are represented by their praise poems in this volume, only the Batau are discussed in this study. The Batau is a large group that is in its turn divided into five smaller groups, namely the Mphanama, Masemola, Nchabeleng, Makobe and Bakgaditsi groups. From among these smaller units the ‘Ba Masemola’ are selected for closer examination. Among the praise poems about the ‘Ba Masemola’ different kings are praised, for instance Mokwene, Tseke, Mabowe, and others. Not all these poems will be scrutinised, though occasional reference will be made to them. The most important concepts that are discussed in this study are the following: the praise poem, the narrative poem (poem with epic characteristics) and the epic. These genres share certain characteristics, yet also differ from each other. With regards to the content of the poem, several important characters are praised. The foremost figures that are mentioned here are the praise poet, the praised one and the ‘audience’. Their conduct differentiate them from characters found in (other) narratives works. The actions that are described can be divided into two groups, namely those that operate autonomously from other actions, and those that link with other actions. Nevertheless, all these happenings belong to the past. The milieu in this praise poem largely corresponds to that found in the narrative works, mainly because in the traditional settings, the praise poem is a declamatory piece that has several characteristics in common with the stage performance. In the description of the structural composition of this praise poem, a distinction will be made between the poem as literary work and the poem as verse. In the first case the theme, title and structure of the poem will be examined. The description of the structure of ‘Ba Masemola’ entails the different techniques Ramaila employs to carry across his ‘message’ and elucidates his point of view. In the examination of the verse composition, the first emphasis is on metrical principles that govern form, i.e correspondence and co-ordination, and the way in which Ramaila used them is then illuminated. In the stylistic finish of the poem there is a noticeable emotional charge. This can be mentioned as an important quality of the poem, and brings to the fore the bravery and fearlessness of the clan of GaMasemola. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

Utilisant un cadre théorique hybride, mêlant travaux de géographie, notamment culturelle, et approche littéraire et stylistique, ce travail de thèse interroge les diverses spatialités mccanniennes et leur écriture, mais aussi les implications éthiques et esthétiques de cette articulation. Il étudie la manière dont la représentation de ces spatialités pousse l’écriture à chercher son équilibre, alors qu’elle s’inscrit dans des espaces diégétiques et narratifs caractérisés par l’entre-deux et l’hybridité. Ces deux notions sont placées au cœur d’un corpus mu par un élan irréductible et kaléidoscopique, définissable comme une quête d’équilibre et dont éthique et esthétique constituent les facettes les plus essentielles.Sont donc observées les formes et modalités des spatialités mccanniennes, la relation que les personnages entretiennent avec elles, ainsi que leur inscription dans un contexte contemporain. L’écriture de l’entre-deux et de l’hybridité, sources potentielles d’équilibre comme de déséquilibre, est également analysée. On voit enfin comment ces états intermédiaires sont propices à un élan impliquant la création de lignes dynamiques constituant un mouvement vers l’Autre. Cet élan interroge bien souvent la relation avec l’Art et avec l’Autre, ainsi que l’équilibre parfois problématique entre esthétique et éthique. Les possibles contradictions entre ces deux derniers pôles sont examinées, de même que le potentiel créatif, voire démocratique des échanges permis par leur dialogue. / This thesis uses a hybrid theoretical approach mixing cultural geography as well as literature and stylistics in order to study the various spatialities that can be found in Colum McCann’s fictional work. It focuses on the writing of space, place and landscape, as well as on its ethical and aesthetical aspects. It analyses the way representing these spatialities forces the texts to try and find some sense of balance while the realities they describe and the world they were written in are characterised by in-betweenness and hybridity. These notions are at the core of this corpus, which is defined by an impetus that is both irrepressible and kaleidoscopic and that can be defined as a quest for balance in which ethics and aesthetics play a most essential role.The forms those spatialities can take, the bond the characters have created or create with them as well as the way they are inscribed in the contemporary world are analysed. This study also examines the writing of in-betweenness and hybridity, which can be factors of both balance and imbalance. This intermediarity encourages the development of an impulse which means creating dynamic trajectories towards the Other. This impetus interrogates relationships to Art and Otherness, as well as the (im)balance between aesthetics and ethics. It is therefore particularly relevant to scrutinize the latent contradictions between these two poles but also the creative, sometimes even democratic potential of their interactions.

