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this [third] paragraph captures the stage of concept formation in Pip's childish development, when cheap necklaces conceptualizes these familiar melancholy experiences; grasping them as categories of meaning. He has heard his foster-parents and his community talk before of 'the churchyard,' 'the river,' and 'the marshes,' but now he learns how to link his own vivid sensory and emotive experiences to these categories. Last but not least in the list, he becomes conscious of his own identity against the background of his environment. (124)

Leech then involves "this new level of explanation, concerned with the cognitive development of Pip" with "two recurrent themes of prose sty listics: viewpoint and mind style" (124-25). Such a move is quite in keeping with the kind of 'close-tothe-text' stylistics that Leech's paper seeks to re-visit; even at its-most formal and analytic, sty listics-as-was was always concerned to investigate and justify the text's "potential for interpretation" - its capacity for prompting and licensing connections going beyond words and syntax towards a grasp of multivariate connections of understanding and conceptualization surrounding (and indeed demanded by) these self-same words and syntax.

For Leech, complexities of viewpoint are prominent: "There are three people's viewpoints to bear cheap pendants mind . . . which blend together in an overall experience of the fiction" (125). These "three people" (perhaps better understood - in terms Leech introduces just a page later (126) - as a "threefold conceptual network") are (bold original):

(a). . . the reader, who knows nothing about Pip and his environment at the beginning of the novel. ..(b)... the "I-person" narrator, adult Pip. remembering and recounting his early life ... in adult language far beyond the range of young Pip ... (c) ... the focalizer, young Pip, experiencing the terrors and discoveries of childhood, and whose intense learning experiences we are invited to share ... ( 1 25)

With the subsequent presentation of further argument, all bearing on his interpretative case, and having to do with deixis, mental spaces, and the textual presentation of speech, writing and thought, Leech moves to a summative conclusion:

Triggered by foregrounded features in the reading process, the reader's mind constructs a conceptual integration cheap rings incorporating the three chief mental spaces associated with reader, narrator (adult Pip), and focalizer (young Pip). The blending process is complex, and what comes out of it is a multi-faceted emergent structure . . .: a reader's cognition of an interrelation between the three viewpoints of reader, narrator and focalizer, . . . (130)

give Pirrip as my father's family name, on the authority of his tombstone and my cheap jewelry - Mrs Joe Gargery, who married the blacksmith. As I never saw my father or my mother, and never saw any likeness of either of them (for their days were long before the days of photographs), my first fancies regarding what they were like, were unreasonably derived from their tombstones. The shape of the letters on my father's, gave me an odd idea that he was a square, stout, dark man with curly black hair. From the character and turn of the inscription, "Also Georgiana Wife of the Above," 1 drew a childish conclusion that my mother was freckled and sickly. To five little stone lozenges, each about a foot and a half long, which were arranged in a neat row beside their grave, and were sacred to the memory of five IiItIe brothers of mine - who gave up trying to get a living, exceedingly early in that universal struggle - I am indebted for a belief I religiously entertained that they had all been bom on their backs with their hands in their trouser-pockets, and had never taken them out in this state of existence.

Ours was the marsh country, down by the river, within, as the river wound, twenty miles of the sea. My first most vivid and broad impression of the identity of things, seems to me to have been gained on a memorable raw afternoon towards evening. At such a time I found out for certain, that this bleak place overgrown with nettles was the churchyard; and that Philip Pirrip, late of this parish, and also Georgiana wife of the above, were dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and Roger, infant children of the aforesaid, were also dead and buried; and that the dark flat wilderness beyond the churchyard, intersected with dykes and mounds and gates, with scattered cattle feeding on it, was the marshes; and that the low leaden line beyond, was the river; and that the distant savage lair from which the wind was cheap key rings, was the sea; and that the small bundle of shivers growing afraid of it all and beginning to cry, was Pip. (Dickens 9-10)

Leech quite rightly defends his choice of an opening section for analysis - such a text is, for instance, free from any previously established contextualization. But in choosing to focus particularly on the third paragraph in the extract above, Leech is already risking dependence on earlier context and co-text, namely things established or understood from a reading of paragraphs one and two. Accordingly, his analysis of a recurrent feature of paragraph three, correct and pertinent though its observations certainly are, has to be seen as an incomplete and potentially skewed analysis. In discussing the third paragraph, Leech's analysis attends to what is salient in that paragraph - patterns of prominence and foregrounding that depart from normal grammatico-rhetorical expectations "involving the twin principles (or maxims) of end-focus and end-weight" (121). End-focus has to do with the placing of what is contextually already given ahead of what is informatively new, while end-weight has to do with complex or 'heavy' grammatical constituents coming later than simpler or 'lighter' ones.

