By Virginia Tufte

ISBN-10: 0961392185

ISBN-13: 9780961392185

In Artful Sentences: Syntax as Style,Virginia Tufte indicates how regular sentence styles and kinds give a contribution to which means and artwork in additional than 1000 tremendous sentences from the 20 th and twenty-first centuries.  The booklet has designated curiosity for aspiring writers, scholars of literature and language, and a person who unearths pleasure in analyzing and writing.

". . . Artful Sentences: Syntax as Style, normally well-known because the top research of sentence style."--Brooks Landon, collage of Iowa, in Building valuable Sentences, page 122.<span><span>  </span></span>

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Example text

Louis Bayard, "I'm Maxed Out on Maxims," B04 In the next passage another humorist opens his column by adeptly using pronouns and other devices to create the effect of two speaking voices in a make-believe dialog: I suppose you've heard by now that I had the gout. Everybody seems to know. No, I don't want to hear about your grandfather's gout. With the possible exception of your grandmother, nobody is less interested in hearing about your grandfather than I am. No, the gout does not make people ill tempered.

NOT CLR. CHOP. JARG. TRNS NDED. SPLT INF. COMM SPLS. RUN-ON. And what w a s probably regarded as the greatest of all student sins, FRAG. " Nowadays writing teachers are more likely to recognize that many professional writers use sentence fragments repeatedly and artfully, often several at a time, in criticism, journalism, fiction, biography, his- tory, essays. Often the fragments are linked semantically or syntactically to words in the preceding and following sentences. Some are like appositives in their relation to words that precede or follow.

Bernard Malamud, The Fixer, 9 Below, two right-branching sentences begin with an independent statement as the base clause. The first is a fe-pattern. A similar brief statement, this one an intransitive, opens, and serves as the nucleus in the final sentence of the passage: He is the puritan, holding to the tradition of Socrates' cheerful indifference to bodily pleasures, but disposed to mistake this indifference for a rather grim and graceless asceticism. He can see no distinction between trust in providence and submission to fate.

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Artful Sentences: Syntax as Style by Virginia Tufte


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