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Books on the topic 'Stylistic techniques'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 May 2022

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1

Jane Austen's narrative techniques: A stylistic and pragmatic analysis. Aldershot, Hants, England: Ashgate, 2009.

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2

1966-, Culpeper Jonathan, ed. Stylistics and shakespeare's language: Transdisciplinary approaches. London: New York, 2011.

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3

Tan, Peter K. W. A stylistics of drama: With special focus on Stoppard's Travesties. Singapore: Singapore University Press, National University of Singapore, 1993.

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4

Narrative progression in the short story: A corpus stylistic approach. Amsterdam: John Benjamins Pub. Co., 2009.

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5

Fusco, Susan Wirth. Syntactic structure in Rimbaud's Illuminations: A stylistic approach to the analysis of form in prose poetry. University, Miss: Romance Monographs, Inc., 1990.

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6

Corpus linguistics and the study of literature: Stylistics in Jane Austen's novels. London: Continuum, 2010.

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7

How to create the perfect cut, shape, color, and perm for any hair type: Secrets and techniques from a master hair stylist. Ocala, Fla: Atlantic Pub. Group, Inc, 2008.

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8

Morini, Massimiliano. Jane Austen's Narrative Techniques: A Stylistic and Pragmatic Analysis. Taylor & Francis Group, 2016.

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9

Letsch, Glenn. RandB Bass - A Guide to the Essential Styles and Techniques: Hal Leonard Bass Method Stylistic Supplement. Hal Leonard Corporation, 2005.

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10

Friedland, Ed. Blues Bass - A Guide to the Essential Styles and Techniques: Hal Leonard Bass Method Stylistic Supplement (Book & CD). Hal Leonard Corporation, 2005.

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11

Short, M. Stylistic Analysis of Drama. Pearson Education, Limited, 2013.

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12

Campbell, Edward, and Peter O'Hagan, eds. The Cambridge Stravinsky Encyclopedia. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781316493205.

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Igor Stravinsky is one of a small number of early modernist composers whose music epitomises the stylistic crisis of twentieth-century music, from the Russian nationalist heritage of the early works, the neo-classical works which anticipate the stylistic diversity of the contemporary musical scene in the early twenty-first century and the integration of serial techniques during his final period. With entries written by more than fifty international contributors from Russian, European and American traditions, The Cambridge Stravinsky Encyclopedia presents multiple perspectives on the life, works, writings and aesthetic relationships of this multi-faceted creative artist. This important resource explores Stravinsky's relationships with virtually all the major artistic figures of his time, painters, dramatists, choreographers and producers as well musicians and brings together fresh insights into to the life and work of one of the twentieth century's greatest composers.

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13

Bordwell, David. Watch Again! Look Well! Look! Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0002.

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This article traces some ways in which contemporary filmmakers have borrowed from and referred to the work of Ozu Yasujiro. In particular, the works of Wayne Wang, Hou Hsiao-hsien, Suo Masayuki, and Abbas Kiarostami are discussed as adopting stylistic or thematic materials from Ozu’s films. Far from simply copying Ozu’s work, these filmmakers have freely transformed his techniques for their own specific ends. The chapter briefly describes the cultivation of the “Ozu brand” by the Schochiku studio. It also situates Ozu’s development as a director in the context of the influence of Hollywood on Japanese cinema, explaining how Ozu responded to American movie techniques in cultivating his own filmic style.

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14

Tan, Peter K. W. A Stylistics of Drama: With Special Focus on Stoppard's Travesties. Singapore University Press, 1995.

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15

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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16

Consciousness In Modernist Fiction A Stylistic Study. Palgrave Macmillan, 2013.

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17

Davis, Gretchen. Hair Stylist Handbook: Techniques for Film and Television. Taylor & Francis Group, 2016.

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18

Hair Stylist Handbook: Techniques for Film and Television. Taylor & Francis Group, 2016.

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19

Dinter, Martin T., Charles Guérin, and Marcos Martinho dos Santos, eds. Reading Roman Declamation. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198746010.001.0001.

