homonyms. Zeugma usually, though not necessarily, produces a satiric or humorous effect, e.g. then came fish and silence.

2. Sd based on the transposition of syntactical meaning

I) Rhetorical Questions are negative or affirmative statements rather than questions, possible answers being implied by the question itself, e.g. Is the day of the supernatural over? (A. Christie). Rhetorical questions can often be found in modern fiction in the descriptions of the character's inner state, his/her meditations and reflections, e.g. And then, like a douche of cold water, came the horrible thought, was she right? (A. Christie).

3. Sd based on the transformation of types and means oi syntactic connection

H Parcellatioit is a deliberate break of the sentence structure into two or more isolated parts, separated by a pause and a period. Parcellation is typical of colloquial speech. The main stylistic functions of parcellation are as follows:

specification of some concepts or facts, e.g. His wife had told him only the night before that he was getting a habit of it. Curious things, habits (A. Christie):

characterization of the personages' emotional state, e.g. It angered him finally. With a curious sort of anger Detached, somehow, separate from himself (C.B. Gilford):

description of the events or giving the personages' portrayal, e.g. I 'd say he was thirty-five or -six. Sallow, dark hair and eyes, with the eyes set pretty close together, big mouth, long limp nose, bat-wing ears - shifty-looking (D.Hammett); A touring car, large, black, powerfully engined und with lowered curtains, came from the rear... Possibly a scout (D. Hammett).

2f The usage of coordination instead of subordination helps the author, to show different planes of narration. In this case the connection itself is more important stylistically than the contents of the sentence, e.g. He was more enthusiastic about America than ever, and he was not so simple, and he was not so nice (E. Hemingway).

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Л.П. Єфімов Стилістика англійської мови. - Вінниця: Нова книга, 2004. - 239 с.

Expressive means of a language are those phonetic, lexical, morphological and syntactic Lin its and forms which make speech emphatic. Introduce connotational (stylistic, non-denotative) meanings into utterances.

Stylistic devices (tropes, figures of speech) arc not language phenomena. They are formed in speech and most of them don't exist out of context. Are grouped into phonetic, lexico-semantic and syntactic types.

Phonetic EM and SD: rhythm, alliteration, assonance, onomatopoeia.

Lexico-semantic EM and SD (Figures of Substitution):

Figures of Quantity (hyperbole, ineiosis. litotes).

Figures of Quality (metonymy, synecdoche, periphrasis, euphemism; metaphor, epithet, antonomasia, personification; irony).

Figures of Combination: Figures of identity (simile, synonyms);

Figures of Contrast (oxymoron, antithesis); Figures of inequality (climax, anticlimax, zeugma, pun).

Syntactic EM and SD:

Reduction of the s-ce model (ellipsis, nominative s-ce, aposiopesis, asyndeton, parceling); Extension of the s- ce model (repetition, enumeration, tautology, polysyndeton, parallelism); Change of word-order (inversion, detachment); Transposition of s-ce meaning (rhetoric questions and other variants).

Stylistic Lexicology

Stylistic Lexicology' deals with words which make up people's lexicon. The majority of English words are:

• neutral - form the lexical backbone of all functional styles, they are understood and accepted by all English-speaking people; being the main source of synonymy and polysemy, they easly produce and stylistic variants (mouse, child, kid, infant, parent, father, daddy).

• Terms belong to particular sciences, used mostly in the scientific functional style; they're monosemantic, have no synonyms (approbation, anomaly, interpretation, definition, vector, leg of a triangle).

• Poetic words - create poctic images and make speech elevated.

• Obsolete words have gone completely out of usage but they're still recognized by the native speakers (thee, thy, thine, methinks = it seems to me, nay = no).

• Archaic words belong to OE and are not recognized nowadays.

• Barbarisms and foreignisms have the same origin; they're borrowed from other languages (French, Latin) (protégé, a propos, beau monde, de novo, alter ego, datum).

• Neologisms - newly born words (network, server, e-mail, site message).

