ETI 305--Literary Translation I
Style
Style
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from L. stilus "stake, instrument for writing, manner of writing, mode
of expression"
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a distinctive manner of expression
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result of the choices the writer makes in syntactical structures,
diction (choice of words) , rhythm, imagery, and figures of
thought/speech
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the manner of expression of a particular writer, produced by choice
of words, grammatical structures, use of literary devices, and all the
possible parts of language use
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the mode of expressing thought in writing or speaking by selecting
and arranging words
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e.g. to write in the style of Faulkner; a pompous, flowery, ornate, plain,
and emotive or pedantic style
Style
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Scholarly writing usually avoids figures of speech
and prefers precise descriptions to colloquial terms.
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News reporting requires smaller words, even if
colloquial, and shorter sentences, to be easy to read
by a general audience.
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Fiction writing, is designed to entertain and arouse
the reader, and is improved by the careful use of
figures of speech.
Literary Style
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The components of style :
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point of view,
choice of narrator,
fiction-writing mode,
person and tense,
grammar,
punctuation,
word usage,
sentence length and structure,
paragraph length and structure,
tone,
imagery,
chapter usage, and title selection.
Stylistic choices
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Sentence form
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The loose sentence: begins with the main point (an
independent clause), followed by one or more subordinate
clauses.
The cat sat on the mat, purring softly, having licked his paws.
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The periodic sentence: the main point is placed in the
middle or at the end of the sentence.
Under these circumstances, we may have to cancel the contract.
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The balanced sentence: is characterized by parallel
structure: two or more parts of the sentence have the same
form, emphasizing similarities or differences.
Stylistic choices
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Diction
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Abstract-concrete: how much of the diction is
physical?
General-specific: to what degree is the diction
precise, to what degree is it vague?
Denotation-connotation
Literal-metaphorical
Other attributes of diction include:
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Density
Length
Stylistic choices
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Punctuation and spelling
Since punctuation is standardized, is it really
a factor in a writer's style?
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Unusual changes to spelling and grammar
(possibly to represent a regional or ethnic
dialect in which such changes are common)
Style in fiction
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The analysis of style involves
“the examination of a writer’s choice of words,
his figures of speech,
the devices (rhetorical and otherwise),
the shape of his sentences,
the shape of his paragraphs
—indeed, of every conceivable aspect of his language
and the way in which he uses it”
(Cuddon, 1999)
Stylistic analysis
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Stylistic analysis in linguistics refers to the
identification of patterns of usage in speech and
writing.
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Stylistic analysis in literary studies is usually
made for the purpose of commenting on quality
and meaning in a text.
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Stylistic analysis is a normal part of literary studies,
practiced as a part of understanding the possible
meanings in a text.
Road sign which reads NO LEFT TURN
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The statement is a command.
It is written in the imperative mode.
The statement lacks a subject and a verb.
These are implied [THERE IS].
The statement is unpunctuated.
Capitals have been used for emphasis.
Simple vocabulary to suit wide audience.
Extreme compression for rapid comprehension.
Form entirely suited to audience and function.
Opening lines of Shakespeare's Richard III
“Now is the winter of our discontent
Made glorious summer by this sun of York;”
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the play is written in poetic blank verse (unrhymed, iambic pentameter)
the first line is built on a metaphor
the condition of England is described in terms of the season 'winter'
the term 'our' is a form of the royal 'we'
the seasonal metaphor is extended into the second line ...
... where better conditions become 'summer'
the metaphor is extended even further by the term 'sun'
it is the sun which appears, 'causing' the summer
but 'sun' is here also a pun - on the term 'son'...
... which refers to the son of the King
'York' is a metonymic reference to the Duke of York
“Shooting an Elephant” by George Orwell
In Moulmein, in lower Burma, I was hated by large numbers of
people – the only time in my life that I have been important
enough for this to happen to me. I was sub-divisional police
officer of the town, and in an aimless, petty kind of way antiEuropean feeling was very bitter. No one had the guts to raise a
riot, but if a European woman went through the bazaars alone
somebody would probably spit betel juice over her dress. As a
police officer I was an obvious target and was baited whenever it
seemed safe to do so. When a nimble Burman tripped me up on
the football field and the referee (another Burman) looked the
other way, the crowd yelled with hideous laughter. This happened
more than once. In the end the sneering yellow faces of young
men that met me everywhere, the insults hooted after me when I
was at a safe distance, got badly on my nerves. The young
Buddhist priests were the worst of all. There were several
thousands of them in the town and none of them seemed to have
anything to do except stand on street corners and jeer at
Europeans.