Stylistic Analysis

Cieľom príspevku je prostredníctvom relačno-klasifikačného náhľadu prezentovať prvky ustaľujúce aj narúšajúce žánrovú modelovú štruktúru weblogu. Príspevok približuje naznačené aspekty na synchrónnodynamickej osi, v súvislosti s modifikáciami weblogu ako špecifického komplexného typu komunikátu. Problematika je analyzovaná a interpretovaná cez prizmu interferujúcich formálnych, obsahových a grafických charakteristík, ktoré modifikujú základné vlastnosti žánru. Tie zároveň zo synchrónneho hľadiska v procese tvorby pôsobia na autora aktuálneho textu. Materiálovú základňu predstavujú texty slovenských weblogov zverejňovaných ,,izolovane“, ale aj na blogových portáloch fungujúcich pri veľkých slovenských denníkoch od roku 2004 po súčasnosť. Príspevok na základe usúvzťažnenia zistených tendencií vo vývine weblogu ako žánru s vplyvmi elektronického prostredia ako domovského areálu šírenia ponúka úvahy o možnostiach a podmienkach ďalšieho života weblogu.

This research discusses about the special language style from the comments on the book cover of non fictions based on the using of distinctive linguistic features. The style of language is analyzed from stylistics point of view and put the lexical cohesion, reference and another linguistic elements as the part of distinctive linguistic features to be the analysis focus then reflect it to the function and the effect it brings. The methods are referential and formal. Based on the analyis, it can be found that in the comments of the book cover, generally, include all of the lexical and reference elements. The most significant element that mostly occur is repetition and personal reference. While, another forms such as synonym, general word, super ordinate, collocation, demonstrative and comparative reference occur in less percentage. The purpose of using these elements is in order that the comments of the non fictions" book can influence the reader through the choosing features then bring the psychological effect for commercial purposes. Moreover, the effect that it caused for the reader is being influenced the readers" thought to be more interested to the book from its dictions or the specific distinctive linguistic features.

Iṣẹ́ ọnà aláwòmọ́ lítíréṣọ̀ jẹ́ ọ̀kan pàtàkì lára ohun èlò fún ṣíṣe àgbéyẹ̀wò ọnà-èdè. Òǹkọ̀wé Fágúnwà nínú ìtàn àròsọ rẹ̀ márààrún jẹ́ oníṣẹ́ ọnà tí ó mọ bí a ti ń ṣe àmúlò ọnà-èdè láti mú kí òye ohun tó ń sọ yé ènìyàn yékéyéké. Tíọ́rì ìfojú-ìhun-wò ni irinṣẹ́ tí a fi ṣe ìtìsẹ̀ àti ìtúpalẹ̀ lati fi wo bí Fágúnwà  ṣe lo èdè nínú ìtàn àròsọ rẹ̀ márààruń. Tíọ́rì yìí ṣe àfihàn bí Fágúnwà ti ń ṣa ọ̀rọ̀ yàn, tí ó sì ń hun àwọn ọ̀rọ̀ náà pọ̀. Lára àwọn ohun tí iṣẹ́ yìí gbéyẹ̀wò ni wíwo díẹ̀ lára oríṣìíríṣìí ọnà-èdè tí Fágúnwà ṣe àmúlò. Àwọn ọnà- èdè bii Àfiwé, èyí tí ó pín sí ọ̀nà méjì, Àfiwé ẹlẹ́lọ̀ọ́ àti Àfiwé tààrà. Bákan náà, a wo àwọn ọnà-èdè mìíràn bíi Ìfọ̀rọ̀dárà, Àwítúnwí, Àsọrégèé, iṣẹ́ tí wọ́n ń ṣe àti ipa tí wọ́n kó nínú ìwé ìtàn àròsọ rẹ̀. A rí ìbáyému wọn nínú ìtàn àròsọ mérìírí Fágúnwà àti láwùjọ òde òní. Àrífàyọ iṣẹ́ yìí ni pé ojúlówó èdè Yorùbá ni Fágúnwà fi gbé àwọn ìtàn àròsọ̀ rẹ̀ kalẹ̀; ó sì kún fún oríṣìíriṣìí ọnà. Àwọn ọnà-èdè yìí sì buyì kún èdè tí Fágúnwà lò. Ní ìkádìí, iṣẹ́ yìí fi hàn pé afèdèṣọnà àti oníṣẹ́ ọnà alátinúdá tí ó dáńgájíá, tí ó sì jáwé olúborí nínú iṣẹ́ ọnà lítíréṣọ̀ ni Fágúnwà.

