Information
AI Chat

Creer, Cyrille Ann M. (Final IM)

dskdnssof

Course

Teaching English in the Elementary Grades ( Language Arts) (ENG 353)

50 Documents

Students shared 50 documents in this course

University

Eastern Visayas State University

Academic year: 2018/2019

Uploaded by:

LANGGA

Leyte National High School

0followers

5Uploads

0upvotes

Comments

Please sign in or register to post comments.

Preview text

UNIT I

THE HISTORY OF STYLISTICS

SUMMARY

This unit intends to provide the students a thorough understanding of the

background of Stylistics focusing on its history and development. In addition to

providing contextual information, the course introduces and discusses various

philosophies and theories in a manner that could easily be understood by the

students. The given activities at the end of each lesson serve to assess students'

comprehension of the topics covered in the discussion.

By engaging in clear discussions, analyzing well-presented examples, and

actively participating in the provided activities, students can gain thought-

provoking learnings, broaden their knowledge, improve their comprehension, and

develop their skills in rational and critical thinking. This approach fosters a deeper

appreciation for the course as it not only imparts information but also nurtures

students to become more effective learners.

♣ LEARNING OBJECTIVES

By the end of this unit, you are expected to:

✔ Gain and embrace the history and development of Stylistics

✔ Recognize the Stylistics’ salient features, concept, and its focus

✔ Distinguish the comparison among approaches in Stylistics

✔ Interpret the various philosophies and theories

✔ Justify the importance of stylistics in the context of language learning

B. Prague School. Prague school shifted from formalism to functionalism. Jakobson worked with the Prague school and became more interested in the idea of foregrounding. This idea was developed by a Czech scholar, Jan Makarovsky who was one of the important figures in the school. The term foregrounding was coined by Garvin when he translated the works of the Prague school scholars. It spots the poetic functions of language and a process that deviates the linguistic norm and makes textual patterns that are based on parallelism, deviations, or repetition. Prague school included the context in the making of textual meaning which began the era of modern stylistics. Thus, the heart of the modern stylistics now is the text, the context, and the reader. The contributions of Prague school made stylistics today concerned in both language and literary studies.

C. American New Criticism. Stylistics can be viewed as a legitimate expansion of moves within literary Criticism in the twentieth century to focus on studying writings instead of writers. New Criticism was constructed solely in light of the depiction of literary works as independent aesthetic objects. It emphasized on the language of the text more than its writer. It is a supposition that what criticism required was accounts of important literary works in view of the intuitional reading results of prepared and aesthetically delicate critics. These critics did not analyze the text language that much, but, rather, focused on the language of the texts when they read them and afterward depicted how they comprehended them and were influenced by them.

III. Pragmatics and Discourse Analysis, and Cognitive Analysis and Critical Discourse Analysis

A. Pragmatics and Discourse Analysis. Stylistics has a mutual relationship with pragmatics and discourse analysis. Their common goal is to investigate the structure of language in use naturally and formally. Thus, the domains of these branches will interfere with each other (Leech, 2008).

B. Cognitive Analysis and Critical Discourse Analysis. Stylistics, cognitive analysis and critical discourse analysis match together as a theoretical approach that analyzes texts. They are both concerned with the study of text and its style. The overlapping between these field results in new methods that combine discourse analysis, and cognitive analysis with stylistics, and the result is Cognitive Stylistics and Critical Stylistics.

UNIT I - ACTIVITY NO. 1

APPLY YOUR LEARNINGS

NAME: RATING:

YEAR AND SECTION:

DATE:

 TASK: Trace the development of stylistics using your preferred chart (e. organizational

chart). You may draw it in a short bond paper, or you may use the easy to use digital chart. Also, provide an explanation and write it in the space provided below.

Please be guided by this criteria:

CRITERIA PERCENTAGE

CONTENT 40%

ORIGINALITY 20%

ORGANIZATION AND DESIGN 10%

INTERPRETATION 30%

___________________________________________________________________

#######  Nature of Stylistics

Upon taking into consideration and deep understanding of the distinct meanings of Stylistics, it will already be easy for you to determine and absorb the fundamental characteristics, principles, and aspects that define the said discipline.

