This book applies linguistic analysis to the poetry of Emeritus Professor Edwin Thumboo, a Singaporean poet and leading figure in Commonwealth literature. The work explores how the poet combines grammar and metaphor to make meaning, making the reader aware of the linguistic resources developed by Thumboo as the basis for his unique technique. The author approaches the poems from a functional linguistic perspective, investigating the multiple layers of meaning and metaphor which go into producing these highly textured, grammatically intricate works of verbal art. The approach is based on Systematic Functional Theory, which assists with investigating how the poet uses language (grammar) to craft his text, in a playful way that reflects a love of the language. The multilingual and multicultural experiences of the poet are seen to have contributed to his uniquely creative use of language. This work demonstrates how Systematic Functional Theory, with its emphasis on exploring the semogenic (meaning-making) power of language, provides the handle we need to better understand poetic works as intentional acts of meaning. The verbal art of Edwin Thumboo illustrate Barthes' point that "Bits of code, formulae, rhythmic models, fragments of social languages, etc. pass into the text and are redistributed within it, for there is always language before and around the text." With a focus on meaning, this functional analysis of poetry offers an insightful look at the linguistic basis of Edwin Thumboo's poetic technique. The work will appeal to scholars with an interest in linguistic analysis and poetry from the Commonwealth and new literatures, and it is also well suited to support courses on literary stylistics or text linguistics.

This book takes as its central theme the relationship between verbal art and language. After first establishing a methodology, Hasan goes on to present a detailed analysis of how verbal art is constructed out of language, using a poem and a short story as examples. She then provides the theoretical framework, arguing that the understanding and evaluation of verbal art logically depends on an explicit understanding of human language as a socially shared resource for meaning.

Pettersson demonstrates the implications and applications of the theory through a series of detailed studies of literary works, taking care to show that his theory is compatible with a broad variety of perspectives. Combining an intimate knowledge of modern literary theory and the aesthetics of literature with innovative applications of linguistics and cognitive psychology to the literary work, he provides a thorough treatment of fundamental problems in the area, including the concept of a text or work, the concept of form, and the distinctiveness of the literary use of language.

This book provides an overview of the dialectic of theory and practice through which SFL positions itself as an appliable linguistics with reference to the theory of Verbal Art. A concise history of the linguistic study of literature tout court is sketched, as well as the roots of specifically SFL approaches to it. A detailed theoretical description is given of the emergence of systemic functional stylistics and, in particular, of the overall architecture of Systemic Socio-Semantic Stylistics (SSS), the central descriptive-analytical model created by Ruqaiya Hasan. Subsequently, the correspondences between Hasan's framework and what Jakobson theorized as the empirical linguistic evidence of his 'poetic function', grammatical parallelism and with what he calls 'pervasive parallelism', are delineated and illustrated via the analysis of one poem by D.H. Lawrence, 'Bei Hennef' (1913). Further, the teaching of the language in literature with the tools of SFL/SSS is addressed, and a case study of the experience of guiding students towards this 'special' register awareness in an undergraduate EFL curriculum in Bologna, Italy is offered. Aiming to provide as wide-ranging a view of systemic functional stylistics studies as possible, the volume also presents a synopsis of stylistics research wedded to multimodal/multisemiotic, corpus and translation approaches, broaching certain of the many theoretical issues intrinsically entailed. With special attention to Hasan's stylistic legacy, in closing the author speaks to the future directions systemic functional stylistic studies might take.

Hunter examines the marginalised verbal arts, written and spoken texts that don't fit the conventional patterns, such as e-mail, letters, diaries, writing and speaking from the Black diaspora, women's writing and electronic texts.

Puns, jokes, proverbs, riddles, play languages, verbal dueling, parallelism, metaphor, grammatical stretching and manipulation in poetry and song— people around the world enjoy these forms of speech play and verbal artistry which form an intrinsic part of the fabric of their lives. Verbal playfulness is not a frivolous pursuit. Often indicative of people's deepest values and worldview, speech play is a significant site of intersection among language, culture, society, and individual expression. In this book, Joel Sherzer examines many kinds of speech play from places as diverse as the United States, France, Italy, Bali, and Latin America to offer the first full-scale study of speech play and verbal art. He brings together various speech-play forms and processes and shows what they have in common and how they overlap. He also demonstrates that speech play explores and indeed flirts with the boundaries of the socially, culturally, and linguistically possible and appropriate, thus making it relevant for anthropological and linguistic theory and practice, as well as for folklore and literary criticism.

The cross-disciplinary and integrative nature of sociolinguistics is clearly evidenced in this highly regarded, insightful volume. Baumans holistic study brings together the separate fields of folklore, anthropology, linguistics, and literary criticism as they focus on verbal art. The work represented here is a clear assembly of perspectives and methodology of these disciplines from the viewpoint of performanceartistic action and artistic event. The basic principles underlying sociolinguistics (patterned variability and context as revealed through language) provide the coherence. In addition to Baumans useful conceptual framework, four lively, informative essays by leading scholars are included that clarify, illustrate, and amplify in an effort to treat verbal art as performance.