An introduction to kambun by Sydney Crawcour

By Sydney Crawcour

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He takes as an example a ‘typically Faulknerian’ passage from The Bear, part of a labyrinthine sentence extending over nearly two pages. Here we give only the first part of Ohmann’s illustration: [8] . . the desk and the shelf above it on which rested the ledgers in which McCaslin recorded the slow outward trickle of food and supplies and equipment which returned each fall as cotton made and ginned and sold . . This is then ‘destransformed’ as follows: 18 Style and choice [9] . . the desk. The shelf was above it.

Casual conversation). To this general appreciation of functional variety in language, the pluralist adds the idea that language is intrinsically multifunctional, so that even the simplest utterance conveys more than one kind of meaning. ’ may be simultaneously referential (referring to a person and his illness), directive (demanding a reply from the hearer), and social (maintaining a bond of sympathy between speaker and hearer). From this point of view, the dualist is wrong in assuming that there is some unitary conceptual ‘content’ in every piece of language.

31 Style in Fiction This defines a more restricted concept of style, which may be called style2, to distinguish it from the notion of style as linguistic choice in general, style1. We have argued in favour of the tenet that underlies (vii), namely that it is possible to distinguish between what the writer chooses to talk about, and how he chooses to talk about it. This means that the study of the literary function of language can be directed towards the stylistic values associated with stylistic variants; that is, with forms of language which can be seen as equivalent in terms of the ‘referential reality’ they describe.

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