A) Тестовые задания закрытого типа.

Multiple Choice Test 1.

1) The word-stock of the English language is divided into three main layers:

1. standard - neutral - non-standard; c) literary - neutral - colloquial;

2. publicist - scientific - poetic; d) poetic - official - bookish

2) A set of lingual units actually used in a given sphere is called

1. vocabulary c) sublanguage

2. style d) norm

3) The speech of an individual which is characterized by peculiarities typical of that particular individual is called

1. ideophone c) dialect

2. idiolect d) sociolect

4) Graphons are not used to show

1. individual mispronunciation of certain sounds c) historical background

2. social dialect d) emotional speech

5) The witticism A handsome man kisses misses, an ugly one misses kisses is based upon

1. anadiplosis c) epiphora

2. framing d) chiasmus

6) He was not without taste is an example of

1. synecdoche c) epithet

2. litotes d) antithesis

7) The literary vocabulary does not include

1. poetic words c) dialectal words

2. archaic words d) barbarisms and foreign words

8) Which of the following words is not a barbarism

1. macho c) figurative

2. nouveau riche d) patio

9) Archaisms are used in official documents for

1. creating historical colouring c) terminological exactness

2. creating emotional colouring d) satirical purposes

10) Words whose aim is to preserve secrecy within one or another social group are called

1. jargonisms c) professionalisms;

2. slang d) terms

11) The following example The possessive instinct never stands still is based on

1. onomatopoeia c) alliteration

2. assonance d) paronomasia

12) All these sentences are elliptical except one

1. Glad to know you c) That enough?

2. Dusk - of a summer night d) Haven't read them

13) The sentence Mr.P ickwick bottled up his vengeance and corked it down is an example of

1. sustained metaphor c) simile

2. trite metaphor d) syntactic tautology

14) In the example And talk! She could talk a hind leg from a donkey! hyperbole is combined with

1. metonymy c) metaphor

2. irony d) allusion

15) Which of the following examples is not meiosis

1. a few flights on Broadway c) not quite too late

2. a pretty penny d) before you could say Jack Robinson

16) The trope based on likeness of the two objects is

1. metonymy c) irony

2. simile d) metaphor

17) This stylistic device is used to express abstract ideas through concrete pictures a) allegory c) allusion

b) antonomasia d) alliteration

18) Which of the following is an ordinary comparison (not a simile)

1. He is as beautiful as a weather cock c) She jumped at me like a tigress

2. The boy is as clever as his mother d) She sings like a nightingale

19) Figures of inequality do not include

1. climax c) oxymoron

2. bathos d) zeugma

20) A two-member utterance in which the theme is the traditional denomination of the object, where is the rheme is figurative denomination is

1. simile c) periphrasis

2. quasi-identity d) euphemism

21) Rhythmical patterns in prose are based on the use of the following stylistic syntactical devices except

1. enumeration c) repetition

2. chiasmus d) inversion

22) Topicalization (communicative emphasis) of the 'theme' is the stylistic function of

1. prolepsis c) anticipatory construction

2. aposiopesis d) inversion

23) Scientific prose style is not characterized by

1. logical sequence of utterances c) impersonality

2. a peculiar individual selection of vocabulary and syntax d) the use of terms

24) The number of sublanguages is

1)2 c)15

2) 5 d) infinite

25) Which of the following is not oxymoron

1. sweet sorrow c) a deafening silence

2. awfully nice d) nice rascal

26) Which of the following is not characteristic of professionalisms

1. are used in a definite trade c) are coined to nominate new concepts . .

2. belong to non-literary layer d) are monosemantic

27) A stylistic device based on the simultaneous realization of logical meanings - dictionary and contextual which stand in opposition to each other is

1. simile c) zeugma

2. irony d) quasi-identification

28) Little Miss Muffet she sat on a tuffet... is an example of

1. repetition c) prolepsis

2. personification d) appended statement

29) A combination of anaphora and epiphora in two or more adjacent utterances is called

1. framing c) symploca

2. anadiplosis d) chiasmus

30) The stylistic effect of anti-climax is

1. humour c) emotional tension

2. irony d) vividness of description

31) This example of zeugma She dropped a tear and her pocket handkerchief is based on

1. grammatical analogy c) contrast

2. semantic incompatibility d) logical collision of notional words

32) Which of the following statements is not true

1. Stylistic colouring, as well as stylistic neutrality of linguistic units is the result of their distributional capacities.

