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Introduction
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Title of the book
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Language and Literary Srtucture
The Linguistic Analysis of Form in Verse and Narrative
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Author’s name
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Nigel Fabb
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Publisher
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The Press Syndicate of the Universty of Cambridge
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City
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Cambridge
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Year of publication
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2002
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Summary of content
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Proportional summary weight of the important
points of each section (Chapter/unit)
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Chapter 1 – Literary Form
Literary form is a text has literary form if certain
statements are true of the text. There are 2 ways of literary to hold of a
text. It come from lingustics but from two different kinds of linguistics.
First is generative metrics will
explain the invariant aspects of form and second
is linguistic pragmatics will explain the variable aspects
of form. Metrical form is built by a set of
rules and conditions, based on the underlying form of the text, and it fixes
certain aspects of the text, most importantly the number of syllables in the
line. Metricality is a complex characteristic, a mixture of explicit, implied
and generated form.
(a)
/ / x / x / x / x /
explicit rhythm
(b)
x / x / x / x / x /
metrical template
that line we called “iambic pentameter” because
the explicit rhythm (a) approximates fairly closely to the metrical template
(b)
Fact (A) a line has ten projected syllables
Fact (B) a stressed syllable within a polysyllabic
word must be projected syllable 2, 4, 6, 8, or10 or is the first syllable in
the line.
The placement of polysyllables in the iambic
pentameter line is another fully regular fact: their stressed syllables can
only appear in some positions (1, 2, 4, 6, 8, 10) and are unable to appear in
others.
Chapter
2 – Generated Metrical Form
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Trochaic inversion is
the stressed syllable in a polysyllable must appear in an even-numbered
metrical position but it can also be in the first position.
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Projection and
non-projection. How many syllables there are in a line depends on which
representation of the line is being counted. The projector of syllables to
form a metrical representation is in principle unconnected to the
pronunciation of syllables. Projection is a way ensuring that the line fits
the metrical grid which is built the linguistic representation.
Non-projection of syllables in the metrical representation is a source of two
kinds of complexity. One kind of complexity is in the relation between the
various representations of the line.
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Why counting is
fundamental to metre because the grid is built in order to count a specific
number of syllables into the line. The idea that counting is fundamental to
metre makes certain predictions which seem to be true. First prediction is
that there should be a metre in which the line has a regular rhythm but no
specific length. Second prediction is that metrical texts should always be
verse texts: that is divided into lines.
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Periodicity. A
periodic sequence is a long sequence made by repeating a short sequence. Thus
the unstressed (x) and stressed (/) sequence x/x/x/x/x/x/ is a periodic sequence
made by repeating x/.
Chapter
3 – Communication Form
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Being a sonnet
involves having certain characteristic. There are fourteen lines, a specific
metre (ex: 10 syllables), and a specific rhyme scheme (ex: ABAB).
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The relation between
components of literary form: conditionals. Conditional sentences with an if . . . . then structure in
relations between kinds of literary.
(a) If
a text is a sonnet then it is an iambic pentameter.
(b) I
a text has fourteen lines then it is a sonnet
(c) If
a syllable is a stress maximum then it must project to gridline 1.
(a) And
(b) does not hold as an absolute. (c) Always hold.
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Relevance theory and
thoughts about literary form. Relevance theory (Sperber and Wilson 1986,
1995) is a theory of linguistic pragmatics: that is, it seeks to explain how
meanings are communicated.
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The communication of
literary form. From a social or culture perspective, an interesting aspect of
communication is the creation of mutuality, the shared sense between
communicator and readers that they know similar thinks.
Chapter
4 – The Communication of Metre
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Iambic pentameter
revisited. The generative rules for iambic pentameter are a set of projection
rules, a set of grid-building rules and a set of conditions defining stress
maxima and relating stress maxima to the grid.
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Local irregularities.
Generative metrical rules do not permit irregularities because they are in
variant. Irregularities involving monosyllables. Monosyllables are rich
resources for local irregularities because they are uncontrolled by
generative rules: thus the line can be fully metrical while having a
performed rhythm which is irregular.
Chapter
5 – Lines
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Lineation is implied.
Lineation, the division of text into lines, is a kind of implied form, not an
inherent fact of the text. Because there are many kinds of evidence for the
division onto lines, there are usually many competing options for how the
text is divided up.
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Evidence for the
line.
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Parallelism between
lines
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Parallelism within
the lines
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Alliteration at the
beginning of the line.
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Alliteration within
the line
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The initial letter in
the line can be part of pattern
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Rhyme
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Metre
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Layout on the printed
page
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Boundaries at line
ends
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Size
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Loose beginning and
strict ending. In English metrical verse there are differences between the
beginning and the ending of the verse line. The beginning is more likely to
be ‘loose’ and the ending ‘strict’ in ways now to be explained.
Chapter
6 – Line-groups in Metrical Verse and in Narrative
The kinds of evidence for line-grouping in
metrical verse include:
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Layout constitutes
strong evidence for line-grouping just as it does for lineation
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The coincidence of
linguistic boundaries and line-group boundaries
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Shifts in content at
line-group boundaries and the semantic coherence of the line-group
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Changes in metre,
metrical variations or metrical irregularities
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Rhyme schemes
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Repetition and
parallelism
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Correlation between the overall structure and
content (Book structure and organization)
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This book is well organized and every chapter related
to the other chapter with more explanation. Chapter 2 is about generated form
which related to chapter 1. Chapter 3 and 4 talk about form and metre of
communication. Chapter 5 and 6 talk about lines.
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Analysis of the text
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Author’s writing style
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The author use formal language and give many
examples such tables and symbols,
therefore the readers can understand what he
talking about.
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Author’s points of view
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In this book the author took a part as a resource who
gives explanation and analyze
about language and literary structure to the readers.
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Author’s major hypothesis
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The author’s goal in this book has been
established what literary form is, and how it holds of a text or performance
of the text. The generated metrical form holds of the text by virtue of being
generated by rule from a linguistic representation of the text. In contrast,
the explicit literary form and the implied literary form hold of the text by
virtue of being the content of thoughts about the text.
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Evaluation of the text
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A brief summary of all the weakness and strengths
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The weakness of this book is the author repeating
material that may make the readers confuse.
The strength of this book is the author gives many
examples to make the readers
clear and easy to understand.
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Usefulness to the readers
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This book is very useful for the readers especially for
college students who doing a research. It helps them to analyze poem,
narrative or short stories, and novel.
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Reasons why you like/dislike the book
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I like this book because the author gives many
examples such tables and symbols that make me can develop my knowledge about
the term of language and literary structure and how to analyze it.
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Reviewer’s name :
Nuri Agustina
Reviewer’s code :
2211412027