• Common colloquial vocabulary - familiar words and idioms used in informal speech and writing and unacceptable in polite conversations:

• Jargonisms - non-standard words used by people of certain asocial group to keep their intercourse secret (candy - cocaine, snifter a cocaine addict, candy man - drug seller).

• Professionalisms - term-like words, arc used and understood by members of a certain trade or profession (scalpel, carburetor).

• Dialecticisms - words used by people of a certain community living in a certain territory.

• Slang - non-standard vocabulary understood and used by the whole nation; vulgar, obscene words - a part of slang (money - moo, oof, boot, lettuce, green goods, hay, bean, rubbish, salad, soap, sugar, iron. etc.).

• Idioms - fixed phrase which is only meaningful as a whole.

Morphological Stylistics

The main notion is the transposition a divergence between the traditional usage of a neutral word and its situational / stylistic usage. Morpholoigical EM's and SD's:

• Nouns form antonomasia and personification (he'll never be a Shakespeare; snows, sands, waters).

• Articles are used uncommonly (a Brown, a silly Jane, the John).

• Verbs form lexical EM's and SD's (so it be; it is time I went).

• Adjectives - epithets, comparison, attributes (crazy bicycle, tremendous achievements, idiotic shoe­laces, red colour, the most Italian car. beautifuller).

• Pronouns (it's me, him, her, them, us).

Phonetic and Graphic EM's & SD's.

• Rhyme the accord of syllables in words (fact - attract, mood - intrude, news - refuse).

• Rhvthm - a recurring stress pattern in poetry.

• Instrumentation - the act of selecting and combining sounds in order to make utterances expressive and melodic.

• Alliteration - repetition of consonants (She sells sea shells on the sea shore).

• Assonance - repetition of vowels (the rain in Spain falls mainly on the plain).

• Onomatopoeia - a combination of sounds, imitating natural sounds (cock-a-doodle-doo).

• Punctuation: the full stop, the comma, brackets, tha dash, the exclamation mark, the interrogative mark, the hyphen, the colon, the semicolon, the apostrophe, capital letters, text segmentation, a paragraph, chapters / sections, a heading.

Stylistic semasiology. Lexico-semantic SD s.

Figures of Substitution:

1. Figures of Quantity (hyperbole, meiosis. litotes).

2. Figures oj Quality (metonymy, synecdoche, periphrasis, euphemism; metaphor, epithet, antonomasia, personification; irony).

• Hyperbole - a deliberate exaggeration of a certain quality of an object or phenomenon (to be scared to death: to give the world to do smth.; to beg a thousand pardons);

• Meiosis - a deliberate diminution of a certain quality of an object or phenomenon (to be the drop of water; a cat-size pony; to be situated in one minute from here; he is a real microbe).

• Litotes - a specific variant of meiosis (to be not without sense of humour; to be not unreasonable, not impossible).

• Metonymy - is the transference of a name of one object to another object based upon the principle of contiguity of the two objects. Lexical metonymy: table's leg, teapot's nose, hand, a hand (a worker), grave (death)): Contextual metonymy (the other voice shook his hand; to be followed by a pair of heavy boots).

• Synecdoche naming the whole object by mentioning part of it / using the name of the whole object to denote a constituent part of this object (the hall; the school; the blue suit; the museum).

• Periphrasis - the replacement of a direct name of a thing or phenomenon by the description of some quality of this thing or phenomenon. Logical periphrasis is based upon one of the inherent properties of the object (weapons - instruments of destruction; love - the human weakness); Figurative periphrasis is based upon metaphor or metonymy (to marry - to tie the knot; money - root of evil).

• Euphemism - used to replace an unpleasantly sounding word / word-combination (God - lord, heaven; to die - to be gone, to be no more, to go west, to join the majority', to pass away; idiots - mentally abnormal).

• Metaphor - the result of transference of the name of one object to another object based upon similarity of the objects (time passes: the fire flashed from his eyes being able to melt the glasses).

