International Journal of Literary Linguistics <p>The International Journal of Literary Linguistics (IJLL) is an open-access, peer-review journal published by Johannes Gutenberg-Universität Mainz (Germany) that is dedicated to the publication of original research at the interface of literary studies and linguistics. The journal provides an innovative forum for articles participating in the recent reshaping of the field of literary linguistics under the influence of pragmatics, functional linguistics and cognitive studies. It aims at contributing to a new, dialogic understanding of literary production and reception. The journal invites contributions from scholars working on different languages and literatures.</p> <p>Submissions to the journal may be concerned with (but are not restricted to) the following topics: Textuality, intertextuality, dialogism, narratology, stylistics, genre, in spoken, written and multimodal texts (and in their adaptations into other media). We are also interested in publishing special issues edited by guest editors as well as reviews of scholarly books of relevance.</p> <p>Publication language is English.</p> <p>The work of the editorial team is supported by an advisory board comprising some of the most eminent scholars in the field of literary linguistics.</p> <p>If you are interested in submitting an article, please go to the <a href="/index.php/ijll/about">About the Journal</a> page to find out more.</p> <p>There are no submission or article processing charges.</p> en-US <a href="" rel="license"><img style="border-width: 0;" src="" alt="Creative Commons License" /></a> (Anja Müller-Wood) (Christoph Unger) Mon, 26 Aug 2019 16:03:31 +0000 OJS 60 ‘He just isn’t my Frost’: Television adaptation of R.D. Wingfield’s Jack Frost. <p><strong>Abstract</strong></p> <p>This article presents an analysis of the police television series <em>A Touch of Frost </em>(Yorkshire Television, 1992) and the crime novels of Rodney Wingfield upon which it is based. In analysing characterisation of the protagonist of each version, Inspector Jack Frost, data is drawn from the pilot episode of the series and Wingfield’s debut novel <em>Frost at Christmas </em>(1984). Wingfield was less than impressed with television’s version of Frost, stating, ‘He just isn’t my Frost’. Given that a core motivation for stylistics is to ‘support initial impressions in various extracts’ readings’ and to ‘describe the readers’ response with some precision’ (Gregoriou, 2007:19), this article offers a linguistic explanation for the response of an author to the adaptation of his own work. The famously reticent Wingfield did not elaborate in detail on why he disapproved of the television version of Frost, although several critics contended that Wingfield felt television had ‘softened’ his creation. This article will analyse each version in terms of the elements of narrative outlined by Simpson and Montgomery (1995) and will in turn suggest an elaboration of this model by integrating frameworks for the analysis of impoliteness (Culpeper, 1996; 2010), examining pragmatic elements of Frost’s dialogue. In investigating whether television’s Jack Frost is ‘softer’ than the character envisaged by Wingfield free direct speech and accompanying physical behaviour in novel and television adaptation are analysed, focussing on whether the perceived softness of the latter has been partly achieved by making the speech of Frost less impolite on television.</p> <p><strong>Keywords</strong></p> <p>Adaptation, characterisation, <em>A Touch of Frost</em>, <em>Frost at Christmas</em>, impoliteness, free direct speech, dialogue, television drama, crime fiction</p> Simon Statham Copyright (c) 2019 International Journal of Literary Linguistics Sun, 25 Aug 2019 00:00:00 +0000