24:I[63208,["8920","static/chunks/8920-efbff8517d590b7e.js","9097","static/chunks/9097-7e60ff382fede0de.js","5914","static/chunks/5914-356082358a498a0b.js","9903","static/chunks/9903-11222066602aad8e.js","5438","static/chunks/5438-cfc6cd3ec63ed58c.js","3851","static/chunks/3851-d9d99b9df58ccefb.js","4621","static/chunks/4621-60797c2425663d2a.js","6871","static/chunks/6871-85cb03c97585f46a.js","6736","static/chunks/6736-932312a004c99faf.js","4550","static/chunks/4550-0bf059e3050c08b3.js","688","static/chunks/688-a6a2ac7bff269cd3.js","3984","static/chunks/3984-063c0b62f32133c7.js","7038","static/chunks/7038-4f87670d4e55ef18.js","9039","static/chunks/9039-75366c62dc7d0d0e.js","4563","static/chunks/4563-ad980d1babbf7b0b.js","6761","static/chunks/6761-0c10d1446de7ae1c.js","744","static/chunks/744-1e76229abb9e297b.js","7342","static/chunks/7342-1586df78600bf911.js","3617","static/chunks/3617-1f62a097637f4747.js","5895","static/chunks/5895-caa6c774914eb108.js","7481","static/chunks/7481-3b84c503a2ebfb3f.js","3668","static/chunks/3668-7dab69e4121c33af.js","39","static/chunks/39-e93a27d0920e6d92.js","2881","static/chunks/2881-445cc2384af2c6f9.js","2364","static/chunks/2364-e83d52fb21729d99.js","3208","static/chunks/3208-e65462d166bd3688.js","7582","static/chunks/app/toc/%5Btla%5D/%5Bvolume%5D/%5Bissue%5D/page-694a0e465c2c1334.js"],"default"] 25:T503,

Burrows’ (1987) stylometric analysis of Austen’s novels associates quite with ‘the speech of the vulgarians, especially the women who predominate among them’. Through a corpus-based analysis, this article takes further Burrows’ (1987) claims by scrutinizing the socio-stylistic mappings between characters and functions of quite in Austen. The results indicate that gender (rather than vulgarity) is the main factor determining the socio-stylistic variation of quite in Austen’s novels. More generally, the study contributes to a better understanding of Jane Austen’s practices of linguistic gendering. Recent literary criticism has commented on Austen’s stylistic manipulations aimed at challenging 18th-century stereotypes of women’s language (Michaelson, 2002: 62–63). The corpus-based study provided in this article can be taken as a concrete example of how such manipulations work at the linguistic level. It suggests that Austen may have drawn on 18th-century stereotypes of ‘female’ language for the stylistic stratification of quite in her novels, although introducing functional and grammatical variations that allow for subtle differentiations across ‘female’ idiolects.

26:T42c,

The narrative world of Woolf’s To the Lighthouse (1992 [1927]) is primarily composed of its characters’ thought and speech presentation. One character’s flow of thoughts is connected with another character’s thoughts, and viewpoint shifts occur very quickly and frequently. This article analyses how the two connectives ‘but’ and ‘for’ contribute to viewpoint shifting by comparing their stylistic, pragmatic functions in contexts where similar types of viewpoint shifting occur. Adopting a corpus-assisted approach, sentences and clauses before and after ‘but’ and ‘for’ are compared when these sentences and clauses are identified as being in similar discourse presentation categories such as free direct thought and direct speech. ‘But’ emphasizes the distinction between the narration and a character’s discourse or between two characters’ discourse, whereas ‘for’ helps viewpoint shifting to take place more implicitly, as a result of which the boundary between the different voices tends to be blurred.

27:T616,