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Situated at the crossroads of rhetoric and fiction, the genre of declamatio offers its practitioners the freedom to experiment with new forms of discourse. This volume places the literariness of Roman declamation into the spotlight by showcasing its theoretical influences, stylistic devices, and generic conventions as related by Seneca the Elder, the author of the Controversiae and Suasoriae, which jointly make up the largest surviving collection of declamatory speeches from antiquity. In so doing, it draws attention to the complexity of these texts, and maps out, for the first time, the sociocultural context for their composition, delivery, and reception. The volume’s chapters have been authored by an international group of leading scholars in Latin literature and rhetoric, and explore not only the historical roles of individual declaimers but also the physical and linguistic techniques upon which they collectively drew. In addition, the ‘dark side of declamation’ is illuminated by contributions on the competitiveness of the arena and the manipulative potential of declamatory skill. In keeping with the volume’s overall treatment of declamation as a literary phenomenon, a section has also been dedicated to intertextuality. This comprehensive, innovative, and up-to-date treatment provides thought-provoking analyses of Roman declamation, and therefore constitutes an essential volume for both students and scholars in the fields of Latin literature, Republican Roman history, and rhetoric.

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20

Shippey, Tom. Hard Reading. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382615.001.0001.

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This book makes an argument for the intellectual ambition and intellectual achievement of science fiction, a genre consistently undervalued by professional literary critics. It is pointed out repeatedly how much the genre owes to developments in anthropology, history, and other “soft sciences”; how the authority of the hard sciences is both asserted and challenged; and how the authority of ancient myths and modern values are likewise interrogated, with widely variant results. Science fiction, it is argued, has been a collective “thinking machine” for authors and readers alike, often (and especially in its early years) people without academic experience or intellectual support. It has been (but increasingly less so) a genre for autodidacts. Reading and writing it is nevertheless an education in itself, as the author shows with repeated personal prefaces both to the book as a whole and to each chapter. Science fiction, finally, has its own rhetoric, seen in neologisms, paratextual devices, anachronisms, breaches of stylistic decorum, and the manipulation of degraded information, techniques little understood by and often incomprehensible to critics used only to the conventions of mainstream literature. All these features contribute to the description of science fiction as hard reading, but correspondingly rewarding reading. They have made science fiction the most characteristic literary genre of the twentieth and now the twenty-first centuries.

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21

Point of View in Plays: A Cognitive Stylistic Approach to Viewpoint in Drama and Other Text-types (Linguistic Approaches to Literature). John Benjamins Publishing Co, 2006.

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22

Hegele, Arden. Romantic Autopsy. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192848345.001.0001.

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Romantic Autopsy: Literary Form and Medical Reading charts how medicine influenced the literature of British Romanticism in its themes, motifs, and—most fundamentally—forms. Drawing on new medical specialties at the turn of the nineteenth century along with canonical poems and novels, this book shows that both fields develop analogies that saw literary works as organic bodies and anatomical features as legible texts. Such analogies invited readers and doctors to produce a shared methodology of interpretation. The book’s most distinctive contribution is protocols of diagnosis: a set of practices for interpretation that could be used by doctors to diagnose disease, and by readers to understand fiction and poetry. In Romanticism, such interpretive protocols crossed between the emergent medical fields of anatomy, pathology, psychiatry, and semiology, and the most innovative literary texts, including the lyrics of William Wordsworth and John Keats, the elegies of Percy Bysshe Shelley and Alfred Tennyson, and the novels of Mary Wollstonecraft, Jane Austen, and Mary Shelley. Romantic poems and novels were read through techniques designed for the analysis of disease, while autopsy reports and case histories employed stylistic features associated with poetry and fiction. Such practices counter the assumption of a growing specialization in Romanticism, while suggesting that symptomatic reading (treating a text’s superficial signs as evidence of deeper meaning), a practice still debated today, originated from medicine. Romantic Autopsy provides an original account of the life and afterlife of Romantic-era medicine and literature, offering an important new history underlying modern-day approaches to literary analysis.

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23

Whitesell, Lloyd. Wonderful Design. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.001.0001.