As stated from the previous lesson, Stylistics was derived from the word Style which was widely considered as the center of stylistics. It refers to the choice of words and expressions in a given text or document by a certain person to give a specific purpose.

Also, similar to applying for a job which requires something, resume in particular; Stylistics are required to use traditional levels of linguistic description such as sounds, forms, structure and meaning then followed by the consistent appearance of certain structures, items and elements in a particular text. Additionally, it is concerned with the multiplicities of language and the examination of some formal linguistic features which characterize them.

Through stylistics, we are able to understand and comprehend straightaway text or utterances that help us to enjoy the text and its meaning behind.

Here are various issues that Stylistics is concerned about:

Synonymous ways of rendering one and the same idea

Expressive means in language

Aesthetic function of language

System of special devices called stylistic devices

Emotional coloring in language

Interrelation between language and thought

Splitting of the literary language into separate systems called style; and

Individual manner of an author in making use of the language

#######  Scope of Stylistics

There are six (6) scope of stylistics mainly Literary Stylistics, Attributive Stylistics, Feminist Stylistics, Functional Stylistics, Socio-Stylistics, and Literary Stylometry or Literary Stylo-statistics. Literary Stylistics is basically the study of style as used in literary works or works of literature. Attributive Stylistics on the other hand has something to do with assigning authorship to texts. Authorial style could be used to identify literary works. For instance, Chinua Achebe has a style. Wole Soyinka has his peculiar style of writing as well. Feminist Stylistics from the word itself, explores the works on feminism or feminist studies. Functional Stylistics deals with the study of forms and functions of linguistic elements as it should. As for Socio-Stylistics, it deals with style

and social context or style and society. Lastly, Literary Stylometry or Literary Stylo-statistics: this is the branch of stylistics that involves calculations.

UNIT I - ACTIVITY NO. 2

TEST YOUR UNDERSTANDING

NAME: RATING:

YEAR AND SECTION:

DATE:

 TASK: Create any of the following: A. Quote, B. Slogan, or C. Short poem that indicates

the basic concept of stylistics, based on the discussion above. Also, provide a 5 liner explanation for what you will create.

Please be guided by the criteria below.

CRITERIA PERCENTAGE

RELEVANCE 50%

GRAMMAR 20%

INTERPRETATION 30%

__________________________________________________________________

stylisticians value the relation of language to mind. A representative example of a mentalist stylistic approach is Thorne's (1970 p. 44) article "Generative Grammar and Stylistic Analysis". It is concerned, like the early Chomsky, with grammaticality and acceptability of forms. He equates the definition of stylistics with judgments on manifestations of linguistic competence.

Textlinguistic was developed in the seventies. From this, a new wave of analysts began working on supra-sentential level. This approach is concerned with form, they differed from formalist linguists, as now they saw the text as a unit, not as a string of sentences. Textlinguists place their work on the level of discourse.

#######  Approaches Under Functionalism

In the Pragmatic Approach, communicative behavior begins to be privileged. Pragmatic- oriented stylisticians look at everyday conversation as a means to understand literary discourse. Leech & Short (1981) stated that it is the tendency of this approach to consider the text from an interactive point of view.

Burton (1982) coined the term Radical Stylistics. The distinctive element of this approach is the critics' search for the ideological imprint of the text. Like pragmatic stylisticians, ideologically- oriented analysts go beyond text level into the social and historical forces which influence its production and reception. Burton's arguments state that if texts depend on socio-cultural and political determinants, they are subject to value-judgment; and these value judgments should be discussed in clear terms.

Empirical Approach best accommodates the developments in linguistic, literary and cultural theory. It results from advances in what has been known as the Empirical Study of Literature (ESL). One of their main tenets was that text-meaning is not an intrinsic property of the physical text and that meaning is created in the process of response. They proposed a shift of interest from text to text-focusing activities; from structures to functions and processes; from the literary object to the literary system.

