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Books on the topic 'Idiolect'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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1

Language and style in Soyinka: A systemic textlinguistic study of a literary idiolect. Ibadan: Heinemann Educational Books (Nigeria), 1992.

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2

Bloomfield, Graham Edward. Formulae of an idiolect: Two modes of stylisation in the language of Plathian lyric. Birmingham: University of Birmingham, 1985.

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3

Golding, Robert. Idiolects in Dickens. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-18021-9.

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4

Idiolek. Kaapstad: Tafelberg, 1986.

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5

Oleĭnik, E. I︠U︡. Intonat︠s︡ii︠a︡: Nat︠s︡ionalʹnyĭ i︠a︡zyk i idiolekt. Minsk: Minskiĭ gos. lingvisticheskiĭ universitet, 2006.

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6

I︠A︡zyk poėticheskoĭ shkoly: Idiolekt, idiostilʹ, sot︠s︡iolekt. Moskva: Rossiĭskai︠a︡ akademii︠a︡ nauk, Institut russkogo i︠a︡zyka im. V.V. Vinogradova, 2007.

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7

Monographie phonologique: Monographie phonologique d'un idiolecte vietnamien. Frankfurt am Main: P. Lang, 1985.

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8

Karin, Anna, Silvia Ulivi, and Claudia Wich-Reif, eds. Regiolekt, Funktiolekt, Idiolekt: Die Stadt und ihre Sprachen. Göttingen: V&R Unipress, 2014. http://dx.doi.org/10.14220/9783737002981.

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9

Idiolects in Dickens: The major techniques and chronological development. London: Macmillan, 1985.

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10

Golding, Robert. Idiolects in Dickins: The major techniques and chronological development. London: Macmillan, 1985.

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11

Idiolects in Dickens: The major techniques and chronological development. New York: St. Martin's Press, 1985.

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12

Moquete, Manuel Matos. El habla coloquial de Hipólito Mejía: Estudio de un idiolecto. Santo Domingo: Instituto Tecnológico de Santo Domingo, 2003.

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13

Bezmernai︠a︡ T︠S︡vetaeva: Opyt sistemnogo opisanii︠a︡ poėticheskogo idiolekta. Moskva: Dom-muzeĭ Mariny T︠S︡vetaevoĭ, 2009.

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14

Donald Davidsons theorie sprachlichen Verstehens: Bedeutung und Kommunikation gegen Sprache und Idiolekt. Frankfurt am Main: P. Lang, 2002.

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15

Blum, Andreas. Sprachliche Individualität: Der Idiolekt, seine Erscheinungsweise im Film und seine Behandlung bei der Synchronisation. Tübingen: Stauffenburg Verlag, 2013.

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16

Vázquez, Adolfo Luis Soto. Dialectos e idiolectos ingleses: Presente y futuro de su traducción al español. Berlin: Logos Verlag Berlin GmbH, 2014.

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17

Ojcewicz, Grzegorz. Epitet jako cecha idiolektu pisarza: Studium literaturoznawczo-leksykograficzne o twórczości poetyckiej Iwana Bunina. Katowice: Śląsk, 2002.

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18

Dyhr, Mogens. Lubliner Jiddisch: Ein Beitrag zur Sprache und Kultur des Ostjiddischen im 20. Jahrhundert anhand eines Idiolekts. Tübingen: M. Niemeyer, 1988.

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19

Ledenëva, V. V. Individualʹnoe i obshchee v idiolekte N.S. Leskova: Leksicheskiĭ sostav ėpistoli︠a︡rnykh tekstov 90-kh godov XIX veka : slovarʹ. Moskva: Moskovskiĭ gos. obl. universitet, 2007.

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20

Tapia, Carlisle González. Estudio sobre el habla culta dominicana: Resultados parciales de una investigación : con un estudio especial de los idiolectos de Bosch y Balaguer. Ciudad Universitaria, Santo Domingo, Rep. Dominicana: Universidad Autónoma de Santo Domingo, 1994.

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21

Paul Weller and Popular Music: Identity, Idiolect and Image. Taylor & Francis Group, 2022.

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22

West, Andrew. Paul Weller and Popular Music: Identity, Idiolect and Image. Taylor & Francis Group, 2022.

