《小说文体分析》(Style in Fiction)是运用现代语言学的最新成果,对文学作品进行系统的文体分析的一部精采的教科书。随着语言学的日益发展,人们越来越多地把现代语言学的研究成果运用到文体学分析中来。1969年,利奇(Geoffrey N.Leech)发表了《英语诗歌语言分析入门》(A Linguistic Guideto English Poetry),用现代语言学的观点对

Style in Fiction:A Linguistic Introduction to English Fictional Prose

In the last five years, climate change has emerged as a dominant theme in literature and, correspondingly, in literary studies. Its popularity in fiction has given rise to the term cli-fi, or climate change fiction, and speculation that this constitutes a distinctive literary genre. In theatre, the appearance of several big-name productions from 2009 to 2011 has inspired an increase in climate change plays. There has been a growing trend, too, of climate change poetry, thanks to the rise of ecopoetry (poetry that exhibits ecological awareness and engages with the world’s current state of environmental degradation) and the launch of some key climate change poetry initiatives in the media. This prevalence of climate change literature has brought about a greater engagement with climate change in literary studies, notably the environmentally-oriented branch of literary studies called ecocriticism. The increasing number of ecocritical analyses of climate change literature, particularly novels, is helping to shape a canon of climate change fiction. In a separate development, there has been greater interest in the phenomenon of climate change in literary or critical theory (the branch of literary studies concerned with literary concepts and philosophies rather than with literary texts). This development—centred on the study of climate change as a philosophical or existentialist problem—is sometimes termed climate change criticism or critical climate change.

Climate change in literature and literary studies: From cli-fi, climate change theater and ecopoetry to ecocriticism and climate change criticism

A DICTIONARY of slang may, at first sight; seem to have no special message for readers of NATUBE, but it is impossible to turn over the pages of Mr Partridge's monumental work without realizing how many important and perplexing problems, philological, psychological and social, are raised in the pages of this dictionary The book provides data that will be eagerly seized on by the students of many sciences A Dictionary of Slang and Unconventional English: Slang, including the Language of the Underworld, Colloquialisms and Catch-phrases, Solecisms and Catachreses, Nicknames, Vulgarisms, and such Americanisms as have been naturalized By Eric Partridge Second edition, revised and enlarged Pp xviii + 1051 (London: George Routledge and Sons, Ltd, 1938) 42s net

A Dictionary of Slang and Unconventional English

Climate change is becoming a major theme in the contemporary
novel, as authors reflect concerns in wider society. Given the urgency
and enormity of the problem, can literature (and the emotional
response it provokes) play a role in answering the complex ethical
issues that arise because of climate change? This book shows that
conventional fictional techniques should not be disregarded as inadequate to the demands of climate change; rather, fiction has the
potential to challenge us, emotionally and ethically, to reconsider
our relationship to the future. Adeline Johns-Putra focuses on the
dominant theme of intergenerational ethics in the contemporary
novel: that is, the idea of our obligation to future generations as
a basis for environmental action. Rather than simply framing parenthood and posterity in sentimental terms, the climate change novel
uses their emotional appeal to critique their anthropocentricism and
identity politics, offering radical alternatives instead.

Climate Change and the Contemporary Novel

Climate change is one of the most prominent symptoms of an age of unprecedented human impact on the biosphere—the age sometimes called the Anthropocene. In identifying humanity as a geological agent, the term “Anthropocene” exposes the fallacy of human exceptionalism, reminding us of the entangled nature of human and nonhuman agency, and the vast and decidedly nonhuman proportions of human action. For, as climate change and other Anthropocene events make clear, the effect of humans on their environment will far outlast human dimensions of individual lifetimes and even historical epochs: some of the impacts of humans’ activity—for example, species depletion—are irrevocable; others, such as polar ice-melt, are reversible (if at all) over immense durations of time. But in its recognition of the imbrication of human action with the biosphere (in all its human and nonhuman complexity), the concept of the Anthropocene captures a profoundly and existentially disturbing paradox. That is, even as we must confront the damaging illusion of human agency existing aloof and apart from nonhuman “nature,” we must also consider how to recuperate a nuanced view of human agency that enables humans to engage more fully with the unprecedented crisis now engulfing human and nonhuman organisms and environments.

The Rest Is Silence: Postmodern and Postcolonial Possibilities in Climate Change Fiction

Reading Climate Change in J.G. Ballard

The 1962 dystopian novella A Clockwork Orange achieved global cultural resonance when it was adapted for the cinema by Stanley Kubrick in 1971. However, its author Anthony Burgess insisted that the novel’s innovative element was the introduction of ‘Nadsat’, an art language he created for his protagonist Alex and his violent gang of droogs. This constructed anti-language has achieved a cultural currency and become the subject of considerable academic attention over a 50-year period, but to date no study has attempted a systematic analysis of its resources and distribution. Rather, a number of studies have attempted to investigate the effects of Nadsat, especially in terms of the author’s claim that learning it functioned as a form of ‘brainwashing’ embedded within the text.This paper uses corpus methods to help isolate, quantify and categorise the distinctive lexicogrammatical features of this art language and investigate how Burgess introduces a new, mainly Russian-based lexicon to readers. In doing so, ...

The language of A Clockwork Orange: A corpus stylistic approach to Nadsat:

In the Doctor Who mythos, resurrection takes two opposing forms, one quasi-messianic and utopian, and one profoundly nihilistic and atheistic. Doctor Who presents opportunities of rebirth which provide a return to previous life or a continuation of existence, usually by way of the temporal or dimensional “erasing” of the fact of death. For the Doctor himself, resurrection by way of regeneration provides a discontinuous life, a resurrection which is neither continuation nor apotheosis. Resurrection in the spin-off series Torchwood, however, is seen to consistently fail, resulting in afterlives that are monstrous, fragile, and unnatural, involving fear and suffering on the part of those who experience not a return from or evasion of the finality of death, but instead experience a living death. For Captain Jack Harkness, resurrection is a strategy of eternal suffering, resulting not in apotheosis but in yearning for perpetually deferred death. In this article, I will suggest that the positivist nar...

"The Resurrection Days Are Over": Resurrection from Doctor Who to Torchwood

The Aesthetics of Anthony Burgess

The English polymath Anthony Burgess is today most commonly remembered for his dystopian novella A Clockwork Orange, later filmed by Stanley Kubrick. However, he was an avowedly experimental author of over 30 novels who nevertheless garnered significant popular sales for his fiction and worked extensively in the collaborative fields of popular television and cinema. He espoused conservative politics, the aesthetics of modernism, and aspects of Roman Catholicism during an era when all three were largely unfashionable, and yet found his opinion was sought by many prominent European newspapers on current affairs. From outside academia, he produced volumes of literary criticism and pursued a career as a novelist who composed music, describing himself as a composer who wrote novels. He was an exile who wrote about England, and an Englishman who wrote about the collapse of the British Empire, leavened by a proto-postcolonial perspective. He was unashamedly highbrow, yet habitually appeared on chat shows. He was simultaneously a reviewer, performer, editor, poet, dramatist, composer, journalist, educator, and fiction writer.

Jim Clarke

Papers

Reading Climate Change in J.G. Ballard

The language of A Clockwork Orange: A corpus stylistic approach to Nadsat:

"The Resurrection Days Are Over": Resurrection from Doctor Who to Torchwood

The Aesthetics of Anthony Burgess

The ‘Baroque Weaving Machine’: Contrasting Counterpoint in James Joyce and Anthony Burgess