Types of Deviation

What is literature? Literature, as an art, is surely to arouse “the excitement of emotion for the purpose of immediate pleasure, through the medium of beauty” (Coleridge 365).

 Tung  Tung (200)! (200)! “verbal artfulness” " proper #hoi#e and good arrangement of all linguisti# #omponents (phonologi#al, morphologi#al, synta#ti#al, semanti#, and pragmati#).

What is ‘literariness’ $ussian %ormalists &“defamiliarisation”! de'iating from and distorting “pra#ti#al language”. uaro'sy & “the fun#tion of poeti# language #onsists in the ma*imum of foregrounding of the utteran#e” “foregrounding”  opposite of “ automatisation” (related to defamiliarisation i.e. to estrange something is to foreground it) 

 The #on#ept #on#ept of +literariness+ has een #riti#ally e*amined and found de-#ient. rominent literary theorists ha'e argued that there are no special characteristics characteristics that distinguish literature from other texts. “defamiliarisation ” as the su/#ient feature of any literary #omposition. %amiliar e#omes the unfamiliar

Foregrounding Foregrounding (noun) . The part of a s#ene or pi#ture that is nearest to and in front of the 'ie1er. (opposed to a#ground). 2. a prominent or important position forefront.

 The ro#y ro#y out#ropp out#ropping ing in the foregr foreground, ound, surroun surrounded ded y trees, trees, #aught my my attention, as 1ell as the dead tree pla#ed ust to the left.  The notion of foregrounding, a term orro1ed from the rague !chool of 4inguisti#s, is used y 4ee#h and hort (7! 87) to refer to ‘artistically motivated deviation’ . 9t refers to the range of stylistic e"ects  that o##ur in literature, 1hether at the phoneti# le'el (e.g., alliteration, rhyme), the grammati#al le'el (e.g., in'ersion, ellipsis), or the semanti# le'el (e.g., metaphor, irony). •

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What literature is# ho$ it $or%s# and $hy it is there at all# are some of the fas#inating :uestions that the theory of &foregrounding& &foregrounding& tries to pro'ide ans1ers to.  The term refers to spe#i-# linguisti# de'i#es, de'i#es, i.e., deviation and parallelism, used in literary te*ts in a functional and #ondensed 1ay.  These de'i#es enhan#e the meaning potential potential of the te*t, te*t, 1hile also pro'iding pro'iding the reader 1ith the possiility of aestheti# e*perien#e . ;##ording ;##ording to the theory of foregrounding, literature " y employing unusual forms of language " reas up the reader her attention is therey dra1n to the form of the te*t itself (rather than to its #ontent). Ee'iation #orresponds to the traditional idea of poeti# li#ense! the 1riter of literature is allo1ed " in #ontrast to the e'eryday speaer " to de'iate from rules, ma*ims, or #on'entions.  These may in'ol'e the language, as 1ell as literary traditions or e*pe#tations set up y the te*t itself.  The result is some degree of surprise in the reader, and his > her attention is therey dra1n to the form of the te*t itself (rather than to its #ontent).

Garious le'els of de'iation! le*i#al de'iation grammati#al de'iation phonologi#al de'iation graphologi#al de'iation semanti# de'iation diale#tal de'iation de'iation of register and de'iation of histori#al period.

