Style in Fiction Symposium, 11Style in Fiction Symposium, 11thth March 2006March 2006

Mind Style 25 Mind Style 25 years onyears on

Elena SeminoElena SeminoLancaster UniversityLancaster University

Structure of talkStructure of talk Mind style in Mind style in Style in FictionStyle in Fiction Fictional minds in contemporary Fictional minds in contemporary

narratologynarratology Cognitive stylistics and mind styleCognitive stylistics and mind style Pragmatics and mind stylePragmatics and mind style Corpus methods and mind styleCorpus methods and mind style Beyond ‘mind style’?Beyond ‘mind style’?

Mind style in Mind style in Style in Style in Fiction Fiction 11

‘‘phenomenon sometimes called “world view”, but phenomenon sometimes called “world view”, but for which we shall prefer Fowler’s term MIND for which we shall prefer Fowler’s term MIND STYLE […]:STYLE […]:

Cumulatively, consistent structural options, agreeing in Cumulatively, consistent structural options, agreeing in cutting the presented world to one pattern or another, cutting the presented world to one pattern or another, give rise to an impression of a world-view, what I shall give rise to an impression of a world-view, what I shall call a “mind style”.’ call a “mind style”.’ (Leech and Short 1981: 188)(Leech and Short 1981: 188)

Application of the notion of mind style to authors, Application of the notion of mind style to authors, narrators and characters.narrators and characters.

Cline from ‘normal’, ‘natural’, ‘uncontrived’ mind Cline from ‘normal’, ‘natural’, ‘uncontrived’ mind styles, to ‘unusual’ mind styles, ‘which clearly styles, to ‘unusual’ mind styles, ‘which clearly impose an unorthodox conception of the fictional impose an unorthodox conception of the fictional world’. (Leech and Short 1981: 189)world’. (Leech and Short 1981: 189)

Mind style in Mind style in Style in Style in Fiction Fiction 22

Discussion of lexis, syntax, transitivity, Discussion of lexis, syntax, transitivity, metaphor, and other textual patterns (e.g. metaphor, and other textual patterns (e.g. pronoun usage).pronoun usage).

Observation on characters’ mind styles:Observation on characters’ mind styles:‘‘Characters’ mind styles are more readily Characters’ mind styles are more readily discernible as odd: we accept quite easily discernible as odd: we accept quite easily that a character might have a faulty or that a character might have a faulty or limited view of things, and of course we limited view of things, and of course we often have the mind styles of other often have the mind styles of other characters as a comparative yardstick.’ characters as a comparative yardstick.’ (Leech and Short 1981: 202)(Leech and Short 1981: 202)

Fictional minds in Fictional minds in narratology: Monika narratology: Monika

FludernikFludernik‘‘Experientiality in narrative as reflected in Experientiality in narrative as reflected in narrativity can therefore be said to combine narrativity can therefore be said to combine a number of cognitively relevant factors, a number of cognitively relevant factors, most importantly those of the presence of a most importantly those of the presence of a human protagonist and her experience of human protagonist and her experience of events as they impinge on her situation and events as they impinge on her situation and activities.’ activities.’ ‘‘[S]ince humans are conscious human [S]ince humans are conscious human beings, (narrative) experientiality always beings, (narrative) experientiality always implies – and sometimes emphatically implies – and sometimes emphatically foregrounds- the protagonist’s foregrounds- the protagonist’s consciousness.’ (Fludernik 1996: 30)consciousness.’ (Fludernik 1996: 30)

Fictional minds in Fictional minds in narratology: narratology: Alan PalmerAlan Palmer

‘‘My thesis is a fundamental one: narrative My thesis is a fundamental one: narrative fiction is, in essence, the presentation of fiction is, in essence, the presentation of fictional mental functioning. [. . .] If I am fictional mental functioning. [. . .] If I am right, then it follows that the study of the right, then it follows that the study of the novel is the study of fictional mental novel is the study of fictional mental functioning and also that the task of the functioning and also that the task of the theorist is to make explicit the various theorist is to make explicit the various means by which this phenomenon is studied means by which this phenomenon is studied and analyzed.’ (Palmer 2004: 5)and analyzed.’ (Palmer 2004: 5)‘‘The reader uses existing or prestored The reader uses existing or prestored knowledge of other minds in the actual knowledge of other minds in the actual world in order to process the emergent world in order to process the emergent knowledge that is supplied by fictional-knowledge that is supplied by fictional-minds presentation.’ (Palmer 2004: 175)minds presentation.’ (Palmer 2004: 175)