UNIT I - ACTIVITY NO. 3

TEST YOUR UNDERSTANDING

NAME: RATING:

YEAR AND SECTION:

DATE:

 TASK: Compare and Contrast the major approaches used in Stylistics, emphasizing the

sub-approaches within each. Be creative in distinguishing the two. You may use a diagram or any other preferred methods. You will earn 50 points in accomplishing this task.

“Commentary is radically incomplete, without a consideration of the role of intertextuality” (17). In other words, no text is an island (despite its relative boundedness).
Literary texts have high value in our culture, and are thus worth studying. Relatedly, the role of the stylistics is similar to that of the art critic or musicologist in understanding what makes a piece of art, music, or literature worthwhile.
“Comprehensive stylistic analysis of any text is impossible; selectivity and sampling are always involved” (18). Again, this is similar to the art critic who focuses on one small portion of an entire work—but focusing on this small portion is not useless if it helps the audience to better appreciate the entire picture.
“Stylistics has proven invaluable to students” (18).
Stylistics uses patterning which is foregrounding.
Toolan points out that the concept of foregrounding is likely to be subjective, since it is only by the analyst’s intuition that he can determine what might be deviant from the general expectation.
However, he also suggests that cognitive poetics may be able to place the concept of foregrounding on a “firmer footing” (22), since it aims to understand theoretically and empirically the responses of actual readers to literary texts.

 CONTINUE TO READ AND LEARN

The stylistics work from some conception of the patterns and norms (and departures therefrom) that make language work—not only syntactically, but also by genre, system, etc. “If the bases of the more interpretive categories that the stylistician invokes [...] are not derived from a grammar of text (widely conceived), then the study is not a stylistic one” (20). Or, to put it another way, “(our) interpretive intuitions about [...] a literary text [...] ‘are to a large extent conditioned by linguistic patterning'”.

Reading a text as literature means that we expect it to be more integrated in its form(s) and function(s) than other linguistic uses would be. (This leads to the notion of iconicity in literature.)

Literary texts, regardless of length or complexity in “literary” features, are “more intellectually interesting” (19) than non-literary texts, because they are in many respects “‘religious’” (20)—offering insights and prompting questions about the nature of the human condition—while non-literary texts are not.

#######  Impressionistic Literary Criticism

It is stylistics,” Toolan asserts, “that undertakes to be precise, analytical and verifiable about the grammar that underlies and creates the literariness of a text...” (15).

Stylisticians argue that parts of the stylistic analytical procedure are inspectable, replicable, testable, and falsifiable” (25), and goes on to explain the importance of these standards of proof.

Stylistic studies are sometimes criticized on the grounds of these standards of proof, often because the linguistic system (grammar) the stylistics is basing his study upon is not, in fact, uncontroversial.

Toolan points out that stylisticians must therefore be careful in asserting that their studies “are expressed in a common language” (i., “sentence,” “word,” “modal verb,” etc.) (26).

The nature of the stylistic grammar has much to do with falsifiability—if another researcher does not share the same grammar as the original one, then they may well reach different conclusions about the material, but this is not the same as falsifying the conclusions.

True falsifiability may not be possible where language is concerned, since language itself is, by its very nature, unbounded and infinite in the kinds of expressions it can produce.

It may be more realistic and practicable to set up (and evaluate) stylistic claims on the grounds of “on the balance of probability” (30), noting likewise that “the more ambitious” (ibid.) stylistic studies usually proceed on such grounds.

The practice of stylistics contributes to our better understanding of general linguistics, as stylisticians uncover portions of literary language that work contrary to the current theories of linguistics and thus force the general theory to evolve and take these artistic and literary uses into account.

LESSON 5

UNDERSTANDING THE CRITICAL PERSPECTIVES OF

STYLISTICS ON SECOND LANGUAGE CONTEXTS

♣ LEARNING OBJECTIVES

By the end of this lesson, you are expected to:

✔ Explore and comprehend the critical viewpoints of Stylistics within second language contexts. ✔ Determine whether Stylistic approaches facilitate language learning. ✔ Recognize the significance of Stylistics across diverse fields.