This paper addresses both stylistic analysis and literary appreciation. It is a qualitative quantitative approach where content words like nouns, adjectives and verbs are harnessed to be analysed for proving the research question. This research paper is beneficial for corpus and stylistics students and researchers.

La poésie d'Apollinaire est placée sous le signe de la discontinuité, de l'hétérogénéité, du morcellement. L'écriture poétique apollinarienne se donne, à travers les différents recueils, comme un « style en mouvement 1 », un matériau plastique et malléable, en quête d'une perpétuelle réorganisation pouvant prendre la forme de la réécriture, de la conversion d'écrits de prose en poésie, voire du collage. Celle-ci alimente, selon Jean Burgos, la construction d'un puissant imaginaire, mû par « une attirance profonde pour la vision morcelée du monde et des choses 2 ».

The stylistic analysis of Robert Browning’s poem ‘Patriot into Traitor ’ is done by using graphological, phonological, morphological and lexico-syntactic patterns. This analysis is helpful in decoding the underlying meanings of the poem. It clearly brings to surface what the poet really wants to impart.

Hassan Haidary (Corresponding Author) Department of Persian Language and Literature Faculty of Literature and Foreign Languages, Arak University, Arak Iran Reza Taghizadeh Department of Persian Language and Literature Faculty of Literature and Foreign Languages, Arak University, Arak Iran ABSTRACT Studying the stylistic aspects of literary works in fact began since the Safavid dynasty, when many biographers in Iran and in India attempted to study and criticize the poems of Iranian and Indian poets. Although biographers were more or less studying the stylistic issues from earlier periods, they were not deeply involved and mainly attempted to criticize the works. This study concerns to determine to what extent the biographers in the past have addressed and studied stylistics in its current meaning. The study has employed the stylistic approach to literary works proposed by Cyrus Shamisa in his book General Stylistics including linguistic (at phonological, lexical, and syntactic levels...

An exploration of Voltaire's portrayal of women in his 1759 satirical novel, "Candide." Does the startling strength of Candide's female characters despite their lack of numbers determine Voltaire as one of the only clear feminists of his time?

In nowadays era, the use of smartphones keeps increasing as they are considered as one of the people’s daily needs to communicate with others. One of the applications is WhatsApp (WA), which is currently so popular and mostly used. WA Messenger is the improved version of the previous Short Message Service (SMS). The formulated problems in this research are (1) “what styles are used in WhatsApp (WA) messenger?” and (2) “what factors are influencing the use of the styles in WhatsApp (WA) messenger?”. The data of this research were analysed by using qualitative methods. The researchers employed the theory of SMS styles proposed by Azhar (2010) to identify the styles in WhatsApp mesages and focused on the graphology aspect which included clipping, substitution of word with number, coinage, and a combination of lowercase and uppercase styles. The first result showed that the WA senders used the combination of the styles mentioned. The second result were factors of age, status, and relationship.

Keywords: language style, SMS Style, WhatsApp

This research paper aims to analyze George Orwell’s Nineteen Eighty-Four (1949) using stylistic tools in order to reveal the author’s literary aims in creating its dystopian ambiance, namely its sense of hopelessness and disturbance. What readers of literature feel in response to a text is usually reliant on the language and its crafting by the author. Lexis and syntactic devices are two areas that will be investigated as having been  manipulated by Orwell in order to achieve his literary aim. Lexical items which include nouns, adjectives, verbs, and other elements convey negativity and despondence, while the vocabulary of Newspeak is a special creation that contributes to the sense of disturbance in this fictional world. The syntactic devices of negation, modals, and linking verbs  also serve to reinforce the sensation of helplessness and simultaneous dystopian force within the novel.

