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Introduction 1 Traditional Theories of Style Notes Introduction 1. Berel Lang, Ed., The Concept of Style (Ithaca and London: Cornell University Press, 1987) 14. 2. ‘style’, accessed at: www.merriam-webster.com (my emphasis). 3. ‘style’, accessed at: www.oxforddictionaries.com (my emphasis). 4. ‘style’, accessed at: www.merriam-webster.com 5. Maurice Merleau-Ponty, ‘Indirect Language and the Voices of Silence’, in Signs, trans. Richard C. McCleary (Illinois: Northwestern University Press, 1964) 39–83 (54). 6. Nelson Goodman, Ways of Worldmaking (Indianapolis, IA: Hackett Pub Co Inc., 1978) 26. 7. George Kubler, ‘Toward a Reductive Theory of Visual Style’, in Berel Lang, Ed., The Concept of Style 119–128 (119). 8. Giuseppe Stellardi, Heidegger and Derrida on Philosophy and Metaphor: Imperfect Thought (Amherst: Humanity Books, 2000) 21. 9. Stellardi, Heidegger and Derrida 21. 10. See, for example, Alain Badiou, Being and Event, trans. Oliver Feltham (London: Bloomsbury Academic, 2013) 11. Michael Marder, The Event of the Thing: Derrida’s Post-Deconstructive Realism (Toronto: University of Toronto Press, 2009) 4. 12. E. D. Hirsch Jr., The Aims of Interpretation (Chicago and London: The University of Chicago Press, 1976) 57. 13. Derek Attridge, The Singularity of Literature (London and New York: Routledge, 2004) 7. 14. Timothy Clark, The Poetics of Singularity: The Counter-Culturalist Turn in Heidegger, Derrida, Blanchot and the later Gadamer (Edinburgh: Edinburgh University Press, 2005) 35. 15. Clark, The Poetics of Singularity 34. 16. Dana Richard Villa, Arendt and Heidegger: The Fate of the Political (Princeton, NJ: Princeton University Press, 1995) 116. 17. Clark, The Poetics of Singularity 8. 18. David R. Olson¸ The World on Paper: The Conceptual and Cognitive Implications of Writing and Reading (Cambridge: Cambridge University Press, 1994). 19. Villa, Arendt and Heidegger 116. 1 Traditional Theories of Style 1. Susan Sontag, ‘On Style’, in Against Interpretation, and Other Essays (New York: Farrar, Strauss and Giroux, 1961) 15–37 (17). 2. Laurent Milesi, ‘St!le in Deconstruction’, in Ivan Callus, James Corby, Gloria Lauri-Lucente, Eds., Style in Theory: Between Literature and Philosophy (London and New York: Bloomsbury, 2013) 217–248 (241). 213 214 Notes 3. A. Richards, ‘Metaphor’, in The Philosophy of Rhetoric (Oxford: Oxford University Press, 1965) 89–114. 4. See Sister Miriam Joseph, Shakespeare’s Use of the Art of Language (Philadelphia: Paul Dry Books, 2005) 13–40. 5. Rodolphe Gasché, The Tain of the Mirror: Derrida and the Philosophy of Reflection (Cambridge, MA and London: Harvard University Press, 1986) 256. 6. Richard A. Lanham, A Handlist of Rhetorical Terms 2nd Edn (Berkeley: University of California Press, 1991) 45. 7. See Raymond A. Macdonald, ‘Pluralism in Classical Style Theory: From Rhetoric and Poetics to Art History’, Style 26.2 (1992): 165–198. 8. Lawson-Tancred, H. C., ‘Introduction’, in Aristotle, The Art of Rhetoric (Classics Series) (London: Penguin Books Ltd. 1991) 31. 9. Aristotle, Rhetoric, trans. W. Rhys Roberts (New York: Modern Library, 1954) III.1405a.14. 10. Aristotle, Rhetoric III.1403b.15–18. 11. For a brief summary of the different kinds of theories of style in classical antiquity see Lanham, 174–178. 