.

0 (hodnocen0 x )

(4) Půjčeno:4x 

BK

1st ed.

Harlow : Longman, c1969

xv,240 s.

ISBN 0-582-55013-0 (brož.)

English language series

Obsahuje předmluvu, úvod, poznámky, rejstříky, údaje o autorovi

Bibliografie: s. 229-232

Poezie anglická - teorie - učebnice vysokošk.

000054899

Foreword v // Preface vii // Introduction i // o.i The ‘lang.-lit/ problem i // 0.2 A descriptive rhetoric 3 // 0.3 Poetic language and ‘ordinary* language 5 // 0.4 A possible misgiving 6 // Notes 7 // 1 Poetry and the Language of Past and Present 8 // 1.1 Varieties of English usage 8 // i .1.1 Dialects 8 // 1.1.2 Registers: usage according to situation 9 // 1.2 Linguistic convention in poetry 12 // 1.2.1 The trend of conformity 13 // 1.2.2 The function of archaism 14 // 1.2.3 Poetic language and ‘poetical* language 15 // 1.2.4 Grand, middle, and plain styles 16 // 1.2.5 The routine licences of verse composition 17 // Examples for discussion 19 // Notes 22 // 2 The Creative Use of Language 23 // 2.1 The escape from banality 23 // 2.2 Two meanings of‘creative* . 24 // 2.3 The qualities of prose in poetry 25 // 2.4 Degrees of linguistic audacity 29 // Examples for discussion 33 // Notes 35 // Varieties of Poetic Licence 36 // 3-1 Anatomy of language 37 // 3.1.1 Three main levels: realization, form, semantics 37 // 3.1.2 Phonology and graphology 39 // 3.1.3 Meaning and significance 39 // 3.1.4 Ancillary branches of linguistics 40 // 3.2 Types of deviation 42 // 3.2.1 Lexical deviation 42 // 3.2.2 Grammatical deviation 44 // 3.2.3 Phonological deviation 46 // 3.2.4 Graphological deviation 47 // 3.2.5 Semantic deviation 48 // 3.2.6 Dialectal deviation 49 // i 3.2.7 Deviation of register 49 // 3.2.8 Deviation of historical period 51 // Conclusion 52 // Examples for discussion 53 // Notes 54 // 4. Foregrounding and Interpretation 56 // 4.1 Foregrounding 56 // 4.1.1 Foregrounding in art and elsewhere 56 // 4.1.2 An example 58 // 4.2 Interpretation 58 // 4.2.1 The subjectivity of interpretation 59 // 4.2.2 The ‘warranty’ for a deviation 61 // 4.? Parallelism 62 // 4.3.1 Parallelism as foregrounded regularity 62 // 4.3.2 How much regularity? 64 //

4.3.3 Patterns of identity and contrast 65 // 4.3.4 The interpretation of parallelism 67 // Examples for discussion 69 // Notes 71 // Verbal Repetition 73 // 5.1 Schemes and tropes 74 // 5-2 Formal repetitions 76 // 5.2.1 Free verbal repetition 77 // 5.2.2 Types of verbal parallelism 79 // 5.2.3 The functions of verbal parallelism 84 // Examples for discussion 86 // Notes 88 // 6 Patterns of Sound 89 // " 6.1 Sound patterns within syllables 89 // 6.2 Sound patterns in relation to stress 91 // 6.3 ‘Music’in poetry 93 // 6.4 The interpretation of sound patterns 95 // 6.4.1 ‘Chiming’ 95 // 6.4.2 Onomatopoeia 96 // 6.4.3 Varieties of onomatopoeia 97 // Examples for discussion 100 // Notes 102 // 7 Metre 103 // 7.1 Rhythm and metre 103 // 7.2 The rhythm of English 104 // 7.2.1 The measure : the unit of rhythm 106 // 7.2.2 Which syllables are stressed? 107 // 7.2.3 Pauses 107 // 7.2.4 Syllable length 108 // 7.3 Metre and the line of verse 111 // 7.3.1 English metre as rhythmic parallelism 111 // 7.3.2 The ‘foot’ of traditional prosody 112 // 7.3.3 The line of verse 114 // 7.3.4 Some numerical aspects of metre 115 // 7.3.5 Accentual metre 118 // 7.4 The interaction of rhythm and verse form 119 // 7.4.1 Defeated expectancy 119 // 7.4.2 Metrical variation 121 // 7.5 Grammar and metre 122 // 7.5.1 Enjambment 123 // 7.5.2 The ‘verse paragraph’ 125 // For discussion 128 // Notes 128 // 8 The Irrational in Poetry 131 // 8.1 A logical view of meaning 131 // 8.1.1 Some types of semantic oddity 131 // 8?.2 Definition and description 134 // 8.2 Redundancy in poetry // 8.2.1 Pleonasm // 8.2.2 Tautology // 8.2.3 Periphrasis // 8.3 Absurdity in poetry J 8.3.1 Oxymoron // 8.3.2 Paradox // 8.4 Beyond reason and credibility Examples for discussion // Notes // 9. Figurative Language // 9.1 Transference of meaning // 9.1.1 Synecdoche // 9.1.2 Metaphor //

9.1.3 Metonymy // 9.2 Aspects of metaphor // 9.2.1 How to analyse a metaphor // 9.2.2 Simile and metaphor // 9.2.3 Notional classes of metaphor // 9.2.4 Extended metaphor // 9.2.5 Compound metaphor and mixed metaphor // 9.2.6 Symbolism and allegory Examples for discussion // Notes // 10 Honest Deceptions 166 // io. I Hyperbole and litotes 167 // 10.1.1 Hyperbole 167 // 10.1.2 Litotes or rhetorical understatement 168 // I ?.1.3 The uses of hyperbole and litotes 170 // 10.2 Irony 171 // 10.2. i The mask of irony 171 // 10.2.2 Irony and metaphor 173 // 10.2.3 Innuendo 174 // 10.2.4 Irony of tone 176 // Examples for discussion 179 // Notes 182 // 11. Implications of Context // 11.1 Licences of situation // 11.1.1 BJietorical question 184 // 11.1.2 Apostrophe 185 // 11.1.3 Routine licences of situation 186 // 11.2 The given situation 187 // 11.3 The ‘ world within the poem ’ 189 // 11.3.1 The introduction of inferred situations 191 // 11.3.2 Words of definite meaning 193 // ?.3.3 Fact and fiction 195 // 11.3.4 Impossible situations 197 // 11.4 Situation and action 199 // 11.5 Conclusion 201 // Examples for discussion 202 // Notes 204 // 12 Ambiguity and Indeterminacy 205 // 12.1 Kinds of ambiguity 205 // 12.2 Puns and word-play 209 // 12.2.1 Technical variations 210 // 12.2.2 In defence of the pun 212 // 12.3 Open interpretation 214 // 12.3.1 Sources of multiple and indeterminate significance 215 // 12.3.2 The analogy of visual arts 217 // 12.3.3 Seeking the optimal interpretation 220 // Examples for discussion 221 // Notes 223 // Conclusion 225 // Notes 227 // Suggestions for Further Reading 229 // General Index 233 // Index of Sources of Examples for Discussion