By H.G. Widdowson --
This book might be described as an exercise in applied stylistic
analysis. Its principal aim can be stated quite briefly: to present a
discussion of an approach to the study of literature and a demonstration
of its possible relevance to the teaching of literature. The
approach with which I shall be concerned draws a good deal from
linguistics and this discipline will provide the general perspective
adopted in the discussion. This does not mean, however, that I shall
exclude those considerations of interpretation and artistic effect
which are the immediate concern of literary criticism. I do not believe
that any approach which does so can be said to be dealing with
literature at all in any meaningful sense, and in fact most stylistic
analysis, even that which purports to follow a strictly linguistic line,
is ultimately based on the kind of intuitions which it is the purpose
of literary scholarship to develop. I shall, then, move towards
literature from a linguistics direction but expect my approach to
converge with that of literary criticism at several points on the way.
(This text was made available at the following website: https://www.pdfdrive.com/stylistics-and-the-teaching-of-literature-d182104112.html)

The effect of a poem is deliberately designed by the poet to make it meaningful and emotionally attach the reader. Just like Television poem by Roald Dahl which employs the language features, puts them as foreground, and affects the readers in meaning making. The structure and figurative languages in the poem creates the tone that can raise people awareness of the bad impact of television for children growth and on the other hand gently reminds today's parents about the goodness of reading books. This study gives empirical evidences of such impression by showing the poetic devices and the language features applied by the poet.

This paper posits that the notion of aesthetic ambiguity and the emphasis on site-specific, rather than style-specific approach, has been a central and under-examined position in the architecture of Ricardo Bofill. Accordingly, it investigates the processes undertaken and the methodological components that promote and provoke change and evolution across the spectrum of Bofill’s body of work.

The phenomenon of simultaneous contrast of colors is examined in terms of optical explanation and practical recommendations for artists. But there is a lack of research that explores the results of the application of this contrast to the works of art. This article is dedicated to stylistic analysis of the role of simultaneous contrast in paintings and graphic works. In the first part of the research the reasons and mechanism of mutual influence of adjacent colors are examined on the basis of M. Chevreul's research "The Law of Simultaneous Contrast of Col-ors" which explains the optical nature of the contrast by changes in visual perception of the light rays reflected by colored objects. The second part of the article explores the application of this theory to the stylistic analysis of painting and graphic arts. The use of different variations of simultaneous contrast and its consequences for the perception of the images were analyzed on the examples of art works of Titian, artist of J. Tintoretto's circle, P. P. Rubens, T. Gainsborough, H. Daumier, V. van Gogh, R. Delaunay, M. Vrubel, M. Nesterov, T. Shevchenko, O. Murashko. It allowed to determine the range of artistic problems that simultaneous contrast helps to solve. This artistic device enriches the color scheme, makes it more complex and provokes vibrating, changeful color effect which can have aesthetic and meaningful value. Simultaneous contrast is widely used to balance cold and warm colors and to compensate the missing or poorly manifested component of the color scheme. It is also the instrument for emphasizing the reflexes and shadows on the depicted objects, for creating more convincing and holistic spatial sense in the image. This contrast can play a big role in concretization of the coloristic and material characteristics of different objects. The examples analyzed in this article do not comprise all the variability of simultaneous contrast, they are the basis for further extension of the research.

Явище симультанного, або одночасного контрасту кольорів є вивченим з точки зору оптики і практичних рекомендацій для художників, але в мистецтвознавчих дослідженнях недостатньо розкритим залишається питання результатів застосування контрасту в образотворчому мистецтві. Статтю присвячено мистецтвознавчому аналізу ролі симультанного контрасту у творах живопису і графіки. У першій частині статті розглянуто причини та механізм взаємовпливу сусідніх кольорів на основі дослідження М. Шевреля «Закон симультан-ного контрасту кольорів», яке пояснює оптичну природу контрасту змінами у зоровому сприйнятті відбитого кольоровими поверхнями світлового випромінювання. У другій частині статті розглянуто використання цих знань у мистецтвознавчому аналізі творів живопису та графіки. На основі аналізу вибраних робіт Тиціана, художника з кола Тінторетто, П. П. Рубенса, Т. Гейнсборо, О. Дом'є, В. Ван Гога, Р. Делоне, М. Врубеля, М. Нестерова, Т. Шевченка, О. Мурашка досліджено застосування різних варіантів симультанного контрасту і наслідки цього прийому для сприйняття зображень. Було визначено коло художніх проблем, у вирішенні яких допомагає симультанний контраст. Цей прийом дозволяє збагачувати й ускладнювати колорит, провокувати вібруюче, мінливе сприйняття кольору, що може мати не лише естетичне, але й змістове значення в картині. Одночасний кон-траст широко застосовується для врівноваження холодних і теплих елементів колориту, компенсації відсутньої або мало проявленої складової колори-ту, є інструментом для посилення просторового відчуття, виділення рефлексів і тіней, створення цілісного середовища в зображенні. Також він відіграє важливу роль у конкретизації кольорової і матеріальної характеристики різних об'єктів. Розглянутими у статті прикладами не вичерпується широка варіативність проявів симультанного контрасту, вони є базою для подальшого розроблення теми.
Ключові слова: симультанний контраст, кольорознавство, Мішель Шеврель, художньо-стилістичний аналіз.

