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By Norman

Since Speech within the English Novel first seemed in 1973, it has gained foreign reputation as a major pioneering examine of an issue that lies at the frontiers of literature and linguistics - the character and serve as of fictional discussion and its courting to actual speech. Drawing on quite a lot of examples from many classes, the booklet contains normal and theoretical chapters and likewise case-studies of specific texts, in addition to a complete bankruptcy dedicated to Dickens. it's been stumbled on stimulating and invaluable by means of academics and scholars in lots of nations, and has been praised via a number of students. The Year's paintings in English reports defined it as a 'classic'; Studia Neophilologica acknowledged that it 'opened up new vistas for research'; Language and magnificence came across that it 'admirably bridges the distance among linguistics and English studies', and English reports judged it 'a completely readable or even exciting book'. This re-creation contains a variety of revisions, new examples, and additions to the bibliographies.

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Extra info for Speech in the English Novel

Sample text

M. Evans, 'Elizabethan Spoken English', Cambridge Journal, 4, 1951,401-14. R. Fowler, Linguistics and the Novel, 1977. G. N. Leech and M. H. Short, Style in Fiction, 1981. A. Mcintosh and M. Halliday, Patterns of Language, 1966. R. Quirk, The Use of English, 1968. M. Riffaterre, 'Criteria for Style Analysis', Word, 15, 1959, 154-74. A. H. Smith and R. Quirk, 'Some Problems of Verbal Communication', Transactions of the Yorkshire Dialect Society, 9, 1955, 10-20. J. Spencer (ed), Linguistics and Style, 1964.

A phrase such as 'after a few unimportant questions' enables the novelist to dispense with a potentially low-pressure stretch of dialogue in a way that would be difficult to achieve on the stage. Similarly, we are told that 'Mrs Cluppins repeated the conversation with which our readers are already acquainted', and 'our readers' are accordingly not subjected to the tedium of repetition. Again, the browbeating of Mr Winkle is presented with notable economy by the partial use of indirect speech, which also provides stylistic variety.

To ' ... out of court'). Its dramatic quality, in its use of speech to reveal character as well as further the action, is evident, and it later became one of Dickens's most successful public readings. Well over half the passage in question consists of direct speech, and there is a generous use of what have been loosely referred to as 'stage-directions': 'with interesting agitation', 'with a cunning look', etc. At the same time one notes several useful devices which are not at the dramatist's disposal.

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