
- •A guide to stylistics
- •Contents
- •Foreword
- •Section 1 Stylistics: Introduction into the Field. Cognitive Style. Functional Styles.
- •Chubby tots don’t always shed that baby fat
- •250 Charing cross road london wci
- •10. Define the genre, the functional style and its specific characteristics in the following extracts.
- •11. Use the intensifier with each of the adjectives. The first two have been done as an example:
- •12. Complete the sentences using the adverbs below and a suitable adjective.
- •13. In spoken English, it's possible to emphasize certain parts of a sentence simply by using stress. Which words would you stress in the following sentences to emphasize the information in brackets?
- •Section 2 The Language of Literature as an Object of Stylistics.
- •1. Compare the neutral and the colloquial (or literary) modes of expression:
- •2. Link together the suitable pairs of words making a stylistic opposition:
- •3. A. Which of the following phrases would you use while commenting on someone's features to express a) respect b) amusement c) contempt?
- •4. Analyse the semantic structure of the following words:
- •5. State what connotative component(s) of lexical meaning the following words represent.
- •Section 3 Lexical Means of Expressiveness
- •1. Do a jigsaw task identifying examples of metonymy in the columns. Choose at least 5 cases of metonymy and explain why the original use of a word has turned into a metonymical one.
- •9. Analyse cases of metaphor into the components of its structure.
- •10. A. Identify the trope and its type in the following sentences:
- •11. Indicate the metonymy and the type of metonymical relations.
- •12. State the type and structure of the epithets.
- •13. What trope is used in the following examples?
- •14. A. Concentrate on cases of hyperbole and understatement.
- •15. Before analysing cases of irony look at this definition from a Dictionary of Literary Terms by g.A. Cuddon:
- •Agony Calories
- •16. Define the device used:
- •17. Discriminate between metaphor, simile and personification in the following examples:
- •18. Define the stylistic device and explain what the effect produced by it is based on.
- •19. Identify the tropes in the following Russian examples:
- •Section 4 Stylistic Phraseology. Stylistic Morphology.
- •1. Read the sentences and discuss different ways in which j. Galsworthy refreshes proverbs and sayings by violating phraseological units. What effect is gained by this?
- •2. Analyse various cases of play on words, indicate how it is created and what effect it adds to the utterance.
- •3. Analyse the structure and purpose of creating the author's neologisms:
- •4. Find out and explain the morphological and phraseological devices:
- •Section 5 Stylistic Syntax.
- •1. Specify on the ssm based on Compression.
- •2. Identify the ssm based on Recurrence.
- •3. Keep the conversation going using False Anadiplosis and the counterarguments to make the utterance complete.
- •4. Read the sentences in which the ssm grouped under Inversion are used. Define the type of the inversions.
- •5. Identify the ssm based on Transposition. Analyse the stylistic effect created by them.
- •6. Analyse the syntactic stylistic devices used in the following sentences:
- •Identify the lexical and syntactic stylistic means in the following examples. Specify the function performed by them.
- •8. Specify on all the stylistic devices employed by the authors in the following examples. Identify and analyse the stylistic effect of the devices used.
- •Section 6 Stylistic Phonetics.
- •1. Identify the phonetic stylistic means in the following examples and specify the function performed by them:
- •Section 7 Extracts for Comprehensive Stylistic Analysis.
- •More you can do Do the independent stylistic analysis of the following texts.
- •Exam issues
- •Reading matters in stylistics
Identify the lexical and syntactic stylistic means in the following examples. Specify the function performed by them.
1. That was all a lie. It was all a lie both ways. You did not need a girl unless you thought about them. He learned that in the army. Then sooner or later you always got one. When you were really ripe for a girl you always got one. You did not have to think about it. Sooner or later it would come. He had learned that in the army.
E. Hemingway
2. “He is the revolution incarnate,” said Vera. “He is the flame and the spirit of it, the insatiable cry for vengeance that makes no cry but that slays noiselessly. He is the destroying angel moving through the still watches of the night.”
J. London
3. When the dancing began, John Dounce and the other old boys were particularly anxious to see what was going forward on the stage, and Jones – wicked dog that Jones – whispered little critical remarks into the ears of John Dounce, which John Dounce retailed to Mr. Harris, and Mr. Harris to Mr. Jennings; and then they all four laughed until the tears ran down out of their eyes.
Ch. Dickens
4. “But I’m not cold,” I said quickly. <…> “Yes, you are, you are beginning to shiver – so am I.”
D. Smith
5. But how was I startled, when she whispered me that my partner was a nobleman!
F. Burney
6. In front there rose a tall arch, still showing the fragments of old cavern work within, worn and splintered and blackened though it was.
