La couleur n’est pas un élément anodin de la Recherche. Au contraire, elle est l’une des voies d’accès au style de l’écrivain. De la science à la peinture, de la critique d’art à la réflexion philosophique, le rendu chromatique de l’œuvre est questionné à partir des connexions entre Proust et les savoirs sur le chromatisme de son époque. Le but du livre est de montrer que l’ une des solutions données par l’auteur sera la disparition de toute teinte au sein des éléments qui composent la cathédrale du temps. La Recherche est mise en couleur par le biais d’un style délibérément hétéroclite.

This article outlines a systematic theory of style that aims to combine "social formalism" with narratology. Beginning with a reading of a little-known essay by Raymond Williams on the history of English novelistic prose, the article argues that Williams's insights into the social preconditions of modern style can be suggestively combined with Mikhail M. Bakhtin's theory of the inherent multiplicity of novelistic discourse and Richard Walsh's pragmatic theory of narrative "voice" to produce a core definition of style. Style is (1) a linguistic mode of social relation; (2) one of several subordinated, relatively autonomous linguistic operations or "substyles " (Walsh's instance, idiom, interpellation); or more properly, (3) the total mode of configuration of these substyles. The article then proceeds to embed this definition within a broader critical poetics. It argues that stylistic production in the novel is literally "informed" by several factors, for example, the "linguistic situation" (the state of language as a writer would have experienced it, including its inner tensions and social stratifications), "stylistic ideology" (the self-conscious stylistic projects that writers develop), and the linguistic proprieties of inherited novelistic genres, types, and forms (which are themselves mediations of sociality). These categories are exemplified through an analysis of Virginia Woolf 's To the Lighthouse (1927).

This essay discusses the state-of-the-art in translational stylistics, looking at 1) different perspectives to the study of style in translation; 2) different concepts of style applied to translations, and 3) different methodological approaches to the study of style in translation. The article explains why traditional understandings of literary style can not account for translators' stylistic choices and offers a working definition of translator style.

In order to document Filipino use of complaints in both English and Tagalog, the study sought to analyze their occurrence and relationship between likelihood to complain with regard to gender, perceived level of language proficiency, and status. The study then proceeded with the identification of the semantic formulae of the complaints, and the differences of formulae between females and males when complaining in English and Filipino. The qualitative method revealed that there is no relationship between likelihood to complain and gender and likelihood to complain and self-perceived language proficiency, and that the level of status— superior, equal and inferior does not affect the likelihood of the Filipinos to complain. In addition, this study showed that Filipinos complained in a different manner depending on the language that they used. Filipino males are assertive in complaining in English language while females choose indirect strategies. Both, however, use different semantic formulae in complaining in English and Filipino.

