49. Scientific style in Modern English.

The language of science is governed by the aim of the functional style of scientific prose, which is to prove a hypothesis, to create new concepts, to disclose the internal laws of existence, development, relations between different phenomena, etc. There are following characteristic features of scientific style:

1. the logical sequence of utterances;

2. the use of terms specific to each given branch of science;

3. so-called sentence-patterns. They are of 3 types: postulatory, argumentative and formulative. Therefore, every piece of scientific prose will begin with postulator pronouncements, which are taken as self-evident and needing no proof. A reference to these facts is only preliminary to the exposition of the writer's ideas and is therefore summed up in precisely formulated statements ac­companied, if considered necessary, by references to sources. The writer's own ideas are also shaped in formulae, which are the enunciation of a doctrine or theory of a principle, an argument, the result of an investigation, etc. The definition sentence-pattern in a scientific utterance, that is the sentence which sums up the ar­gument, is generally a kind of clincher sentence.

4. the use of quotations and references;

These sometimes occupy as much as a half of a page. The references also have a definite compositional pattern, namely, the name of the writer referred to, the title of the work quoted, the publishing house, the place and year it was published, and the page of the excerpt quoted or referred to.

5. the frequent use of foot-note, of the reference kind, but digressive in character.

6. The impersonality of scientific writings can also be considered a typical feature of this style. This quality is mainly revealed in the frequent use of passive constructions.

50. Literary conversational style in Modern English.

Literary conversational style is based mainly on the practical language. It widely employs elements of the poetic language. It is though used in formal situations, where social roles of the communicants may be equal on non-equal.

51. Colloquial style in Modern English.

Colloquial style is based on the practical language. It also employs elements of the poetic language. It is used in informal situations where the social roles of the communicants are as a rule equal.

52. Compositional Forms of Speech.

The problem of compositional forms of speech is thoroughly elaborated by Professor V.A. Kykharenko. It is the author who organizes this effect of polyphony, but we, the readers, while reading the text, identify various views with various personages, not attributing them directly to the writer. The author's narrative supplies the reader with direct information about the author's preferences and objections, beliefs and contradictions, i.e. serves the major source of shaping up the author's image. The writer himself thus hides behind the figure of the narrator, presents all the events of the story from the latter's viewpoint and only sporadically emerges in the narrative with his own considerations, which may reinforce or contradict those expressed by the narrator. This form of the author's speech is called entrusted narrative. Entrusted narrative can be carried out in the 1st person singular, when the narrator proceeds with his story openly and explicitly, from his own name. Many short stories by W. S. Maugham are written in the l person, i.e. in the form of the subjectivised narrative. The narrative, both the author's and the entrusted, is not the only type of narration observed in creative prose. A very important place here is occupied by dialogue, where personages express their minds in the form of uttered speech. In their exchange of remarks the participants of the dialogue, while discussing other people and their actions, expose themselves too. So dialogue is one of the most significant forms of the personage's self-characterization, which allows the author to seemingly eliminate himself from the process. Another form, which obtained a position of utmost significance in contemporary prose, is interior speech of the personage, which allows the author (and the readers) to peep into the inner world of the character, to observe his ideas and views in the making. Interior speech is best known in the form of interior monologue, a rather lengthy piece of the text (half a page and over) dealing with one major topic of the character's thinking, offering causes for his past, present or future actions. In extreme cases, though, this desire to be understood by others is outshadowed by the author's effort to portray the disjointed, purely associative manner of thinking, which makes interior speech almost or completely incomprehensible. These cases exercise the so-called stream-of-consciousness technique which is especially popular with representatives of modernism in contemporary literature. The thoughts and feelings going on in one's mind and reflecting some previous experience are called inner speech. It has no communicative function that is why it is fragmentary, incoherent, isolated, and consists of separate units which only hint at the content of the utterance. To separate and individualize the sphere of the personage, language means employed in the dialogue and interior speech differ from those used in the author's narrative and, in their unity and combination; they constitute the personage's speech characteristic which is indispensable in the creation of his image in the novel. The last - the fourth - type of narration observed in artistic prose is a peculiar blend of the viewpoints and language spheres of both the author and the character. It was first observed and analyzed almost a hundred years ago, with the term represented (reported) speech attached to it. Represented speech serves to show either the mental reproduction of a once uttered remark, or the character's thinking. Inner represented speech, unlike uttered represented speech, expresses feelings and thoughts of the character which were not materialized in spoken or written language by the character. That is why it abounds in exclamatory words and phrases, elliptical constructions, breaks and other means of conveying feelings and psychological states. Inner represented speech, unlike uttered represented speech, is usually introduced by verbs of mental perception, as think , meditate, feel, wonder, occur, ask, tell oneself, understand and the like. As far as inner represented speech is a combination of the author's speech and that of the character, it duly reveals the thought of the character, on the one hand, and produces the desired impact on the reader, on the other one.

If it is semantics of the text that is taken as the foundation of the classification then we shall deal with the three narrative compositional forms traditionally singled out in poetics and stylistics. They are: narrative proper where the unfolding of the plot is concentrated. This is the most dynamic compositional form of the text. Two other forms - description and argumentation - are static. The former supplies the details of the appearance of people and things "populating" the book, of the place and time of action, the latter offers causes and effects of the personage's behavior, his (or the author's) considerations about moral, ethical, ideological and other issues. It is rather seldom than any of these

compositional forms is used in a "pure", uninterrupted way. As a rule they intermingle even within the boundaries of a paragraph.

All the compositional forms can be found in each of the types of narration but with strongly varying frequencies.