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• W223541585 abstract "the most basic way, writers are defined not by the stories they tell, or their politics, or their gender, or their race, but by the words they use. Writing begins with language, and it is in that initial choosing, as one sifts through the wayward lushness of our wonderful mongrel English, that choice of vocabulary and grammar and tone, the selection on the palette, that determines who's sitting at that desk. --Donald E. Westlake Tell me, do you remember the first sentence of all? Indeed I do, Anna said. 'So lam with them, in London.' With a comma after the 'them'?... comma is good; that's style .... I should like to have seen it, I must say. --Elizabeth Bowen Difficult to define, you know it when you see it. identifies the writer. It frames sensibility. It compels the reader's interest, or it doesn't. It jars him or her to sudden recognition, or it doesn't. And the writer's style makes reading either a pleasure or a disagreeable task. also, according to several recent studies, is the essential element of language that shapes subjectivity and subcultures. Studies by Clement Hawes and Garrett Stewart analyze the styles of Christopher Smart and Virginia Woolf, and each, drawing on varied methods and sources, argues that the self-conscious stylization of language helps to express identity and group affiliations. This paper investigates the methods and claims of these studies of literary style and asks what these scholars' methods and findings suggest about the teaching of style in the writing classroom. Writing about style seems to encourage aphorisms. Compte de Buffon famously declared that Style is the man, and Arthur Schopenhauer that Style is the physiognomy of the mind. Fredric Jameson writes that The end of the bourgeois ego.., means the end of style. And in Importance of being Earnest, Oscar Wilde has Gwendolen say, not specifically about style in language but not excluding it either, that In matters of grave importance, style, not sincerity is the vital thing, suggesting that style performs a range of communicative tasks, including expressions of class affiliation and taste. Most importantly, the ironic qualities of the sentence show that style communicates with a nuance that is read only by an insider, and in this sense, that style shapes how one identifies oneself and to what communities one claims belonging. degree to which one understands style as essential to subjectivity and subcultures depends in part on how one arranges the several pairs of oppositions that traditionally frame the study of style and on how one applies these oppositions to theories of the subject. Is style added to thought, or is style organic to thought? Is style a matter of following models? Or does style only become visible when a writer deviates from models? Does style consist strictly of linguistic features--of word choice, grammar, and syntax, of sound textures, phonemes, and lexemes? Or is style a matter of narratological or other metalinguistic features, such as the handling of motifs, point of view, and genre conventions? (1) Among the earliest language theorists, the sophists understood style as the studied choice of rhetorical figures, figures which were classified first by Greek and later by Roman rhetoricians. Aristotle divided rhetorical occasions into the categories of epideictic, forensic, and judicial, a division that Cicero mirrored with his enduring hierarchy of high, middle, and plain style, and both prescribed that the rhetorical subject and occasion, not the speaker's personal characteristics, should determine the choice of rhetorical figures (Lanham, Handlist 78-80, 174-78). Richard Puttenham extended the tripartite division of style into English with his 1589 Arte of English Poesy, in which he argues that epic and tragedy require the elevated style, the concerns of mean men, their life and business the middle style, and satire and pastoral the plain (Lemer 814). …" @default.
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• W223541585 date "2003-03-22" @default.
• W223541585 modified "2023-09-28" @default.
• W223541585 title "Vagrant Sympathies: From Stylistic Analysis to a Pedagogy of Style" @default.
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