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23

West, Andrew. Paul Weller and Popular Music: Identity, Idiolect and Image. Taylor & Francis Group, 2022.

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24

West, Andrew. Paul Weller and Popular Music: Identity, Idiolect and Image. Routledge, 2022.

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25

West, Andrew. Paul Weller and Popular Music: Identity, Idiolect and Image. Routledge, 2022.

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26

Braae, Nick. Rock and Rhapsodies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.001.0001.

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Rock and Rhapsodies is the first book-length musicological study of British rock band Queen. It primarily addresses the material written, recorded, and released between 1973 and 1991. The text provides readers with a nuanced analytical account of the group’s songs and illuminates the varied stylistic and historical contexts in which Queen’s music was created. The key conceptual basis for the analysis is an idiolect, which refers to the distinct musical style of a single artist. Having documented the key features of Queen’s idiolect, the book further explores the nature of specific musical characteristic and uses them to respond to a range of wider analytical and discursive issues as pertaining to style, genre, form, time, voice, and historiography. Rock and Rhapsodies comprises twelve chapters. The introduction documents Queen’s place in scholarly literature and unfolds the principal analytical methodology. The following three chapters address the structural details of Queen’s idiolect and songs, before analysing the voices of Queen’s singers. The vocal techniques are related to discourses of authenticity and, in the case of Freddie Mercury, the queer voice. The five subsequent chapters identify the changing and myriad stylistic influences on Queen, as well as relate the band to the major rock movements of the 1970s: hard, glam, and progressive. The final chapter explores the replacement singers, Queen in wider popular media, and the influence of the band, since Mercury’s death in 1991.
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27

Petrova, Dimitrova Stefana, ed. Ezik i idiolekt. Sofii︠a︡: Voenno izd-vo, 2006.

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28

Higginbotham, James. Languages and Idiolects: Their Language and Ours. Edited by Ernest Lepore and Barry C. Smith. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199552238.003.0006.

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An idiolectal conception of language is compatible with a substantive role for external things — objects, including other people — in the characterization of idiolects. Illustrations of this role are not hard to come by. The point of looking outward from the individual is pretty evident for the case of reference to perceptually encountered objects: had the world been significantly different, a person with the same molecular history would have acquired, and called by the same familiar names, different physical and other concepts. An idiolectal conception of language is by no means committed, and has some reason to be opposed, to internalism, and to individualism in Burge's sense; that is, to the view that the organization of the body, abstracting from external things, is constitutive of any linguistically significant aspect of language.
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29

Fögen, Thorsten. Ancient Approaches to Letter-Writing and the Configuration of Communities through Epistles. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804208.003.0002.

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The chapter explores reflections on the practice of letter-writing, with equal attention to instructional handbooks (esp. Demetrius’ Περὶ ἑρμηνείας‎, Iulius Victor’s Rhetorica, Pseudo-Demetrius’ Τύποι ἐπιστολικοί‎, Pseudo-Libanius’ Ἐπιστολιμαῖοι χαρακτῆρες‎, and Erasmus of Rotterdam’s De conscribendis epistolis) and the meta-generic statements that letter-writers routinely embed in their correspondence (with a special focus on Cicero, Ovid, Seneca, and Pliny the Younger). In both types of sources, what one might call the social dimension of style registers as a primary concern: in order for the letter to fulfil its purpose, namely to generate a special bond between sender and recipient, the chosen idiolect has to be ‘appropriate’ (πρέπον‎/aptum) to the interpersonal relationship and its specific circumstances and exigencies. Shared stylistic values and the willingness of the letter-writer to adjust his character to that of the recipient generate a sense of community between the correspondents.
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30

Golding, Robert, and Zacharias P. Pieri. Idiolects in Dickens: The Major Techniques and Chronological Development. Palgrave Macmillan, 1985.

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31

Slovar iazyka Dostoevskogo. Leksicheskii stroi idiolekta. RAN (M.), 2003.

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32

Ready, Jonathan L. Idiolectal Similes in the Homeric Epics. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802556.003.0007.

