Sinopsi
Detalles
Although metaphor and irony have received the greatest attention, there is much more to figurative language than the so-called master tropes. This volume intends to shed light on a long neglected figure: hyperbole. Using multidisciplinary standpoints, it analyses the exploitation of hyperbole in naturally-occurring speech and in doing so breaks with the long-standing tradition of studying figures in written or literary texts. Rather than addressing the over-researched comprehension of non-literal language, the focus is on the production of hyperbole. However, because any full account of figures must refer to their interactive dimension, I also analysed the reception process, in terms of listeners’ reactions to hyperbole. Throughout this book hyperbole is depicted as a universal, affective and typically informal figure, which entails a low risk of being misunderstood. It is also a collaborative trope, rather than a single creative act of the speaker alone. This volume is of direct interest to figurative language researchers since its novel methodology and framework of analysis is equally applicable to the study of other figurative language forms.
Encara que la metàfora i la ironia han rebut una gran atenció, hi ha molt més que llenguatge figuratiu en el que s'ha anomenat trops mestres. Aquest llibre intenta llançar llum a una figura durant molt temps descurada: la hipèrbole. Emprant punts de vista multidisciplinàries, analitza l'ús de la hipèrbole en la parla natural i, en fer-ho, trenca amb la tradició establida d'estudiar les figures en textos escrits o literaris. En lloc de tractar la comprensió a l'excés investigada del llenguatge no literal, se centra en la producció de la hipèrbole. Aquest volum té un interès directe per als investigadors del llenguatge figuratiu lloc que la seua nova metodologia i estructura d'anàlisi resulta igualment aplicable per a l'estudi d'altres formes figuratives del llenguatge.
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CONTENTS
Preface
Michael McCarthy
Acknowledgements
1. Introduction -
2. Figurative language: an overview
2.1. Figurative vs. literal language
2.2. Rhetoric and the study of figures
2.2.1. Rhetorical functions: persuasion vs. ornamentation
2.2.1.1. Argumentative use of figures
2.2.1.2. Ornamental or aesthetic use of figures
2.3. Modern figurative language comprehension theories
2.3.1. Cognitive psychology and the notion of contrast
2.3.2. Why do we use figurative language?
2.4. Some limitations in previous studies
3. Getting started with hyperbole: What is it? How to identify it? How many types can be distinguished?
3.1. Traditional and modern definitions of hyperbole
3.2. A working definition of hyperbole
3.3. Problems in the identification of hyperbole
3.3.1. Framework for labelling hyperbole
3.4. Types of hyperbole
3.4.1. Two dimensions: quantitative vs. evaluative hyperbole
3.4.2. Semantic-etymological classification of hyperbole
3.4.3. Antithetical poles in the expression of hyperbole: auxesis vs. meiosis
3.4.4. Linguistic repertoire: lexical vs. grammatical hyperbole
3.4.5. Simple vs. compound hyperbole
4. The landscape of hyperbole throughout history
4.1. Hyperbole in rhetoric
4.1.1. Argumentative or persuasive hyperbole
4.1.2. Ornamental or aesthetic hyperbole
4.2. More contemporary studies on hyperbole
4.2.1. Linguistic studies: grammatical, lexical and semantic approaches to hyperbole
4.2.2. Cross-cultural studies
4.2.3. Cross-gender studies
4.2.4. Pragmatic studies
4.2.4.1. Language philosophy
4.2.4.2. Politeness theory
4.2.5. Psycholinguistic studies
4.2.5.1. Studies on the comprehension of hyperbole
4.2.5.2. Studies on the discourse goals of hyperbole
4.2.6. Hyperbole as an ironic cue
4.2.7. Hyperbole as a humorous strategy
4.2.8. Hyperbole in the tradition of the tall tale
4.2.9. McCarthy and Carter’s (2004) study
5. Paraphrase: the link between hyperbole and literal language
5.1. Introduction
5.2. Relationship between literal and hyperbolic speech
5.3. Concluding remarks
6. The goals of hyperbole: Why do we exaggerate?
6.1. Introduction
6.2. Functional analysis of hyperbole
6.3. Identification of hyperbolic discourse goals
6.4. Definition and exemplification of hyperbolic functions
6.4.1. Emphasis
6.4.2. Evaluation
6.4.3. Expression of surprise
6.4.4. Simplification
6.4.5. Interest intensification
6.4.6. Contrast of differences
6.4.7. Humour
6.4.8. Clarification
6.4.9. Polite de-emphasis
6.5. Concluding remarks
7. How do we react to exaggeration? Hyperbole as an interactive figure
7.1. Introduction
7.2. Why have figures been solely studied as speakers’ acts of creativity?
7.3. Dialogic or joint activity view of discourse
7.4. Interactive nature of hyperbole and other figures of speech
7.5. Analysis of listeners’ responses to hyperbole
7.6. A taxonomy of listener responses to hyperbole
7.6.1. Positive evidence responses
7.6.2. Negative evidence responses
7.7. Concluding remarks
8. Are women really more hyperbole prone?
8.1. Introduction
8.2. Cross-gender studies
8.3. Who uses hyperbole the most: men or women?
8.4. Children’s use of hyperbole
8.5. Concluding remarks
9. When do we exaggerate? Hyperbole and speech genres
9.1. Introduction
9.2. The notion of genre
9.2.1. Speech genres
9.3. Classification of texts: domain vs. genre
9.4. Speech genre analysis in the BNC
9.4.1. Speech genre description
9.4.1.1. Service encounters
9.4.1.2. Decision-making genre
9.4.1.3. Learning encounters
9.4.1.4. Debate and argument genre
9.4.1.5. Language-in-action genre
9.4.1.6. Comment-elaboration genre
9.5. Which genre is more hyperbole prone?
9.6. Analysis of specific genre variables
9.6.1. Transactional vs. interactional dimension
9.6.2. Goal orientation
9.6.3. Participant framework: power and relationships
9.7. Concluding remarks
10. Text forms and hyperbole. Exaggeration in storytelling, sports commentaries, advertising and politics
10.1. Introduction
10.2. Textual typologies
10.3. Mode analysis for hyperbolic utterances
10.4. Hyperbolic modes
10.4.1. Procedural mode
10.4.2. Evaluative response mode
10.4.3. Narrative mode
10.4.3.1. The use of exaggeration in the art of storytelling
10.4.3.2. The use of hyperbole in sporting events
10.4.4. Descriptive mode
10.4.5. Expository-argumentative mode
10.4.5.1. The use of hyperbole in advertising
10.4.5.2. The use of hyperbole in political discourse
10.5. Concluding remarks
11. Conclusion
Bibliography
