Book contents
- The Stylistics of ‘You’
- The Stylistics of ‘You’
- Copyright page
- Contents
- Figures and Table
- Preface
- Acknowledgements
- 1 Theorising the ‘You Effects’
- PART I Singularising and Sharing
- PART II The Role of ‘You’ in the Writing of Traumatic Events
- Part III The Author–Reader Channel across Time, Gender, Sex and Race
- 6 Two Ways of Conversing with the Reader
- 7 Empathy for Sexual Minorities in Skin Lane by Neil Bartlett ()
- 8 The Ethics and Politics of the Second Person in ‘Postcolonial’ Writing
- PART IV New Ways of Implicating Through the Digital Medium?
- References
- Index
6 - Two Ways of Conversing with the Reader
from Part III - The Author–Reader Channel across Time, Gender, Sex and Race
Published online by Cambridge University Press: 06 January 2022
- The Stylistics of ‘You’
- The Stylistics of ‘You’
- Copyright page
- Contents
- Figures and Table
- Preface
- Acknowledgements
- 1 Theorising the ‘You Effects’
- PART I Singularising and Sharing
- PART II The Role of ‘You’ in the Writing of Traumatic Events
- Part III The Author–Reader Channel across Time, Gender, Sex and Race
- 6 Two Ways of Conversing with the Reader
- 7 Empathy for Sexual Minorities in Skin Lane by Neil Bartlett ()
- 8 The Ethics and Politics of the Second Person in ‘Postcolonial’ Writing
- PART IV New Ways of Implicating Through the Digital Medium?
- References
- Index
Summary
In Chapter 6, Henry Fielding’s Joseph Andrews (1742) and Charlotte Brontë’s Jane Eyre (1847) are analysed in a pragmatic light. Although many have studied the age-old author–reader relationship in these two novels, rarely have the different pragmatic acts the author/narrator is performing in their address to the reader been highlighted. Studied within Warhol’s broader narratological distinctions between ‘distancing’ and ‘engaging’ narrators (1986, 1989, 1995), these addresses are re-placed within the theoretical model developed in Chapter 1 to enhance the difference between the two texts and show that other references of ‘you’ are present in a way never emphasised in studies of these novels (Brontë’s in particular).
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- The Stylistics of ‘You'Second-Person Pronoun and its Pragmatic Effects, pp. 127 - 153Publisher: Cambridge University PressPrint publication year: 2022