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Like modern oral poets, our Homeric poets constructed their idiolectal similes in two ways. Some idiolectal similes comprise an idiolectal vehicle and an unparalleled tenor, and other idiolectal similes comprise an idiolectal vehicle and a paralleled tenor. The Iliad poet and the Odyssey poet display their competence by at times generating similes that come down squarely on the idiolectal end of the spectrum of distribution and at times turning to similes that go from one end of the spectrum to the other.
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33

Slovarʹ i︠a︡zyka Dostoevskogo: Leksicheskiĭ stroĭ idiolekta. Moskva: Azbukovnik, 2001.

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34

N, Karaulov I︠u︡, ed. Slovarʹ i︠a︡zyka Dostoevskogo: Leksicheskiĭ stroĭ idiolekta. Moskva: Azbukovnik, 2001.

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35

Frajzyngier, Zygmunt, Natalia Gurian, and Sergei Karpenko. Language Formation by Adults: The Case of Sino-Russian Idiolects. BRILL, 2021.

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36

Lindop, Samantha. The Stepford Wives. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800859364.001.0001.

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The Stepford Wives (Forbes, 1975) occupies an unusual position in cinematic history. As is often the case with cult texts, the film itself was a box office flop, despite the hype of its initial release in the US. Though it was intended as a feminist diatribe, it was fervently derided by Betty Friedan, whose 1963 book The Feminine Mystique is literalised in The Stepford Wives. Even Ira Levin, author of the original 1972 novel from which the film was adapted concedes he was less than enthused with what he saw on screen. Despite this, the term Stepford wife has become idiolect for a particular kind of one-dimensional, upper-middle class woman who is figuratively, and to some extent literally, an automation. Indeed, one does not need to have heard of the film or Levin’s book to be familiar concept. Significantly, The Stepford Wives is not a moment in film history. It is an entire universe. It spawned several made-for-television sequels that speak back to gender politics of the 1980s/1990s. It was reimagined by Frank Oz in 2004, starring a high-profile cast including Better Midler and Glenn Close. More recently, it inspired Jordan Peele’s critically acclaimed horror film Get Out (2017). This timely and compelling study gives The Stepford Wives the serious scholarly attention it deserves. In doing so, the significance of the film as a socio-cultural and socio-political document in its own right is underscored. While the intention of this book is to pay homage to Forbes’ The Stepford Wives, it goes far beyond this, locating the film in the traditions of the gothic, the histories of feminism and fictional imaginings about artificial women, and real-world developments in social robotics and AI
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37

Slovarʹ i︠a︡zyka Dostoevskogo. Leksicheskiĭ stroĭ idiolekta, Vyp. 2. Moskva: Azbukovnik, 2003.

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38

Slovarʹ i︠a︡zyka Dostoevskogo. Leksicheskiĭ stroĭ idiolekta, Vyp. 3. Moskva: Azbukovnik, 2001.

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39

Ready, Jonathan L. Similes in Five Modern Oral Poetries. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802556.003.0004.

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This chapter presents detailed analyses of similes in five modern oral poetries. Examining the poet’s reliance on shared similes in the performances of two epic poems, The Epic of Pābūjī (Rajasthan, India) and The Guritan of Radin Suane (South Sumatra), prepares us to pay attention to shared similes when we see them alongside idiolectal similes. Next comes a demonstration of how Kyrgyz and Bosniac epic poets and composers of Najdi lyric poetry use similes to move around on the spectrum of distribution: they present shared and idiolectal similes. The chapter ends by considering the construction of similes as two-part units made up of a tenor and a vehicle: one thereby gains a greater appreciation for poets’ presentations of shared and idiolectal elements in the space of simile. In sum, poets present shared and idiolectal similes in order to show their competence in performance.
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40

Libich, Maciej, and Antoni Zając. Języki literatury współczesnej. Edited by Jan Potkański. University of Warsaw Press, 2022. http://dx.doi.org/10.31338/uw.9788323551249.

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Languages of Contemporary Literature is a collection of studies which taken together comprise an original map of the most interesting styles, idiolects and language practices of contemporary literature that are of import in both artistic and socio-political terms. The five parts of the book, each devoted to a separate aspect of literary linguistics, are: Sociologies, Dictionaries, Incarnations, Liturgies, and Creations. The authors undertake to interpret ways of appealing, expressing and storytelling in literature, based on a number of emblematic works (by writers including Miguel Ángel Asturias, Christian Skrzyposzek, Zyta Rudzka, and Tomasz Pułka).
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41

Zint, Ingeborg, and Mogens Dyhr. Lubliner Jiddisch: Ein Beitrag zur Sprache und Kultur des Ostjiddischen im 20. Jahrhundert anhand eines Idiolekts. De Gruyter, Inc., 1988.