Lexical -eviation  The #oining of entirely ne1 1ords neologism/ When he a$a%ened under the $ire# he did not feel as though he had  0ust cranched . 1ven though it $as the second cranching $ithin the $ee%# he felt 2t 3ord$ainer !mith 4567/.  The pre-* fore is applied to 'ers lie HseeI and HtellI. (“eforehand”  T.. Jliot uses the term HforesuFerI in his The Aaste 4and ‘8nd ( 'iresias have foresuered  all’ Knot ust a ne1 1ord ut the en#apsulation of a ne1ly formulated idea " it is possile to anti#ipate mysti#ally the suFering of the future, ust lie HforeseeI or HforetellI 9n stylisti#s le*i#al de'iation refers to a ne1 1ord or e*pression or a ne1 meaning for an old 1ord used on only parti#ular o##asion. ometimes a 1riter intends to rea#h #ertain ind of rhetori#al eFe#t, so he 1ill in'ent some ne1 1ords ased on the rules of 1ord"formation. Lut these ne1 1ords are seldom or hardly used on other o##asions.  That means in literature, some in'ented ne1 1ords are only used y the in'entor himself. urely these non#e"formations (1ords in'ented for spe#ial purpose) ring aout #ertain stylisti# eFe#t and greatly impro'e the po1er of  ne1ness and e*pression of the language. Lexical deviation “-on’t be such a harsh parent# father9” “-on’t father me9 ” — :. ;. Wells ( $as explaining the ;olden acaulay  The most #ommon pro#esses of 1ord"formation are a/*ation

the widow-making unchildring unfathering deeps :op%in’s ‘'he $rec% of the -eutschland’/ un- M Htae oF>a1ay fromI (i.e. unleash, unfro#, unhorse)

ossile #ogniti'e meaning! Hthe deeps 1hi#h depri'e (1i'es) of husands, (#hildren) of fathers, and (parents) of #hildrenI  Tragi# happenings #onne#ted 1ith the sea 

erhaps implies the 1ish to re#ognise a #on#ept or property 1hi#h the language #an so far only e*press y phrasal or #lausal des#ription  ;ttriute to the inseparale sea properties (“1etness”, “lueness”, “saltness”)  $arely #lassify aspe#ts of uni'erse y their tenden#y to mae people into 1ido1s (#ompare to “#loth"maing”) " odd

Lexical -eviation %un#tional #on'ersion of 1ord #lass & adapting an item to a ne1 grammati#al fun#tion 1ithout #hanging its form Let him easter in us (The Wreck of the Deutschland) The just man justices (*s +in! shers atch ire) The achieve of, the mastery of the thing (The Windhover)

Lexical deviation 'here $as a balconyful of gentlemen.  3hesterton

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We left the to$n refreshed and rehatted.  Fotherhill

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'hey $ere elseminded then# altogether# the men.  :op%ins

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Nsually asso#iated 1ith neologism (in'ention of ne1 H1ordsI) Ae #all ne1 1ords O@OCJ"%@$;T9@O if they are made up Hfor the non#eI, i.e., for a single o##asion only, rather than serious attempts to augment the 1ordsto# for some ne1 need. honological deviation honologi#al irregularities @mission 8phesis & the omission of an initial part (unstressed 'o1el) Hmid amid Hlone alone !yncope & the omission of a medial part of a 1ord. neIer ne'er oIer o'er 8pocope & the omission of a -nal part of a 1ord aI all 1iI 1ith oI of oft often 

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 They are #on'entional li#enses of 'erse #omposition.  They #hange the pronun#iations of the original 1ords so that the poet may etter and more easily arrange sound patterns to a#hie'e their intended #ommuni#ati'e eFe#ts. oeti# li#ense is a 1riterIs pri'ilege to depart from some e*pe#ted standard.

'ill a’ the seas gang dry# my dear# 8nd the roc%s melt $i’ the sun) ( $ill luve thee still# my dear# While the sands o’ life shall run.

