Style: An Introduction to History, Theory, Research, and Pedagogy conducts an in-depth investigation into the long and complex evolution of style in the study of rhetoric and writing. The theories, research methods, and pedagogies covered here offer a conception of style as more than decoration or correctness—views that are still prevalent in many college settings as well as in public discourse.

Práce poskytuje srovnání teoretických přístupů k problematice stylu, a to v rámci českého a anglosaského (především britského) kontextu. Cílem bylo ukázat a srovnat odlišná metodologická pojetí založená na odlišných teoretických východiscích – proto byly zvoleny dva odlišné kulturní okruhy: pozornost je však samozřejmě věnována také vztahů mezi nimi. Dvacáté století bylo vybráno úmyslně, jako období, v němž se v obou prostředích stylistika konstituovala jako moderní teoretická disciplína opírající se o základnu lingvistiky a literární vědy. Práci mohou využít jak domácí, tak zahraniční studenti a vyučující, především bohemisté a anglisté.

First Published in 2002. It is easy to see that we are living in a time of rapid and radical social change. It is much less easy to grasp the fact that such change will inevitably affect the nature of those disciplines that both reflect our society and help to shape it. Yet this is nowhere more apparent than in the central field of what may, in general terms, be called literary studies. ‘New Accents’ is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change. To stretch rather than reinforce the boundaries that currently define literature and its academic study.

The concept of style is central to our understanding and construction of texts. But how do translators take style into account in reading the source text and in creating a target text? This book attempts to bring some coherence to a highly interdisciplinary area of translation studies, situating different views and approaches to style within general trends in linguistics and literary criticism and assessing their place in translation studies itself. Some of the issues addressed are the link between style and meaning, the interpretation of stylistic clues in the text, the difference between literary and non-literary texts, and more practical questions about the recreation of stylistic effects. These various trends, approaches and issues are brought together in a consideration of the most recent cognitive views of style, which see it as essentially a reflection of mind. Underlying the book is the notion that knowledge of theory can affect the way we translate. Far from being prescriptive, theories which describe what we know in a general sense can become part of what an individual translator knows, thus opening the way for greater awareness and also greater creativity in the act of translation. Throughout the discussion, the book considers how insights into the nature and importance of style might affect the actual translation of literary and non-literary texts.

Leonard Meyer proposes a theory of style and style change that relates the choices made by composers to the constraints of psychology, cultural context, and musical traditions. He explores why, out of the abundance of compositional possibilities, composers choose to replicate some patterns and neglect others. Meyer devotes the latter part of his book to a sketch-history of nineteenth-century music. He shows explicitly how the beliefs and attitudes of Romanticism influenced the choices of composers from Beethoven to Mahler and into our own time. "A monumental work. . . . Most authors concede the relation of music to its cultural milieu, but few have probed so deeply in demonstrating this interaction."—Choice "Probes the foundations of musical research precisely at the joints where theory and history fold into one another."—Kevin Korsyn, Journal of American Musicological Society "A remarkably rich and multifaceted, yet unified argument. . . . No one else could have brought off this immense project with anything like Meyer's command."—Robert P. Morgan, Music Perception "Anyone who attempts to deal with Romanticism in scholarly depth must bring to the task not only musical and historical expertise but unquenchable optimism. Because Leonard B. Meyer has those qualities in abundance, he has been able to offer fresh insight into the Romantic concept."—Donal Henahan, New York Times

Excerpt from Theories of Style: With Especial Reference to Prose Composition; Essays, Excerpts, and Translations This volume, the editor imagines, may prove serviceable to teachers of English in more than one way. From its origin - and apart from the style of the editor's translations - it may be regarded first of all as a body of literary models to be used in illustration of some good handbook on English prose composition, by classes in what is technically known as Exposition, i.e. written explanation. The editor's conception of such a volume of models arose partly from his belief - which needs no discussion here - that of the three generally recognized Forms of Prose Writing, namely, Description, Narration, and Exposition, only Exposition can be advantageously taught as a practical art by the average instructor in English to the average class; partly from his objection to certain books of "standard" selections, which professed rhetoricians have seen fit to compile for similar purposes of illustration in the classroom. In his opinion these compilations suffer from one fairly obvious defect. As a rule, they seem to lack a fundamental principle which every teacher of thinking and writing is supposed to demand of every book, and to inculcate in the mind of every pupil. They seem lacking in unity. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.