Drawing on these principles, Leech's analysis of Pip's third paragraph cheap money clips effects of prominence or foregrounding where positional syntax is affected by some rhetorical or textual or (other) structural process so that ordinary principles of end-focus and end-weight are contravened (resulting in marked clausal structures, whose use prompts a search for the conceptual or narratological context that licences these forms as appropriate). Leech additionally notes that the principles of end-weight and end- focus generally work together, and so tend to be contravened together, and he identifies just such an egregious dual contravention ("Scarcely anything could be so inappropriate, by the standards of end-focus and end-weight, as this" - 122) in Pip's final clause (the last of an extended scries of conjoined subordinate content clauses):

In a recent special issue of this journal, commemorating a conference to mark the twenty-fifth cheap bracelets of Leech and Short's Style in Fiction (1981), the inaugural paper - appropriately a paper by Geoffrey Leech, the senior author of Style in Fiction - dealt with "the analysis of a small piece of prose writing, an example of the 'practical stylistics' that was a prominent feature of Style in Fiction" (Leech, "Style in Fiction Revisited" 1 19).' The passage chosen is the opening "of Dickens's Great Expectations, focusing especially on the third paragraph" (1 19). Leech's paper is notable for bringing a positive and informed stance to its synoptic review of significant stages in the development of stylistically focussed analysis of fiction (a development apparently always onward and upward, and now at a point of "considerable maturity" - 117) that have emerged in the years since the publication of Style in Fiction - itself now in a new celebratory and expanded second edition (Leech & Short).

Some of the developments surveyed by Leech reflect the influence of pragmatics and discourse analysis from linguistics, and of narratology and conceptual blending and mental modelling from poetics and cognitive psychology. These many (and many-sided) tendencies have seen to it that an exclusive (or close) concentration on the text itself (characteristic of the period when Style in Fiction first appeared) has been diffused, or at least qualified to some extent; but Leech, even as he acknowledges the value of, and various gains from, coalition and heterogeneity, is still rightly drawn to claim that the stylistic analysis of fictional text must "achieve a balance between what is observed on the page of text and what is represented in the mind" - so that, willy-nilly, "emphasis on the mind does not mean . . . that stylistics has no need to relate the cognitive world to the formal features of texts" (118).

Clearly, Leech's survey has an important function, and one particularly appropriate to an anniversary conference - at once retrospective, summative, and cheap cufflinks; the tone of the paper is very much - and justifiably - a case of 'three cheers for 25 years of innovative work on the stylistics of fictional prose.' But it is notable that, for Leech, "One reason for attempting this piece of practical analysis is to illustrate what I hope are the strengths of a now somewhat neglected method, found in Style in Fiction, of focussing stylistic analysis first and foremost on the formal features of the text, letting these develop into a springboard for interpretation" (120). This is an important reiteration of a method and approach whose partial neglect has inevitably come about under the pressure of, and perforce as background to, the innovations whose value and liveliness Leech readily and generously acknowledges.

In addition, alongside its recollection of an approach that has to be seen as still being at the heart of stylistics, Leech's paper has another reminiscent attraction, since it brings relevantly to mind one of the two or three best short definitions of stylistics that 1 have seen, and one that chimes with a focus on textual analysis as the basis for interpretation - namely Leech's own almost-perfect formulation at that notorious Strathclyde conference of 1986: ". . .stylistics is the study of style (particularly in literary texts, and more particularly, with a view to explicating the relation between the form ofthe text and its potential for interpretation)" (Leech, "Stylistics and functionalism," 76, emphasis added). Indeed, to complete Leech's definition (whose only cheap earrings is that it parenthesises its main point), we only have to supplement it with an observation made by his colleague and co-author, Mick Short, which from its date of publication (1994) can almost be seen to be cognitive avant la lettre: "The main aim of stylistic analysis is to try to explain how, when we read, we get from the structure ofthe text in front of us to the meaning 'inside our heads' "(170).

