Style and Creativity 斎藤兆史著 Style and Creativity

Hituzi Language Studies No.2

Style and Creativity

Towards a Theory of Creative Stylistics

斎藤兆史著 Saito Yoshifumi

菊判上製カバー装 定価7,500円+税

ISBN 978-4-89476-725-6

ブックデザイン 白井敬尚形成事務所




CHAPTER 1 History of Stylistics
1.1 General outline
1.2 Structuralism and semiotics: the French school
1.3 Poetics and deviation theory: the Russian-Formalist Jakobsonian school
1.3.1 Russian Formalism
1.3.2 Roman Jakobson
1.3.3 Prague Linguistic Circle
1.4 How Western literature represents the Western mind: the German school
1.4.1 Vossler
1.4.2 Spitzer
1.4.3 Auerbach
1.5 Close reading and educational values: the British school
1.5.1 Practical Criticism: I.A. Richards
1.5.2 Leavisism
1.5.3 Literary stylistics
1.5.4 Linguistic stylistics
1.5.5 Pedagogical/practical stylistics
1.6 Summary

CHAPTER 2 Theory of Stylistics
2.0 Introduction
2.1 Defi nition of style
2.1.0 Introduction
2.1.1 ‘Style is the man himself’: style as idiolect
2.1.2 Different ways of saying the same thing: style as ornamentation
2.1.3 Why did the author choose this particular expression?: style as choice
2.1.4 Departure from the norm: style as deviation
2.1.5 A recurrent pattern of distinctive features: style as coherence
2.1.6 A set of associative meanings: style as connotation
2.2 Defi nition of stylistics
2.2.0 Introduction
2.2.1 Stylistics is a study of language: stylistics as a branch of linguistics
2.2.2 Stylistics is a study of literature: stylistics as a branch of literary criticism
2.2.3 Only connect: stylistics as an interdisciplinary field of study
2.3 Other theoretical problems
2.3.1 Subcategorization of stylistics
2.3.2 What is literary language?
2.3.3 Fish ‘Hook’
2.3.4 Interpretation
2.4 Summary

CHAPTER 3 Rearrangement of the Principles of Stylistics
3.0 Introduction
3.1 Linguistic stylistics
3.1.1 Theoretical problems
3.1.2 Selection of the text and the analytical strategy
3.1.3 Analyzing Woolf’s perception
3.1.4 Testing the idiolectal cognitive model
3.1.5 Conclusion
3.2 Literary stylistics
3.2.1 What literary stylistics attempts to do
3.2.2 Beginning with intuitive reading
3.2.3 Literary background
3.2.4 Linguistic strategies
3.2.5 Analyzing Woolf’s speech/thought presentation
3.2.6 Conclusion
3.3 Pedagogical stylistics
3.3.1 Language and/or literature?
3.3.2 Gap-filling for understanding discourse
3.3.3 Imagining contexts of situation
3.3.4 Sensitization to language of literature
3.3.5 Conclusion
3.4 Summary

CHAPTER 4 Theory of Creative Stylistics
4.0 Introduction
4.1 Creativity in linguistic and literary activities
4.1.1 Traditional idea of creativity in linguistic and literary activities
4.1.2 Creativity in reading
4.1.3 Creativity in writing
4.1.4 Creativity in conversation
4.1.5 Cognitive development or ‘creative language awareness’
4.2 Rhetoric
4.3 Linguistic imperialism
4.4 Checklist for creative language awareness
4.4.0 Introduction
4.4.1 Intention
4.4.2 Message, theme, or motif
4.4.3 Text type
4.4.4 Setting and characterization
4.4.5 Narrative structure and point of view
4.4.6 Tense and time-shift
4.4.7 Syntactic choice
4.4.8 Lexical choice
4.4.9 Phonological choice
4.4.10 Graphological choice
4.4.11 Metaphor and symbolism
4.4.12 Cohesion, coherence, and overall textual patterning
4.5 Autonomy of text
4.6 Summary

CHAPTER 5 Practice of Creative Stylistics
5.0 Introduction
5.1 Creative process
5.1.1 Intention
5.1.2 Setting and characterization
5.1.3 Narrative voice and point of view
5.1.4 Syntactic choice
5.1.5 Title and symbolism
5.1.6 Graphological choice
5.1.7 Intertextuality
5.2 Created text
5.3 Possibilities of pedagogical applications

CHAPTER 6 Conclusions and Sugessions for Further Research
6.1 Conclusions
6.2 Suggestions for further research


斎藤兆史(さいとう よしふみ)

・Literature and Language Learning in the EFL Classroom (Palgrave Macmillan, 2015; coedited with M. Teranishi and K. Wales)