12. In On Style, (Demetrius, On Style, trans. T. A. Moxon, in Aristotle’s Poetics, Demetrius on Style, Longinus on the Sublime [New York: Dutton, 1963]), Demetrius speaks of the Plain, Grand, Eloquent and Forceful styles. 13. John Monfasani, George of Trebizond: A Biography and a Study of his Rhetoric and Logic (Leiden: E. J. Brill, 1976) 253, as cited in Lanham 177. 14. Cicero, M. T. Cicero De Oratore: Or, His Three Dialogues Upon the Character and Qualifications of an Orator, trans. William Guthrie (Boston: R. P. & C. Williams, Cornhill Square, 1822) I.xlix. 15. Quintilian, Institutes of Oratory, VIII.Intr.19–20. Rhetoric and Composition. Accessed 1 September 2012 at: http://rhetoric.eserver.org/quintilian/ contents.pdf 16. Quintilian, VIII.iii.6. 17. Tacitus, ‘Dialogues about Oratory’, in Moses Hedas, Ed., Complete Works of Tacitus, trans. Alfred John Church and William Jackson Brodribb (New York: The Modern Library, 1942) 735–770 (XXVI.755). 18. Tzvetan Todorov, Theories of the Symbol, trans. Catherine Porter (Ithaca, New York: Cornell University Press, 1982) 74. 19. Demetrius I.xv. 20. Peter Steiner, Russian Formalism: A Metapoetics (Ithaca, NY and London: Cornell University Press, 1984) 47. 21. Steiner, Russian Formalism 50. 22. Gerard Genette, Fiction & Diction, trans. Catherine Porter (Ithaca, NY and London: Cornell University Press, 1993) 124. 23. Roman Jakobson, ‘Closing Statements: Linguistics and Poetics’, in Thomas A. Sebeok, Ed., Style In Language (Cambridge, MA: MIT Press, 1960) 350–377 (365). 24. M. A. K. Halliday, ‘Linguistic Function and Literary Style: An Inquiry into the Language of William Golding’s The Inheritors’, in Jean Jacques Weber, Ed., The Stylistics Reader: From Roman Jakobson to the Present (London: Arnold, 1996) 56–91 (65). 25. Halliday, ‘Linguistic Function and Literary Style’ 64. Notes 215 26. Ronald Carter and Peter Stockwell, ‘Stylistics: retrospect and prospect’, in The Language and Literature Reader (London and New York: Routledge, 2008) 291–302 (295–296). 27. Aristotle, Rhetoric III.1404b.21. 28. Aristotle, Rhetoric III.1403b.35–1404a.12. 29. Olson, The World on Paper 155. 30. Northrop Frye, The Great Code: The Bible and Literature (Toronto: Academic Press, 1982) 23. 31. Olson, The World on Paper 53. 32. Frye, The Great Code 23. 33. Francis Bacon, ‘The great instauration’, in S. Warhaft, Ed., Francis Bacon: A selection of his works (Toronto: Macmillan, 1965 [1620]) 298–324 (323). 34. K. F. Morrison, History as a Visual Art in the Twelfth Century Renaissance (Princeton, NJ: Princeton University Press, 1990) 54. 35. Olson, The World on Paper 57. 36. Olson, The World on Paper 279. 37. Olson, The World on Paper 156. 38. Thomas Sprat, The History of the Royal Society of London for the Improving of Natural Knowledge (London: J. Martyn, 1667) 16. Spelling and punctuation unchanged from original in all references. 39. Sprat, History of the Royal Society 15–16. 40. Sprat, History of the Royal Society 111. 41. Sprat, History of the Royal Society 113. 42. Sprat, History of the Royal Society 112. 43. Francis Bacon, The Advancement of Learning (Oxford: Clarendon Press, 1885) XVIII, 3. 44. Bacon, The Advancement of Learning XVIII, 5. 45. J.-P. Sartre and P. Verstraeten, ‘L’écrivain et sa langue’, Situations IX (Paris: Gallimard, 1972) 40ff as cited by Manfred Frank, ‘Style in Philosophy: Part 1’, Metaphilosophy 30.3 (1999) 145–167 (147). 46. Jean-Paul Sartre, What is Literature? trans. Bernard Frechtman (New York: Philosophical Library, 1949) 284. 