Fictional minds in Fictional minds in narratology: narratology: Uri MargolinUri Margolin

‘‘There is no guarantee that individual CMF There is no guarantee that individual CMF (Cognitive Mental Functioning) as portrayed (Cognitive Mental Functioning) as portrayed in a given fictional narrative will possess any in a given fictional narrative will possess any psychological reality, nor is it required to do psychological reality, nor is it required to do so. Nonetheless, cognitive-science concepts so. Nonetheless, cognitive-science concepts and categories, including the overall scheme and categories, including the overall scheme of the basic areas of information processing of the basic areas of information processing and their sequence, will in all probability be and their sequence, will in all probability be applicable to the fictional individuals applicable to the fictional individuals portrayed in literary narratives.’ (Margolin portrayed in literary narratives.’ (Margolin 2003: 274)2003: 274)

Margolin on ‘non-standard’ Margolin on ‘non-standard’ fictional mental functioningfictional mental functioning

‘‘What is probably even more significant is the preference What is probably even more significant is the preference of much literature for nonstandard forms of cognitive of much literature for nonstandard forms of cognitive functioning, be they rare or marginal, deviant, or functioning, be they rare or marginal, deviant, or involving a failure, breakdown, or lack of standard involving a failure, breakdown, or lack of standard patterns.’patterns.’‘‘But standard case or deviation according to whom? As it But standard case or deviation according to whom? As it turns out, (almost) all writers of fiction base their turns out, (almost) all writers of fiction base their portrayal of mental functioning on one version or another portrayal of mental functioning on one version or another of what cognitivists term ‘folk psychology’, that is a of what cognitivists term ‘folk psychology’, that is a socially constructed and shared common-sense set of socially constructed and shared common-sense set of general views […].’general views […].’‘‘It is a shared model of this kind that enables the artist to It is a shared model of this kind that enables the artist to portray the mental functioning of a character in a way portray the mental functioning of a character in a way which would make that character be considered standard which would make that character be considered standard or exceptional by a readership. (Margolin 2003: 287)or exceptional by a readership. (Margolin 2003: 287)

Margolin ctd.Margolin ctd. Defamiliarising effect of presenting Defamiliarising effect of presenting

nonstandard mental functioning.nonstandard mental functioning.‘‘The fictional presentation of cognitive The fictional presentation of cognitive mechanisms in action, especially of mechanisms in action, especially of their own breakdown and failure, is their own breakdown and failure, is itself a powerful cognitive tool which itself a powerful cognitive tool which may make us aware of actual cognitive may make us aware of actual cognitive mechanisms, and, more specifically, of mechanisms, and, more specifically, of our own mental functioning.’ our own mental functioning.’ (Margolin 2003: 278)(Margolin 2003: 278)

Halliday’s classic example of Halliday’s classic example of mind style:mind style:

Lok in Golding’s Lok in Golding’s The InheritorsThe Inheritors 1.1. The stick began to grow shorter at both The stick began to grow shorter at both

ends. Then it shot out to full length again.ends. Then it shot out to full length again.The dead tree by Lok’s ear acquired a voice.The dead tree by Lok’s ear acquired a voice.‘‘Clop!’Clop!’His ears twitched and he turned to the tree. His ears twitched and he turned to the tree. By his face there had grown a twig: a twig By his face there had grown a twig: a twig that smelt of other, and of goose, and of the that smelt of other, and of goose, and of the bitter berries that Lok’s stomach told him he bitter berries that Lok’s stomach told him he must not eat. The twig had a white bone at must not eat. The twig had a white bone at the end. There were hooks in the bone and the end. There were hooks in the bone and sticky brown stuff hung in the crooks. His sticky brown stuff hung in the crooks. His nose examined this stuff and did not like it. nose examined this stuff and did not like it.