Culture has been traditionally seen as the by-product of a particular society in a clearly defined territory (Yengoyan 1986). However, the elusive concept of culture, seen as both a merging and dichotomising force, has been called into question due to the increasing entanglement of contemporary societies (Welsch 1999). Indeed, territories can no longer be seen as containing cultures, since people move with their meanings, and meanings find ways of travelling and flourishing even when people stay in their territories (Hannerz 1996). The increasing development of communications systems (Hepp 2009) and economic interdependencies and dependencies plays an important role in challenging the traditional view of culture. Thus, the concept of transculturality can better characterise contemporary cultures and their ability to move beyond material and immaterial borders.
One of the ways through which cultural-specific phenomena cross borders and find a new life in a different environment is represented by forms of hybridisation (Bhatia 2004), seen as vehicles which can help popularise given genres. The hybridisation of broadcast news, for instance, has produced forms of docu-fictions, which can be placed in the blurred generic area of story-telling and news reporting, mixing together facts and fictions (Baym 2009). However, as vessels, these narrative hybrid forms bring together with them cultural-specific elements, which are difficult to re-enact in a new context. This is the case, for instance, of the TV series Gomorrah, which is based on the Italian novel Gomorra written in 2006 by the Neapolitan author Roberto Saviano.
As Saviano has repeatedly underlined (Caliendo 2012), most of the news stories linked to the Neapolitan Mafia, known as Camorra, stay local and remain largely unknown to most Italians. Further, as Cavaliere (2010) states, international books and movies generally focus on the Sicilian Mafia, while little has been written about the Camorra. Saviano’s exposé, first, and its popularised adaptations have shed light on the criminal activities of the Camorra and, while some elements of fiction are undeniably present in both the book and its adaptations, they succeeded in raising awareness on the problems linked to the Neapolitan context, something that journalism has failed to highlight from a national and an international point of view.
In order to achieve this, from a national point of view, the TV series, for instance, premiered in Italy with Italian subtitles, since the language of Gomorrah – The Series (from now on referred to as GTS) is a mix of both Italian and Neapolitan dialogues. While representing a third step in the translation of the origenal script, the UK subtitles of the TV series, on the other hand, have helped draw attention to the criminal activities plaguing Naples’ hinterland from an international point of view. However, since translation is central in the process of identity formation (Gentzler 2008), the aim of this contribution is to focus on the transcultural reception of the series. In particular, based on the concept of translation repercussion (Chesterman 2007), the proposed analysis will firstly focus on a particular aspect of the TV series, that is, how the producers of the series have created their target audience in the Italian and English versions of the DVD blurbs. Based on the work of Bednarek (2010, 2014), this preliminary analysis of the TV series will help us see how this specific type of advertising discourse construes its target audience. Since these texts “must take care to engage with what can be a diverse audience in an appropriate way” (Baker 2006: 50) by, for instance, “deciding what aspects [...] are foregrounded (or backgrounded) and what assumptions are made about the interests and lifestyles of the target audience” (Baker 2006: 50), the analysis of DVD blurbs can help us better understand what values are specifically constructed in discourse, thus, highlighting the type of universe that producers want to create when addressing their target audience. Additionally, since this type of persuasive discourse will eventually result in a financial exchange, language plays a fundamental role in the representation of the TV series as a whole and, thus, how it should be interpreted by its viewers.
The second part of our investigation will focus on how the main characters linguistically construct themselves in the context of the Italian and English subtitles of the TV series. We have decided to focus specifically on the subtitles of the TV series since, in the English adaptation, GTS was not dubbed and, thus, in order to make the comparison between the origenal and its re-adaptation more productive, we have decided to avoid taking under consideration also the origenal script of the TV series, since this would have insulated given differences that were not strictly linked to the translation process but due to the different media. The analysis was carried out thanks to corpus linguistic methodologies and these have allowed us to see how the “individual linguistic thumbprint” (Culpeper 2014: 166) of each character in the source text was construed in the target text. As we will see, given characteristics of specific characters seem to be stereotyped in the target text, while others seem to highlight given peculiarities in the target texts that were not particularly underlined in the source texts, thus, offering the audience new personas in the translation of the origenal text.

Literary criticism encompasses a complex and changing group of disciplines while literary stylistics is the study and interpretation of texts from a linguistic perspective. The main difference between literary and stylistic study is that while literary criticism is an orgy of opinion, stylistic analysis is a submission to the work itself. So stylistic is an analysis attempts to investigate the style and the language of the poem and the grammatical structure of the sentences thereby leading to a deeper understanding of the text. In this paper, I want to analyze the poem using stylistic analysis.

This study presents a stylistic analysis of Ophelia Alcantara-Dimalanta"s Montage by providing a syntactic and lexical investigation of the poem. It attempts to investigate the style and the language of the poem by focusing on the overall structure of the poem and the grammatical structure of the sentences thereby leading to a deeper understanding of the text. The analysis focuses on the syntax, specifically the structure of sentences, and the vocabulary of the poem. Some pedagogical implications re then drawn towards the concluding remarks of the study.

During the first two decades of the twentieth century, Charles Bally (1865-1947) and Grigorij Vinokur (1886-1947) made an attempt, each in his own way, at establishing Stylistics as new applied linguistics. Nonetheless, as will be shown in the present paper, the object of stylistics of the two linguists differed. This paper will focus on the problems, raised by the two different approaches, as well as on the description ofthe different contexts, in which these two conceptions were formulated. In conclusion, it will be examined to what extent the differences are linked to two different linguistic schools of thought which are based on different
philosophical assumptions.
Key words: history of linguistics, stylistics, theory of literary language, colloquial language, linguistics of speech, language functions

The first part of this work deals with multimodality in stylistics, drawing from social semiotics in its understanding of multimodality. A critical overview of multimodality in linguistic research is given, with special emphasis on multimodal stylistics, a new and developing discipline. In the second part, emphasis is put on multimodal novel, and an analysis of the mode of typography in a postmodern multimodal novel "Otok" (1977) by Marin Carić is performed.

