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Books on the topic 'Stylistic and expressive function'

Author: Grafiati
Published: 4 June 2025
Last updated: 1 August 2025

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1

Allon, Mark. Style and function: A study of the dominant stylistic features of the prose portions of Pāli canonical sutta texts and their mnemonic function. The International Institute for Buddhist Studies of the International College for Advanced Buddhist Studies, 1997.

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2

Kaproń-Charzyńska, Iwona. Pragmatyczne aspekty słowotwórstwa: Funkcja ekspresywna i poetycka = Pragmatic aspects of word formation : the expressive and the poetic function. Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, 2014.

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3

Kislicyna, Natal'ya, and Ekaterina Novikova. Genres sports discourse: linguistic and cognitive aspect. INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1077732.

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The monograph is devoted to the study of the phenomenon of "discourse" from the perspective of its institutionality. The focus of research interest is sports discourse, presented in the form of a complex conceptual space with a particular genre-stylistic and pragmatic characteristics.
 As a material of study are sports articles, sports interviews and sports commentary, considered as genres of sports discourse, allocated according to criteria focus of the text and its function. The use of frame analysis, content analysis and conversational analysis have shown the peculiarities of represent
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4

Loew, Katharina. Special Effects and German Silent Film. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231.

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In recent decades, special effects have become a major new area of research in cinema studies. For the most part, they have been examined as spectacles or practical tools. In contrast, Special Effects and German Silent Film, foregrounds their function as an expressive device and their pivotal role in cinema’s emergence as a full-fledged art. Special effects not only shaped the look of iconic films like Nosferatu (1922) or Metropolis (1927), but they are central to a comprehensive understanding of German silent film culture writ large. This book examines special effects as the embodiment of a “
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5

Kresky, Jeffrey. A Reader's Guide to the Chopin Preludes. Greenwood, 1994. http://dx.doi.org/10.5040/9798216005162.

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In Chopin's set of 24 interconnectedPreludes (Op. 28), we are presented with 24 distinct compositional surfaces, aiming at as many distinguishable emotional expressions. As such, the Preludes stand as a virtual survey of the developing musical manners of the 19th century--which was, after all, the stylistic period in which mood was promoted most energetically and frankly. Under analytic investigation, the technical means to these varied expressive ends can be discovered and assessed. 24 separate explorations reveal themselves to the inquiring musician, who can investigate any or as many of the
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6

Lee, Daniel H., and Adam K. Anderson. Form and Function of Facial Expressive Origins. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190613501.003.0010.

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Facial expressions are an important source of social communication. But we do not know why they appear the way they do and how they arose. Here we discuss evidence supporting Darwin’s theory that our expressions originated for sensory egocentric function for the expresser, which were then co-opted as signals for allocentric social function. We show that facial expressions of fear and disgust have distinct opposing sensory effects that serve each emotion’s theorized function, regulating the intake of nasal and visual information. Then, we show how such egocentrically adaptive expressive forms m
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7

Caplin, William. Topics and Formal Functions. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0016.

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This chapter examines the relationship of the lament topic to various form-functional contexts. After explaining that this topic is inextricably linked with a schema defined essentially by its bass voice, the study considers how the intrinsically sequential harmonic content of the schema lends itself well to expressing the formal sense of “being in the middle.” It further demonstrates that the schema can also participate in creating a formal ending, a cadence, and can even be used in an initiating formal context, which may engender the perception of a “formal dissonance,” a conflict between in
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8

Kaimal, Girija. The Expressive Instinct. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197646229.001.0001.

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Abstract The premise of this book is that creative self-expression is as fundamental to mental health and well-being as physical exercise and nutritious food are to the body. The author seeks to explain the human instinct for creative expression: why it exists, what happens when we cannot express ourselves effectively, the sublimating role of creativity, how it aids healing, and how it can help us thrive biologically, psychologically, spiritually, and physically (including as sexual beings). The four goals of the book are as follows: (1) to dispel the idea that creativity is the domain of a se
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9

Grekova, Olga. Essays on Modern Russian Functional Aspectology. Book one. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m3020.978-5-317-06861-5.

