Language, Ideology and Point of View by PAUL SIMPSON


This systematic advent to the concept that of perspective in language explores the ways that standpoint intersects with and is formed by means of ideology. It particularly makes a speciality of the best way audio system and writers linguistically encode their ideals, pursuits and biases in quite a lot of media. The e-book attracts on an in depth array of linguistic theories and frameworks and every bankruptcy contains a self-contained advent to a selected subject in linguistics, permitting effortless reference. the writer makes use of examples from various literary and non-literary textual content varieties comparable to, narrative fiction, ads and newspaper reviews.

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A striking, and highly symmetrical, example of such a locative tapestry can be found in the second chapter of Gustave Flaubert’s Bouvard and Pecuchet (1881). This sequence details the view from the window of the eponymous heroes’ home, and for convenience, key locative expressions have been italicized in the passage: Directly ahead were the fields, on the right a barn, and the steeple of a church, and on the left a screen of poplars. Two main paths, in the form of a cross, divided the garden into four parts.

E. I’ll be here tomorrow. NARRATIVE FICTION: PRELIMINARIES 21 A free form of IS may be constructed simply by removing the reporting clause and the that connective, should one be present. The result is referred to as Free Indirect Speech (FIS). Again, this form may display varying degrees of freedom and directness depending on how much of the flavour of the original speech a writer wishes to convey: (11) f. She knew those tricks of his. g. She knew those tricks of his! (12) f. He would be there the following day.

Less common, though still rich stylistically, is the use of FID in firstperson narratives. While backshifted verbs and distal deictics signal FID in the same way as in third-person narratives, the pronoun system is a little more complex. Here, in sequences of speech which are addressed to the narrator, the pronouns move from the you of direct report to I, which, in this case, signals indirection. An example should help clarify this. In the following sequence from John Banville’s The Book of Evidence (1989), the narrator, Freddie Montgomery, accuses his mother of selling his art collection in his absence: NARRATIVE FICTION: PRELIMINARIES 27 I shouted, I waved my fists, I stamped about stiff-legged, beside myself.

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