Benji in Faulkner’s Benji in Faulkner’s The Sound and the FuryThe Sound and the Fury

2.2. Through the fence, between the curling Through the fence, between the curling flower spaces, I could see them hitting. They flower spaces, I could see them hitting. They were coming towards where the flag was and were coming towards where the flag was and I went along the fence. Luster was hunting in I went along the fence. Luster was hunting in the grass by the flower tree. They took the the grass by the flower tree. They took the flag out, and they were hitting. Then they put flag out, and they were hitting. Then they put the flag back and they went to the table, and the flag back and they went to the table, and he hit and the other hit. Then they went on, he hit and the other hit. Then they went on, and I went along the fence. Luster came away and I went along the fence. Luster came away from the flower tree and we went along the from the flower tree and we went along the fence and they stopped and we stopped and I fence and they stopped and we stopped and I looked through the fence while Luster was looked through the fence while Luster was hunting in the grass.hunting in the grass.

(see also Bockting 1994 for an analysis)(see also Bockting 1994 for an analysis)

An uncanny similarityAn uncanny similarityThe procedure is actually quite simple. First you arrange The procedure is actually quite simple. First you arrange items into different groups. Of course one pile may be items into different groups. Of course one pile may be sufficient depending on how much there is to do. If you sufficient depending on how much there is to do. If you have to go somewhere else due to lack of facilities that have to go somewhere else due to lack of facilities that is the next step; otherwise, you are pretty well set. It is is the next step; otherwise, you are pretty well set. It is important not to overdo things. That is, it is better to do important not to overdo things. That is, it is better to do few things at once than too many. In the short run it few things at once than too many. In the short run it may not seem important but complications can easily may not seem important but complications can easily arise. A mistake can be expensive as well. At first, the arise. A mistake can be expensive as well. At first, the whole procedure may seem complicated. Soon, however, whole procedure may seem complicated. Soon, however, it will become just another facet of life. It is difficult to it will become just another facet of life. It is difficult to foresee any end to the necessity of this task in the near foresee any end to the necessity of this task in the near future, but then, one can never tell. After the procedure future, but then, one can never tell. After the procedure is completed one arranges the material into different is completed one arranges the material into different groups again. Then they can be put into their groups again. Then they can be put into their appropriate places. Eventually they will be used once appropriate places. Eventually they will be used once more and the whole cycle will have to be repeated. more and the whole cycle will have to be repeated. However, that is part of life. However, that is part of life.

(Bransford and Johnson 1972: 722)(Bransford and Johnson 1972: 722)

Schema theory and mind Schema theory and mind style 1style 1

Comprehension requires the availability Comprehension requires the availability and activation of relevant schemata.and activation of relevant schemata.

Schemata are activated via linguistic Schemata are activated via linguistic triggers (‘headers’) that refer to central triggers (‘headers’) that refer to central elements of the relevant schema.elements of the relevant schema.

The absence of transparent headers in The absence of transparent headers in a text may prevent the activation of the a text may prevent the activation of the relevant schema, and hence the relevant schema, and hence the comprehension of a text (Margolin comprehension of a text (Margolin 2003 calls this ‘frame blocking’).2003 calls this ‘frame blocking’).

Schema theory and mind Schema theory and mind style 2style 2

The vocabulary choices in examples (1) and (2) The vocabulary choices in examples (1) and (2) are made at a level of generality that initially are made at a level of generality that initially impedes or delays the activation of the relevant impedes or delays the activation of the relevant schema (Cf. the ‘washing clothes’ text).schema (Cf. the ‘washing clothes’ text).

The eventual activation of the relevant schema The eventual activation of the relevant schema results in comprehension on the reader’s part, results in comprehension on the reader’s part, but also in the construction of a fictional mind but also in the construction of a fictional mind who lacks that schema, as well as the ability to who lacks that schema, as well as the ability to recognise the limitations of their own recognise the limitations of their own understanding.understanding.

Defamiliarising effects.Defamiliarising effects.

Bromden in Ken Kesey’s Bromden in Ken Kesey’s One Flew Over the Cuckoo’s One Flew Over the Cuckoo’s

NestNest3.3. What the Chronics are – or most of us – are machines What the Chronics are – or most of us – are machines

with flaws inside that can’t be repaired, flaws born in, with flaws inside that can’t be repaired, flaws born in, or flaws beat in over so many years of the guy running or flaws beat in over so many years of the guy running head-on into solid things that by the time the hospital head-on into solid things that by the time the hospital found him he was bleeding rust in some vacant lot.found him he was bleeding rust in some vacant lot.