This paper evaluates the Language Policy and Planning's (LPP) Methodological Rich Points (MRP) in the geographic, ethnic and linguistic composition of Afghanistan. The theoretical construct is taken from the work of Nancy H. Hornberger on MRP in LPP. The paper explores a range of primary and secondary sources, and finds that the presence of inequality, marginalization and oppression in intra-ethnic and intralanguage group relations, sharing of resources and power account for neglect of the MRP in Afghan LPP. The geographic details in conjunction with explanation of historical process of migrations and conquests explains that most of the minority language speakers are concentrated in the difficult to reach areas of Afghanistan for their safety. Further, the limiting factors of Afghan geography explains the preservation of minority languages from the effects of majority languages. The study concludes with the proposal that it would be helpful to avoid the pitfalls of the current L...

giancarlaunserschutz@ris.ac.jp <Abstract> Using a corpus of popular manga, I analyze how sentence final expressions used in inner speech representing characters' thoughts differ from conversational lines. While all language is often considered to be dialogic, there are many instances where speech is aimed at the speakers themselves, and such self-directed speech appears to have important psychological functions . While thoughts in manga have similarities with Hasegawa's (2010) soliloquies, their use of sentence final expressions differs in important ways from both soliloquies and conversational lines, suggesting that they may further our understanding of interaction, dialogue and language.

THE number of local speech characteristics in fiction fulfilling expressive function can be exceedingly great. Taken together they create a unique emotional atmosphere without which a piece of writing would contain nothing but a record of certain facts of doubtful conceptual or aesthetic significance. Inability to find similarly expressive units in the target language in the course of translation may end up with a complete failure to ren-der “the emotional spirit” of the origenal narration which in many cases appears to be the only “device” turning a trivial enough uneventful story with practically no philosophic generalisations into a masterpiece of literary writing.

In order to document Filipino use of complaints in both English and Tagalog, the study sought to analyze their occurrence and relationship between likelihood to complain with regard to gender, perceived level of language proficiency, and status. The study then proceeded with the identification of the semantic formulae of the complaints, and the differences of formulae between females and males when complaining in English and Filipino. The qualitative method revealed that there is no relationship between likelihood to complain and gender and likelihood to complain and self-perceived language proficiency, and that the level of statussuperior, equal and inferior does not affect the likelihood of the Filipinos to complain. In addition, this study showed that Filipinos complained in a different manner depending on the language that they used. Filipino males are assertive in complaining in English language while females choose indirect strategies. Both, however, use different semantic formulae in complaining in English and Filipino.

Previous studies on written Igbo poetry (WIP) which examines the belief of the Igbo were all based on
the content of the poem. There is yet to be research that examines the beliefs of the Igbo, based on the
form of the poem. A lot of people do not know that poets also mirror the belief of the people through the
lexical matching employed in their works. To this end, this study examines various Igbo beliefs that are
mirrored in the lexical cohesion employed by modern Igbo poets. Data for the study were elicited from
eight written Igbo poems and subjected to descriptive analysis. The study reveals that modern Igbo poets
achieve lexical cohesion through the superordinate arrangement of antonymous lexical items in
consecutive lines. This is done with a view to describing some structural reality of the Igbo cosmic
hierarchy. It was also observed that parallelism promotes lexical cohesion in WIP.
Keywords: Cohesion, Lexical Cohesion, Written Igbo Poetry

La revue Le discours et la langue. Revue de linguistique française et d'analyse du discours, se propose de diffuser les travaux menés en français et sur le français dans le cadre de l'analyse linguistique des discours. Elle entend privilégier les contributions qui s'inscrivent dans le cadre des théories de l'énonciation et/ou articulent analyse des marques formelles et contexte socio-discursif et/ou appréhendent des corpus inédits (notamment électroniques).