• Epithet - attributes which describe objects expressively (loud ocean; glorious sight; helpless loneliness: blank face; tremendous pressure; heart-burning desire; do-it-yourself command; go-to devil request; head-to-toe beauty; l-don t-want-to-do-it feeling).

• Antonomasia the identification of human beings with things which surround them (John is a real Romeo/ Snake/ the Napoleon).

• Personification the speaker ascribes human behaviour, thoughts, and opinions to inanimate objects (Lie / Love is a strange creature).

• Allegorv - is antonomasia used in the whole text.

• Irony - breaking the principle of sincerity- of speech (favoured country, noble illustration).

Figures of Comhination:

1. Figures of identity (simile, synonyms);

2. Figures of contrast (oxymoron, antithesis);

3. Figures of inequality (climax, anticlimax, zeugma, pun).

• Simile - the comparison of two objects having smth in common (as, as if, as though, like, so, to resemble).

• Synonyms (John - he - the man - the victim - ...)

• Oxymoron - the combination of words which are semantically incompatible (adj + N; adv + adj: hot snow, pleasantly ugly).

• Paradox - a ststement appears to be self-contradictory, but contains smth of a truth (Cowards die many times before their death).

• Antithesis an oxymoron realized in a phrase (the age of withdon, the age of foolushness; a happy, healthy man).

• Climax (Gradation) - the arranging of the utterance so that each subsequent component of it increases significance, importance or emotional tension of narration (I'm sorry, so very sorry, so extremely sorry).

• Anticlimax - the arranging of the utterance so that each subsequent component of it decreases significance, importance, emotional tension of narration (he cried, no doubt he's been eating raw onions).

• Zeugma - consists of three constituents: the basic word stands in the same grammatical but different semantic relations to a couple of adjacent words; the basic word combined with the first adjacent word forms a phraseological word-combinaton; the same basic word combined with the second adjacent word forms a free word-combination (Freddy got out of bed and low spirits).

• Pun - a play of words (Is she engaged? - She's already married. / Carry on. but Peter never ate carrion).

Syntactic SD:

1. Reduction of the s-ce model (ellipsis, nominative s-ce, aposiopesis, asyndeton, parceling);

2. Extension of the s-ce mode! (repetition, enumeration, tautology, polysyndeton, parallelism);

3. Change of word-order (inversion, detachment);

4. Transposition of s-ce meaning (rhetoric questions and other variants).

• Ellipsis - such a syntactic structure in which there is no subject, predicate or both (To the disco; The staff).

• Nominative s-ce - one-member structure, having no subject, no predicate (April).

• Aposiopesis (Break) - the sudden break of the narration (If you go on like this ... (-)).

• Asyndeton - the omission of conjunctions.

• Polysyndeton - the reprtition of conjunctions.

• Parceling - the splitting of s-ces into smaller parts separated by full stops (Sally found John. Yesterday. In the pub.).

• Repetition (I'm very, very, very sorry):

• Anaphora - the repetition of the first element of each syntactic structure (Each... Each...);

• Epiphora - the repetition of the final element (...a case like that. ... a case like that.);

• Framing - the initial part of a language unit is repeated at the end of this unit (Poor Mary

Poor Mary.).

• Linking or reduplication - the repetition of the final component at the beginning of the sequential syntactic structure (... that dreadful occurance. Tat dreadful occurance.,.).

• Chiasmus - a reversed parallel construction (The lail must have been the infirmary, the infirmary might have been the jail).

• Enumeration (There were cows, hens, goats, peacocks, sheep in the village).

• Tautology - unintentional repetition (The name of my informant, the name of my informant, the name escapes me).

• Parallel constructions - construction built according to the same syntactic paltcm (The cock was crowing. The stream was flowing. The small birds twitter. The lake doth glitter.).

• Inversion - the intentional change of the word-order (In came Jack. Little chances Benny had).

• Detachment - a s-ce component independent from the word it refers to (There was a girl. I liked her name, Linda.).

• Rhetoric questions - question requiring no answer.