T. S. Eliot’s ‘Obscurity’ in The Love Song of J. Alfred Prufrock
T. S. Eliot's earliest verse is composed of observations, detached, ironic, and alternatively disillusioned and nostalgic in tone. Eliot's mingling of subtle observation with unexpected cliché represents a difficulty that is often magnified because too much 'obscurity' is assumed...
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Published in | International journal of applied linguistics & English literature Vol. 5; no. 4; p. 38 |
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Main Author | |
Format | Journal Article |
Language | English |
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Australian International Academic Centre PTY. Ltd (AIAC)
2016
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Abstract | T. S. Eliot's earliest verse is composed of observations, detached, ironic, and alternatively disillusioned and nostalgic in tone. Eliot's mingling of subtle observation with unexpected cliché represents a difficulty that is often magnified because too much 'obscurity' is assumed. This paper aims at clarifying the 'obscurity' by means of a stylistic analysis of the linguistic devices that the poet used to create "The Love Song of J. Alfred Prufrock" and its intended meaning. Adopting the concept of style as 'foregrounding', the idea that style is constituted by departures from linguistic norms, it analyzes the poem in terms of its lexical foregrounding, and adopting the concept of style as 'choice', the idea that style is constituted by choices of linguistic devices, it analyzes the poem in terms of its syntactic choices. It claims that it is the systematic foregrounding or violation of the norm of the standard which makes possible the poetic utilization of language. Without seeing foregrounding as a poet's linguistic device, there could be no poetry for the poet or no possible understanding of poems for the reader. It also claims that stylistically significant syntactic choices by the poet serve effectively the intended meaning. |
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AbstractList | T. S. Eliot's earliest verse is composed of observations, detached, ironic, and alternatively disillusioned and nostalgic in tone. Eliot's mingling of subtle observation with unexpected cliché represents a difficulty that is often magnified because too much 'obscurity' is assumed. This paper aims at clarifying the 'obscurity' by means of a stylistic analysis of the linguistic devices that the poet used to create "The Love Song of J. Alfred Prufrock" and its intended meaning. Adopting the concept of style as 'foregrounding', the idea that style is constituted by departures from linguistic norms, it analyzes the poem in terms of its lexical foregrounding, and adopting the concept of style as 'choice', the idea that style is constituted by choices of linguistic devices, it analyzes the poem in terms of its syntactic choices. It claims that it is the systematic foregrounding or violation of the norm of the standard which makes possible the poetic utilization of language. Without seeing foregrounding as a poet's linguistic device, there could be no poetry for the poet or no possible understanding of poems for the reader. It also claims that stylistically significant syntactic choices by the poet serve effectively the intended meaning. |
Author | Wei, Longxing |
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Copyright | 2016. This work is published under http://creativecommons.org/licenses/by/4.0/ (the “License”). Notwithstanding the ProQuest Terms and Conditions, you may use this content in accordance with the terms of the License. |
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SubjectTerms | American literature British & Irish literature Eliot, T S (Thomas Stearns) (1888-1965) Foregrounding Linguistics Poetry Poets Syntax |
Title | T. S. Eliot’s ‘Obscurity’ in The Love Song of J. Alfred Prufrock |
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