2. Neutral linguistic units possess connotations in their semantic structure.

3. There are as many norms as sublanguages.

4. Style is a departure from the norm of the given national language.

33) The slang word ice ('jewelry') is formed on the basis of

a) metaphor

b) metonymy

c) irony

d) hyperbole

34) Which of the statements does not characterize nominative sentences

1. They are widely used in stage directions

2. they comprise only one principle part expressed by a noun

3. Their stylistic effect is creating the isolated image of the object

4. They are incomplete versions of complete two-member sentences

35) The example 'The smile extended into a laugh; the laugh into a roar' illustrates

a) anaphora c) anadiplosis

b) epiphora d) chiasmus

36) The function of parenthesis in the sentence "clay suddenly looked at X with new - higher – interest than before" is

1. modality c) specification

2. evaluation d) generalization

37) Trisyllabic metres do not include

1. anapaest c) dactyl

2. trochee d) amphibrach

38) The stylistic effect of the sentence 'We were proud first, honest next, and after that we believed in right and wrong' is based on

1. sustained metaphor c) gradation

2. bathos d) periphrasis

39) The creation of the polyphony is one of the functions of

1. inversion c) synonymic repetition

2. parenthesis d) periphrasis

40) Figures of identity do not include

1. simile c) quasi-identity

2. specifiers d) replacers

Multiple choice test 2

1. The function of which style is to prove a hypothesis, to create new concepts, to disclose the internal laws of existence, development, relations between different phenomena, etc.

1. Publicist c) belles-lettres

2. Scientific d) style of official documents

2. Words used in scientific prose tend to be used in their

   1. figurative meaning c) primary logical meaning

   2. contextual meaning d) pure grammatical meaning

3. What science left its own domain and travel freely in linguistics by means of investing its terms?

a) Physics c) Chemistry

b) Biology d) Mathematics

4. In the scientific prose there is the most developed and varied system of

a) synonyms c) polysemantic words

b) connectives d) colloquialisms

5. What sentence-pattern do not exist in scientific style?

a) postulatory c) explanatory

b) argumentative d) formulative

6. The impersonality of scientific writings is mainly revealed by

a) personal pronouns c) plural forms of nouns

b) passive constructions d) 3^rd person narration

7. “Abstract—Ontogenesis is a teleonomic process directed at the formation of an adult animal which is capable of reproduction, and has its strategy and tactics. Morphogenetic processes directed towards this goal constitute the strategy of ontogenesis; evolution is realized through genetically determined changes in the course of strategic processes essential for phylembryogeneses. Tactics of ontogenesis implies those variations which are adaptive or make the process of development more rational, without affecting the strategic processes and inducing changes in the structure of adult animals. These statements are illustrated by examples from insect embryology. The most significant and diverse variation of early embryogenesis are observed in parasitic and viviparous animals. It has been shown that tactic features may also have recapitulation importance.”

This text belong to

a) Style of official documents c) Scientific

b) Belles-lettres d) Publicist

8. Of what character are the foot-notes in scientific prose?

a) reference c) explanatory

b) digressive d) informative

9. Point out the feature of language of the scientific prose that is incorrect

a) unemotional

b) precise

c) devoid of any individuality

d) subjective

e) striving for the most generalized form of expression.

10. The process when some scientific and technical terms begin to circulate outside the narrow field they belong to and eventually begin to develop new meanings is called

a) transposition c) determinization

b) broadening d) expansion

Б) ANALYSIS ASSIGNMENT

1. Найдите примеры противопоставлений (антитезы) в отрывке из романа Дж. Б. Пристли « They Walk in the City” и опишите функцию этого стилистического приема..

2. Опишите стилистические особенности речи персонажа из отрывка К.Менсфилд “The Lady’s’ Maid”.

