Andere Kunden interessierten sich auch für
![Linguistic Battles in Trademark Disputes]( "Linguistic Battles in Trademark Disputes")
Linguistic Battles in Trademark Disputes74,99 €![Introduction to the Principles of Phonological Descriptions]( "Introduction to the Principles of Phonological Descriptions")
Introduction to the Principles of Phonological Descriptions54,99 €![Linguistic Battles in Trademark Disputes]( "Linguistic Battles in Trademark Disputes")
Linguistic Battles in Trademark Disputes74,99 €![The Phonemes of English]( "The Phonemes of English")
The Phonemes of English79,99 €![The Navajo Sound System]( "The Navajo Sound System")
The Navajo Sound System79,99 €![The Navajo Sound System]( "The Navajo Sound System")
The Navajo Sound System79,99 €![Fundamentals of Phonetics, II: Acoustical Models, Generating the Formants of the Vowel Phonemes]( "Fundamentals of Phonetics, II: Acoustical Models, Generating the Formants of the Vowel Phonemes")
Fundamentals of Phonetics, II: Acoustical Models, Generating the Formants of the Vowel Phonemes78,99 €
This text is an analysis of the aspects of sound in James Joyce's book "Finnegans Wake". It considers phonetic symbolism, rhythm, pitch-contours, motifs and songs in a way which shows how Joyce's work has a genuinely musical layer that is particularly apparent when the book is read aloud.
An analysis of all aspects of sound in James Joyce's Finnegans Wake. The author considers phonetic symbolism, rhythm, pitch-contours, motifs and songs in a way which shows how Joyce's work has a genuinely musical layer that is particularly apparent when the book is read aloud. The assumption (very common among literary critics but less common among linguists) that there is no relationship, other than an arbitrary one, between sound and meaning is seriously challenged. A long final chapter analyses Joyce's reading from his own work.
An analysis of all aspects of sound in James Joyce's Finnegans Wake. The author considers phonetic symbolism, rhythm, pitch-contours, motifs and songs in a way which shows how Joyce's work has a genuinely musical layer that is particularly apparent when the book is read aloud. The assumption (very common among literary critics but less common among linguists) that there is no relationship, other than an arbitrary one, between sound and meaning is seriously challenged. A long final chapter analyses Joyce's reading from his own work.