($oert Lurns,  * ed, ed ose)  >ispronunciation and !ubstandard ronunciation 9ntentional mispronun#iation and su"standard pronun#iation urpose! 'i'idly des#rie a #hara#ter. True to life Ei#ens, Oliver Twist ! depi#tion of Dam-eld

&'hat&s acause they damped the stra$ afore they lit it in the chimbley to ma%e &em come do$n again#& said ;am2eld+ &that&s all smo%e# and no bla*e+ vereas smo%e ain&t o& no use at all in ma%ing a boy come do$n# for it only sinds him to sleep# and that&s $ot he li%es. ispronunciation and !ubstandard ronunciation >ay ;od starve ye yet#” yelled an old (rish $oman $ho no$ thre$ open a nearby $indo$ and stuc% out her head.  Aes# and you#” she added# catching the eye of one “ of the policemen. “ Aou bloody murthering thafe9 rac% my son over the head# $ill# you hardhearted# muthering divil ? 8h# ye —” —Sister Carrie by '. -reiser Ahat is the fun#tion of the de'iant phonologi#al featuresP Ahat does her a##ent tell us aout the old 1omanP >ispronunciation and !ubstandard ronunciation ay Dod star'e ye yet,” yelled an old 9rish 1oman 1ho no1 thre1 open a neary 1indo1 and stu# out her head. “  Qes, and you,” she added, #at#hing the eye of one of the poli#emen. “ Qou loody urtherin! thafeR ra# my son o'er the head, 1ill, you hard"hearted, utherin! divilP ;h, ye —”

—Sister Carrie by '. -reiser

'he $ay of spea%ing reveals that the spea%er is a $or%ingclass $oman. !pecial ronunciation urpose! #on'enien#e of rhyming  The trumpet of a prophe#yR @, Wind, 9f 1inter #omes, #an spring e far behindP (.L. helley, Ode to the West Wind) ;raphological -eviation $elated to type of print, grammetri#s, pun#tuation, indentation, et#.

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Draphology! the en#oding of meaning in 'isual symols ;raphological -eviation !hape of 'ext Eesign of the shape of a te*t in an un#on'entional 1ay! suggesti'e of a #ertain literary theme. $. Eraper, Tar!et /ractice

 The poem is shaped lie a ullIs eye or target 1ith a series of #on#entri# #ir#les. Ja#h #ir#le from the outside to the inside represents a progression in the degree of seriousness of inury. Nni:ueness and originality

'ype of rint italics, "old print , capitali0ation and decapitali0ation, et#. J. J. Cumming, 1e up at does ;rammetrics Drammetri#s! the 1ays in 1hi#h grammati#al units are -tted into metri#al units su#h as lines and stan=as. 'his is 0ust to say by William 3arlos William ( have eaten the plums that $ere in icebox and $hich you $ere probably saving for brea%fast Forgive me they $ere delicious so s$eet and so cold

 The title of the poem does not stand on its o1n  main #lause of the -rst senten#e 1hi#h runs o'er the -rst t1o stan=as of the poem.  This may sho1 that the poet intends the poem to e read as a 1hole and pla#es emphasis on the unity of the dis#ourse. J'ery line of the poem #reates a pullingfor$ard e"ect 3L8!! '8!B/ 4! The 'er eat  #an tae an oe#t or not the absence of punctuation at the end of the line maes us e*pe#t one. 42! e*pe#tation is satis-ed. Lut a ne$ expectation is aroused 1ith the presen#e of the de-nite arti#le the The  #ataphori# referen#e sin#e  plus 1as not mentioned pre'iously in the poem.  This indi#ates the spe#i-# referen#e is #ontained in the follo1ing #onte*t . 43! a #lause that modi-es the plus, ut not -nished. ;fter in one 1ould e*pe#t from the #onte*t some ind of lo#ati'e in the ne*t line 48! e*pe#tation ful-lled the asen#e of pun#tuation at the end of line (also stan=a) gi'es a sense of in#ompleteness 45! which indi#ates a ne1 #lause. Ae 1ould naturally mo'e on to -nd out 1hat follo1s which and 1hat which refers to e*a#tly. 46! sense of in#ompletenes. ost liely a main 'er in HingI from 1ill follo1. 4! e*pe#tation ful-lled ut savin! suggests the plums are either Hfor someoneI or Hfor some o##asionI. 