The aim of this paper was to analyse foregrounding elements in Seamus Heaney’s poem “Digging.” The analysis shows that deviances from everyday non-literary language, i.e. foregrounding, are both likely to evoke defamiliarisation in readers and also provide readers with the likelihood of having an aesthetic experience. This has been done by adhering to the literary theory of Cognitive stylistics and to its related literary concepts, namely the theory of foregrounding. Furthermore, this paper also aimed to provide examples of how “Digging” can be taught in a pedagogical setting. In short, this paper argues for a teaching of poetry that focuses on the sensual aesthetic qualities in a poem. Therefore, this paper supports the claim that students need to attentively read, watch and perform poetry in order to experience its sounds and textures fully. Such an approach corresponds well to an aesthetic education which aims at developing, in students, a heightened awareness of and appreciation for all that touches our lives. Lastly, the pedagogical implementations showed that a foregrounding analysis of “Digging” can be fruitful to incorporate in the EFL classroom. Apart from evoking defamiliarisation and aesthetic reactions, a stylistic analysis can also serve to raise students' linguistic and literary awareness. As a result, students can discover why poets make particular language choices as well as develop their ability to interpret literary works.

In the wake of the guilty verdict of George Floyd’s murderer, police officer Derek Chauvin, there is hope for change in the pattern of police brutality against black people in the United States. The Hate U Give by Angie Thomas was published three years prior to George Floyd’s death, in 2017, and is a realistic fictional novel in the young adult genre that has gained attention for its relevant contribution in the debate of racism and police violence, as the fictional victim Khalil Harris, an unarmed black teenager, does not receive the same justice as George Floyd. In this essay, reader response to The Hate U Give is analysed in order to examine how it affects the opinions and worldview of the reader during and after the read. A close reading and analysis of pivotal scenes was carried out using affective stylistics, in order to interpret what the text does to the reader word-by-word, and subsequently the reader’s creation of meaning was examined and discussed. The reader’s response was then analysed with Stanley Fish’s theoretical framework of interpretive communities, groups with shared social norms and worldviews, which dictate how individuals create meaning in the first place. The analysis suggests that readers of The Hate U Give, while starting out in different, albeit to a certain extent similar, interpretive communities, will gradually align themselves with the interpretive community of Black Lives Matter through shared ideas and opinions and the increased understanding they develop when they read the novel.

Работа посвящена созданию и апробированию исследовательской модели, позволяющей описать языковую личность кандидатов Дональда Трампа и Джозефа Байдена во время предвыборной кампании 2019-2020 гг.. Материалом для исследованиями послужили транскрипты публичных выступлений Джозефа Байдена и Дональда Трампа во временном промежутке президентской кампании 2019-2020 гг. с сайта www.rev.com. Данный ресурс содержит все публичные выступления кандидатов и предоставляет полноценный корпус текстов речей. В первой части работы рассматриваются основные направления в речевом портретировании, риторической критике, концептуальном анализе. Предлагается интегративная методика речевого портретирования, включающая в себя концептуальный и стилистический уровни. Особое внимание уделяется различным аспектам в создании речевого портрета. Во второй части работы выявляются, описываются и классифицируются доминантные концепты и средства стилистической выразительности в речи каждого из кандидатов. Также проводится сопоставительный анализ на каждом уровне исследования. Особое внимание уделяется эмотивному компоненту лингвостилистического анализа. Доминантными концептами Дж. Байдена являются: «коронавирус», «единство», «свой человек». Доминантными концептами Д. Трампа: «демократическая партия», «фэйк ньюс», «военные силы». Доминантными средствами стилистической выразительности кандидата Байдена являются: метафора, повтор, противопоставление, эпитет. Доминантные средства стилистической выразительности кандидата Трампа представлены риторическими вопросами, сослагательными конструкциями и эпитетами. Результаты исследования могут быть использованы в ряде курсов и дисциплин академического цикла: политической лингвистики, лингвоконцептологии, лингвостилистики, лингвистической персонологии, дискурсологии. / The work is devoted to the creation and testing of a research model that allows describing the linguistic personality of candidates Donald Trump and Joseph Biden during the 2019-2020 election campaign. The research material was comprised by transcripts of public speeches by Joseph Biden and Donald Trump during the 2019-2020 presidential campaign from the website www.rev.com. This resource contains all public speeches of candidates and provides a full-fledged corpus of speech texts. In the first part of the work, the main directions in speech portraiture, rhetorical criticism, and conceptual analysis are considered. An integrative method of speech portraiture is proposed, which includes conceptual and stylistic levels. Special attention is paid to various aspects in creating a speech portrait. In the second part of the work, the dominant concepts and means of stylistic expressiveness in the speech of each of the candidates are identified, described and classified. A comparative analysis is also carried out at each level of the study. Special attention is paid to the emotive component of linguistic-stylistic analysis. The dominant concepts of J. Biden's words are: "coronavirus", "unity", "your own person". The dominant concepts of D. Trump are: "the Democratic party", "fake news", "military forces". The dominant means of stylistic expressiveness of candidate Biden are: metaphor, repetition, opposition, epithet. The dominant means of stylistic expressiveness of Candidate Trump are represented by rhetorical questions, subjunctive constructions and epithets. The results of the research can be used in a number of courses and disciplines of the academic cycle: political linguistics, linguistic conceptology, linguistic stylistics, linguistic personology, discursology.