3 .Analyze the text “Up the Down Staircase” from the textbook by V.D.Arakin.

4. Analyze the following text from the story “Bliss” by K.Mansfield.

Although Bertha Young was thirty she still had moments like this when she wanted to run instead of walk, to take dancing steps on and off the pavement, to bowl a hoop, to throw something up in the air and catch it again, or to stand still and laugh at – nothing, simply.

What can you do if you are thirty and, turning the corner of your own street, you are overcome, suddenly, by a feeling of bliss – absolute bliss! – as though you’d suddenly swallowed a bright piece of that late afternoon sun and it burned in your bosom, sending out a little shower of sparks into every particle, into every finger and toe?…

Oh, is there no way you can express it without being “drunk and disorderly”? How idiotic civilisation is! Why be given a body if you have to keep it shut up in a case like a rare, rare fiddle?

“No, that about the fiddle is not quite what I mean”, she thought, running up the steps and feeling in her bag for the key – she’d forgotten it, as usual – and rattling the letter-box. “It’s not what I mean, because – Thank you, Mary” – she went into the hall. “Is nurse back?”

“Yes, M’m.”

“And has the fruit come?”

“Yes, M’m. Everything’s come”.

“Bring the fruit up to the dining-room, will you? I’ll arrange it before I go upstairs”.

“It was dusky in the dining-room and quite chilly. But all the same Bertha threw off her coat; she could not bear the tight clasp of it another moment, and the cold air fell on her arms.

But in her bosom there was still that bright glowing place – that shower of little sparks coming from it. It was almost unbearable. She hardly dared to breathe for fear of fanning it higher, and yet she breathed deeply, deeply. She hardly dared to look into the cold mirror – but she did look, and it gave her back a woman, radiant, with smiling, trembling lips, with big, dark eyes and an air of listening, waiting for something… divine to happen… that she knew must happen… infallibly. Mary brought in the fruit on a tray and with it a glass bowl, and a blue dish, very lovely, with a strange sheen on it as though it had been dipped in milk.

“Shall I turn on the light, M’m?”

“No, thank you, I can see quite well”.

There were tangerines and apples stained with strawberry pink. Some yellow pears, smooth as silk, some white grapes covered with a silver bloom and a big cluster of purple ones. These last she had bought to tone in with the new dining room carpet. Yes, that did sound rather far-fetched and absurd, but it was really why she had bought them. She had thought in the shop: “I must have some purple ones to bring the carpet up to the table”. And it had seemed quite sense at the time.

When she had finished with them and had made two pyramids of these bright round shapes, she stood away from the table to get the effect – and it really was most curious. For the dark table seemed to melt into the dusky light and the glass dish and their blue bowl to float in the air. This, of course, in her present mood, was so incredibly beautiful… She began to laugh.

“No, no. I’m getting hysterical”. And she seized her bag and coat ran upstairs to the nursery. (K. Mansfield. “Bliss”).

Assignments for stylistic analysis

1. The content of the extract. Its emotional colouring (the meaning of the title). The imagery. The basic trope (in each part its own).

2. The composition of the extract (3 parts). Parallelism in composition. The role of direct speech.

3. The first part. Bertha’s mood. The antagonistic contradiction of a person’s natural expression of his mood and social conventions. The lexical, grammatical expressive means and stylistic devices employed (simile, climax, reiteration, rhetorical questions, enumeration). The tempo of the part. The meaning of the present participle.

4. The second part. The description of the dining-room, its connection with Bertha’s mood. The lexical, grammatical expressive means and stylistic devices employed (antithesis, metaphor – the repetition of the image from the first part, epithets. The syntax of the sentence expressing contrast). The tempo of the part.

5. The third part. The still-life – an instance of masterly word-painting. Its connection with Bertha’s mood – the influence of her mood, her test and sense of beauty. Words denoting form, colour, texture. The use of epithets, periphrases. The tempo of the part. The use of compound nominal predicates in the Past Indefinite, verbs denoting action in the Past Perfect.

6. Bertha’s characterization

In making the analysis the following points may be covered

1. Characters.

Who are they?

What are they like?

