Stylistics routledge English Language Introductions

Activity
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– So you read Kierkegaard. Tell us about him, Mr Renton, the patronising cunt sais.
– I’m interested in his concepts of subjectivity and truth, and particularly his ideas
concerning choice; the notion that genuine choice is made out of doubt and uncer-
tainty, and without recourse to the experience and advice of others. It could be argued,
with some justification, that’s it’s primarily a bourgeois, existential philosophy and
would therefore seek to undermine collective societal wisdom. However, it’s also a liber-
ating philosophy, because when such societal wisdom is negated, the basis for social
control over the individual becomes weakened and . . . but I’m rabbiting a bit here. Ah
cut myself short. They hate a smart cunt. It’s easy to talk yourself into a bigger fine, or
fuck sake, a higher sentence. Think deference Renton, think deference.
The magistrate snorts derisively. As an educated man, ah’m sure he kens far mair
aboot great philosophers than a pleb like me. Yiv goat tae huv fuckin brains tae be a
fuckin judge. S no iviry cunt thit kin dae that fuckin joab. Ah can almost hear Begbie
sayin that tae Sick Boy in the public gallery.
– And you, Mr Murphy, you intended to sell the books, like you sell everything else
that you steal, in order to finance your heroin habit?
– That’s spot on man . . . eh . . . ye goat it likesay, Spud nodded [. . .]
The magistrate looks closely at us tae see if thirs any sign ay mockery oan ma face.
No chance it’ll show [. . .] Convinced it’s no bullshit, the doss cunt dismisses the session.
Ah walk tae freedom; perr auld Spud gits taken doon.
A polisman gestures tae him tae move.
– Sorry mate, ah sais, feelin cuntish.
– Nae hassle man . . . I’ll git oaf the skag, and Saughton’s barry fir hash. It’ll be a
piece ay pish likesay . . . he sais, as he’s escorted away by a po-faced labdick.
(Welsh 1993: 165–8)
Now work through the passage paying particular attention to its various levels of
stylistic organisation. Drawing on the topics covered in the previous sub-unit, try 
to identify specifically the different strands of language variation, such as 
accent
,
dialect
, 
register
and so on, that occur in the passage. Consider the stylistic impact 
of these strands, especially in the way they serve to advance the plot and the way
characters (especially that of the first person narrator) are developed. The grid in
Table C2.2 may help you organise your analysis. The left hand side of the grid lists
the categories introduced above. Try to find an 
exponent
(a textual example) for each
category and, if this is your book, write it in the space provided and make comments
on its stylistic impact. For the analysis of register, the space for 
mode
can be used to
track, amongst other things, those features of the 
written
medium that are used 
to capture the particular nuances of 
spoken
vernacular. Given the formal legal setting
of the passage, there are spaces in the grid to accommodate this ‘main’ field of
discourse as well as other fields of discourse which may supplement or even stand
in conflict to the forensic theme. The same principle is extended to tenor of discourse,
where in addition to the exchanges between defendants and judge, there are a 
number of other interactive levels involving different participants in discourse. 
And remember, swear words and taboo language are register variables, not dialect
variables.
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E X P L O R A T I O N
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