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Glamour is an elusive aspect of cinematic style. This book critically examines previous scholarship on glamour; defines the concept as a compound of artifice, allure, and magic; and examines the phenomenon at work in the genre of the film musical. The focus is on the role of music in representing glamour, and the stylistic and semiotic conventions by which glamour is embodied in sound. The book develops an analytical framework that applies across media, the better to appreciate music’s collaborative role within multimedia spectacle. First, glamour is situated as one of a handful of “style modes” orienting stylistic treatment in musical numbers. Second, glamour is shown to blend four distinct aesthetic parameters: sensuousness, restraint, elevation, and sophistication. Instead of being interpreted in relation to film narrative, the musical number is treated as a semiautonomous locus of meaning and expression, with its own formal demands and the power to eclipse narrative logic. Dozens of musical numbers are analyzed, drawn from more than eighty films, exploring glamour from the perspectives of arranging and orchestrational technique, the fantasies awoken in the spectator, and the invocation of magical belief. Anticonsumerist critiques of glamour are evaluated alongside counterarguments upholding glamour’s transformative and sustaining potential. Concluding discussion shows how the musical genre has affinities with the hybrid aesthetic of “magical realism.”

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24

Strong, S. I. 5. Step three in the IRAC method: the application. Oxford University Press, 2018. http://dx.doi.org/10.1093/he/9780198811152.003.0005.

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This chapter deals with the third step in the IRAC method of legal essay writing: the application of the facts to the rules (legal authorities) presented in the second step of the essay. This technique is very seldom addressed in class discussions, and many students can become overwhelmed when seeking to undertake this element of the exam- and essay-writing process. The discussion explains what ‘application’ means under the IRAC system; the need for an application process in legal writing; how to distinguish ‘application’ from the ‘rules’ in IRAC methodology; and various stylistic and practical issues concerning the application of the facts to the rules. Writing tips are provided throughout the chapter. A worked example is also presented.

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25

Toles, George. Words and Music: The Magnolia Crisis. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040368.003.0001.

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This chapter describes a considered, thematic, and stylistic account of the viewing experiences of three films by Paul Thomas Anderson and their backgrounds—Punch-Drunk Love (2002), There Will Be Blood (2007), and The Master (2012). Writer Geoffrey O'Brien, in his essay on The Master, captures the feel of Anderson's recurring landscape of disconnection. He goes on to speak of the expressionist treatment of milieu in the films, as though in each narrative there is an attempt both to acknowledge the claims of material reality and at the same time to reconfigure the real. The chapter also examines the contradictory pressures at work in the avowedly autobiographical, densely verbal Magnolia, which may have necessitated a change in Anderson's method and technique in the films that followed.

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26

Boyd, Barbara Weiden. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680046.003.0001.

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The introduction sets out the major themes of the book and explains the terms used in the title: authority, repetition, and reception. Authority entails a comparison of Homer with Ovid, as created and challenged by Ovid himself; this theme, articulated through the trope of paternity, of paternity centers on the relationship between father and son expressed both thematically and metatextually by Ovid. Repetition, a singular hallmark of Homeric oral compositional technique, features prominently in Ovid’s notional comparison with Homer, as a stylistic gesture to his model; it also serves as a way to set up an analogy between Ovid’s eagerness to be seen as a Homeric poet and the theme of erotic desire. Finally, the perspective of reception embraces the range of Ovid’s interpretation and revision of Homer. The introduction also explains why Ovid’s interaction with the poems of Virgil is treated only peripherally, and the primary emphasis is placed on Homer.

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27

Morris, Pam. Persuasion: Fellow Creatures. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474419130.003.0006.

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Persuasion overtly foregrounds the self as embodied: physical accidents and sickness are recurrent. Sir Walter Eliot’s belief in the time-defying bodily grace of nobility is subject to Austen’s harshest irony. The transition from vertically ordered place to horizontal space in Persuasion is more extreme than in any other of the completed novels. Anne Elliot’s movement from social exclusiveness to socially inclusive possibility allows Austen to challenge gender and class hierarchies traditionally held to be inborn. Her writerly experimentation expands the possibilities of narrative perspective to encompass the porous boundaries of the physical, the emotional and the rational that constitute any moment of consciousness. Her focalisation techniques in the text look directly towards Woolf’s stylist innovations. A chain of references to guns and shooting gathers into the novel contentious contemporary discursive networks on class relations, notions of masculinity and the nature of creaturely life.

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