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Modern Russian Aspectual Senses are presented here as a system with a zero starting point. The monograph has resulted from lifelong teaching Russian as a Foreign Language (RFL) for multilingual students and it figures out the procedure of choosing the Aspect, Aspect-Temporal form in discourse. Essays provide short guidelines starting from the position of a viewer, observing a certain situation, up to Discourse Activities of a speaking person, reflecting the situation in an adequate way. The monograph takes into account the necessary mental processes: awareness of the Aspectual Senses involved
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10

Seeley, William P. Attentional Engines. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190662158.001.0001.

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What is it about art that can be so captivating? How is it that we find value in these often odd and abstract objects and events that we call artworks? My proposal is that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. My suggestion is that there is a lot that we can learn about art from interdisciplinary research focused on our perceptual engagement with artworks. These kinds of studies can reveal how we recognize artworks, how we differentiate them from
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11

Csabi, Szilvia, ed. Expressive Minds and Artistic Creations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190457747.001.0001.

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Expressive Minds and Artistic Creations: Studies in Cognitive Poetics presents multidisciplinary and interdisciplinary research papers describing new developments in the field of cognitive poetics. The chapters examine the complex connections between cognition and poetics with special attention given to how people both create and interpret novel artistic works in a variety of expressive media, including literature, music, art, and multimodal artifacts. The authors have diverse disciplinary backgrounds, but all of them embrace theories and research findings from multiple perspectives, such as l
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12

Brackett, Donald. Dark Mirror. Greenwood Publishing Group, Inc., 2008. http://dx.doi.org/10.5040/9798400637773.

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Singer-songwriters’ lyrical reflections have a magical way of expressing our own sentiments and feelings. Almost all of the singer-songwriters discussed here—including Bob Dylan, John Lennon, Tom Waits, Amy Winehouse, The White Stripes, and many more—sing in an exotic and raw vocal style, which one would not traditionally call reassuring, and yet their profoundly unique voices appear to be the only ones capable of conveying their unique messages. One of the key elements being studied in this book is the fact that singer-songwriters often suffer from a deep sense of loneliness, perhaps associat
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13

Heinämaa, Sara. Embodiment and Bodily Becoming. Edited by Dan Zahavi. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198755340.013.32.

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The chapter clarifies Husserl’s phenomenological approach to embodiment by explicating his analytical concepts and his transcendental arguments concerning the constitution of living bodiliness (Leiblichkeit). The chapter argues that Husserlian phenomenology does not establish any simple opposition between naturalistic and phenomenological inquiries but instead offers a comprehensive account of the many senses of the body operative in human practices, including the practices of the sciences. The human body is given, not just as a material thing, but also as an instrument, as an agent, and an ex
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14

Saylor, Eric. What Is Pastoralism? University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041099.003.0002.

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This chapter establishes a framework for understanding pastoralism from both expressive and stylistic perspectives. The first half of the chapter draws upon the work of various literary critics (including Paul Alpers, Terry Gifford, and Annabel Patterson) in order to establish three broad thematic or topical categories for pastoral artworks: Arcadian, soft, and hard. The remainder of the chapter examines pastoralism in terms of its style, providing an overview of both the musical traits associated with it and the major critical and interpretive issues they raise—most notably, concerns with pas
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15

Berliner, Todd. Hollywood Style. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0005.

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Chapter 5 investigates the aesthetic pleasures of Hollywood’s stylistic norms, as well as pleasures afforded by a handful of noteworthy stylistic deviations. The chapter examines the ways in which Hollywood film style both supports a film’s storytelling function (by enhancing clarity and expressiveness) and offers aesthetic pleasures independent of storytelling (decoration and stylistic harmony). A film’s style may also compete with story (e.g., Touch of Evil), with genre (Leave Her to Heaven), or even with itself (Goodfellas) for control of a film’s mood and meaning. Such stylistically disson
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16

Giles, Bretton T., and Shawn P. Lambert, eds. New Methods and Theories for Analyzing Mississippian Imagery. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9781683402121.001.0001.