4.4. a factory for the Combine. It’s for fixing up mistakes a factory for the Combine. It’s for fixing up mistakes made in the neighborhoods and in the schools and in made in the neighborhoods and in the schools and in the churches, the hospital is. When a completed the churches, the hospital is. When a completed product goes back into society, all fixed up and good product goes back into society, all fixed up and good as new, better than new sometimes, it brings joy to the as new, better than new sometimes, it brings joy to the Big Nurse’s heart; something that came in all twisted Big Nurse’s heart; something that came in all twisted different is now a functioning, adjusted component, a different is now a functioning, adjusted component, a credit to the whole outfit and a marvel to behold. credit to the whole outfit and a marvel to behold.

(see Semino and Swindlehurst 1996)(see Semino and Swindlehurst 1996)

Cognitive metaphor theory Cognitive metaphor theory and mind style and mind style

Cognitive metaphor theorists have Cognitive metaphor theorists have argued that conventional metaphorical argued that conventional metaphorical patterns in language (e.g. patterns in language (e.g. He’s not He’s not getting anywhere in his lifegetting anywhere in his life)) reflect reflect conventional patterns of thought, known conventional patterns of thought, known as ‘conceptual metaphors’ (e.g. LIFE IS A as ‘conceptual metaphors’ (e.g. LIFE IS A JOURNEY).JOURNEY).

At the individual level, idiosyncratic At the individual level, idiosyncratic metaphorical patterns may reflect metaphorical patterns may reflect idiosyncratic mental functioning (see also idiosyncratic mental functioning (see also KKövecses 2005)övecses 2005)..

Metaphor and mind style Metaphor and mind style contrasts: contrasts:

Dickens’s Dickens’s Hard TimesHard Times5.5. They went back into the booth, Sleary shutting the They went back into the booth, Sleary shutting the

door to keep intruders out. Bitzer, still holding the door to keep intruders out. Bitzer, still holding the paralysed culprit by the collar, stood in the Ring, paralysed culprit by the collar, stood in the Ring, blinking at his old patron through the darkness of blinking at his old patron through the darkness of the twilight. the twilight. ‘‘Bitzer,’ said Mr Gradgrind, broken down, and Bitzer,’ said Mr Gradgrind, broken down, and miserably submissive to him, ‘have you a heart?’ miserably submissive to him, ‘have you a heart?’ ‘‘The circulation, sir,’ returned Bitzer, smiling at the The circulation, sir,’ returned Bitzer, smiling at the oddity of the question, ‘couldn’t be carried on oddity of the question, ‘couldn’t be carried on without one. No man, sir, acquainted with the facts without one. No man, sir, acquainted with the facts established by Harvey relating to the circulation of established by Harvey relating to the circulation of the blood, can doubt that I have a heart.’ the blood, can doubt that I have a heart.’

Difficulties with metaphor:Difficulties with metaphor:Chris in Haddon’s Chris in Haddon’s The Curious The Curious

IncidentIncident6.6. The second main reason [why Chris finds people The second main reason [why Chris finds people confusing] is that people often talk using metaphors. confusing] is that people often talk using metaphors. These are examples of metaphorsThese are examples of metaphors

I laughed my socks off.I laughed my socks off. He was the apple of her eye. […] He was the apple of her eye. […] [. . .] I think it [metaphor] should be called a lie because [. . .] I think it [metaphor] should be called a lie because a pig is not like a day and people do not have skeletons a pig is not like a day and people do not have skeletons in their cupboards. And when I try and make a picture of in their cupboards. And when I try and make a picture of the phrase in my head it just confuses me […]. (pp. 19-the phrase in my head it just confuses me […]. (pp. 19-20)20)

7.7. And she said lots of things I didn’t understand, e.g. ‘I’m And she said lots of things I didn’t understand, e.g. ‘I’m going to hit the hay,’ and, ‘It’s brass monkeys out there,’ going to hit the hay,’ and, ‘It’s brass monkeys out there,’ and ‘Let’s rustle up some tucker.’ And I didn’t like it and ‘Let’s rustle up some tucker.’ And I didn’t like it when she said things like that because I didn’t know when she said things like that because I didn’t know what she meant. what she meant.

A gradual descent into insanity in A gradual descent into insanity in Woolf’s Woolf’s Lappin and LapinovaLappin and Lapinova

8.8. But what did he look like? She glanced at him sideways. But what did he look like? She glanced at him sideways. Well, when he was eating toast he looked like a rabbit. Well, when he was eating toast he looked like a rabbit.