L'abondance et la variété des dénominations dans Sous le Soleil de Satan semblent correspondre à une esthétique réaliste qui, tout en cherchant à être le plus proche possible du référent, refuse toute idéalisation et s'intéresse plus particulièrement aux rapports sociaux. Balzac et Maupassant ne sont pas loin. Le refus des répétitions et la valorisation de la dénomination révèlent également une vision du monde classique et monarchique soutenue par une écriture satirique voire polémique. Cependant, paradoxalement, ces mêmes dénominations remettent en cause les différences sociales et permettent de dégager peu à peu une anthropologie chrétienne et une réflexion sur l'écriture.

This study deals with stylistic analysis of E.E. Cummings's poem "Humanity i love you". This study is dealt under the level of lexicology, graphology and the parallelism in stylistics. Qualitative method has been applied in the analysis of the poem in which the data are collected from primary, secondary and tertiary sources. The analysis of these features is helpful to comprehend the basic theme of the poem that is completely sarcasm and irony. The first free clause "Humanity i love you" repeats several times ironically in the poem but at the end of the poem this structural repetition is being juxtaposed and parallelized with what the poet actually wants to say "Humanity i hate you".

The subject of this article is decoration of pottery treated as a means of communicating aesthetic and symbolic meaning by its makers (or/and users). The starting point are the ornaments of early medieval Polish pottery from VIth to XIIIth C. This means recognizable technical aspects (tools) and application of ornament, aesthetic (arrangement of ornament
on a vessel, ornamental motifs, symmetry or lack thereof) as well as symbolic meaning. The author discusses various levels of ornament analysis: starting with an element itself, through ornamental motif, to the configuration of motives on a vessel.

Alan Cumyn’s Man of Bone offers a powerful example of the traumatic impact that captivity and torture can afford on a human being. The novel narrates the nine-month-long period during which Bill Burridge, a Canadian diplomat, endures captivity and torture after a guerrilla faction kidnaps him on the imaginary South Pacific Island of Santa Irene. Hooded for most of the narration until his release, Burridge gives way to a wide range of responses, his narrative evoking the terror of uncertainty and life threat in its disjunctive presentation, hallucination, dream realm and stylistic fragmentation. Language narrows in on small details recorded in elliptical sentences, whose choppy structures convey suffocation and awe; to keep such devastating feelings at bay, the protagonist turns to repetitive patterns and flashbacks to distract his mind. Even when freed, Burridge persists with his fixation on details, dissociative flashbacks and exploitation of water imagery to convey the sense of distressed immersion, making it hard for the readers to determine the boundary between the real and the imaginary. His narrative keeps echoing his inability to disentangle himself from the obsessive thoughts that drive him outside himself and cause him to relive the experience in confused divided consciousness. The discussion of trauma from captivity and trauma will call on psychoanalytical theories of Michael Balint, Wilfred R. Bion, Frances Tustin and Judith Mitrani.

This study closely investigates the elements of Sigmund Freud’s theory “The Uncanny” in one of Larson’s most famous novels. Although the novel touches upon racial issues, the study explores the mysterious relationship between Irene and Clare based on the main features of Freud’s “The Uncanny,” which are represented by hidden sexual desire, envy, supernatural power, and double characters. The aspect of the sexual desire is indicated in the novel by sexual undertones expressed by Irene towards Clare’s physical features. Envy in the novel is expressed by Irene who shows resentful longing aroused by Clare’s possessions and qualities due to her passing to the white community. The aspect of omnipotence of thoughts is indicated by the fact that Irene throughout the novel believes that her husband has an illicit relationship with Clare where this leads Irene to have paranoia and to the probable death of Clare.

