STRUCTURE OF THE BOOK REPORT

Introduction	Title of the book	Language and Literary Srtucture The Linguistic Analysis of Form in Verse and Narrative
	Author’s name	Nigel Fabb
	Publisher	The Press Syndicate of the Universty of Cambridge
	City	Cambridge
	Year of publication	2002
Summary of content	Proportional summary weight of the important points of each section (Chapter/unit)	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 ·         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. ·         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. ·         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. ·         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 ·         Being a sonnet involves having certain characteristic. There are fourteen lines, a specific metre (ex: 10 syllables), and a specific rhyme scheme (ex: ABAB). ·         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. ·         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. ·         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 ·         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. ·         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 ·         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. ·         Evidence for the line. ~        Parallelism between lines ~        Parallelism within the lines ~        Alliteration at the beginning of the line. ~        Alliteration within the line ~        The initial letter in the line can be part of pattern ~        Rhyme ~        Metre ~        Layout on the printed page ~        Boundaries at line ends ~        Size ·         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: ~        Layout constitutes strong evidence for line-grouping just as it does for lineation ~        The coincidence of linguistic boundaries and line-group boundaries ~        Shifts in content at line-group boundaries and the semantic coherence of the line-group ~        Changes in metre, metrical variations or metrical irregularities ~        Rhyme schemes ~        Repetition and parallelism
	Correlation between the overall structure and content (Book structure and organization)	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.
Analysis of the text	Author’s writing style	The author use formal language and give many examples such tables and symbols, therefore the readers can understand what he talking about.
	Author’s points of view	In this book the author took a part as a resource who gives explanation and analyze about language and literary structure to the readers.
	Author’s major hypothesis	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.
Evaluation of the text	A brief summary of all the weakness and strengths	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.
	Usefulness to the readers	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.
	Reasons why you like/dislike the book	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.

Reviewer’s name         : Nuri Agustina

Reviewer’s code         : 2211412027