By Yufang Ho
In this publication, Yufang Ho compares the textual content kind distinction among the 2 models of John Fowles' The Magus, exemplifying the methodological ideas and analytic practices of the corpus stylistic approach.
The Magus was first released in 1966 and used to be revised and republished by means of Fowles in 1977. Fowles' personal touch upon the second one version used to be that it used to be 'rather greater than a stylistic revision.' The booklet explores how the revised model is linguistically assorted from the unique, in particular when it comes to viewpoint (re) illustration. The corpus stylistic technique followed combines qualitative and quantitative comparability to substantiate the final textual content kind distinction. The research demonstrates that computing device assisted equipment can determine major linguistic beneficial properties which literary critics haven't spotted and supply a extra precise descriptive foundation for literary interpretation of (either version) of the radical. This research of The Magus serves as a case examine and exemplar of the way corpus strategies can be used as a rule within the examine of linguistics.
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Additional resources for Corpus Stylistics in Principles and Practice: A Stylistic Exploration of John Fowles' The Magus
I then focus on the metaphorical expressions that only appear in 34 Corpus Stylistics in Principles and Practice the M2 version, to see what kinds of changes Fowles has made in his revision. Chapter Eight focuses on the overall findings concerning the text style differences between the two versions. I discuss how the patterns of the changes uncovered by the corpus tools reflect the fact that Fowles, as a well-known postmodernist writer, appears to reinforce the metafictional theory and its strategies in his revision of The Magus.
His seeming manipulation of Nicholas and Lily/Julie is similar to Prospero’s control over Ferdinand and Miranda. Like Shakespeare’s Ferdinand, Nicholas participates in the ‘tests’ Conchis sets for him in order to aid him on his journey. That Conchis assumes the role of magus indicates that he embodies a special kind of power, a power that originates in selfknowledge and entails a responsibility to guide and lead others. Unlike Shakespeare’s Prospero, who has a twofold agenda, to protect his daughter Miranda and regain his dukedom, Conchis’s role is singular and philanthropic, to lead Nicholas to learn to recognize his own character flaws and his own potential.
As the narrative unfolds, she becomes a schizophrenic, an actress, Conchis’s mistress and so on. Then Nicholas is told that Lily’s ‘real’ name is Julie Holmes and she has a twin sister, who is at first called Rose and is later known as June. Bewitched by her beauty and her unpredictable behaviours, Nicholas tries persistently to discover the ‘real’ Lily beneath the masks she wears in Conchis’s ‘masque’. (Hereafter I refer to the character Lily as Lily/Julie to indicate her double identity in the novel.