By Robert E. Longacre (auth.)
While this quantity relies on an prior paintings, An Anatomy of Speech Notions (1976), the general orientation of the current quantity is designated sufficient to make it a brand new paintings. the previous quantity was once primarily a half-way apartment to discourse. whereas together with a bankruptcy on discourse struc ture, it used to be now not as an entire explicitly orientated in the direction of con siderations of context. the current quantity, besides the fact that, strives to accomplish a extra constantly contextual method of lan guage. loads of learn and theorizing relating discourse grammar or textlinguistics has characterised the previous decade of linguistic stories. This fresh paintings has, in fact, inspired the current quantity. moreover, my own learn in different parts has ended in elevated insistence at the indispensability of discourse experiences. the most important the following used to be my path of box workshops related to group of workers of the summer time Institute of Linguistics, first relating to languages of Colombia, Panama, and Ecuador (1974- 1975), and later on the subject of languages of Mexico (1978). Of additional relevance were my very own stories of narrative constitution in Biblical Hebrew. final yet now not least, is the stimulus and suggestions which i've got obtained from my graduate scholars (whose study is embodied in different theses and dissertations), specially Keith Beavon, Shin Ja Joo Huang, Larry Jones, Mildred Larson, Linda Lloyd, and Mike Walrod.
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Judge Pyncheon, look at your watch now ... Q£, therefore, Judge Pyncheon, ~! Y away? Art thou too sluggish? . . Thus, for about twelve pages, Hawthorne heckles the dead judge. (4) The fourth device for marking vividness involves a shift along a parameter with four ordered values: NARR -+ PSEUDO-DIAL -+ DIALOGUE -+ DRAMA By pseudo-dialogue I mean resort to such devices as apostrophe (cf. the Governor Pyncheon passage above) and rhetorical question which partake of certain features of dialogue without being true dialogue.
The rhetorician's anatomy of plot 2 is the notional MONOLOGUE DISCOURSE 21 structure of climactic narrative. Notional structure here, as everywhere, is not in necessary one-to-one correspondence with surface structure features. We should expect the surface structure to have features similar to those of the notional structure but to mark them less consistently. This is what we find. The accompanying diagram gives a suggested correlation of the notional and surface features of climactic narrative discourse.
The narrator does not want you to miss the important point of the story so he employs extra words at that point. He may employ parallelism, paraphrase, and tautologies of various sorts to be sure that you don't miss it. A colleague of mine was taking a course in creative writing at the University of Hichigan. Her professor once said, 'At this point in the story I want more words. ' Let us call this device RHETORICAL UNDERLINING. It's as if you took a pencil and underlined certain lines of what you are writing.
The Grammar of Discourse by Robert E. Longacre (auth.)