READ AND LEARN

#######  Why Use Stylistics in Second Language Contexts?

The metalinguistic reflection and discussion promoted by stylistic approaches in the second language classroom are held to contribute to deeper processing, understanding, memorability and development of the additional language in use.

#######  Do Stylistic Approaches Promote Language Learning?

There is very little actual empirical data relating to the reading and comprehension of literature within the language classroom.

Much stylistic research involves the analysis of literary texts, not how real readers, let alone non-native readers, understand these texts.

Current arguments both for and against the use of literature in the classroom are only loosely based on empirical evidence.

None of the theories of language learning directly state a role for literary reading within the language learning process [and yet literature is still widely used]. (Hanauer 2001: 295, 296, 297, 298)

#######  A Revised Research Programme For Pedagogical Stylistics

Kramsch (2000) argues that the story and the classroom discussion offered students some relevant and meaningful language through which they could explore or reconstruct in the classroom their own identities and feelings through English.

Boyd and Maloof (2000) identified three important types of ‘intertextual link’ in student talk around the texts which seemed to indicate student involvement.

[1]. Literature-based: These included [student-originated] facts, quotes, or questions about the literary work; perceptions of authorial perspective or intent; opinions about the literary work; and links to other literary works.

[2.] Language and culture: These were connections made to native, target, and other languages and cultures.

[3.] Personal: These are related to family, friends, self-experience, and identity. (After Boyd and Maloof 2000: 171)

Kim (2004) refers back to Boyd and Maloof, endorsing and extending those findings for her own context.

● Learners collaborated actively to clarify meanings both at literal and more interpretative levels (compare Mercer, 2000 again). They focused on particular forms and practiced them even as they discussed them, but also inference and made judgments collaboratively ● Learners took expressions from the text and appropriated them for their own expressive purposes (compare Kramsch ‘Crickets’ lesson and Boyd and Maloof’s study) ● Extensive discussions of the culturally exotic (e. kissing on a first date) were particularly engaged, with unusually extended turns (for a classroom), and meaningful interactions

Writers like Pennycook (2000) urge the inseparability of language classrooms and real life, that our learners are real people with agendas, desires, histories, antipathies and prejudices just like the rest of us, and that all these characteristics affect what is learned and how, and what the learner wants to learn.

Cook (2002) similarly reminds us to see the L2 user not as an inferior or failed native speaker but, again, as someone who has other aims and abilities.

UNIT I - WHAT I HAVE LEARNED

CULMINATING ACTIVITY

NAME: RATING:

YEAR AND SECTION:

DATE:

 TASK: Illustrate your understanding gained from this unit by selecting one of the

following options for your output:

a. Create an infographic presenting the history and development of stylistics. b. Design a dyad presenting the salient features, focus and purpose of each stylistic approach.

Please be guided by the criteria below.

CRITERIA PERCENTAGE

CONTENT 40%

RELEVANCE 30%

ORIGINALITY 20%

CREATIVITY 10%

UNIT II

VARIOUS LEVEL OF

STYLISTICS ANALYSIS

SUMMARY

This unit aims to offer students an in-depth exploration of the different

levels of stylistic analysis, including the phonological, morphological, lexico-

semantic, syntactical, and graphological levels. Each level has its distinct focus and

purpose, distinguishing them from one another.

Various activities are presented for each concept within these levels to

facilitate easy recognition and understanding by the students. Additionally, a set of

activities is provided at the end of each lesson to measure students' understanding

of the discussed topics through practical application.

♣ LEARNING OBJECTIVES

By the end of this unit, you are expected to:

✔ Appreciate the significance of the salient features of each level of stylistic

analysis

✔ Learn the similarities and comparison among each level

✔ Communicate how it is used in a literary and non-literary contexts

✔ Demonstrate how each level of stylistic analysis are done

✔ Apply several learnings from this unit to real-life encounters

Was this document helpful?