This paper is based upon an in-depth stylistic analysis of the poem " The wasteland " by TS Eliot This paper is not only the examination of the rich stylistic devices incorporated for the lexical and grammatical function, but also focuses on the combined impact of the figurative language of the poem, that how the linguistic and stylistic parts assembled together give the poem a coherent and balanced look

The focus of this project is a stylistic analysis of the nonrepresentational or geometric painted designs on Mimbres Style III Black-on-White pottery bowls, which were produced during the Classic period (A.D. 1000–1130) in an area centered in southwestern New Mexico. Based on intensive critical reviews of previous Mimbres design studies, major theoretical approaches to style, and relevant methods of ceramic stylistic analysis, I present a theoretical and methodological framework to analyze style in Classic Mimbres geometric pottery designs across space, in order to understand how these designs relate to aspects of social group affiliation and interaction in the Mimbres region. Using a three-phased stylistic analysis methodology—including (1) a visual qualitative analysis, (2) a symmetry analysis, and (3) a structural attribute analysis—a preliminary stylistic analysis was conducted with 489 vessels from five sites in the Mimbres Valley. Results from the analysis revealed no overall differences in geometric designs across the sites, but rather a homogenous distribution of design styles. Based on research concerning ceramic production and distribution in the Mimbres region, as well as evidence from other relevant studies, it is suggested that the homogeneity of geometric designs during the Classic period (characterized by a diverse repertoire of structural attributes) may have been the result of a design tradition that encouraged diversity, but ensured uniformity through mechanisms of social learning within sites and the sharing of ideas and vessels across sites.

The collection of Egyptian textiles at the Benaki Museum comprises 21 looped pile textiles dating from the 2 nd to the 6 th centuries CE, which display a variety in the techniques applied. Of special interest are the remains of a fine tunic with pile on both sides of the textile, illustrating the ancient Hellenic terms άμφίμαλλα, άμφίμιτα, άμφίταπα and attesting that this rare type of weaving method was executed on a vertical two-beam loom On the basis of actual experiments of the different looping applications and thorough analysis of the textiles, they will be classified into three methods of pile formation and will be subdivided into three technical groups. Moreover, a direct relationship between cloth characteristics and loom types will allow for a detailed insight into the highly developed manufacturing techniques of the Late Antiquity period and will indicate a practical way of interpreting data that is not so well documented. FIGURE 7: Practical experiment of the weft looping technique on a vertical loom. The pile is formed by a supplementary weft run through the shed.

Various linguistic theories have affirmed the importance of linguistics to literature. The application of such theories in any linguistic interpretation of a literary text has been proved to be a more objective critical response to the text. It has also revealed the lapses and subjective nature of impressionistic and expressionistic criticism. This follows from Prague's Linguistic Criticism, which views literature as a special class of language, which rests on the assumption that there is a fundamental opposition between literary (or poetic) language and ordinary day-today language. This study gives the semantic appreciation of Soyinka's poem 'Dawn'. Thus, it uncovers the formal underpinning which leads the readers of the poem to the meaning embedded in the poem.

Dystopia is a genre often used as a means to comment on diverse sociopolitical issues and to criticise existing political systems. One of the many dystopian novels is particularly worth noting, especially for its relevance to modern societal evolution. This essay examines how elements of control in Aldous Huxley’s Brave New World are a reflection of social, economic and cultural changes in the early 20th Century.

This essay identifies the most prominent elements of control in the novel, examines how these elements are presented and developed, and analyses the purpose of these elements with reference to the author’s socio-political context. The novel itself is the primary document on which this essay relies, but secondary sources are also used to explore the historical setting of the work.

The analysis asserts in conclusion that Huxley, marked by his study of the sociopolitical trends in 20th Century Europe, twists the expectation we have of controlled dominance into a society in which people are in a state of artificial contentment with the system and with themselves. The author highlights the increasing capabilities of technology and the tendencies towards a disregard for matters of historical or cultural importance, and towards the idealisation of uniformity and orthodoxy. Through the depiction of elements of control regarding information and social development, Huxley warns against the negative effects of Europe’s rapidly industrialising society on its more traditional  elements. Among others, he emphasises the abandonment of orthodox social and religious values and the resulting increase in materialism and consumerism. By means of extensive juxtaposition of structure and character, Huxley draws attention to the evolution of culture in modern society, the change of media roles and the loss of privacy, as well as the effects of a social mentality centred on technological progress and efficiency.