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In this book, various scholars explore how stylistic and iconographic analyses of Mississippian imagery provide new perspectives on the beliefs, narratives, public ceremonies, ritual regimes, and expression of power in Mississippian communities. Their work advances through well-contextualized case studies that build on Vernon James Knight’s Iconographic Method in New World Prehistory. It is organized into three sections:(1) the use of style in Mississippian iconographic studies, (2) interpreting Mississippian imagery, and (3) situating and historicizing Mississippian symbols. Semon addresses r
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17

Scurr, Ruth. ‘The greatest irregular’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737827.003.0006.

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Thomas Carlyle claimed that his history of the French Revolution was ‘a wild savage book, itself a kind of French Revolution …’. This chapter considers his stylistic approaches to creating the illusion of immediacy: his presentation of seemingly unmediated fact through the transformation of memoir and other kinds of historical record into a compelling dramatic narrative. Closely examining the ways in which he worked biographical anecdote into the fabric of his text raises questions about Carlyle’s wider historical purposes. Pressing the question of what it means to think through style, or to d
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18

Temperley, David. The Musical Language of Rock. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.001.0001.

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A theory of the structure of rock music is presented, addressing aspects such as tonality/key, harmony, rhythm/meter, melody, phrase structure, timbre/instrumentation, form, and emotional expression. The book brings together ideas from the author’s previous articles but also contains substantial new material. Rock is defined broadly (as it often is) to include a wide range of late twentieth-century Anglo-American popular styles, including 1950s rock & roll, Motown, soul, “British invasion” rock, soft rock, heavy metal, disco, new wave, and alternative rock. The study largely employs the in
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19

Gutzmann, Daniel. The Grammar of Expressivity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198812128.001.0001.

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While the expressive function of natural language has received much attention in recent years, the role grammar plays in the interpretation of expressive items has mainly been neglected in the semantic and pragmatic literature. On the other hand, while there have been syntactic studies of some expressive phenomena they do not explicitly connect to recent developments in semantics. This book bridges this gap, showing that semantics and pragmatics alone cannot capture all grammatical particularities of expressive items and that expressivity has strong syntactic reflexes that interact with the se
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20

Saylor, Eric. Afterword. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041099.003.0007.

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The disparate approaches to English pastoralism considered within this book—whether evoking scenes and characters from classical poetry, depicting an imaginary past or a hoped-for future, responding to the landscape, commenting on contemporary social and political challenges, providing spiritual sustenance for the living, or eulogizing the dead—firmly banish outdated clichés of it as little more than folky-wolky roister-doistering. Instead, pastoralism stands revealed as a subtle and flexible expressive mode capable of transcending the circumstances and surroundings of its creation, conveyed b
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21

Branham, R. Bracht. Inventing the Novel. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841265.001.0001.

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Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the cultural centrality of the novel as the only discourse that can model human consciousness and its intersubjective character. Inventing the Novel is an argument in four stages: the Introduction surveys Bakhtin’s life and his theoretical work in the 1920s, which grounded his work on the novel, as investigated in following chapters. Chapter 1 sketches Bakhtin’s view of literary history as an agonisti
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22

Washburne, Christopher. Latin Jazz. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.001.0001.

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Latin Jazz: The Other Jazz is an issue-oriented historical and ethnographic study that focuses on key moments in the history of the music in order to unpack the cultural forces that have shaped its development. The broad historical scope of this study, which traces the dynamic interplay of Caribbean and Latin American musical influence from eighteenth- and nineteenth-century colonial New Orleans through to the present global stage, provides an in-depth contextual foundation for exploring how musicians work with and negotiate through the politics of nation, place, race, and ethnicity in the eth
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23

Bonds, Mark Evan. The Beethoven Syndrome. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190068479.001.0001.

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The “Beethoven syndrome” is the inclination of listeners to hear music as the projection of a composer’s inner self. Beethoven’s music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general—not just Beethoven—in their works, particularly in their instrumental music. The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a fram
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24

Gordon, Robert. “Old Situations, New Complications”. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0004.

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Forumrepresents an idiosyncratic attempt to reconcile the principles of musical comedy with Sondheim’s avowed preference for writing integrated musical drama. The sources of its plot in Roman farce become a pretext for a camp pastiche of the vulgar clichés of American burlesque and vaudeville. By analyzing the dramaturgical function of the individual songs, the chapter illustrates the various ways in which their evocation of the thought processes of type characters motivates the causal logic of the plot. The ingenuity of their placement and form is shown to shape the mood and pace of the actio
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25

Lowe, Melanie. Amateur Topical Competencies. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0024.

