Темы для монологического высказывания:

1. Syntactic stylistic means and stylistic devices (2)

When analyzing syntax in stylistics, we focus on how sentence structure can create emphasis, emotional impact, or stylistic effect. Syntactic stylistic devices are classified based on four principles: juxtaposition of parts, the type of connection between them, the use of colloquial constructions, and the transference of structural meaning. These devices help convey tone, rhythm, and subtle shades of meaning in both prose and poetry.

Inversion changes normal word order for emphasis. “Down dropped the breeze.” (Coleridge)

Detached constructions separate sentence parts to highlight them. “She was lovely: all of her—delightful.” (Dreiser)

Parenthesis adds explanatory or emotional interruption. “I—personally—disagree.”

Parallel constructions repeat sentence structure to enhance rhythm. “The seeds ye sow—another reaps.” (Shelley)

Chiasmus uses reversed structure for contrast or emphasis. “In the days of old men made manners; manners now make men.” (Byron)

Anaphora is repetition at the beginning of phrases. “I don’t want to hear... I don’t want to hear...”

Epiphora repeats at the end. “...in such a case as that.” (Dickens)

Framing repeats the beginning at the end. “Poor doll’s dressmaker... Poor, little doll’s dressmaker.” (Dickens)

Anadiplosis links phrases by repeating the last word at the beginning of the next. “A fight... a fight that...” (Marx & Engels)

Root repetition repeats the same word root. “To live again in the youth of the young.” (Galsworthy)

Synonymical repetition rephrases the same idea. “Is there not blood enough?” (Byron)

Pleonasm is unnecessary wordiness. “It was a clear, starry night, and not a cloud was to be seen.”

Tautology repeats the same idea. “He was the only survivor; no one else was saved.”

Suspense delays the main idea for effect. “Know ye the land... ’Tis the land of the Sun.” (Byron)

Climax builds in intensity. “They looked at houses, climbed stairs, inspected kitchens.” (Maugham)

Anticlimax ends with something unexpectedly trivial. “Out popped a mouse.” (Aesop)

Asyndeton omits conjunctions for brevity or drama. “He had an utter disinclination to talk...” (Galsworthy)

Polysyndeton uses too many conjunctions for emphasis. “Rain, and snow, and hail...” (Dickens)

Gap-sentence link connects ideas without clear syntactic links. “It was an afternoon to dream. And she took out John’s letters.” (Galsworthy)

Rhetorical questions are asked and answered by the speaker. “Scrooge knew he was dead? Of course he did.” (Dickens)

In conclusion, syntactic stylistic devices go beyond grammar—they shape meaning, create rhythm, express emotions, and enrich style. Mastering them allows us to better analyze literary texts and understand the author’s intentions.

2. Phonetic expressive means and stylistic devices

Phonetic expressive means and stylistic devices are used to create musicality, emotional coloring, and sound imagery in speech. They appeal not to the meaning of words, but to their sound, helping to reflect the mood, atmosphere, or movement within a text. These devices are especially powerful in poetry, but they can also enhance prose.

1) onomatopoeia (direct and indirect): ding-dong; silver bells... tin­kle, tinkle;

direct – is contained in words that imitate natural sounds: cuckoo, buzz, tintinabulation, mew.

Indirect – a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense: “And the silken, sad, uncertain rustling of each purple curtain” (E. Poe)

2) alliteration - is a phonetic SD which aims at imparting a melodic effect to the utterance(initial rhyme): to rob Peter to pay Paul; Deep in the darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortals ever dared to dream before (E. Poe)

3) rhyme – is the repetition of identical or similar terminal sound combinations of words. (full, incomplete, compound or broken, eye rhyme, internal rhyme. Also, stanza rhymes: couplets, triple, cross, framing/ring);

The full rhyme presupposes identity of the vowel sound and the following consonant sounds in a stressed syllable, as in might, right; needless, heedless.

Incomplete rhymes: 1) vowel rhymes: flesh-fresh-press 2) and consonant rhymes: worth—forth; tale—tool— Treble—trouble; flung - long.

Compound or broken rhymes: upon her honour—won her; bottom—forgot’em—shot him.

Eye-rhyme: love—prove, flood-brood, have—grave.

Rhymes within the stanza: 1. couplets - when the last words of two successive lines are rhymed. This is commonly marked aa.

2. triple rhymes—aaa

3. cross rhymes—abab-

4. framing or ring rhymes—abba

4) Rhythm: necessarily demands oppositions that alter­nate: long, short; stressed, unstressed; high, low; and other contrasting segments of speech.

Rhythm is to be a stylistic category, one thing is required - the simultaneous perception of two contrasting phenomena, a kind of dichotomy. Rhythm in verse as an SD is defined as a combination of the ideal metrical scheme and the variations of it, variations which are governed by the standard.

In conclusion, phonetic stylistic devices enrich language by adding rhythm, melody, and vivid sound associations. Whether through imitation of real sounds in onomatopoeia, the musical flow of alliteration, the pattern of rhyme, or the dynamic pulse of rhythm, these tools enhance expressiveness and intensify the emotional impact of the text.