We know what you're thinking: Does anyone really ever win? At Southern Living they do. Penny thanksgiving pendants from LaPlace, Louisiana, was selected at random as our winner from over 5 million online entries. Winning meant that she could choose one of our four homes as her own- she picked the Whisper Creek Cabin outside Asheville, North Carolina.

Originally from North Carolina, Penny chose the Whisper Mountain house to have a place closer to family, especially when she retires. After winning, she was so excited, she called Bill McDougald, our director of the Choose Your Home Giveaway program, twice. Once to make sure he wasn't a friend playing a joke, and a second time to confirm he was a real person and she had really won. By now, Penny and her family have begun to make their own memories in the Whisper Creek Cabin.

The Houses

The home at Whisper Mountain in North Carolina was built as a retreat for a person who loves the outdoors. Callaway Gardens has long been a reader favorite for beautiful gardens and active family fun- the house there was designed as a gardener's retreat. Our house at Traditions Club was designed for those who love wideopen spaces, Big 12 football, and golf. And Habersham in the South Carolina Lowcountry offers a casual lifestyle that's so often reflected on our pages, which is why we chose to build a cottage there.

Want an inside look at the four homes we built and the places thanksgiving rings they are located? Then turn the page.

The Winning Home

Whisper Creek Cabin, nestled in the North Carolina mountainsat Whisper Mountain, is a nature lover's retreat

Whisper Creek Cabin

Whisper Mountain outside Asheville, North Carolina

Whisper Creek Cabin suits its mountainside Ic location. Crafted from a mixture of modern and recycled materials, it's not only a rustic cabin in the woods, but it's also state-of-the-art, built to the specifications of the NC HealthyBuilt Homes Program This designation certifies that the house is efficient, thus saving on the monthly expenses, and is also more comfortable. Recycled, local, and sustainable materials combine for a nearly maintenance-free home. The exterior features bark siding in the gables, indigenous stone, and recycled-raetal cheap bangles.

Deep porches detailed with locust columns cut on-site, rhododendronbranch rails, and plenty of seating encourage enjoyment of the dramatic views and the fantastic mountain climate. These porches also nearly double the square footage of the cottage. Inside, ample rooms, an open kitchen, and two bedrooms take up just over 1,500 square feet.

It's crazy how much you can change in one year -- just look at Miley Cyrus. Not that long ago, thanksgiving earrings was making fun of Selena Gomez and Demi Lovato and goofing off with her best friend on YouTube on The Miley and Mandy Show. But this month, as Miley celebrates her 17th birthday, she's left that silly stuff behind. This more mature Miley has a whole new list of priorities. For starters, she's slowly saying good-bye to Hannah Montana, a role she still loves but admits is "so unlike myself now. I won't do another Hannah Montana movie."

Instead, she's focusing on even more grown-up pursuits, like her mega-successful Wonder World tour, a show she helped create and is, she says, "made for the people I relate to most -- girls my age." She just finished filming her first major dramatic film role in The Last Song, a movie based on a Nicholas Sparks novel, in theaters on April 2. (She has also been spending a lot of time with her hot costar Liam Hemsworth.) And she cocreated a clothing line for Walmart called Miley Cyrus & Max Azria, with designer Max Azria. The days of faux bubble-gum cheeriness are over for Miley and they've been replaced with a more authentic happiness.

As her attitude has become more self-assured, so has her style. She has abandoned the girly-bohemian vibe and is embracing an edgier sophistication. Miley confidently owns every look, whether she's in a silver tiered gown at the Oscars or a rocker mini at Teen Choice Awards. That's why she's Seventeen's Style Star of the Year. Miley sat down with Seventeen to talk about the secret to her cool style, her post-Hannah Montana plans, and how she's finally getting to live her life on her thanksgiving key rings.

17: What do you think makes your style your own?

