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By Michael Toolan

This publication takes the next query as its start line: What are a few of the an important issues the reader needs to do in an effort to make experience of a literary narrative? The ebook is a examine of the feel of narrative fiction, utilizing stylistics, corpus linguistic rules (especially Hoey’s paintings on lexical patterning), narratological principles, and cognitive stylistic paintings via Werth, Emmott, and others. Michael Toolan explores the textual/grammatical nature of fictional narratives, seriously re-examining foundational rules concerning the position of lexical patterning in narrative texts, and likewise engages the cognitive or mental methods at play in literary examining. The examine grows out of the theoretical questions that stylistic analyses of prolonged fictional texts elevate, about the nature of narrative comprehension and the reader’s event during analyzing narratives, and especially about the position of language in that comprehension and event. the information of state of affairs, repetition and picturing are all relevant to the book’s argument approximately how readers strategy tale, and Toolan additionally considers the moral and emotional involvement of the reader, constructing hypotheses in regards to the text-linguistic features of the main ethically and emotionally related to parts of the tales tested. This booklet makes an incredible contribution to the research of narrative textual content and is in discussion with fresh paintings in corpus stylistics, cognitive stylistics, and literary textual content and texture.

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Extra resources for Making Sense of Narrative Text: Situation, Repetition, and Picturing in the Reading of Short Stories

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At the same time, as Stubbs (2001b: 311) notes, semantic predictability may militate against use of what might be regarded as entirely obvious (‘compositional’) lexical associates, such as foot with kick, or hand with grab. Speakers can and do say things like “I kicked with my foot at the front of the tyre” and “With both hands I grabbed hold of the boy”, and in each of these examples the with-phrase may be of some help to the interpreter, but neither phrase adds anything more than negligible new information and so does not advance the semantic interpretation.

But they suggest one general assumption, which emerges from setting processes of repetition alongside Gricean injunctions to be brief, orderly, and informative (which seem to enjoin us not to be repetitive without very good cause). The assumption is simply that those lexical segments that are repeated must bear repetition: they must be sufficiently informative or true Introduction 25 or relevant or moving or funny or aesthetically pleasing to be ‘repeatable’, notwithstanding their prima facie flouting of the manner maxim.

Non-direct speech, text) of a negation marker on a verb does not foreground the verb only (didn’t answer) but the whole sentence in which such a marker appears (He didn’t answer). This is certainly a contentious assumption, about the ‘scope’ or reach of a particular foregrounded textual element, which is why earlier in this chapter I sought to defend this privileging of the sentence as unit of segmentation (see also the brief discussion in Sinclair 2004: 194). The upshot of this corpus-stylistic-oriented approach to narrative progression in stories is that a selected subset of all the sentences in a story are extracted or highlighted by the analyst, often by almost mechanical means.

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