"Pragmatics and Literature is an important collection of new work by leading practitioners working at the interface between pragmatic theory and literary analysis. The individual studies collected here draw on a variety of theoretical approaches and are concerned with a range of literary genres. All have a shared focus on applying ideas from specific pragmatic frameworks to understanding the production, interpretation and evaluation of literary texts. A full-length introductory chapter highlights distinctions and contrasts between pragmatic theories, but also brings out complementarities, shared aims and assumptions, and ways in which different pragmatic theories can make different contributions to our understanding of literary texts. The book as a whole encourages a sense of coherence for the field and presents insights from various approaches for systematic comparison. Building on previous work by the editors, the contributors and others, it makes a significant contribution to the growing field of pragmatic literary stylistics"--.

• Pragmatics and Literature
• Editorial page
• Title page
• Copyright page
• Table of contents
• List of tables
• List of figures
• Acknowledgements
• Notes on contributors
• 1. Introduction
  • References
• 2. Marked forms and indeterminate implicatures in Ernest Hemingway’s ‘Fiesta: The Sun Also Rises’
  • 2.1 Introduction
  • 2.2 The extract
  • 2.3 The novel and its critics
  • 2.4 Markedness and speech presentation
    • 2.4.1 Marked forms
    • 2.4.2 Speech presentation in ‘Fiesta’
      • 2.4.2.1 Syntax/idiom
      • 2.4.2.2 “Colouring”
      • 2.4.2.3 Explicit statement
  • 2.5 Markedness and indeterminacy in pragmatics
  • 2.6 Summary
  • References
• 3. A Levinsonian account of irony in Jonathan Coe’s ‘The Rotters’ Club’
  • 3.1 Introduction
  • 3.2 Accounts of irony
    • 3.2.1 The Gricean approach
    • 3.2.2 Relevance theory and irony
  • 3.3 Irony and the use of Levinson’s principles
  • 3.4 Application of Levinsonian analysis to ironies from ‘TRC’
    • 3.4.1 Example 1: “Such dazzling repartee”
      • 3.4.1.1 Inferential steps
    • 3.4.2 Example 2: “showing a lack of judgement and an absence of patriotic decency that can scarcely be credited”
      • 3.4.2.1 Inferential steps
    • 3.4.3 Example 3: “With these and other such pleasantries”
      • 3.4.3.1 Inferential steps
    • 3.4.4 Example 4: “a drink which differed hardly at all”
      • 3.4.4.1 Inferential steps
    • 3.4.5 Example 5: “I can safely say that those two won’t be seeing each other again”
      • 3.4.5.1 Inferential steps
    • 3.4.6 Example 6: “The fervour of my gratitude is well-nigh inexpressible”
      • 3.4.6.1 Inferential steps
  • 3.5 Summary
  • References
• 4. What the /fʌk/? An acoustic-pragmatic analysis of implicated meaning in a scene from ‘The Wire’
  • 4.1 Introduction
  • 4.2 Implicated meaning
  • 4.3 Combining pragmatic and acoustic analytical methods
    • 4.3.1 Pragmatics
    • 4.3.2 Acoustics
    • 4.3.3 Statistics
  • 4.4 Results
    • 4.4.1 Pragmatics
    • 4.4.2 Acoustics
      • 4.4.2.1 Formants
      • 4.4.2.2 Duration
    • 4.4.3 Statistics
  • 4.5 Summary
  • References
• 5. Misleading and relevance in Shakespeare’s ‘Twelfth Night’
  • 5.1 Introduction
  • 5.2 Relevance theory and pragmatic literary stylistics
    • 5.2.1 Relevance and interpretation
    • 5.2.2 Relevance, misleading and misunderstanding
    • 5.2.3 Relevance and literary interpretation
  • 5.3 Misleading and stylistic effects in ‘Twelfth Night’
    • 5.3.1 Viola, Orsino and speaking unspeakable love
    • 5.3.2 The gulling of Malvolio
    • 5.3.3 Feste: A corrupter of words
  • 5.4 Summary
  • References
• 6. Lexical pragmatics in the context of structural parallelism
  • 6.1 Introduction
  • 6.2 Syntactic parallelism
  • 6.3 Lexical adjustment
  • 6.4 Syntactic parallelism feeds “what is said”
  • 6.5 Theoretical implications
  • 6.6 Summary
  • References
  • A. Appendix
• 7. “Lazy reading” and “half-formed things”: Indeterminacy and responses to Eimear McBride’s ‘A Girl is a Half-formed Thing’
  • 7.1 Introduction
  • 7.2 ‘A Girl is a Half-formed Thing’
  • 7.3 Pragmatics and indeterminacy
    • 7.3.1 Explicatures and implicatures
    • 7.3.2 Open-endedness and spontaneousness
    • 7.3.3 “Manifestness”
  • 7.4 “Lazy” readings and other responses
  • 7.5 Accounting for varying responses
    • 7.5.1 Explicit content
    • 7.5.2 Implicatures
    • 7.5.3 Spontaneousness
    • 7.5.4 Open-endedness
    • 7.5.5 Characterising readers and readings
  • 7.6 Summary
  • References
• 8. Mapping the texture of the Berlin Wall: Metonymy, layered worlds, and critical Implicatures in Sarah Kirsch’s poem “Naturschutzgebiet/nature reserve”
  • 8.1 Introduction
  • 8.2 Sarah Kirsch and her work
  • 8.3 Texture
  • 8.4 Metonymy
    • 8.4.1 Cognitive linguistic accounts of metonymy
    • 8.4.2 Relevance-theoretic accounts of metonymy
    • 8.4.3 Cognitive-pragmatic accounts of metonymy
  • 8.5 Textual analysis
    • 8.5.1 Building the text worlds of the Berlin Wall: Metonymies of past and present
    • 8.5.2 Metaphors along the wall: Metonymies of nature and reserve
    • 8.5.3 The wall as protection: Metonymy of effect for cause
  • 8.6 Summary
  • References
• 9. James Hogg’s and Walter Scott’s Scottishness: Varying perceptions of (im)politeness in negotiating Englishness
  • 9.1 Introduction: The politics of Englishness in early nineteenth-century Scotland
  • 9.2 The ideology of Scotticisms
  • 9.3 Discursive (im)politeness theory for literary analysis
  • 9.4 The Ettrick Shepherd: A bull in a china shop
  • 9.5 Walter Scott’s literary compromise and communicational co-adaptation
  • 9.6 Summary
  • References
• Name index
• Subject index