03715nam a22005535i 4500001001800000003000900018005001700027007001500044008004100059020003700100024003500137050001500172072001600187072002300203072001500226100008500241245008100326250001800407264007900425300006300504336002600567337002600593338003600619347002400655490006700679505060200746520112301348650004202471650001902513650003802532650004502570650003002615650001302645650002302658650003102681650003602712650005602748650002402804710003402828773002602862776003602888776003602924776003602960830007402996856004603070912001403116912001403130999001703144978-3-031-67640-6DE-He21320251030113314.0cr nn 008mamaa241116s2024    sz |    s    |||| 0|eng d  a97830316764069978-3-031-67640-67 a10.1007/978-3-031-67640-62doi 4aP301-301.5 7aCFG2bicssc 7aLAN0090002bisacsh 7aCFG2thema1 aHarrison, Chloe.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut97391214aThe Language of Margaret Atwoodh[electronic resource] /cby Chloe Harrison.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXXI, 226 p. 5 illus., 2 illus. in color.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda1 aPalgrave Studies in Language, Literature and Style,x2731-82730 aChapter 1. The language of Margaret Atwood -- Part I: Misdirection -- Chapter 2. Burying and misdirection in The Blind Assassin -- Chapter 3. Memories and reconstrual in Alias Grace -- Part II: Ambient storms -- Chapter 4. Cold revenge and the stylistics of ambience in Stone Mattress -- Chapter 5. Theatrical illusion and the performance of fictional minds in Hag-Seed -- Part III: Doubling and splitting -- Chapter 6. Double consciousness and speculative worlds in Oryx and Crake.-Chapter 7. Voiceover narration and the split self in The Handmaid’s Tale TV series -- Chapter 8. Future readers.  aThis book explores Margaret Atwood’s distinctive use of language and style, across a selection of her prose texts, through reader-centred, cognitive stylistic analyses. It examines how strategies of misdirection, processes of doubling, and the creation of textual ambience play an essential role in Atwood’s contemporary prose fiction style. With reference to contemporary scholarship in stylistics and literary criticism, each chapter presents a detailed linguistic analysis of a different text from Atwood’s oeuvre, from Alias Grace (1996) to Old Babes in the Wood (2023). Above all, the book studies experiences of reading Atwood’s works, situating and contextualising her signature linguistic choices in relation to real readers’ responses to her writing. The book should be of interest to readers specialising in the work of Margaret Atwood, including those with stylistics, cognitive linguistics, and literary studies backgrounds. Chloe Harrison is Senior Lecturer in English Language and Literature at Aston University, UK. She specialises in cognitive stylistics, re-reading and contemporary fiction. 0aLanguage and languagesxStyle.966672 0aPoetry.966137 0aLiterature, Modernx20th century. 0aLiterature, Modernx21st century.966700 0aPsycholinguistics.972377 0aFiction.14aStylistics.97242024aPoetry and Poetics.96614124aContemporary Literature.96670224aPsycholinguistics and Cognitive Lingusitics.97237824aFiction Literature.2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303167639008iPrinted edition:z978303167641308iPrinted edition:z9783031676420 0aPalgrave Studies in Language, Literature and Style,x2731-827398757040uhttps://doi.org/10.1007/978-3-031-67640-6  aZDB-2-SLS  aZDB-2-SXS  c64981d64981