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By Gillian Cawthra

A booklet exploring the relation among tradition and syntax on the finish of the nineteenth and the start of the 20 th centuries. The research of specific syntactic positive aspects in novels of the time indicates transparent alterations of utilization that could be visible to mirror present social upheaval.

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Extra resources for Cultural Climate and Linguistic Style: Change in English Fictional Prose from the Late Victorian to the Early Modern Period

Sample text

One is concerned with the idea of religion, the other with the idea of the country; and both depend more on the use of synonyms or related ideas than on the use of pronouns. Hence, if we take the strand which is concerned with the idea of religion first, we find the sequence: Christianity - the old religion - paganism - the religion of the villagers - the Christian Church - the older and purer forms of paganism itself - new religions - the dying old one [religion] the earlier and simpler patriarchal religion - "the religion of Numa" - Latin pastoral poetry - poetic details - old Roman religious usage - [quotation from Tibullus] - he prays - unaffected seriousness - liturgical - consecrated form of words - elegies birthday sacrifice - the hearth - old legend - an altar - the worthiest sacrifice - the perfect physical sanity - the scrupulous ways - that religion of the hearth - a religion - oak - the rock on the heath - some dim human art - the shadowy grove of Hex - consecrated phrase - Deity - spectacle - that simpler faithan inexpensive worship - the old wooden gods - their homely little shrines.

The remaining two examples are both singleword adjuncts at the beginning of their respective sentences. Apart from these instances there is no coincidence of sentence structure and punctuation pattern. If we look now at referential and lexical cohesion in this passage, we notice that, in contrast to the previous five texts analysed, this example has only one strand running through it: Once upon a time - a very good time it was - there was - a moocow coming down along the road - this moocow that was coming down along the road - a nicens little boy - named baby tuckoo - : His father - that story - his father - he - : He - baby tuckoo - The moocow came down the road - where Betty Byrne Patterns of Language 49 lived - she - lemon platt - 0, the wild rose blossoms - He sang that song - That - his song - 0, the green wothe botheth - : When - you - wet the bed - first - gets warm - then - it - gets cold - His mother - the oil sheet - That - the queer smell - : His mother - a nicer smell- his father - She - played - on the piano sailor's hornpipe - him - to dance - He danced - Tralala - : Uncle Charles - Dante - clapped - They - older - his father and mother - Uncle Charles - older - Dante - : Dante - two brushes her press - The brush with the maroon velvet back - Michael Davitt - the brush with the green velvet back - Parnell- Dante him - a cachou - every time - he - her - a piece of tissue paper - : The Vances - in number seven - They - a different father and mother - They - Eileen's father and mother - When - they grown up - he - to marry Eileen - He - under the table - His mother - said - Stephen - will apologise - Dante - said - the eagles - pull out his eyes - Pull out his eyes - Apologise The colons mark the paragraph divisions.

11. 2: 8. 3. 12. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 7. 20. 14. 5. 6. 5. 9. 5. 3: -1,3. 2: - 1, 2, 7. 3, 1, 1, 3. 1, 3, 3, 1. This pattern breaks down into 27 full stops, six colons, no semicolons, 11 commas, two dashes, one set of dots (... ) no exclamation marks, no question marks, and no inverted commas. Joyce's punctuation marks divide the text into very small sections. There are longer stretches of text between marks - in the first sentence, for example, which has 32 words without punctuation until a row of dots; and sentence 18 which has 20 words - but almost all the other sections of text contain five words or fewer.

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