Applying a stylistic analysis on certain texts refers to the identification of patterns of usage in writing. However, such an analysis is not restricted just to the description of the formal characteristics of texts, but it also tries to elucidate their functional importance for the interpretation of the text. This paper highlights complexity as a hallmark of a stylistic analysis in "A Rose for Emily", a short story by William Faulkner (1897-1962). The analysis is done by adopting Halliday's (1985) approach to analyzing complexity in sentence structure; and Lauer, et al. (2008) approach to analyzing narrative from a macro perspective in relation to the story acts. The analysis rests upon the assumption that since form conveys meaning, Faulkner's multilayer usage of complexity is extremely functional. This paper tries also to detect and prove that stylistic complexity is manipulated to convey the main themes, events, and successfully lead to identify the distinctive structure of this story.

The work is devoted to analyzing the plot and composition in the poetic texts of Yuri Levitansky and their cinematography features. There has been examined the lyric plot of the texts in the light of the definite grammatical categories – tense and taxis.
Lyrical poems of the analysed author are full of story lines; that is not typical for lyrics of XX century. The texts which show the events from author’s life prevail in the individual style of Y. Levitansky. Lyrical time in some poetic texts is prolonged while the other texts contain fasten time. There has been researched that prolonged time prevails while recollecting the youth.
Besides the analysis shows that a narrative type of the storyteller prevails in the author’s texts. It has been distinguished a specific type of text composition – scenario. There has been determined that composition and stylistic role of the titles intensifies the cinematography effect in the in the poetic text of Y. Levitansky. Lots of poetic texts may be gathered in different group; it creates the impression that there are several film series.

Style varies from text to text depending on various factors like the form, meanings, grammar and structure. Stylistic analysis examines various aspects of the style of a text. This article aims to analyze Muhammad Riaz Gohar’s poem “ILLEGAL MIGRATION” from a stylistic point of view. The analysis is made under the aspects of graphological, syntactical, semantic and phonological patterns. This analysis is helpful in understanding the basic concept of poem that is the fears of the poet related to his teenagers of his nation. He wants to say them that the illegal migration is the path of death. Furthermore it highlights the difference between ordinary languages used in daily life compared to the literary language that is used in poetic text. This depicts the variation in style and the impact of this variation on the reader.

This paper undertakes a pragmastylistic analysis of Helon Habila"s Measuring Time, focusing on some foregrounded lexical and pragmatic features in the novel. Using 15 purposively selected utterances of characters in the novel based on the depiction of foregrounded lexical features and three further extracts manifesting the use of presupposition and implicature as analytical tools for explicating the meanings communicated during exchanges in the fictional world of the novel, the paper shows that Habila utilises lexical repetition and parallelism as a foregrounding scheme for capturing experience and situating the major characters, their actions and their psychological states at various stages of the novel. It also shows that the exchanges between major characters in the novel are characterised by tension and agony, exhibiting a predisposition to violence arising from the unfavourable political climate and personal failures. The paper demonstrates the author"s preoccupation with various aspects of the horrendous life lived by Nigerians in post-independence Nigeria and concludes that Helon Habila"s Measuring Time is a documentation of leadership failure.

Dubbing is the norm in re-editing imported foreign screen programming in China. Yet the practice has been rarely critiqued. In this context, I have undertaken a stylistic analysis of a dubbed Chinese edition of Desperate Housewives, which was screened by China Central Television (CCTV) soon after its US release. This paper discusses the analysis and the ensuing findings. The paper presents a number of examples extracted from the original script, accompanied by the CCTV translation plus back translation of the program. I begin the paper by providing information about the CCTV edition of Desperate Housewives, focusing on its poor reception by the viewers. This is followed by a discussion of the four prominent translation strategies used in the CCTV rendition, which I have identified on the basis of the stylistic analysis. The strategies include being maximal, being literal, being logical and being sanitary. I then proceed to a critique of the four strategies. I argue that the use of the strategies is intended to serve two specific objectives. (1) Accomplishing the difficult task of translating the program from English into Chinese and from American culture into Chinese culture. (2) Taming the desperate language acts of the characters. It will be argued, however, that the use of the strategies prevents the foreign (i.e., articulation of the desperation of suburban American housewives) from coming through to the Chinese audience, which I believe contributes to the viewers' disenchantment with the program.