1. In appearance.

1. In habits of speech and behaviour?

What is the relationship between the characters, and how is this relationship pointed out?

What contrasts and parallels are there in the behaviour of the characters?

Are the characters alive, and are they believable?

2. Mood.

What is the mood of the story?

How is the mood achieved?

3. Construction – i.e. how the story is told.

a) Narration. Who tells the story? Is it told by one of the character, by a narrator outside the story, or by whom?

If the story is told by one of the characters, does it help to make it more effective?

b) Setting. Where does the story take place and when?

Does the setting matter to the story, or could it have taken place equally well in some other and at some other time?

c) Language. What sort of language is used?

Is it simple or elaborate? Is it plain or metaphorical?

Does the language used give a narrative or dramatic effect?

d) Grammar. What is the structure of the sentence? What tense forms and other morphological forms are used in the text?

e) Figures of speech. What figures of speech, if any, are used in the text?

What do they mean to you?

What do they mean to the author?

4. Comprehension.

What is the story about? Give its subject in one word or in a short phrase, e.g. family relationships, goodness, snobbery.

5. The author.

1. What is the author’s point of view on life, as shown in the story?

1. Is the author successful in the portrait of his subject, and in conveying his feelings.

Программный материал к экзамену включает:

QUESTIONS for the exam in the 8^th term (4 курс)

1. Problems of stylistic research.

2. Stylistics of language and speech.

3. Types of stylistic research and branches of stylistics.

4. Stylistics and other linguistic disciplines.

5. Stylistic neutrality and stylistic coloring.

6. Stylistic function notion.

7. The category of expressiveness and the category of emotiveness

8. Expressive means and stylistic devices.

9. Different classifications of expressive means.

1. Hellenistic Roman rhetoric system

2. Stylistic theory and classification of expressive means by G.Leech

3. I.R.Galperin’s classification of expressive means and stylistic devices.

4. Classification of expressive means and stylistic devices by Y.M.Screbnev.

10. Linguistic stylistics and stylistics of literary criticism.

11. Oral variety of the English language.

12. Written variety of the English language.

13. The English literary language.

14. Terms, poetic diction.

15. Archaisms. and their stylistic functions

16. Foreign words and barbarisms.

17. Slang and its stylistic functions

18. Convergence of stylistic devices.

19. Transference and transferred meaning.

20. Epithet and its stylistic functions

21. Hyperbole and its stylistic functions

22. Meiosis and its stylistic functions

23. Metaphor and its stylistic functions

24. Metonymy and its stylistic functions

25. Irony and its stylistic functions

26. Zeugma and Pun and their stylistic functions

27. Oxymoron and its stylistic functions

28. Antonomasia and its stylistic functions

29. Simile and its stylistic functions

30 Periphrasis and its stylistic functions

31 Inversion and its stylistic functions

32 Detachment and its stylistic functions

33 Repetition (parallelism, chiasmus, anaphora, epiphora, anadiplosis, framing, syntactic tautology) and its stylistic functions

34 Rhetoric questions and their stylistic functions

35 Litotes and its stylistic functions

36. Aposiopesis (Break-in-the-Narrative) and its stylistic functions

37. Enumeration and its stylistic functions

38. Polysyndeton, Asyndeton and their stylistic functions

39. The question-in-the narrative and its stylistic functions

40. Represented speech and its stylistic functions

41. The types and properties of rhyme and rhythm.

42. Onomatopoeia (Sound imitation) and its stylistic functions

43. Euphemisms and their stylistic value

44. Climax, anticlimax and their stylistic value

45. Antithesis and its stylistic value

46. Irony and its stylistic value

47. Suspense and its stylistic value

48. Parenthesis and its stylistic functions

49. Anadiplosis and its stylistic functions

50. Jargon words and their stylistic value

51. Alliteration and its stylistic functions

52. The language of the Emotive prose

53. The language of the Drama`

54. Orator’s speech and its specific features

55. The language of verse (poetry)

56. The language of the journalistic articles

57. The features of the Newspaper style

58. The language of the Scientific prose

59. The language of Official documents

60. The language of the Essay

61. The concepts of style, functional style

62. The Publicist style and its features