Міністерство освіти і науки України

Державний вищий навчальний заклад

«Донбаський державний педагогічний університет»

методичні рекомендації

до індивідуальної роботи

з навчальної дисципліни

«Аналіз художнього тексту»

ОКР «бакалавр»

6.020303 Філологія*. Мова та література (англійська, німецька)

Слов’янськ, 2013

Укладач: Шевченко Марина Юріївна, к. філософ. наук., доц. кафедри іноземних мов.

Рецензенти: Глущенко Володимир Андрійович, доктор філологічних наук професор, завідуючий кафедри ГСМ.

Коваленко А.М., кандидат філологічних наук, доцент кафедри германської філології Сумського державного педагогічного університету імені А.С. Макаренка.

Методичні рекомендації до індивідуальної роботи з курсу «Аналіз художнього тексту» пропонуються студентам третього курсу мовних відділень.

ЗАТВЕРДЖЕНО

На засіданні кафедри іноземних мов

Протокол № від « 5» грудня 2013 року

STYLISTIC DEVICES

PART I used in fiction

I. Lexical Expressive Means and Stylistic Devices

Epithet - a word or phrase expressing some quality of a person, thing, idea. It is based on the interplay of emotive and logical meaning in a word. It serves to emphasize a certain feature. (In the cold, gray, street-washing, milk-delivering, shutters-coming-off-the-shops early morning, the midnight train from Paris arrived in Strasbourg. E. Hemingway)

Fixed epithet - has long and repeated use (“dead silence”, “merry Christmas”, “true love”)

Hyperbole - a deliberate overstatement or exaggeration, the aim of which is to intensify one of the features of the object to utter absurdity. (“You couldn’t win from me in a thousand years”, Danny assured him. J. London)

Irony - expresses an attitude or a situation in which words or actions mean the opposite of their customarily accepted meaning for purpose of ridicule. (Ruth Barlow had a gift (or should I call it a quality?) that renders most men defenceless. S. Maugham)

Metaphor - means transference of names based on the associated likeness between two objects. “A metaphor goes further than a comparison between two different things or ideas by fusing them together: one thing is described as being another thing, thus ‘carrying over’ all its associations.” [p. 174 M. Gray A Dictionary of Literary Terms] (In the slanting beams that streamed through the open window, the dust danced and was golden. O. Wilde; Mrs. Mallard lit up when she realized she was free at last. K. Chopin)

Trite metaphor - a metaphor that has lost its expressiveness as a result of long usage. (The fire had died down in the drawing-room.” K. Mansfield)

Personification - likeness drawn between inanimate and animate objects. An inanimate object is given human characteristics. (Just as daylight laid its steel-gray fingers on the parchment window, Jacob Kent awoke. J. London)

Simile - an imaginative comparison of two unlike objects belonging to two different classes. Similes have formal elements in their structure: connective words such as like, as, such as, as if, seem. (Maidens, like moths, are ever caught by glare. Byron)

II. Syntactical Expressive Means and Stylistic Devices

Anaphora - the repetition of words or phrases at the beginning of sentences. (She laughed till the tears ran down her cheeks. She laughed so hard that he sat up, concerned. A.J. Cronin)

Antithesis - an opposition expressed by strongly contrasted words. Antithesis is generally moulded in parallel construction. (Mrs. Nork had a large home and a small husband. S. Lewis)

Aposiopesis - a sudden break in speech, without completing a thought. It reflects the emotional and psychological state of the speaker. (“Good afternoon”, said Mr. Cowlishaw. “Have you… Can I…” A. Bennett)

Asyndeton - the deliberate omission of conjunctions. (He yawned, went out to look at the thermometer, slammed the door, patted her head, unbuttoned his waistcoat, yawned <…>. S. Lewis)

Climax (gradation) - an arrangement of sentences in which each next word combination is logically more important or emotionally stronger and more explicit. (His startled sisters looked, and before the servant girl could get there, the bread plate wobbled, slid, flew to the floor, and broke into shivers. K. Mansfield)

Ellipsis -the deliberate omission of at least one member of the sentence. It makes the narration more emotional and tense. (A solemn silence: Mr. Pickwick humorous, the old lady serious, the fat gentleman cautious and Mr. Miller timorous. C. Dickens)

Epiphora - the repetition of words and phrases at the end of the sentences. (I haven’t got a job. I’ not looking for a job. Furthermore, I am not going to look for a job. J. London)

Framing - a kind of repetition in which the opening word is repeated at the end of a sentence. (He was no speaker and he knew that he was no speaker. A.J. Cronin)

Inversion - the changing of the traditional word order. (In went Mr. Pickwick. A tone of most extraordinary comparison Miss Tox said it in”. C. Dickens)

Parallelism - identical, or similar, syntactical structure in two or more sentences. (And everywhere were people. People going into gates and coming out of gates. People staggering and falling. People fighting and cursing. (P. Abrahams)

Polysyndeton - the repetition of a conjunction. (By the time he had got all the bottles and dishes and knives and forks and glasses and plates and spoons and things piled up on big trays, he was getting very hot, and red in the face, and annoyed. A. Tolkien)