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	25.11.2009, 10:46
Style as the ‘dress of thought”: one kind of dualism (Leech, 15).  A more recent variant of this view is that of French stylisticians such as Bally and Riffaterre, that style is that expressive or emotive element of language which is added to the neutral presentation of the message itself. So, style need not occur in all texts: for example, Eliza’s ‘Not bloody likely’ in Pygmalion by Shaw has an expressiveness, and therefore a style; while the otherwise equivalent monosyllable "No’ does not. More recently, another French writer Roland Barthes, has referred to the ‘transparancy’ of classical writing, and has postulated a mode of ‘writing at degree zero’…which is almost an ideal absence of style. 1. … however plausible the concept of stylistic embellishment appears, … the elaboration of form inevitably brings an elaboration of meaning. 2. The ‘dress of thought’ metaphor retains some appropriacy, but only by virtue of an impression, difficult to justify, that the formal tail is wagging the semantic dog. 3. A converse implication of the ‘dress of thought’ view is that it is possible to write in a style which is the nadir of plainness and neutrality. 4. … we could have in theory have a manner of writing in which there is no style, in which content is presented in its nakedness. The texts differ greatly in the degree of stylistic interest or markedness. Some texts are more "transparent”, in the sense of showing forth their meaning directly, than others. The idea of style as an "optional extra” must be firmly rejected.   Style as a manner of expression: another kind of dualism Richard Ohmann – a modern apostle of dualism. He appeals to Transformational Grammar, which postulates two main kinds of rules: Phrase Structure Rules and Transformational Rules, and argues that optional Transformational Rules are the ones which determine style. These rules provide a linguistic basis for the notion of paraphrase and hence for the grammar of style. We can study in these terms what an author has written against the background of what he might have written. It is widely held that the basic logical content of a sentence can be represented as a set of elementary propositions, which, together with their interrelations, constitute its "deep structure” or "semantic representation”. The principle of paraphrase (or ‘same meaning in different form’) is one which many schools of linguistic thought continue to take for granted as a basic fact of language. Sense + stylistic value = (total) significance The assumption that transformations represent paraphrase relations has been undermined by considerations of cases in which the passive and deletion transformations do not preserve the same logical content: Many arrows did not hit the target = The target was not hit by many arrows. Some girls are tall and some are short = Some girls are tall and short. The inseparability of style and content: monism Paraphrase is not challenged in workaday uses of language. But in literature, particularly in poetry, paraphrase becomes problematic. "Metaphor… is not fanciful embroidery of the facts. It is a way of experiencing the facts” (Terence Hawkes). Metaphor denies us a literal sense, and so induces us to make sense, i.e. to find interpretations beyond the truth-functional meaning captured by paraphrase. Tolstoy: "This indeed is one of the significant facts about a true work of art – that its content in its entirety can be expressed only by itself”. David Lodge argues that there is no essential difference between poetry and prose, in so far as the following tenets apply to both: (1) It is impossible to paraphrase literary writing. (2) It is impossible to translate a literary work. (3) It is impossible to divorce the general appreciation of a literary work from the appreciation of its style.  It is easy to see that both paraphrase and translation, if understood as the expression of the same content in different words. presuppose a dualist philosophy. As to tenet 3, Lodge cites the case of Hardy, who has figured in criticism as a great novelist in spite of gross defects, including the capacity to write badly. Lodge opposes this view, by arguing that Hardy’s so called lapses of style cannot be considered apart from a more general consideration of his strengths and weaknesses as a novelist. " My uncle – high ideals inspire him; but when past joking he fell sick, he really forced one to admire him – and never played a shrewder trick. Let others learn from his example! But God, how deadly dull to sample Sickroom attendance night and day And never stir a foot away! And the sly baseness, fit to throttle, Of entertaining the half-dead: One smoothes the pillows down in bed, And glumly serves the medicine bottle, And sighs, and asks oneself all through: ”When will the devil come for you?”
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