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42

Zint, Ingeborg, and Mogens Dyhr. Lubliner Jiddisch: Ein Beitrag Zur Sprache und Kultur des Ostjiddischen Im 20. Jahrhundert Anhand Eines Idiolekts. de Gruyter GmbH, Walter, 2011.

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43

Östman, Jan-ola, and Graeme Trousdale. Dialects, Discourse, and Construction Grammar. Edited by Thomas Hoffmann and Graeme Trousdale. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195396683.013.0026.

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This chapter examines constructional approaches to language variation and aspects of discourse, including idiolectal and community variation. It provides three case studies to illustrate the modeling of inherent variability in cognitive linguistics in general and in Construction Grammar in particular. The chapter shows how the usage-based nature of much research in Construction Grammar may be applied to emergent variation in discourse structures, particularly in dialogic contexts.
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44

Ready, Jonathan L. The Spectrum of Distribution. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802556.003.0003.

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This chapter details the model underlying the examination of similes in subsequent chapters. In order to investigate how an oral performer shows his competence, one can talk about the sources a performer utilizes without employing the concepts of tradition and innovation. This is a good thing because these terms get in the Homerist’s way. Here those words are set aside, and, taking a geographic approach to the elements an oral performer uses, the chapter speaks of the idiolectal, dialectal, and pan-traditional. These three categories constitute a spectrum of distribution. A performer reveals his competence by moving around on the spectrum of distribution and especially by deploying elements that falls on the shared (dialectal and pan-traditional) end of the spectrum. The chapter concludes by hypothesizing that similes help performers show off their movements on the spectrum of distribution.
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45

Polis, Stéphane. The Scribal Repertoire of Amennakhte Son of Ipuy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768104.003.0005.

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This chapter investigates linguistic variation in the texts written by the Deir el-Medina scribe Amennakhte son of Ipuy in New Kingdom Egypt (Twentieth Dynasty; c. 1150 BCE). After a discussion of the challenge posed by the identification of scribes and authors in this sociocultural setting, I provide an overview of the corpus of texts that can tentatively be linked to this individual and justify the selection that has been made for the present study. The core of this paper is then devoted to a multidimensional analysis of Amennakhte’s linguistic registers. By combining the results of this section with a description of Amennakhte’s scribal habits—both at the graphemo-morphological and constructional levels—I test the possibility of using ‘idiolectal’ features to identify the scribe (or the author) of other texts stemming from the community of Deir el-Medina and closely related to Amennakhte.
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46

Mora Perdomo, Leticia, Horacio Molano Nucamendi, Mariana Martínez Andrade, Rocío Antúnez Olivera, Laura López Morales, Gonzalo Lizardo, Ester Hernández Palacios, et al. Territorios de la crítica. Imaginación, género y violencia en la literatura hispanoamericana. Edited by Leticia Mora Perdomo. Universidad Veracruzana, 2020. http://dx.doi.org/10.25009/uv.2321.1522.

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El pensamiento literario latinoamericano se ha tornado tan amplio, complejo e irregular como la geografía misma de las regiones que integran el continente. Se trata de una realidad atravesada por distintas modernidades, ideologías, idiolectos, costumbres, tradiciones, violencias, políticas, creencias o estéticas, que parece imposible en nuestros días agruparlas bajo un imaginario común, de modo similar al que hace medio siglo conformó el realismo mágico como una suerte de divisa aglutinadora para lo que significaba ser un habitante de América Latina en el mundo. Debido a esta prolífica diversidad, el libro que tenemos entre manos prefiere hablar de territorios de la crítica, más que de simples horizontes temáticos o intereses de grupo, pues, como se deriva del texto de Leticia Mora que sirve de introducción a esta cala en el pensamiento crítico universitario, la crítica literaria ha abierto sus puertas a nuevos derroteros, más cerca de lo social que de lo puramente lingüístico, “tan calificado de espurio en años anteriores”, lo que demuestra el inevitable auge de la conciencia crítica en este momento de grandes transformaciones en la cultura, el país o el continente.
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