9.9. But that was absurd. He was not a tame rabbit, whatever But that was absurd. He was not a tame rabbit, whatever he was. […] ‘Lappin,’ she exclaimed suddenly; and gave a he was. […] ‘Lappin,’ she exclaimed suddenly; and gave a little cry as if she had found the very word she looked for.little cry as if she had found the very word she looked for.‘‘Lappin, Lappin, King Lappin,’ she repeated. It seemed to Lappin, Lappin, King Lappin,’ she repeated. It seemed to suit him exactly; he was not Ernest, he was King Lappin. suit him exactly; he was not Ernest, he was King Lappin. Why? She did not know. Why? She did not know.

10.10. Ernest put down the paper and helped her. There were the Ernest put down the paper and helped her. There were the black rabbits and the red; there were the enemy rabbits black rabbits and the red; there were the enemy rabbits and the friendly. There were the wood in which they lived and the friendly. There were the wood in which they lived and the outlying prairies and the swamp. Above all there and the outlying prairies and the swamp. Above all there was King Lappin, who, far from having only the one trick—was King Lappin, who, far from having only the one trick—that he twitched his nose—became as the days passed an that he twitched his nose—became as the days passed an animal of the greatest character; Rosalind was always animal of the greatest character; Rosalind was always finding new qualities in him. But above all he was a great finding new qualities in him. But above all he was a great hunter. hunter.

11.11. ‘‘To–day,’ said Ernest, twitching his nose as he bit the To–day,’ said Ernest, twitching his nose as he bit the end off his cigar, ‘he chased a hare.’ He paused; struck a end off his cigar, ‘he chased a hare.’ He paused; struck a match, and twitched again.match, and twitched again.‘‘A woman hare,’ he added. A woman hare,’ he added. […][…]‘‘Ah, Lapinova,’ Rosalind murmured. Ah, Lapinova,’ Rosalind murmured. ‘‘Is that what she’s called?’ said Ernest—‘the real Rosalind?’ Is that what she’s called?’ said Ernest—‘the real Rosalind?’ He looked at her. He felt very much in love with her. He looked at her. He felt very much in love with her.

12.12. ‘‘Oh, Ernest, Ernest!’ she cried, starting up in her Oh, Ernest, Ernest!’ she cried, starting up in her chair.chair.‘‘Well, what’s up now?’ he asked briskly, warming his hands Well, what’s up now?’ he asked briskly, warming his hands at the fire.at the fire.‘‘It’s Lapinova . . .’ she faltered, glancing wildly at him out of It’s Lapinova . . .’ she faltered, glancing wildly at him out of her great startled eyes. ‘She’s gone, Ernest. I’ve lost her!’her great startled eyes. ‘She’s gone, Ernest. I’ve lost her!’Ernest frowned. He pressed his lips tight together. […]Ernest frowned. He pressed his lips tight together. […]‘Yes,’ he said at length. ‘Poor Lapinova. . .’ He straightened ‘Yes,’ he said at length. ‘Poor Lapinova. . .’ He straightened his tie at the looking–glass over the mantelpiece.his tie at the looking–glass over the mantelpiece.‘‘Caught in a trap,’ he said, ‘killed,’ and sat down and read Caught in a trap,’ he said, ‘killed,’ and sat down and read the newspaper.the newspaper.So that was the end of that marriage. So that was the end of that marriage.

‘‘Blending’ and mind style in Blending’ and mind style in Lappin and LapinovaLappin and Lapinova

Rosalind makes up a fantasy that can be seen as a Rosalind makes up a fantasy that can be seen as a ‘blend’ between her ‘real’ world and a series of ‘blend’ between her ‘real’ world and a series of alternative scenarios containing rabbits, hares, alternative scenarios containing rabbits, hares, kings and queens (Fauconnier and Turner 2003).kings and queens (Fauconnier and Turner 2003).

She gradually becomes more and more dependent She gradually becomes more and more dependent on this fantasy world for coping with her reality on this fantasy world for coping with her reality (especially her marriage) and for remaining sane. (especially her marriage) and for remaining sane. The blend becomes ‘entrenched’, and much of her The blend becomes ‘entrenched’, and much of her mental life takes place within it. mental life takes place within it.

Ernest’s declaration that Rosalind’s counterpart in Ernest’s declaration that Rosalind’s counterpart in the blend is dead causes ‘the end of that marriage’.the blend is dead causes ‘the end of that marriage’.