Miley Cyrus: I like everything that goes against what is necessarily in. It's so much cooler when you can find something that's more unique. I love finding cool things at thrift stores, like vintage rings. It's more fun to be able to say that something cost two dollars instead of $200. I got a trucker hat from the army surplus store, and everyone always asks me if it's Gucci, and I'm like, "Nope!" I love that it's one of a kind.

17: Do you think your personal style has changed this past year?

MC: Definitely. I went through a stage where I took everything with color out of my closet and I literally wore only all black. I used to wear black military boots with black jeans and a black shirt. I look back, and I'm like, Girl, it's the middle of summertime in L.A. and you look nuts! My clothes should have been smiling more! I'm still not a huge fan of color, but I like accents of color to spice it up. I like neon accessories, or I'll wear my own red cheetah Miley & Max jeans with something plain. And I love lots and lots of jewelry. I have my ears and my nose pierced, and I always thanksgiving necklaces on a thousand bracelets.

Imagine: no insurance payments to remember, no maintenance scheduling, no inspections, no thanksgiving gift ideas up extra to pay for overhauls. This is a turnkey deal, like buying a condo in a quadplex. You make monthly payments, and the landlord takes care of everything, right down to edging the lawn. Dude.. .I'm in!

LetsFiy started a decade ago. "I got out of general aviation for a while and flew for the airlines," Corry says. "By the time my kids were ready to learn to fly, many flight schools had gone under in our area. I knew several people who wanted to learn to fly but lacked access to aircraft, so 1 shared out diree airplanes."

While fine-tuning the process, Corry asked himself: "Why not build a system for affordable flying that will work anywhere? Why can't we put mom and pop back in the air?"

Using the three planes already in shared ownership as a test bed, he enlisted Mark Teal, a senior software engineer for NetJets, to develop a turnkey automated package that would run the entire program.

"We provide the tools and expertise for people to invest in and run their own cooperative," explains Corry. "Additionally, we provide or facilitate financing to help cooperatives get started."

LetsFiy s members have two prune ways to go: as owner/managers (i.e., landlords) of an airplane, or as co-op members (thanksgiving bracelets buyers) who own 1A shares in an airplane.

Corry has confidence in his brainchild; "We guarantee this - if anybody shows us a company with a more economical way to own and fly an airplane, we'll give them $10,000! Banks are still sting)' with money, so when we see a good area and investor to start a cooperative with, once they can qualify for the aircraft's primar)' financing, we'll come in with secondary financing."

The realtor terminology isn't offhand: Corry studied the most successful styles of real-estate investing and found the fourplex model hard to beat.

"The data showed us that fourplex ownership creates win-win scenarios for both parties," he says. "The investor buys the property, looking for a reasonable return on investment and decent cash flow. Four people needing an economical place to live buy units with little down payment and low monthly costs: That's a win-win!"

To extrapolate the fourplex strategy to airplane ownership, Corry automated the entire process, from legal and financial aspects to flight scheduling and maintenance. But why only four people?

"Four is optimum for giving everybody plenty of flight time and keeping costs reasonable, such as insurance. When insurance companies see more than five owners, they look at it as a flying club -and the insurance rate triples!

"Our cooperatives almost are like owning your own airplane - you seldom have scheduling conflicts. The airplane is owned and managed by the principal. You come and go as you please. The manager takes care of everything. It's a form of hybrid between partnership and fractional ownership. But fractionals usually are ver)' expensive: You'll pay a minimum of $500 a month for management fees alone - ours is zero.

LetsFly's involvement in "profits" is minuscule: $595 to set up the cooperative. Il also makes money when private financing is involved. "Otherwise, we pass everything along to the cooperative. We don't charge for scheduling or anything else.

"Partnerships often enter into chiefs/indians conflicts," says Corry. "Nobody wants to lead, or everybody does. There's no center of responsibility. But just like in the front cockpit of an airliner, the buck stops with the captain. The co-op owner runs the ship - that's why fourplexes have worked so well, and often, why partnerships haven't."

LetsFly has put together 376 aircraft cooperatives. That's a lot of airplanes, and they're likely out flying four times more often than if just one person owned each aircraft. That means airport cafes are busier; mechanics are working more; and more people are flying.

Once the five-year commitment is done, members can sell their thanksgiving cufflinks or stay on board and enjoy the airplane.