J.R.R. Talkien
7. And down I had to go.
D. Smith
8. It was fascinating watching his head next to hers in the lantern light – his so dark and hers so glowing.
D. Smith
9. “So comes snow after fire, and even dragons have their ending!” said Bilbo.
J.R.R. Talkien
Juan Alvarado, the Federal commander, was a monster. All their plans did he checkmate*.
J. London
* defeat completely
11. Upon a mat, timing his rhythm to the woman’s song, Kiloliana danced. It was unmistakable. Love danced in all his movements.
J. London
12. This song appeared to please Thorin, and he smiled again and grew merry; and he began reckoning the distance to the Iron Hills and how long it would be before Dain could reach the Lonely Mountain…
J.R.R. Tolkien
13. Not one word did he say about what he had been doing in London.
D. Smith.
14. The next morning was a midsummer’s morning as fair and fresh as could be dreamed: blue sky and never a could, and the sun dancing on the water.
J.R.R. Tolkien
15. Vaguely he wanted a girl, but he did not want to have to work to get her. He would have liked to have a girl but he did not want to have to spend a long time getting her. He did not want to get into the intrigue and the politics. He did not want to have to do any courting. He did not want to tell any more lies. It wasn’t worth it.
E. Hemingway
16. Though all the old adornments were long moulded or destroyed, and though all was befouled and blasted with the comings and goings of the monster, Thorin knew every passage and every turn.
J.R.R. Tolkien
8. Specify on all the stylistic devices employed by the authors in the following examples. Identify and analyse the stylistic effect of the devices used.
1. His mind was crowded with memories; memories of the knowledge that had come to them when they closed in on the struggling pig, knowledge that they had outwitted a living thing, imposed their will upon it, taken away it, life like a long satisfying drink.
W. Golding.
2. The moon had risen higher, and floating in the Sound* was a triangle of silver scales, trembling a little to the stiff, tinny drip of the banjoes on the lawn.
Sound* – channel, strait
F. Scott Fitzgerald.
3. The living intelligence, the Martian within the hood, was slain and splashed to the four winds of heaven, and the Thing was now but a mere intricate device of metal whirling to destruction.
H. Wells.
4. Lady Bracknell: What between the duties expected of one's lifetime, and the duties exacted from one after one's death, band has ceased to be either a profit or a pleasure. It gives one position, and prevents one from keeping it up. That's all that can be said about land.
O. Wilde
5. Because I could not stop for Death –
He kindly stopped for me –
The carriage held but Ourselves –
And Immortality.
E. Dickinson
6. So now I think of the fire; the steady film of yellow light upon the page of my book; the three chrysanthemums in the round glass bowl on the mantelpiece.
V. Wolf
7. <…> they are all agreed that Hamlet is acted by the best player who ever was on the stage.
H. Fielding
Break, break, break
At the foot of thy crags, О Sea!
But the tender grace of a day that is dead
Will never come back to me.
A. Tennyson
9. So I was full of trouble, full as I could be; and didn't know what to do.
M. Twain
10. Then, down he sank upon the scaffold.
N. Hawthorne
11. ‘Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? It is nor hand nor foot,
Nor arm nor face, nor any other part
Belonging to a man. О be some other name!
What's in a name? That which we call a rose
By any other word would smell as sweet...
W. Shakespeare
12. Money burns the pocket, pocket hurts,
Bootleggers in silken shirts,
Ballooned, zooming Cadillacs,
Whizzing, whizzing down the street-car tracks.
J. Toomer
13. Nature! great parent! whose unceasing hand
Rolls round the seasons of the changeful year.
J. Thomson
14. <…> our court at present is so full of patriots, who wish for nothing but the honours and wealth of their country – and our ladies are all so chaste, so spotless, so good, so devout – there is nothing for a jester to make a jest of.
L. Sterne
15. <…> so taking up Much Ado about Nothing, I transported myself instantly from the chair I sat in to Messina in Sicily, <…>
L. Sterne
16. Эти поперек крыш нахлобученные одноглазые мезонины! Ягодки отраженных в лужах огоньков и лампад!
Б. Пастернак
17. Snow on the sidewalks, in the streets. The time of cold rains, cold winds.
Sh. Anderson
18. How readily our thoughts swarm upon a new object, lifting it a little way, as ants carry a blade of straw so feverishly, and then leave it…
V. Wolf
19. Well, they’ll get a chance now to show – (Hastily) I don’t mean – But let’s forget that!
E. O’Neill
20. I would indeed have a girl brought up to her needle, but I would not have all her time employed in samplers, <…>
S. Richardson
21. There is one stream there, I know, black and strong which crosses the path. That you should neither drink or, nor bathe in; for I have heard that it carries enchantment and a great drowsiness and forgetfulness.
J.R.R. Tolkien
22. <…> does it not tend to make the daughters, the sisters, the wives of gentlemen, the subject of profligate attempts?