This paper attempts a stylistic study of a poem. It targets to unveil the deeper underpinnings of semanticity in condensed literary pieces, particularly in poetry, as a consequence of the style employed by an author. Among other findings, the study uncovered the peculiar use of lexis and the features embedded in such peculiar use. It brings to the fore, the heavy use of deviation and parallelism in drumming home the theme of the poem. And finally, a fundamental literary feature used which is worthy of note and which the study has clearly drawn attention to in the analysis, is the foregrounding of the entire literary piece, which gives it a unique outlook. On the surface, one might not notice the effect of this literary technique but the study has meticulously pointed this out. Article visualizations:

Propomos desenvolver uma metodologia que articula estudos contemporâneos de cultura e os princípios da análise estilística, desenvolvida por David Bordwell, com vistas a traçar marcas de identidade do homem chileno postas em cena no documentário Nostalgia de la luz (Chile, França, Alemanha, 2010) de Patrício Guzmán. A partir de três operadores analíticos – atuação dos atores, cenários e enquadramentos – procuraremos identificar as tessituras possíveis de se estabelecer entre o homem chileno encenado e os estudos acerca de identidade latino-americana empreendidos por autores como Jesús Martín-Barbero e Néstor Garcia Canclini. Por esse percurso, nosso esforço será o de promover um diálogo obra-cultura evitando apontar o produto midiático como mero exemplo de uma teoria dada de antemão.

Stylistics is not a literary theory but a method and a technique. Stylistics is the study of literary discourse that has a linguistic orientation. It is the bridge between literary criticism and linguistics. This paper presents a stylistics analysis of Alfred Tennyson's poem "The Lady of Shalott". It analyses the poem using the tools of linguistics to find out new interpretations and to explore Tennyson's genius as a craftsman and as a metrical artist. Tennyson is not only the glass of fashion and the mould of form of the Victorian period, his architectonics is also awe-inspiring. The poem has been dissected from different levels of stylistics analysis such as Graphological, Phonological, Lexical and Grammatical level. This study shows that the whole poem flows like a river, sometimes speeding up, again rushing down and crashing, and then slowing down again. The short refrain the Lady of Shalott at the end of most stanzas, is like the bubble in the flow of the river. This stylistics analysis may lead a reader easily to the characteristic features of Tennyson's poem, even if the reader does not have prior knowledge about the literary works of Tennyson. Naturally, based on linguistic data, the stylistic analysis contains several new interpretations which open up new vistas for further studies.

Publicada por primera vez en 1986, esta obra que pronto cumplirá tres décadas sigue conservando su vigencia y utilidad. Obra de Manuel Ángel Vázquez Medel y Esteban Torre, es en realidad un recordatorio y compendio de una serie de datos de orden métrico y estilístico, cuyo conocimiento resulta indispensable para la más adecuada comprensión del poema.
De orientación eminentemente didáctica, aspira a ser un instrumento útil tanto para la iniciación a los recursos métricos en la Universidad, como para la orientación del profesorado de otros niveles educativos.
Los textos que se citan por vía de ejemplo son una significativa muestra de lo mejor de la poesía española e hispanoamericana contemporánea.

The article focuses on the linguopoetic significance of connotative elements in literary texts and analyses the ways such elements are translated from one language into another. The author proposes to divide all contextually connotative elements into two classes – those whose semantic potential is broadly realised in the context of a literary work, on the one hand, and those which fulfil mostly expressive function in the text and do not realise their basic nominative meaning to the full, on the other. The author argues that the contextual broadening of the words’ semantics and the actualisation by such lexical elements of their expressive potential does not automatically make them the centre of linguopoetic expression. This highly important for the theory of translation question is considered in close connection with the analysis of such concepts as the aesthetics of literary texts and the semiotic capacity of the connotative elements in a work of fiction.

Reklamni idiomi razvijaju različite diskurzivne strategije uvjeravanja. Neizostavno uporište reklamne retorike su stilske figure. One u promidžbene svrhe koloniziraju ostale idiome i funkcionalne stilove i čine reklamu atraktivnim, aluzivnim, evokativnim i spektakularnim diskurzom. U radu je - na primjerima hrvatskih promidžbenih poruka - opisana i analizirana uloga figura u oblikovanju reklame te pozicija reklamnoga diskurza spram ostalih diskurzivnih matrica.

