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Chapter 4. Multimodal realisations of mind style in Enduring Love

Abstract

Mind style is the term traditionally discussed in stylistics to refer to the linguistic features that project the peculiarities of characters’ cognitive make-up. As stylistics mainly focuses on written forms, mind style has generally been discussed in relation to its textual manifestations although new research is emerging which is redressing this lack (Gibbons 2010; Nørgaard 2010). When considering textual forms, scholars identify many and varied linguistic indicators as markers of mind style. In this chapter I look into the way both verbal and multimodal markers are exploited in Ian McEwan’s novel Enduring Love (1997) and its homonymous cinematic adaptation by Roger Michell (2004) to create particular mind styles. This chapter argues that tools traditionally discussed in stylistics can shed light on the way multimodal discourse functions and also that the inclusion of multimodal formats can refine existing stylistic frameworks and models.

Abstract

Mind style is the term traditionally discussed in stylistics to refer to the linguistic features that project the peculiarities of characters’ cognitive make-up. As stylistics mainly focuses on written forms, mind style has generally been discussed in relation to its textual manifestations although new research is emerging which is redressing this lack (Gibbons 2010; Nørgaard 2010). When considering textual forms, scholars identify many and varied linguistic indicators as markers of mind style. In this chapter I look into the way both verbal and multimodal markers are exploited in Ian McEwan’s novel Enduring Love (1997) and its homonymous cinematic adaptation by Roger Michell (2004) to create particular mind styles. This chapter argues that tools traditionally discussed in stylistics can shed light on the way multimodal discourse functions and also that the inclusion of multimodal formats can refine existing stylistic frameworks and models.

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. Contributors ix
  4. Chapter 1. Introduction 1
  5. Part I. Cinematic discourse
  6. Chapter 2. Discourse analysis of film dialogues 21
  7. Chapter 3. Using film as linguistic specimen 47
  8. Chapter 4. Multimodal realisations of mind style in Enduring Love 69
  9. Chapter 5. Pragmatic deviance in realist horror films 85
  10. Chapter 6. Emotion and empathy in Martin Scorsese’s Goodfellas 105
  11. Chapter 7. Quantifying the emotional tone of James Bond films 125
  12. Chapter 8. Structure and function in the generic staging of film trailers 141
  13. Part II. Televisual discourse
  14. Chapter 9. “I don’t know what they’re saying half the time, but I’m hooked on the series” 161
  15. Chapter 10. The stability of the televisual character 185
  16. Chapter 11. Star Trek: Voyager ’s Seven of Nine 205
  17. Chapter 12. Relationship impression formation 225
  18. Chapter 13. Genre, performance and Sex and the City 249
  19. Chapter 14. Bumcivilian 263
  20. References 281
  21. List of tables 303
  22. List of figures 305
  23. Index of films and TV series 307
  24. Index 311
Telecinematic Discourse
Ein Kapitel aus dem Buch Telecinematic Discourse
https://doi.org/10.1075/pbns.211.06mon

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. Contributors ix
  4. Chapter 1. Introduction 1
  5. Part I. Cinematic discourse
  6. Chapter 2. Discourse analysis of film dialogues 21
  7. Chapter 3. Using film as linguistic specimen 47
  8. Chapter 4. Multimodal realisations of mind style in Enduring Love 69
  9. Chapter 5. Pragmatic deviance in realist horror films 85
  10. Chapter 6. Emotion and empathy in Martin Scorsese’s Goodfellas 105
  11. Chapter 7. Quantifying the emotional tone of James Bond films 125
  12. Chapter 8. Structure and function in the generic staging of film trailers 141
  13. Part II. Televisual discourse
  14. Chapter 9. “I don’t know what they’re saying half the time, but I’m hooked on the series” 161
  15. Chapter 10. The stability of the televisual character 185
  16. Chapter 11. Star Trek: Voyager ’s Seven of Nine 205
  17. Chapter 12. Relationship impression formation 225
  18. Chapter 13. Genre, performance and Sex and the City 249
  19. Chapter 14. Bumcivilian 263
  20. References 281
  21. List of tables 303
  22. List of figures 305
  23. Index of films and TV series 307
  24. Index 311
Heruntergeladen am 14.4.2026 von https://www.degruyterbrill.com/document/doi/10.1075/pbns.211.06mon/html
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