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It's Been Said Before

By Orin Hargraves

It's Been Said Before "examines why certain phrases become clichés and why they should be avoided -- or why they still have life left in them."

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Sounds Fascinating

By J. C. Wells

How do you pronounce biopic, synod, and Breughel? - and why? Do our cake and archaic sound the same? Where does the stress go in stalagmite? What's odd about the word epergne? As a finale, the author writes a letter to his 16-year-old self.

Book Information

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Title: Style in the Renaissance
Subtitle: Language and Ideology in Early Modern England
Written By: Patricia Canning
Series Title: Patricia Canning

In a book which brings together language, text and context, Patricia Canning
synthesizes models of contemporary stylistics with both critical and literary-
historical theory. In doing so, the author maintains a specific and sustained
stylistic focus on the religious, political and ideological issues that animated
and defined Reformation England. Each chapter interrogates the dichotomous
concept of ‘word’ and ‘image’ by considering the ways in which writers of this
period deal with these contentious subjects in their dramatic and poetic
works. ‘Representation’, Canning argues, ‘is not just as a matter of semiotics
but of ideology’.

Whereas stylistics enjoys extensive application in the analysis of
contemporary texts, it has, until now, been markedly under-used in the
exploration of the historical literary genre. Addressing this shortcoming
squarely and robustly, Canning’s book is a showcase for the stylistic method.
Among its many insights, this book shows how stylistics can enrich our
understanding and critical interpretation of a particular literary genre in its
ideological and historical context.

'Patricia Canning’s adventurous interdisciplinary study brings together in new
and exciting ways the two fields of linguistics and literary criticism in her
examination of selected texts by Shakespeare and his contemporaries. The
range and detail of her analysis, evident especially in her microscopic
examination of linguistic forms, cultural assumptions, and histoirical contexts
in plays by Shakespeare and Middleton, and in the poetry of George
Crashaw, is impressive. Here is a rare combination of strenuous scholarly
rigour, and uncompromising analysis, replete with a full and clear awareness
of what interdisciplinarity involves. A welcome new voice offering unique
insights into texts that we thought we knew.' Professor John
Drakakis,University of Stirling, UK

Acknowledgements \\ Introduction: In the Beginning was the Word \\ Chapter
One: Constructing Plausible Stories: Ideology, Conceptual Integration Theory
and the Politics of Representation in George Herbert’s ‘JESU’ \\ Chapter Two:
‘A Deed Without a Name’: Murder and the Linguistics of Agency in
Shakespeare’s Macbeth \\ Chapter Three: ‘Bit-Part’ Actors: Metonymy in
Thomas Middleton and William Rowley’s The Changeling \\Chapter Four:
Picturing Words: Ekphrasis and the Word-as-Image in Early Modern Poetry \\
Conclusion: ‘Being Nothing’: The value of the W/word \\ Notes \\ Bibliography \\

Publication Year: 2012
Publisher: Bloomsbury Publishing (formerly The Continuum International Publishing Group)
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Linguistic Field(s): Historical Linguistics
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Format: Hardback
ISBN: 1441185526
ISBN-13: 9781441185525
Pages: 224
Prices: U.K. £ 75.00