(see Semino 2006)(see Semino 2006)

Communicative behaviour Communicative behaviour and mind style in and mind style in The The

Curious IncidentCurious Incident13.13. Then the police arrived. I like the police. They have Then the police arrived. I like the police. They have uniforms and numbers and you know what they are meant uniforms and numbers and you know what they are meant to be doing. There was a policewoman and a policeman. to be doing. There was a policewoman and a policeman. The policewoman had a little hole in her tights on her left The policewoman had a little hole in her tights on her left ankle and a red scratch in the middle of the hole. The ankle and a red scratch in the middle of the hole. The policeman had a big orange leaf stuck to the bottom of his policeman had a big orange leaf stuck to the bottom of his shoe which was poking out from one side.shoe which was poking out from one side.The policewoman put her arms round Mrs Shears and led The policewoman put her arms round Mrs Shears and led her back towards the house.her back towards the house.I lifted my head off the grass.I lifted my head off the grass.The policeman squatted down beside me and said, ‘Would The policeman squatted down beside me and said, ‘Would you like to tell me what’s going on here, young man?’you like to tell me what’s going on here, young man?’I sat up and said, ‘The dog is dead.’I sat up and said, ‘The dog is dead.’‘‘I’d got that far,’ he said.I’d got that far,’ he said.I said, ‘I think someone killed the dog.’I said, ‘I think someone killed the dog.’‘‘How old are you?’ he asked.How old are you?’ he asked.I replied, ‘I am 15 years and 3 months and 2 days.I replied, ‘I am 15 years and 3 months and 2 days.

Grice’s CP and mind style: Grice’s CP and mind style: infringementsinfringements

‘‘A speaker who, with no intention of generating an A speaker who, with no intention of generating an implicature and with no intention of deceiving, fails implicature and with no intention of deceiving, fails to observe a maxim is said to “infringe” the maxim. to observe a maxim is said to “infringe” the maxim. […] This type of non-observance could occur […] This type of non-observance could occur because the speaker has an imperfect command of because the speaker has an imperfect command of the language (a young child or a foreign learner), the language (a young child or a foreign learner), because the speaker’s performance is impaired in because the speaker’s performance is impaired in some way (nervousness, drunkenness, excitement), some way (nervousness, drunkenness, excitement), because of some cognitive impairment, or simply because of some cognitive impairment, or simply because the speaker is constitutionally incapable of because the speaker is constitutionally incapable of speaking clearly, to the point, etc.’ (Thomas 1995: speaking clearly, to the point, etc.’ (Thomas 1995: 74)74)

Level of detail and Level of detail and deautomatisationdeautomatisation

14.14. And there were signs saying And there were signs saying Great WesternGreat Western and and cold beers and lagerscold beers and lagers and and CAUTION CAUTION WET FLOORWET FLOOR and and Your 50p will keep a Your 50p will keep a premature baby alive for 1.8 secondspremature baby alive for 1.8 seconds and and transforming traveltransforming travel and and Refreshingly Refreshingly DifferentDifferent and and IT’S DELICIOUS IT’S IT’S DELICIOUS IT’S CREAMY AND IT’S ONLY £1.30 HOT CREAMY AND IT’S ONLY £1.30 HOT CHOC DELUXECHOC DELUXE and and 0870 777 76760870 777 7676 and and The Lemon TreeThe Lemon Tree and and No SmokingNo Smoking and and FINE TEASFINE TEAS and there were some little and there were some little tables with chairs next to them and no one tables with chairs next to them and no one was sitting at one of the tables and it was in was sitting at one of the tables and it was in a corner and I sat down on one of the chairs a corner and I sat down on one of the chairs next to it and I closed my eyes.next to it and I closed my eyes.

Politeness phenomena and mind Politeness phenomena and mind style:style:

The Modesty Maxim in The Modesty Maxim in The Curious The Curious IncidentIncident

15.15. My name is Christopher John Francis Boone. My name is Christopher John Francis Boone. I know all the countries of the world and their I know all the countries of the world and their capital cities and every prime number up to capital cities and every prime number up to 7,507. 7,507.

16.16. I think I would make a very good astronaut.I think I would make a very good astronaut. To be a good astronaut you have to be To be a good astronaut you have to be intelligent and I am intelligent. You also have intelligent and I am intelligent. You also have to understand how machines work and I’m to understand how machines work and I’m good at understanding how machines work.good at understanding how machines work.