In this essay, I illustrate how the third-person present tense narrative perspective can be used as stylistic allusion to theatre, by studying Maggie O’Farrell 2020 historical fiction novel Hamnet. Previous studies conclude that present-tense narration has the effect of blurring the lines between narration and experience. However, while a first-person perspective lets the reader enter the consciousness of an experiencing “I”, the third-person perspective, although inhabiting the same spatiotemporal level as the characters, maintains an outside perspective, observing the events as they unfold. Conclusively, as the study will show, third-person present tense narration has the potential to function as stylistic allusion to theatre as it seemingly challenges reader perception, letting the reader into the experiencing level of the story, assuming the role of the observer, thus mimicking the experience of watching a stage performance at a theatre.

<p><strong>Abstract</strong></p><p>The aim of this study was twofold. On the one hand, the aim was to discuss how lexical gaps can be solved or dealt with when a text about wildlife and nature different from that of the target culture is translated. On the other hand, the aim was also to discuss how the style and tone of such a text can be preserved and transferred into the target text. The study was qualitative and based on a translation into Swedish of short chapters of the book <em>Spirit of the Bush</em> by Peter Borchert, describing the South African wildlife and nature. The intended target reader of the translation is anyone with an interest in nature, wildlife and animals, as well as anyone with an interest in the history and culture of South Africa. Despite the fact that the terminology used in both the source text and the target text may require some previous knowledge on behalf of the reader, both texts could, nevertheless, very well be appreciated by a complete “wildlife-novice”. In order to create a theoretical base and a framework for the analysis, relevant research made in translation theory and stylistics was presented and discussed. Regarding lexical gaps, all the different strategies, apart from omission, proved to be of great help when the source text was translated into Swedish. Several examples of metaphors were discussed, such as how the wilderness is described as a <em>stage</em>, the animals as <em>actors</em>, and the visitors as making a <em>pilgrimage</em>. The metaphors in combination with the similes and the personifications in the source text, such as <em>bold</em> clouds and <em>confident</em> rivulets, fire the readers’ imagination and create a very vivid and capturing text. This is also something that supports the claim made that <em>Spirit of the Bush</em> is more than an ordinary informative text.</p><p> </p><p>Keywords: translation, lexical gaps, style, tone, stylistics, wildlife, bush.</p><p> </p>