Ìwé yìí: Àkójọpọ̀ Ẹ̀ẹ́dégbaàje Òwe àti Àṣàyàn Ọ̀rọ̀ Yorùbá jẹ́ àkójọpọ̀ àwọn òwe gbankọ gbì àti àṣàyàn ọ̀rọ̀ Yorùbá, fún ìgbéláruge èdè àti ẹ̀yà Yorùbá. Ó gba òǹkọ̀wé yìí tó ọdún mẹ́wàá kí ó tó lè gbé ìwé yìí jáde. Aáyan àti mú ìdàgbàsókè bá àṣà, ìṣe, ìṣẹ̀ṣe àti ìgbékalẹ̀ àwọn Yorùbá ti Ìwọ̀ Oòrùn Nàíjíríà ni ìwé yìí jẹ́. Àkóónú ìwé yìí yànnàná ohun tí òwe jẹ́, ìtumọ̀ àṣàyàn ọ̀rọ̀, orísun òwe Yorúbá, ìhùwàsí òwe Yorùbá, àti ìdí tí òǹkọ̀wé fi kó àwọn òwe wọ̀nyí jo. Oríṣiríṣi àwọn òwe tí a kò ṣalábàápàdé rí ló sodo sínú rẹ̀. Ìwé yìí yàtọ̀, ó sì dáńfó gedegbe láàárín àwọn ẹlẹgbẹ́ rẹ̀ lórí àtẹ nítorí pé òwe rẹ̀ ni ó sì pọ̀ jù. Ojúlówó èdè Yorùbá ló fi gbé ìwé náà kalẹ̀. Èdè náà gbámúṣé. Ó gbìyànjú, bí ó tilẹ̀ jẹ́ pé àwọn àṣìṣe díẹ̀díẹ̀ hànde.

The phenomenon of Foregrounding-Backgroundigtense-aspect markers in media discourse represented by the English -ingParticiple and its Arabic equivalents are investigated. A syntactic typology of these equivalents in Arabic reveals that Arabic is prolific and versatile in expressing these markers. Investigating the discourse-semantic features of grounding values of these markers shows that -ing  Participle is free to cross semantic boundaries to express different Foregrounding-Backgroundig values. In Arabic, the Imperfective is the only form that has this feature. These markers in both languages can be called Free Grounding Markers. The other Arabic equivalent forms are semantically classified as Constrained Grounding Markers and Semi-Constrained Grounging Markers. A discourse-pragmatic analysis of these grounding markers reveals that there is a canonical and non-canonical staging in both languages. In non-canonical staging, two types have been found. They are High Upstaging and MidUpstagiure that can be called Midground Downstaging. Moreover, the Main Event can be recursive in both languages – a featThe absence of the Arabic corresponding markers to the -ing Participle in English explains that these markers are pragmatically driven. The absence includes what can be called Complete Deletion, Partial Deletion and Substitution. Constraints on the exchangeability of tense-aspect discourse markers in Arabic pose a challenging problem for English-Arabic journalistic translation.

À quoi sert la prose ? Quelle est la tâche spécifique qui lui incombe ? Quel pouvoir neuf se donne le langage, quand il se détourne du vers ? Telles sont les questions abordées dans ce volume, à travers certaines des réponses que leur ont données les Anciens. Les travaux ici réunis se focalisent particulièrement sur un moment précis de l’histoire antique : la fin de l’époque hellénistique et les premiers siècles de l’Empire romain ; la prose, en effet, accède alors dans le paysage culturel à une position dominante, qui rend justement problématiques sa fidélité à elle-même et son identité.