Text World Theory provides a framework for considering how we conceptualise video game worlds. Text World Theory uses the ‘worlds’ metaphor to describe how we visualise discourse in our minds.

This dissertation explores the ways players build text worlds from the discourse of the game BioShock Infinite. It also uses Gerrig’s metaphor of transportation when considering the conceptualisation of text worlds in the game, which is closely related to the idea of immersion.  This dissertation will explore the relationship between building text worlds and the feeling of immersion.

Firstly, it will use stylistic analysis to identify features within the game discourse that point towards world-building properties as stated by the Text World Theory framework. Here, it identifies that hypothetical text worlds are built by deictic language, but non-hypothetical text worlds are aided considerably by multimodal features of the game, such as visual information. It also identifies problems in determining the accessibility of the game, i.e. the significance of the protagonist as a first person narrator versus our access to visual information, which could impact the way we build text worlds. The dissertation then uses ethnographic data of gaming reviews and articles as a resource of player response, using a corpus linguistic method and subsequent stylistic analysis to determine the significance of those responses.

Seeking evidence of immersion and engagement with language relevant to Text World Theory, it will conclude that players regularly describe immersive experiences in their response to BioShock Infinite. Their use of the words ‘world’, ‘story’ and ‘lost’ particularly support the stylistic analysis which identified the creation of hypothetical text worlds, and ultimately support that players describe an immersive experience through a metaphor of transportation.

Overall, this dissertation shows that video game worlds raise new questions for the conceptualisation of fictional worlds, opening a door to further research.

The present paper aims to analyse linguistic resources in "Boko Haram ! Tu ne nous peux pas", song performed by One Love, young Cameroonian singer. Presented as an hymn in honour of soldiers in front and as a message of union in order to fight Boko Haram, this song was over listened on radio and TV between January and February two thousand and fifteen. Posted on You Tube, this clip has been recorded more than a hundred thousand of views from January to October the same year. Written in French and in Camfranglais, this song is characterised by a stylistic richness both in the substance that in the form of the text. This reflexion tries to show the functioning and the effects in the choice of various linguistic pillars on which the artist leans to develop a message of hope and expectancy towards Boko Haram. Inscribing this reflexion in a stylistic approach, we study enunciative, lexical and rhetoric components of this song.

The facade of the south transept of Bordeaux Cathedral
The facade of the south transept of Bordeaux Cathedral has always been considered homogeneous, built without significant interruption during the first half of the fourteenth century. A recent campaign of restoration and cleaning to that part of the building was completed in 2010 and allowed a re-consideration of the structures, revealing a much more eventful construction history than previously suspected. After the implantation of the south transept toward the end of the thirteenth century, the builders decided in the second decade of the fourteenth century to provide it with a great sculpted portal. The material conditions for the realization of this ambitious addition, directly inspired by northern French Gothic architecture, were created by the abundant financial means provided by Pope Clement V beginning in 1307. After the completion of the portal and the lower storey of the towers, the builders seem to have put aside work on the south facade so as to concentrate their efforts on the lower portions of the north transept, followed by the triforium and clerestory of the chevet. It was only then, around 1360-1370, that construction resumed on the south transept with the addition of a second storey to the towers and a corresponding level on the facade.  Around 1400, however, the project for the facade and its two towers was profoundly modified, both structurally and formally. The builders decided to raise the towers with yet a third storey and stone spires, which required the filling in of the great arcades in the rooms of the lower storeys so that they could carry the new additional weight. From a formal point of view, the austere vocabulary of the triforium and clerestory in the chevet was then replaced with more elaborate outlines and richer tracey. The complete re-building of the rose and the arcade below around 1400 - perhaps caused by damage incurred during construction, but for this there is no evidence - seems to have been motivated by new aesthetic preferences corresponding more closely to the representative character that the builders now wished to confer on the south facade.

The focal issue of the paper is the stylistic parameter of phraseological units discussed from a cross-linguistic perspective. The aim of the paper is to discuss the stylistic value of fixed expression in terms of interlingual equivalence. The problem will be discussed on the example of selected expressions.