Cette thèse se propose d’analyser le style des Mémoires de Saint-Simon, afin d’en comprendre la virulente énergie si sensible à la lecture. Inscrite dans une approche rhétorique, l’étude s’intéresse d’abord au positionnement discursif de Saint-Simon et aux fondements de la légitimité auctoriale : il s’agit d’expliquer comment, par un ensemble de dispositifs, le mémorialiste rend possible le plein épanouissement d’une rhétorique du blâme. Celle-ci se développe suivant deux orientations majeures, l’une judiciaire, l’autre épidictique, dont la variété des composantes témoigne à quel point Saint-Simon « osa tout écrire ». L’enquête se prolonge en montrant que cette rhétorique du blâme participe en réalité d’un discours de plus large portée : l’écriture, pour le mémorialiste, constitue une revanche sur l’Histoire quand toute autre prise sur l’action s’avère impossible. C’est dans cette perspective que se révèle alors dans le texte des Mémoires toute l’importance des discours rapportés et des procédés de recomposition de l’Histoire. / This dissertation aims to analyze the style of Saint-Simon’s Memoirs in order to better understand the virulent energy delivered in its reading. In keeping with a rhetorical approach, this study first focuses on the discursive position taken by Saint-Simon and the foundations of auctorial legitimacy. It is explained how, using various literary devices, the author succeeds in fully exploiting the rhetoric of blame. He accomplishes this through two rhetorical orientations – judiciary and epideictic, the variety of which attests to the fact that Saint-Simon “dared to write anything”. The investigation goes on to demonstrate that the rhetoric of blame contributes to a more significant discourse: in the absence of all other recourse, Saint-Simon views writing as a way to avenge oneself of History. It is in this vein that the importance of reported discourse and the rewriting of History is revealed in the text of Saint-Simon’s Memoirs.

Dans ce travail, nous proposons une étude de la poétique des Dionysiaques de Nonnos de Panopolis qui tient compte des critères esthétiques en vigueur dans l’Antiquité tardive. Pour cela, nous prenons pour point de départ les images du monstre et de la mosaïque, parce qu’elles cristallisent le goût de l’époque pour la fragmentation et l’accumulation. Ces deux caractéristiques se retrouvent à la fois dans le jeweled style (M. Roberts) et la spatial form (J. Frank), deux concepts développés à partir d’une comparaison avec les arts visuels et destinés à expliquer des esthétiques non classiques comme celle de Nonnos. Nous menons d’abord une étude de la temporalité du récit pour montrer que la picturalité est au centre de son art : non seulement le poète disloque la séquence temporelle, mais surtout il donne la primauté au mode descriptif. Tout son récit est fragmenté en une série de miniatures, comme celles que l’on trouve sur les mosaïques. L’épopée nonnienne exige donc le même type de lecture, à savoir la lecture thématique. Nous explorons ensuite ce deuxième aspect en étudiant les références internes qui dessinent une véritable architecture paradigmatique à l’intérieur de l’œuvre : les épisodes en écho se réécrivent les uns les autres selon une poétique de la métamorphose. Enfin, nous nous intéressons au caractère composite et cumulatif des Dionysiaques en le mettant en parallèle avec la pratique du remploi en architecture et en art : Nonnos conçoit son récit comme un empilement de blocs parmi lesquels il peut intégrer des fragments des œuvres de ses prédécesseurs, valorisant ainsi une hétérogénéité irréductible. / This thesis aims at studying the poetics of Nonnus’ Dionysiaca according to the principles of late antique aesthetic. As a starting point, we consider the images of the monster and the mosaics because they illustrate the then current tendencies towards fragmentation and accumulation. These two characteristics are part of both jeweled style (M. Roberts) and spatial form (J. Frank), which were based on a comparison with visual arts and designed to explain non classical aesthetics such as Nonnus’. First of all, we study the temporal organization of the narrative and show that picturality lies at the core of his art : Nonnus not only dislocates the narrative sequence, but he also gives the primacy to the descriptive mode. The whole narrative is fragmented into a series of miniatures just like a mosaic. Therefore Nonnus’ epic calls for the same kind of reading, i.e. the thematic reading. We then turn to an analysis of the internal references which are the key to a paradigmatic architecture inside the poem : echoing episodes are rewritten according to the poetics of metamorphosis. Lastly, we are concerned with the composite and cumulative aspect of the Dionysiaca, which can be paralleled with the use of spolia in architecture and art : Nonnus conceives of his narrative as a stacking of blocks among which he can insert fragments of former works — a way to advertise an irreducible heterogeneity.