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Theme: phonostylistics plan
1 About phonostylistic
2 What is phonostylistics
3 The main types of phonostylistic processes
4 Phonostylistics in a Second Language
5 Experiments
6 Problems of phonostylistics
Main literatures
1 About phonostylistic
Every standard language is characterized by a range of speech styles, which encompasses not just the segmental aspects but such paralinguistic features as the pace at which speakers habitually deliver their utterances. In this respect American English is unexceptionally variegated, even though most speakers fall into fairly narrow categories when it comes to pace of delivery. Typically, the truly idiosyncratic speaking styles are those that are categorized by speech mannerisms, including dialectal peculiarities in otherwise normative speech.
The qualification «ponderous» or «portentous» applies to speech that is so painfully slow when compared to general norms as to stand out as stylistically inappropriate regardless of the speaker’s predilections. Moreover, when the content is utterly trivial or plebeian, utterances delivered at a labored and gravid pace can only try an interlocutor’s patience and create the impression (among others) that the speaker has nothing to say. Those who speak at the same pace regardless of what they are saying run the risk of seeming dull and colorless.
Speaking a language is like playing a musical instrument. A gavotte played at a tempo appropriate to a dirge will not set anyone to dancing.
PHONOSTYLISTICS
The term style is used in sociolinguistics to refer to «the variation that occurs in the speech of a single speaker in different situational contexts» (Cheshire 1992: 324). The variants come from a single language or dialect, «though it is recognized that the same social and psychological principles govern switching of language, of dialect, and of style» (Cheshire 1992: 324). Situational contexts are typically described in terms of relative formality. The factors triggering stylistic variation have been identified as topic, setting and relationship between interlocutors (Hymes 1974). Some languages have discrete styles, i.e. they impose co-occurrence restrictions on forms within a given style. The most influential approach to stylistic variation was that of Labov (1972), who analysed formality as a linear continuum from very casual speech to very careful speech according to the degree of attention given to speech by speakers. In his newest paper, however, Labov (in Eckert and Rickford eds. 2001) states that he did not intend this continuum to describe how style-shifting is produced and organized in every-day speech but rather to describe the intra-speaker variation in the sociolinguistic interview. Discussion in the contributions to Eckert and Rickford (eds. 2001) volume shows no unanimous approach to the study of stylistic variation. There are at least three major aspects of the study: quantitative, qualitative and functional. I believe that they should be unified for the benefit of comprehensiveness. My definition of phonostylistics does not aspire to be sociolinguistically comprehensive.