S. Richardson
23. He declared himself almost dead with the cold, which gave the man of wit an occasion to ask the lady if she could not accommodate him with a dram.
H. Fielding
24. Swiftly he returned and his wrath was redoubled, so that nothing could withstand him, and no weapon seemed to bite upon him.
J.R.R. Tolkien
25. There was caress in his voice too.
Sh. Anderson
26. No one would see him, no one would notice him, till he had his fingers on their throat.
J.R.R. Tolkien
27. <…> through the lucid chambers of the south
Looked out the joyous Spring, looked out and smiled.
J. Thomson
28. He wanted it because it was a ring of power, and if you slipped that ring on your finger, you were invisible; only in the full sunlight could you be seen…
J.R.R. Tolkien
♦ Check Yourself
TEST 5
A. Choose the correct variant.
1. ___sentences are sentences with one or more of the parts left out.
a) one-member b) elliptical
c) conjunctionless d) interjectional
2. – You want to marry me?
– Yes.
Why? (...)
Because, I said.
(...)
– Oh, she said. That's a very good reason, (ellipsis) (author - verbal work)
a) Hemingway E. Farewell to Arms
b) Warren R. All the King's Men
c) Segal E. Love Story
d) Salinger J. Franny
3. A black February day. Clouds hewn of ponderous timber... (device)
a) elliptical sentences b) one-member sentences
c) asyndetically connected sentences d) declarative sentences
4. She was crazy about you. In the beginning, (device)
a) ellipsis b) one-member sentences
c) polysyndeton c) decomposition
I honestly think you're making a mountain... (device)
a) decomposition b) aposiopesis
c) asyndeton d) ellipsis
Many windows/Many floors, /many people/many stores... (device)
a) decomposition (b) asyndeton
c) one-member sentences d) ellipsis
7. Point out the three synonyms of the term «recurrence»,
a) reduplication b) reiteration
c) resignation d) repetition
e) reconstruction f) recapitulation
g) redundancy h) recovery
i) recusancy
8. A deliberate omission of the connective where it is generally expected to be is called ___.
a) polysyndeton b) asyndeton
c) antithesis d) decomposition
9. How beautiful is the rain! After the dust and heat, In the broad and fiery street, In the narrow lane How beautiful is the rain! (device)
a) anadiplosis b) anaphora
c) framing d) epiphora
10. Point out the three synonyms of the term «anadiplosis».
a) annihilation b) duplicity
c) double-cross d) reduplication
e) linking f) doubling
g) liniage
11. We were talking about how bad we were - bad from a medical point of view, of course, (device)
a) epiphora b) anadiplosis
c) framing d) anaphora
12. Repetition adds rhythm and balance to the utterance. This is the major function of ___.
a) polysyndeton b) anadiplosis
c) parallelism d) false anadiplosis
13. They still expected life to offer them other things than pain and boredom and distrust and hate, (device)
a) polysyndeton b) asyndeton
c) anadiplosis d) syntactic convergence
She wasn't a very observant girl, Sybil, (device)
a) antithesis b) parallelism
c) syntactic tautology d) ellipsis
Reversed parallelism is called ____.
a) antithesis b) chiasmus
с) anadiplosis d) rhetorical question
16. ... can virtue be the fruit of human will? (device)
a) rhetorical questions b) syntactic tautology
c) chiasmus d) anadiplosis
17. Questions in the ___ = rhetorical questions.
a) narration b) narrative
c) narrated d) narrating
18. They merely came to earn their money, more or less Mr. Smith came to work, (device)
a) asyndeton b) anadiplosis
c) parallelism d) antithesis
19. The positive feature in litotes is somewhat ___ in quality as compared with that in a synonymous straightforwardly assertive construction.
a) revealed b) emphasized
c) diminished d) suggested
20. «What a beautiful creature!» Fanny said. «What a lovely dress!» (device) a) exclamatory sentences b) parallel structures
c) one-member sentences d) elliptical sentences
Define the type of inversion.
Away went Alice like the wind.
Sound it might have been, but long it was not.
Stephen was silent again until they had turned out of the sun into a side lane, all grassy and sheltered.
Talent Mr. Micawber has, capital Mr. Micawber has not.
My dearest daughter, to your feet I fall.
A lot of good may it do you.
Only to the eyes of a Kennicot was it exceptional.
I opened the door and in stormed the familiar faces....
Carefully and meticulously Bobby described the events of the previous night.
Full of song she was.
predicative placed before the subject
object placed at the beginning of the sentence
adverbial modifier placed at the beginning of the sentence
postpositive element of a verb placed at the beginning of the sentence
attribute placed in postposition
Assessment: 3 x 20 = 60 points
(A) 4 x 10 = 40 points
(B) 90-100 = A; 80-89 = B; 70-79 = С