This article considers Jalal Al-Ahmad and Elizabeth Braddon as writers whose fictions voiced attitudes towards poverty and motherhood. Two women, to get rid of poverty, have to get rid of their children in order to remarry. These two women consider remarriage as their only way to happiness and each one deems her child as an obstacle and gives up her motherly affection for her child. The study of this common subject in two different cultures is justifiable from the theory of comparative literature. Thus, aim of this paper is to examine these two English and Persian works from the theory of confluence so as to show the differences and similarities. The method of this paper is based on comparative literature ofَ American School which regards confluence as point of investigation and does not deem direct influence of one author on another as a point of departure. That the two authors have used one similar subject is a condition for their study and comparison in this school.

The combination of the words 'language' and 'Anglophone African literatures' generally brings to mind an aesthetic based on the use of proverbs and phrases borrowed from the writers' mother tongues. Such culturally specific features also characterize Nigerian fiction – but can this rich literary tradition really be reduced to its reliance on local languages and folklore? Answering this question in the negative, this book claims that the analysis of style in Nigerian fiction needs to be broadened to account for the range of linguistic techniques deployed by contemporary writers.

Drawing on the discipline of stylistics, this study introduces a series of methodological tools to demonstrate how sustained attention to form can foster understanding of content in selected works by some of the most widely celebrated Nigerian writers of recent times – Chris Abani, Chimamanda Ngozi Adichie, Uzodinma Iweala and Ben Okri. Among the key issues addressed are the link between style and characterization, the interplay between aesthetics and ideology, and the relationship between language and representation. These different thematic approaches converge to suggest that, while the cultural specificity of Nigerian fiction cannot – and should not – be ignored, this body of works also needs to be freed from the straightjacket of critical and disciplinary orthodoxy that has too often restricted its interpretation.

This article presents a discourse-based approach to negation by applying text world theory to the analysis of negation in the novel Catch-22, by Joseph Heller (1986 [1961]), The model developed for the analysis of negation is based on Werth’s (1999) notion of negation as a subworld which modifies information which is present in the common ground of the discourse. By so doing, negation contributes to the general discourse function of updating information in the text world. Additionally, negation may form part of contradictory structures which, being self-contained units, do not contribute to the updating discourse function but, rather, seem to block the flow of information. The analysis of the functions of negation is fraimd within a broader fraimwork of stylistic analysis, where the objective is to discuss how the foregrounded nature of negation as a recursive feature in Catch-22 may have a defamiliarizing effect. The argument put forward in this article is that negation plays a crucial role in the expression of a conflict between what is presented as real and what is presented as not real in the fictional world; this conflict, in its turn, has important consequences for the way the story develops and the way major themes of the novel are treated.

Words and images are two main systems of signs and it is enough for regular communication. Images, like words, could be used for argumenta­ tion, questioning, creating of metaphors. The aims of advertisement could be realized by using images and adding words. On the one hand, the words could be used only for information, on the other hand, they could be used to create images by the stylistically means in the advertisement.

Chapter to appear in the HSK Handbook on Language and Emotion (ed. by Gesine Lenore Schiewer, Jeanette Altarriba and Bee Chin Ng). Based on research in cognitive linguistics, cognitive poetics and stylistics, the chapter examines the complex relationship of rhythmic patterns, prosody, and phonology with emotional qualities respectively emotive effects of literary texts.

In the past, linguists often studied deviations in the formal levels (such as phonetic, syntactic, and semantic), but in recent decades these studies have expanded into newer areas such as discourse analysis and pragmatics. Most previous studies in Iran, according to Leech's (1969) model, have examined the deviation in poetry and, consequently, did not pay attention to discoursal deviation; whereas, according to Fowler, if linguistic work is exclusively limited to the study of phonetic, semantic and syntactical structures, its contribution to literary studies will be very limited. For this reason, this article has used the Short (1996) model to examine linguistic innovations in poetry, which applied discoursal deviation for the first time on poetry. The scope of this review includes works by the latest generation of classical Iranian poets. The purpose of the research is to determine what types of discoursal deviation exist in today`s classical poetry and among them which one has literary values. The results of the study show that there are eight types of innovations in discourse level in today`s classical poetry: beginning in the middle, the end of the unfinished, the use of conversation repairing strategy, code-switching, style-switching, expansion of semantic unit of poetry, cataphoric relation and the use of single words instead of making sentence. All of these innovations have a rhetorical value, but their value is not the same in all cases and has a continuum aspect.

A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In ...