Good prose - fiction and non-fiction alike - is part mystery and part technique. Mystery cannot be taught, but technique can, and if it is well taught it can open a window onto the mystery. In andIA Matter of Style Matthew Clark draws on examples from real writers, past and present, to examine the stylistic techniques that lift written language from bare communication to art. Clark assumes that his readers know the basics of grammar and style. But everyone, even the best writers, canmake mistakes. Therefore he begins with a brief look at the problems such as ambiguous pronouns, dangling modifiers, and confusing word order before moving on to the fundamental subject of rhythm. Drawing on his training as a musician, he demonstrates how important it is to write for the ear as well as the eye. Many style books advocate a clear and simple style, but simplicity is not the only virtue. To show how effective - and varied - ornate style can be, Clark points to examples rangingfrom Dickens to Beckett. In the process he reveals how adeptly even an "anti-rhetorical" writer like Hemingway can use the techniques of classical rhetoric. He then examines in detail a number of the most useful figures in that tradition. In the following chapters Clark's perspective widens steadily as he moves from the basic principle of parallelism ( and antithesis ) to the complexity of the periodic sentence and on to the level of the paragraph and, finally, the conventions of plot structure in novels. Throughout, the approach is descriptive rather than prescriptive, and every point is generously illustrated with examples, good and bad, from writers that Clark respects and even loves. An invaluable resource for writers and editors at every level, from the novice to the professional, A Matter of Style will delight readers who want to know more about how the writers they love achieve their effects.
A fourth type of phasal analysis is offered by Timberlake (1985). Timberlake assumes an interval temporal semantics like Woisetschlaeger, and focuses on ...
In some languages, this elemental opposition surfaces directly, asin the Austronesian (Chamorro: Chung and Timberlake 1985; Bikol: Givón 1984) and certain ...
Justin Timberlake and Janet Jackson were performing during the halftime show when a “wardrobe malfunction” exposed for a fraction of a second the singer's ...
Justin Timberlake and Janet Jackson were performing during the halftime show when a “wardrobe malfunction” exposed for a fraction of a second the singer's ...
... 70, 85,171,231 Thomson, Greg, xix Thomson, R. W, 231, 233 Timberlake, Alan, ... J. M., 225, 235 van Putte, E., 286, 294 Vermant, S., 61,62 Vincent, N., ...
... 'timbol, –Z timber BR 'timble(r), -oz, -(e)rin, -od AM 'timblor, -orz, -(e)rin, ... -s Timberlake BR 'timboleik AM 'timbor,eik timberland BR 'timbaland, ...
... 237 St. George , R. , 38 Stilling , E. , 251 Stonequist , E. , 247 Stopka ... R. , 149 Tidwell , R. , 227 , 230 Timberlake , M. F. , 266 Ting - Toomey ...
... line on Deck D. A baby squeals in the background cacophony ofthe airport. ... spirit in terms of matter, matter in terms ofspirit,” Robert Frost said.
... 30, 31, 32, 34 Durand, D., 49 Dwyer, J. W., 78 E Egan, J., 93 Eisenberg, ... 102 Floyd, K., 85, 89, 91 Forsyth, C. J., 41, 42, 48, 5.1 Frost-Knappman, ...
Journal of Psycholinguistic Research, 4, 331–342. Freedman, D. (2007). Scribble. New York: Knopf Books for Young Readers. Frost, J. (2001).