"In light sport, everybody wants the $40,000 airplane. Well, we're giving it to them," says Corry, "with our nonqualified financing of $2,900 down and reasonable monthly payments."

If you do the math, a typical fully loaded LSA will set a LetsFly co-op member back about $35,000 to $40,000 over the life of the five-year agreement. That's roughly $7,000 to $8,000 yearly. If you rent a Cessna at die local FBO for $120 per hour for less than 70 hours a year, then you've spent that $8,000. And you don't own anything except memories.

LOS ANGELES -Nick Counter and I started our jobs dealing with Hollywood unions in the thanksgiving day 2010 week in the spring of 1982 -he as president of the Alliance of Motion Picture & Television Producers and me as a labor reporter.

Nick gave me my first big interview. The boxoffice was booming that year, but when 1 went to interview Nick at his office in the Valley, he pointed out that film rentals - that portion of boxoffice receipts that are returned to the studios - actually were declining. And he had the facts and figures to prove it. It was my first big scoop and first banner headline.

During the next 20 years, I came to know Nick weEl professionally, first at Variety and later at The Hoilywood Reporter. We never played golf together and never went to lunch. But he always was accessible, and he always gave me 3 straight answer. He was honest and dependable; to a reporter, that 's everything.

Those traits also served Nick well in his role as the industry's chief contract negotiator. Union leaders always knew where they stood with Nick.

Once I quoted a union leader anonymously saying what a fair guy Nick Counter was. The next day, Nick called me up and said, "Geez, Dave, why'd you print that?"

I was confused. "Print what?"

"That thing about me being fair and decent," he said, quite Thanksgiving surprise gift.

"Well," I replied, "it's what the guy said."

"Yeah," Counter huffed, "but now the studio heads are all going to think I'm being too soft on the unions."

It was the first and only time I'd gotten chewed out for writing something nice about a guy.

Counter wasn't too soft on the unions; there were plenty of strikes during his 27 -year tenure to prove that. But he wasn't a bully either. He'd been a boxer as a kid and had the distinctive broken nose to prove it. But he always tried to avoid a fight to reach an agreement without a strike if possible.

For whatever reason, Hollywood has been blessed with an enlightened management that understands that unions are a vital component to making a thanksgiving gifts product. And for me, Nick Counter, with Ms broken nose and all, was the face of that enlightened management.

Fiat S.pA. engineers are coaching their Chrysler Group counterparts on how to bring cars to thanksgiving day celebration quicker and more cheaply and to fix Chrysler's nagging reputation for mediocre quality.

Doug Betts, Chrysler's senior vice president for quality, called quality a "sensitive issue."

"I want you to know that we get it," he said at last week's presentation of Chrysler's five-year plan.

Betts said Chrysler has adopted the Italian automaker's assembly line audit system and durability testing methods. "We can't expect to change our situation unless we change me way we work," he said.

There's some irony here: In Europe, Fiat's quality has been improving but is still well below average. In J.D. Power and Associates' 2008 Customer Satisfaction Index studies for France, Germany and the United Kingdom, Fiat scored in the bottom quarter of more than 20 brands in vehicle quality and reliability.

One change from Fiat is as simple as keeping manufacturing equipment clean. Scott Garberding, interim head of manufacturing, said it's far easier to spot problems on clean, uncluttered equipment and work areas.

Betts, who joined Chrysler in 2007 from Nissan North America Inc., said Chrysler has adopted Fiat's quality audit standards, which require better fit and finish. The automaker is bringing outside auditors to assembly lines to take up to 320 measurements.

A top priority is to speed products to market, said Scott Kunselman, thanksgiving teacher gifts vice president for engineering. So Chrysler is adopting Fiat's development timing benchmarks and computer tools.

Kunselman said computerized prototypes will help cut five months from the time needed to develop new vehicles. Chrysler declined to say how long the new development period will be.

Heavy use of computers in product development requires more staff early in the process, but it eliminates full-skin prototypes and requires less staff later on.

Widespread adoption of Fiat platforms, engines and electronic parts also will get vehicles to showrooms more quickly, Chrysler executives say. By 2014, Chrysler will share three platforms with Fiat.