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This chapter considers the topical competency of late eighteenth-century amateur players and listeners. Focus is on selected string quartets by Haydn, Mozart, and Pleyel. The analytical strategy is comparative, and therefore the analyses are limited to movements governed by clearly defined topics. The troping of learned and galant elements is the focus of discussion of three minuet movements, all of which incorporate contrapuntal techniques to varying structural and expressive ends. Parametric density is the focus of discussion of fourchassemovements. In both sets of examples, issues considere
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Orentlicher, Diane. Some Kind of Justice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882273.003.0004.

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Most assessments of the ICTY’s performance derive benchmarks for assessment from claims set forth in official instruments or made by Tribunal officials and scholars. This chapter instead derives such benchmarks from the expectations of Bosnians who embraced the Tribunal, exploring the kind of justice they expected it to provide. For many victims, retributive justice is fundamental. Many Bosnians also highly value what scholars call the expressive function of international criminal tribunals. Other goals Bosnians hoped the Tribunal would advance include: preventing future atrocities, dispelling
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Ferrando, Ignacio. The adnominal linker -an in Andalusi Arabic, with special reference to the poetry of Ibn Quzmān (twelfth century). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198701378.003.0004.

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This chapter describes a syntactical structure typical of Andalusi Arabic, as well as many other Arabic varieties: the use of a nominal suffix -an/-in after an indefinite noun followed by a modifier. Some scholars have linked this morpheme to the so-called tanwīn (‘nunation’), the morpheme of indefiniteness of Classical Arabic. However, both the synchronic analysis of the linguistic facts as they appear in the Andalusi corpus explored in this chapter (the poetry of Ibn Quzmān, twelfth century) and the use of this suffix in other Arabic dialects suggest a different function. The adnominal linke
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Winand, Jean. Words of Thieves. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768104.003.0006.

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This chapter studies how scribes handled the testimonies given during the trials related to the Great Tomb Robbery case at the end of Egypt’s Twentietn Dynasty. Some stylistic uniformization took place, e.g. in narrative sections. This is illustrated by how scribes completed and modified the evidence given to match administrative format (e.g. function titles, the lists of the stolen items), and by how they rephrased words spoken by the accused/witnesses. Sometimes, verbatim quotations could be kept, as shown by occasional intrusions of slang. Variation occurred even in general formulae, the sp
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Barañano, Kristin W. Angelman Syndrome. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780199937837.003.0055.

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Angelman syndrome (AS) is a severe neurodevelopmental disorder caused by maternal deficiency of the epigenetically imprinted gene UBE3A. It is characterized by severe developmental delay, an ataxic gait disorder, an apparent happy demeanor with frequent smiling or laughing, and severe expressive language impairments. Understanding the neurobiology of AS has focused on understanding how UBE3A is regulated by neuronal activity, as well as the targets of its ubiquitin E3 ligase activity. This has led to a model of the role of UBE3A in the regulation of experience-dependent sculpting of synaptic c
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30

Decoeur, Henri. A Normative Justification for Establishing State Organized Crime as an International Crime. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823933.003.0006.

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Chapter 5 makes a theoretical argument for establishing state organized crime as an international crime. It opens with general reflections on the social function of criminalization, discusses the dynamics of international criminalization, and identifies grounds underlying the genesis of existing international crimes, suggesting that international criminalization serves the purpose of protecting specific interests. In light of this theoretical framework, it argues that state organized crime ought to be criminalized because it threatens interests that states deem worthy of protection by way of i
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Decoeur, Henri. The Limits of Applicable Crime-suppression Conventions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823933.003.0005.