47. George Orwell, Why I Write (Harmondsworth: Penguin, 2005) 10. 48. Frank Kermode, History and Value: The Clarendon Lectures and the Northcliffe Lectures 1987 (Oxford: Oxford University Press, 1988) 90–93. 49. Dorothea Franck, ‘Style and innocence – lost, regained – and lost again?’ in Caroline Van Eck, James Mcallister, Renée Van de Vall, Eds., The Question of Style in Philosophy and the Arts (Cambridge: Cambridge University Press, 1995) 220–234 (226). 50. Frank, ‘Style in Philosophy’ 147. 51. Frank, ‘Style in Philosophy’ 146. 52. In this context, Jack Selzer reminds us that for centuries scientific dis- course was considered to be ‘a special kind of discourse operating outside the realms of rhetoric’ and ‘a rhetorical analysis of scientific prose would have been impossible to imagine’ until the 1970s (Understanding Scientific Prose [ Wisconsin: The University of Wisconsin Press, 1993] 4). 53. Gustave Flaubert, ‘Letter to Louise Colet, 16 February 1852’, in The Letters of Gustave Flaubert 1830–1857 Vol. 1, Ed. and trans. Francis Steegmuller (Harvard: Belknap Press, 1980). 216 Notes 54. Walter Pater, ‘Style’, in Appreciations: With an Essay on Style (London: Macmillan, 1890) 1–36 (29). 55. Pater, ‘Style’ 31. 56. Pater, ‘Style’ 32. 57. Pater, ‘Style’ 33. 58. Pater, ‘Style’ 6. 59. Oscar Wilde, Collected Works of Oscar Wilde: The Plays, the Poems, the Stories and the Essays Including De Profundis (Ware, UK: Wordsworth Editions Ltd, 1998) 932. 60. Wilde, Collected Works 929. 61. Wilde, Collected Works 930. 62. See James Sloan Allen, ‘Nietzsche and Wilde: An Ethics of Style’, Sewanee Review 114.3 (2006) 386–402. 63. Wilde, Collected Works 1052 64. Michael Toolan, ‘Stylistics and its discontents; or, getting off the Fish “hook”’, in Jean Jacques Weber, Ed., The Stylistics Reader: From Roman Jakobson to the Present (London: Arnold, 1996) 117–135 (121). 65. Attridge, Singularity of Literature 107. 66. Matthew Arnold, ‘The Study of Poetry’, in Hazard Adams, Ed., Critical Theory Since Plato (New York: Harcourt, Brace, Jovanovich, 1971) 600–603 (600). 67. Sontag, ‘On Style’ 34. 68. Meyer Schapiro, ‘Style’, in Anthropology Today: An Encyclopedic Inventory (Chicago, IL: University of Chicago Press, 1953) 287–312 (287). 69. Richard Ohmann, ‘Prolegomena to the Analysis of Prose’, in Harold C. Martin, Ed. Style in Prose Fiction (New York: Columbia University Press, 1959) 1–24 (2). 70. Lang, ‘Looking for the Styleme’, 178. 71. Hirsch, Aims of Interpretation 51. 72. Lang, ‘A Checklist of Questions about Style’, in Lang, Ed., The Concept of Style, 299–304 (301). 73. Richard Ohmann, ‘Generative Grammars and the Concept of Literary Style’, in Donald C. Freeman, Ed., Linguistics and Literary Style (New York: Holt, Rinehart and Winston, 1970) 258–278 (264). 74. August Wilhelm Schlegel, Lecture XXII, in Lectures on Dramatic Art and Literature, trans. John Black (Whitefish, Montana: Kessinger Publishing, LLC, 2004) 283–284. 75. Attridge, Singularity of Literature 108. 76. Todorov, Theories of the Symbol 80. 77. M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition (Oxford: Oxford University Press, 1971) 290–292. 78. Cleanth Brooks, ‘The Heresy of Paraphrase’, in The Well Wrought Urn: Studies in the Structure of Poetry (New York: Harcourt, Brace, 1947) 192–214 (195). 79. Schapiro, ‘Style’ 292.
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