Davis, Graeme1995 0-7734-1245-X
This interdisciplinary study examines the formal experiments of Wordsworth's 1805 Prelude in light of late nineteenth- and twentieth-century theories in neuroscience. To historians of science, the study argues that the central paradigms of dual-brain theory were advanced as early as 1805 in Wordsworth's experimental verse on the growth of his own mind. For literary critics, this study suggests ways of applying theories from neuroscience to the reading of literary texts. The study seeks to articulate a shared psychology at the center of the revolutionary poetics of the Romantics, also examining Coleridge, Blake, and other British poets.1997 0-7734-8463-9
Based on the corpus of the Old High German Tatian Gospel Translations, which are shown to be independent in word order from their Latin original, this book presents an analysis of word order within the clause categories of traditional grammar. Each clause category is shown to be the domain of a discrete word order type. Patterns are identified and illustrated by examples, and in most cases may be regarded as approaching the status of rules. Exceptions are discussed, and suggested motivations for departing from word order patters established, including emphatic, rhythmic and stylistic factors.1997 0-7734-8649-6
One of the most interesting issues in Old English syntax is word-order or element-order. This volume provides a descriptive study of word-order (or element-order) within specified clause types in a corpus drawn from Ælfric's Catholic Homilies and Supplementary Homilies. A sample of 11,543 clauses has been analyzed, divided into fourteen clause categories. A survey of the element-order within each category is presented, with copious examples and full statistics. Attention is paid both to the order of single elements in relation to the verb phrase, and to patterns of element-order within clauses. An extensive description of the position of the adverbial element is included. The rhythmic and non-rhythmic prose of Ælfric is contrasted, showing that although there is a broad similarity between the two styles, significant differences do nonetheless exist. The results show both that there are marked tendencies within element-order which approach the status of rules, and also that there is a substantial measure of stylistic freedom.