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47! missing full stop at the end of line & senten#e not -nished 4! the #apitalisation of  st letter indi#ates a ne1 senten#e. 4ast tan=a! lo1ing do1n of pa#e no more synta#ti# e*pe#tation. Ae read on e#ause 1e no1 from the asen#e of pun#tuation that the poem is not -nished, and 1e realise from the #onte*t that there may e more interesting things to e read. 

:o$ do $e explain $hat $e have observed thenP  The o'erall pulling"for1ard eFe#t rings great immedia#y to the sensuous e*perien#e eing des#ried in the poem. 9t is also intended to mae the reader a#ti'ely in'ol'e himself in reading the poem, and read it 1ith great interest and pleasure.  The #ontrast in pa#e et1een the t1o stan=as and the last stan=a is of e'en greater signi-#an#e.  Title Sthe 2 stan=as #onstantly arousing synta#ti# e*pe#tations from readers gi'ing great immedia#y to 1hat is eing des#ried. 4ast stan=a slo1ing do1n of the pa#e allo1s reader to share the taste of the plums in a leisurely manner 1ith the speaer I, thus sho1ing that he lays great emphasis on immediate sensuous e*perien#e.

!yntactic -eviation ynta#ti# de'iation refers to departures from normal (surfa#e) grammar.  These in#lude a numer of features su#h as unsual #lause oet disregards the rules of senten#e i. fastened me esh ii. ; grief ago (Eylan Thomas) iii. “the a#hie'e of, the mastery of the things” (Uopins, the Aindho'er)  T1o types of grammati#al de'iation are morphologi#al and synta#ti# de'iations. J*amples of morphologi#al de'iation are useyroo, e!!tentical , and intelli"le in Vames Voy#eIs inne!an2s Wake. %he dwelt aon! the untrodden ways (Aords1orth)

>orphological -eviation 9n'ol'es adding a/*es to 1ords 1hi#h they 1ould not usually ha'e, or remo'ing their HusualI a/*es Lreaing 1ords up into their #onstituent morphemes, or running se'eral 1ords together so they appear as one long 1ord

a illion rains may #oa* undeath from fan#ied fa#t and spa#eful time (e.e. #ummings 60) !yntactic -eviation 9n synta*, de'iations might e ) ad or in#orre#t grammar and 2) synta#ti# rearrangement> hyperaton.  The e*amples are! I doesn2t like hi.

I know not  %aw you anythin!3 4e e saw.

!emantic deviation  Tranferen#e of meaning phrase #ontaining a 1ord 1hose eanin! 'iolates the e*pe#tations #reated y the surrounding 1ords e.g., “a grief ago” (e*pe#t a temporal noun)

“in the room so loud to my o1n” (e*pe#t a spatial ade#ti'e) 'he Wanderer There head falls forward, fatigued at evening,

 And dreams of home, aving from window, spread of welcome,

!issing of wife under single sheet, "ut waking sees "ird-#ocks nameless to him, through doorway voices $f new men making another love%

 These seem to ha'e the fun#tion of impressionisti#ally e'oing psy#hologi#al state. 9n “The Aanderer” ;uden e'ol'es a sue#tless, arti#leless style 1hi#h apparently suggests the e*ileIs loss of a sense of identity and of a #oordinated 'ie1 of life. emanti# de'iation #an e meant as Hnon"senseI or HasurdityI, so long as 1e reali=e that sense is used, in this #onte*t in a stri#tly literal minded 1ay. eaning relations 1hi#h are logi#ally in#onsistent or parado*i#al in some 1ay & ,

>etaphor The child is father of the an . (Aords1orthIs y Ueart 4eaps Np) %he was a phanto of deli!ht (haespeare) 5eauty is truth, truth "eauty (Beats)

!emantic -eviation  This des#ries relations that are logi#ally in#onsistent or parado*i#al in some 1ay. %or e*ample, it is normally assumed that any modi-ers of a noun 1ill e semanti#ally #ompatile!