- •The object and aims of Stylistics.
- •2. The Norm of Language
- •3. Functional Style. Register.
- •4. Classifications of Functional Styles.
- •5. Scientific Style. Its Criteria and Linguistic peculiarities.
- •6. Lexical Peculiarities of the scientific style.
- •7. Structural Peculiarities of the Scientific Style.
- •8. The Style of official documents. Its Criteria and Linguistic peculiarities.
- •9. Newspaper Style. Its Criteria and Linguistic peculiarities.
- •10. Lexical Peculiarities of the newspaper style.
- •11. Structural Peculiarities of the Newspaper style.
- •12. Publicistic Style. Its Criteria and Linguistic peculiarities.
- •13. Lexical Peculiarities of the Publicistic Style.
- •14. Structural Peculiarities of the Publicistic Style.
- •15. Literary-Colloquial style. / Received standard. Its Criteria and Linguistic peculiarities.
- •16. Lexical Peculiarities of the Literary-Colloquial style.
- •17. Structural Peculiarities of the Literary-Colloquial style.
- •18. Familiar Colloquial Style. Its Criteria and Linguistic peculiarities.
- •19. Low Colloquial Speech. Its Criteria and Linguistic peculiarities.
- •20. Stylistic Differentiation of Vocabulary.
- •21. Formal English Vocabulary and its Stylistic Functions.
- •22. Informal English Vocabulary and its Stylistic Functions.
- •5) Vulgar words or vulgarisms:
- •6) Colloquial coinages (words and meanings)
- •25. Familiar Words, Professionalisms and their Stylistic Functions. Coinages.
- •5) Vulgar words or vulgarisms:
- •6) Colloquial coinages (words and meanings)
- •27. Terms and their Stylistic Function. Neologisms.
- •28. Barbarisms and Foreign Words and their Stylistic Functions.
- •29. Poetic, Highly Literary Words, Archaisms.
- •30. Neutral Words.
- •23. Common Literary Words and their Stylistic Functions. Literary Coinages.
- •31. Stylistic Colouring
- •32. Word and its Meaning. Denotation & Connotation.
- •33, 34. Context. Stylistic Context.
- •35. Stylistic Function.
- •36. Principles of Foregrounding.
- •37. Language and Speech Functions
- •38. Stylistic Differentiation of Phraseological Units. Stylistic Functioning of Phraseological Units.
- •39. Phonetic Expressive Means & Stylistic Devices.
- •40. Graphic Expressive Means.
- •41. Expressive Means & Stylistic Devices. Tropes. Figures of Speech.
- •42. Metaphoric Group of sDs. Metaphor. Simile. Personification.
- •43. Stylistic Devices Based on the Relations of Inequality: Climax, Anticlimax, Hyperbole, Litotes.
- •44. Metonymic Group of sd: Metonymy, Synecdoche.
- •45. Mixed group of sd: Allegory, antonomasia.
- •46. Stylistic devices based on the relations of identity:
- •47. Oxymoron, Antithesis, Irony
- •48. Inversion, Detachment, Parenthesis.
- •49.Expressive Means Based on the Absence of the Logically Required Components: Ellipsis, Break-in-the-Narrative, Nominative Sentences, Apokoinu Constructions.
- •50. Expressive Means Based on the Redundancy of the Components: Repetition, Framing, Anadiplosis, Syntactic Tautology. Thematic Net. Repetition: Variety and Functions.
- •51. Expressive Means Based on the Transferred Use of Structural Meaning: Rhetoric Question, Emphatic Negation, Reported Speech.
- •52. Expressive Means Based on the Juxtaposition of Different Parts of the Utterance: Parallelism, Chiasmus, Anaphora, Epiphora.
- •53. Expressive Means Based on the Way the Parts are connected: Asyndeton, Polysyndeton, the Gap, Sentence Link.