At assembly and other manufacturing plants, Fiat has eliminated a layer of management for better communication and quicker decisions. The Italian automaker encourages factory workers to point out problems with equipment and processes on the assembly line - like the Toyota Way.

In purchasing, Chrysler is creating a cost-cutting group of 40 engineering and 24 purchasing experts to interact with suppliers. Chrysler will split savings equally with suppliers.

Said Dan Knott, interim head of purchasing: "If the idea thanksgiving crafts gifts a dollar, the supplier gets 50 cents, and we get 50 cents. Now that's true partnership.

Live at Rose Lehrman celebrates the holidays with a Celtic twist as the Tartan Terrors take the stage at 8 p.m. tiffany sets and Friday, Dec. 3 and 4, in the Rose Lehrman Arts Center on the Harrisburg Campus of HACC, Central Pennsylvania's Community College.

A pre-show food and brewing tasting will kick off each night with food samples from Coakley's in New Cumberland and hand crafted brews by Troegs and Lancaster Brewing Co., both of Harrisburg, along with holiday shopping from Oxford Hall Celtic Shop of New Cumberland and Lutzy's Lather of Harrisburg.

The Tartan Terrors are North America's tiffany watches Celtic event, featuring the best in music, singing, dance and witty repartee. They mix blisteringly fast rock 'n' roll beats, with incredible bagpiping and traditional and tweaked traditional tunes.

A two-time world champion bagpiper, top-ranked Highland dancers, musicians and comedians will exhilarate the audience. Who said "Jingle Bells" can't be played on bagpipes?

Support for this Live at Rose Lehrman event comes from the Oxford Hall Shop, Coakley's, Lutzy's Lather, Troegs, and Lancaster Brewing Company. Media Sponsor for the event is abc27-WHTM.

Live at Rose Lehrman will present the Tartan Terrors at 8 p.m. Thursday and Friday, Dec. 3 and 4 in the Rose tiffany engagement rings Arts Center on HACC's Harrisburg Campus.

By Mass Communication Specialist 2nd Class (SW) Stephen Tate, USS Kearsarge Public Affairs

Sailors celebrated the ship's 16th birthday Nov. 2, after being presented the coveted earrings Cup Award for 2008.

The award was presented to the crew of Kearsarge by Adm. John Harvey, U.S. Fleet Forces Command, during a ceremony on board Kearsarge. In the history of the award Kearsarge is the first.

"We are celebrating Kearsarge's 16 years of faithful service," said Aviation Support Equipment Technician 3rd Class Joshua Cannon. "The best part of this party is senior leadership showing appreciation for the ship's crew."

The officers and chiefs served Sailors during the luncheon celebration in a show of appreciation for crew's hard work.

"Our junior Sailors work hard each day to prepare Kearsarge for getting underway later this fall," said Senior Chief Quartermaster (SW/AW) Anthony Hafer. "This is a great opportunity to celebrate our ship's history and recognize Sailors past and present who've sailed on her."

Kearsarge is the fourth ship to bear the name of the famous New Hampshire mountain and the third ship of the Wasp-class, one of the most advanced necklaces of multipurpose amphibious assault ship. The keel was laid Feb. 6, 1990, at Ingalls Shipbuilding in Pascagoula, Miss., and it was launched March 26, 1992. The ship was commissioned Oct. 16, 1993, and has always been home ported in Norfolk as part of the Atlantic Fleet.

"For 16 great years the Kearsarge has been doing things the right way," said Capt. Baxter Goodly, USS Kearsarge's executive officer. "We have a great history and winning the Battenberg Cup illustrates how good this crew is in upholding the Navy's values."

Kearsarge is a multipurpose amphibious platform that has recently participated in humanitarian civic assistance operations in Bangladesh, South America, and the Caribbean during Mission Continuing Promise 2008, which Kearsarge aided in relief efforts to seven countries on 30 sites including Haiti.

"Thanks to the work of the crew, Kearsarge is in better condition than it was 16 years ago when she was commissioned," said Capt. Walter Towns, USS Kearsarge Commanding Officer. "Thanks to this crew's achievements, we are able to celebrate Kearsarge's 16th money clips with the awarding of the Battenberg Cup award."