Politeness phenomena and mind Politeness phenomena and mind style:style:

Face-threatening acts in Face-threatening acts in The Curious The Curious IncidentIncident17.17. I also said that I cared about dogs because they I also said that I cared about dogs because they

were faithful and honest, and some dogs were were faithful and honest, and some dogs were cleverer and more interesting than some cleverer and more interesting than some people. Steve, for example, who comes to people. Steve, for example, who comes to school on Thursdays, needs help to eat his food school on Thursdays, needs help to eat his food and could not even fetch a stick. Siobhan asked and could not even fetch a stick. Siobhan asked me not to say this to Steve’s mother. me not to say this to Steve’s mother.

18.18. And I walked into to the ticket office [. . .] there And I walked into to the ticket office [. . .] there was a long desk at the other side of the big was a long desk at the other side of the big room and a window on the desk and there was room and a window on the desk and there was a man standing in front of the window and a man standing in front of the window and there was a man behind the window, and I said there was a man behind the window, and I said to the man behind the window, ‘I want to go to to the man behind the window, ‘I want to go to London.’London.’

Corpus-based approaches to Corpus-based approaches to (literary) text analysis and (literary) text analysis and

mind stylemind style The top five ‘keywords’ in Haddon’s The top five ‘keywords’ in Haddon’s The The

Curious IncidentCurious Incident are: are: andand, , II, , becausebecause, , saidsaid, , thenthen..

TheThe verbs verbs feelfeel and and feltfelt are followed by are followed by adjectives drawn from a very small set: adjectives drawn from a very small set: calm, calm, scared, sick, safe, giddyscared, sick, safe, giddy..

In Chris’s narrative, the pronoun In Chris’s narrative, the pronoun wewe is only is only used with actions (e.g. used with actions (e.g. we wentwe went), except in ), except in cases of the ‘generic’ cases of the ‘generic’ we we (i.e. Chris does not (i.e. Chris does not use expressions such as use expressions such as we saw, we decided, we saw, we decided, we feltwe felt).).

Linguistic evidence and Linguistic evidence and characters’ mind stylescharacters’ mind styles

First-person narrationFirst-person narration Internal psychological viewpointInternal psychological viewpoint Thought presentationThought presentation Speech presentationSpeech presentation

Patterns of lexis, grammar, Patterns of lexis, grammar, metaphor, transitivity, metaphor, transitivity, conversational behaviour, etc.conversational behaviour, etc.

Beyond ‘mind style’? 1Beyond ‘mind style’? 1

Fowler introduced ‘mind style’ as a paraphrase Fowler introduced ‘mind style’ as a paraphrase of ‘point of view on the ideological plane’. He of ‘point of view on the ideological plane’. He also used the term ‘world view’.also used the term ‘world view’.

Subsequent studies have tended to privilege Subsequent studies have tended to privilege one or the other of the two terms. In one or the other of the two terms. In Style in Style in FictionFiction, the term ‘mind style’ is used., the term ‘mind style’ is used.

In Semino and Swindlehurst (1996) and Semino In Semino and Swindlehurst (1996) and Semino (2002), it was suggested that ‘mind style’ and (2002), it was suggested that ‘mind style’ and ‘ideological point of view’ could be used to ‘ideological point of view’ could be used to capture different capture different aspectsaspects of world views. of world views. However, this distinction can be difficult to However, this distinction can be difficult to apply and can be easily misunderstood.apply and can be easily misunderstood.

Beyond ‘mind style’? 2Beyond ‘mind style’? 2

Study of (the textual projection of) Study of (the textual projection of) fictional fictional mindsminds, including:, including:

World viewWorld view = the combination of a fictional = the combination of a fictional individual’s mental representations of the individual’s mental representations of the ‘reality’ they inhabit, including both knowledge ‘reality’ they inhabit, including both knowledge and attitudes, and both socially shared and and attitudes, and both socially shared and personal elements (e.g. van Dijk 2002; see also personal elements (e.g. van Dijk 2002; see also FanloFanlo Piniés 2006).Piniés 2006).

Fictional mental functioningFictional mental functioning = a fictional = a fictional individual’s mental processes, including both individual’s mental processes, including both cognition and emotion, and both ‘standard’ and cognition and emotion, and both ‘standard’ and ‘nonstandard’ elements (see Margolin 2003, ‘nonstandard’ elements (see Margolin 2003, Palmer 2004)Palmer 2004)

ReferencesReferences

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