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Chapter 4 highlights the limits of applicable crime-suppression conventions in cases of state organized crime, analysing the practical and normative shortcomings of relevant treaty provisions as well as external procedural bars. It discusses the fragmentation of the applicable law, the limits in politically sensitive cases of a territorial approach to jurisdiction, and of the principles governing extradition proceedings and the obligation aut dedere aut judicare, as well as the international law of immunities shielding state officials from foreign criminal proceedings as well as state property
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32

Loew, Katharina. Special Effects and German Silent Film. Amsterdam University Press B.V., 2021. http://dx.doi.org/10.5040/9789048561766.

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In recent decades, special effects have become a major new area of research in cinema studies. For the most part, they have been examined as spectacles or practical tools. In contrast, Special Effects and German Silent Film, foregrounds their function as an expressive device and their pivotal role in cinema’s emergence as a full-fledged art. Special effects not only shaped the look of iconic films like Nosferatu (1922) or Metropolis (1927), but they are central to a comprehensive understanding of German silent film culture writ large. This book examines special effects as the embodiment of a “
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33

Yaffe, Gideon. The Weight of a Legal Reason. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803324.003.0006.

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This chapter forwards a theory of the strength of legal reasons under which how much say a person has over the law matters to how strong his legal reasons are. Three measures of strength are discussed: (1) a statutory measure, set by the severity of a statutorily specified penalty, (2) an institutional measure, set by the amount of force employed by legal institutions, and (3) an expressive measure, set by the amount of disapproval expressed by the law. The strength of a legal reason provided by a fact for a particular person, in any of these three senses, is a function of the person’s complic
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34

Finlay, Stephen, and David Plunkett. Quasi-Expressivism about Statements of Law. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828174.003.0002.

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Speech and thought about what the law is commonly function in practical ways to guide or assess behavior. These functions have often been seen as problematic for legal positivism in the tradition of H.L.A. Hart. One recent response is an expressivist analysis of legal statements. This paper advances a rival, positivist-friendly account of legal statements which the authors call “quasi-expressivist”. It combines a descriptivist, “rule-relational” semantics with a pragmatic account of the expressive and practical functions of legal discourse. This approach is at least as well-equipped as express
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Wolf, Stacy. Keeping Company with Sondheim’s Women. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0023.

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This chapter examines the eight female characters inCompany, what they do in the musical, and how they function in the show’s dramaturgy, and argues that they elicit the quintessential challenge of analyzing musical theater from a feminist perspective. On the one hand, the women tend to be stereotypically, even msogynistically portrayed. On the other hand, each character offers the actor a tremendous performance opportunity in portraying a complicated psychology, primarily communicated through richly expressive music and sophisticated lyrics. In this groundbreaking 1970 ensemble musical about
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36

Caplin, William E. Cadence. Oxford University PressNew York, 2024. https://doi.org/10.1093/oso/9780190056445.001.0001.

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Abstract This work is the most comprehensive examination to date of how formal units in European art music of the tonal era achieve closure by means of cadence, a highly conventional device for ending middle-ground thematic units. Rooted in the author’s broader “theory of formal functions,” the book first develops concepts of cadence for music of the high classical style and then extends these ideas to gauge cadential practice in earlier and later style periods. Throughout the study, various manifestations of cadence are defined in terms of their morphology (their harmonic and melodic profiles
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Karaca, Banu. The National Frame. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290208.001.0001.

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Based on long-term ethnographic research in the art world of Istanbul and Berlin, The National Frame rethinks the role of art in state governance. It argues that artistic practices, arts patronage and sponsorship, collecting and curating art, and the modalities of censorship, just like official cultural policies, continue to be refracted through the conceptual lens of the nation-state—despite the intensified and much-studied globalization of art. By examining discussions on the civilizing function of art in Germany and Turkey and moments in which art is seen to cede this function, the book rev
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38

Kerr, Matthew P. M. The Victorian Novel and the Problems of Marine Language. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192843999.001.0001.

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To write about the sea in the nineteenth and early twentieth centuries was to do so against a vast accretion of past deeds, patterns of thought, and particularly modes of expression, many of which had begun to feel not just settled but exhausted. All at Sea takes up this circumstance, showing how prose writers in this period grappled with the super-conventionalized nature of the sea as a setting, as a shaper of plot and character, as a structuring motif, and as a source of metaphor. But while writing about the sea required careful negotiation of multiple and sometimes conflicting associations,
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