文体学chapt 8 Pragmastylistics.pptVIP

Chapter 8 Pragmastylistics Revision of chapter 7 How is the unity and coherence of literary texts realized? Through what means? 1. Phonological devices 2. Syntactic devices 3. Lexical devices 4. Foregrounded features as cohesive devices Contents of this chapter 0. Introduction 1. Speech act theory and stylistic analysis 2. CP and stylistic analysis 3. Turn-taking and stylistic analysis 4. Summary 1. Introduction Briefly speaking, the stylistic analysis of literary works in light of pragmatic principles is referred to as pragmastylistics or literary pragmatics. This chapter deals chiefly with how the three pragmatic principles of speech act theory, CP, and turn-taking work in literary stylistic analysis.  2. Speech act theory and stylistic analysis Speech act study was first initiated by Austin (1962) and carried on by Searle (1969). They view an utterance as an act performed by a speaker in a context with respect to an addressee. Performing a speech act involves performing the following three acts: a locutionary act, an illocutionary act and a perlocutionary act. Pragmatic scholars lay emphasis chiefly on the study of illocutionary acts. The accomplishment of an illocutionary act depends on a set of conditions called “appropriateness conditions” or “felicity conditions”. These relate to how, when, where, and by whom speech acts are performed. Only when these conditions are fulfilled can a speech act be said to be appropriate. The application of speech act theory to the analysis of literary features can be illustrated by three examples: pp.192-196. Conclusion: the disobedience of the felicity conditions yields to the failure of speech acts, which will lead to pragmatic implicatures. An interesting topic here: the role of the use of silence in literary dialogues. 3. Cooperative principle and stylistic analysis Cooperative principle (CP) : Grice (1975) suggests that when people converse with one anther, they acknowledge a kind of tacit agreement to