40. Graphic Expressive Means.
Arnold: Graphic EMs are aimed at showing emotions or at putting emphasis on some parts of an utterance. Graphon – a distortion of an orthographic norm which is stylistically relevant. Punctuation is very important as it prompts the most important parts like emotional pauses, irony, etc. Exclamation mark is stylistically important when it is used in not exclamatory sentences. Then it points to peculiar, often ironic attitude or sometimes even indignation to the subject of the communication. Dashes express emotional pauses. Em.pauses are also marked by suspension marks. Suspension marks and dashes are mutually substitutional. Dashes are also used in aposiopesis. Dashes and suspension marks can point to a long pause before an important word or phrase that draws the reader’s attention. They may be combined with time fillers like er, well, etc. Stylistic role of a full stop may be different. In a description or rapid change of events full stops divide the text into short sentences and at the same time create dynamic atmosphere. On the other hand, the opposite device – a long text without full stops also shows dynamic ties of a whole picture. Absence of full stops makes a poem more solemn. Inverted commas mark the speech of the other person. If a word is marked by inverted commas the author underlines that it’s not he who uses this word and it demonstrates his ironic attitude to this notion or that the word is used in some other unusual meaning. Common nouns are written the capital letters in case of direct address or personification that makes the text more solemn. Whole words can be written in capital letters and it means that they are pronounced with particular emphasis or loudness. Words that for some reason require to be underlined are written in italics as well as epigraphs, poetic insets, prosaic text, quotations, foreign words titles of some books, journals, etc. If some opposition is presupposed italics can also be used (A. Cristie you thought he was innocent – I knew he was guilty.) Graphic imaginativeness is the division of a text into paragraphs, poetry into stanzas. Figured poetry is poetry that appeals not only to the hearing of a reader but also to his eyesight. Lines are organized in such away that the whole poem has a form of a heart, a star or smth other. The form of a poem and its content are interconnected. Equivalent of the text is the omitted part of the text that is marked by a line of full stops. This hidden text is stylistically important. (Mansfield’s Lady’s Maid). Punctuation can be expressive reflecting different SDs. (Rhetorical question, aposiopesis)
Graphic expressive means (EM):1) Italics; 2)Capitalization;3)Spacing; 4)Hyphenation; 5)Steps;6) Multiplication.
Graphon.
Stylistic functions of graphon and graphic EM.
Graphic EM refer to all changes of the type (italics, capitalization), spacing of graphemes (hyphenation, multiplication) and of lines (steps).
Italics are used to single out epigraphs, citations, foreign words, allusions serving the purpose of emphasis. Italics add logical or emotive significance to the words. E.g. “Now listen, Ed, stop that now. I’m desperate. I am desperate, Ed, do you hear?” (Dr.)
Capitalization is used in cases of personification making the text sound solemn and elevated or ironical in case of parody. E.g. O Music! Sphere – descended maid, // Friend of Pleasure, Wisdom’s aid! (W.Collins)
E.g. If way to the Better there be, it exacts a full look at the Worst. (Th.Hardy) Capitalized words are italicized and pronounced with great emphasis.
E.g. I didn’t kill Henry. No, No! (D.Lawrence – The Lovely
Intensity of speech is transmitted through the multiplication: “Allll aboarrrd!”- Babbit Shrieked.
Hyphenation of a word suggests the rhymed or clipped manner in which it is uttered:” e.g. “grinning like a chim-pan-zee” (O’Connor)
Hyphenation and multiplication:
Kiddies and grown-ups
Too-oo-oo,
We haven’t enough
to do-oo-oo.
Graphon (графон): It is intentional violation of the graphical shape of a word (or word combination) used to reflect its authentic pronunciation, to recreate the individual and social peculiarities of the speaker, the atmosphere of the communication act (V.A.K.) (стилистически релевантное искажение орфографической нормы, отражающее индивидуальные или диалектные нарушения нормы фонетической). (I.V.A.)
Graphon indicates irregularities or carelessness of pronunciation, supplies information about the speaker’s origin, social and educational background, physical or emotional condition. It also individualizes the character’s speech, adds plausibility, vividness, memorability. Graphon is referred to all changes of the type (italics, CapiTaliSation), s p a c i n g of graphemes (hy-phe-na-ti-on, m-m-multiplication) and of lines (V.A.K.) E.g. “Alllll aboarrrrrrrd”.
Ex.: “The b-b-b-ast-ud seen me c-c-coming” (stumbling).
“You don’t mean to thay that thith ith your firth time” (lisping).
“Ah like ma droap o’Scatch, d’ye ken” (Scotch accent). – I like my drop of Scotch.
Ex.: “Hish mishish, it ish hish mishish. Yesh”. (J.B.Priestley) E.g. I had a coach with a little seat in fwont with an iwon wail for the dwiver. (Dickens) – (с гашеткой впегеди для кучега).
E.g. You don’t mean to thay that thith ith your firth time. (D. Cusack).
It is used in contemporary prose in dialogical clichés: gimme, lemme, gonna, gotta, coupla, mighta, willya.
