Стилистический анализ текста. Учебное пособие

Министерство образования и науки Российской Федерации Федеральное государственное автономное образовательное учреждение высшего образования

«Южный федеральный университет»

Е. А. Волгина

СТИЛИСТИЧЕСКИЙ АНАЛИЗ ТЕКСТА

Учебное пособие

(для студентов старших курсов института филологии,

журналистики и межкультурной коммуникации)

Ростов-на-Дону Издательство Южного федерального университета

2015

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УДК 8.08 ББК 81.432.1+81.2

В67

Рецензенты: кандидат филологических наук, доцент Ляшенко Н.А.; доктор филологических наук, профессор Муругова Е.В.

Научный редактор

Кандидат филологических наук, доцент Волгина Е.А.

Волгина Е. А.

В67 Стилистический анализ текста : учебное пособие / Е. А. Волгина ; Южный федеральный университет. – Ростов-на-Дону : Издательство Южного федерального университета, 2015. – 142 с.

ISBN 978-5-9275-1720-6

Целью учебного пособия является научить студентов проводить стилистический анализ текстов разной стилевой направленности и жанров, воспринимать информацию логического, эмоционального, изобразительного и оценочного характера, увидеть взаимосвязь разнообразных выразительных средств и стилистических приемов, способствующих реализации замысла автора произведения, взаимодействие формы и содержания произведения, способствовать более глубокому изучению языка.

©Волгина Е.А. предисловие, составление, 2015

©Южный федеральный университет, 2015

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Предисловие

Целью учебного пособия является обучить студентов практике стилистического анализа языкового материала разных функциональных стилей. Достижение поставленной цели решает следующие задачи:

-помогать изучающим английский язык научиться, как можно полнее, воспринимать богатую и разнообразную информацию, заключенную в текстах разной стилевой направленности,

-увидеть взаимодействие формы и содержания произведения, взаимосвязь разнообразных выразительных средств и стилистических приемов, способствующих реализации замысла автора произведения,

-осуществлять проведение адекватного стилистического анализа текста,

-способствовать более глубокому изучению языка.

Учебное пособие дает возможность студентам проводить независимую работу по стилистическому анализу на практических занятиях по стилистике и занятиях по практике устной и письменной речи. Пособие предназначено для студентов старших курсов для студентов старших курсов института филологии, журналистики и межкультурной коммуникации. Состоит из двух модулей:

Модуль 1.Техника стилистического анализа текста.

1.1.Техника написания резюме текста.

1.2.Отличительные языковые черты функциональных стилей и композиции текста. Стилистические приемы и выразительные средства. 1.3.Упражнения на определение типов и функций стилистических приемов и выразительных средств 1.4.Техника стилистического анализа и вопросы для лингвостилистическо-

го анализа текстов разных стилей.

Модуль 2. Комплексный анализ текстов.

2.1.Образцы стилистического анализа текста.

2.2.Тексты с вопросами и заданиями в качестве руководства для анализа

2.3.Тексты для самостоятельного комплексного стилистического анализа 2.4.Фразы для анализа и интерпретации идей текста.

Приложение содержит глоссарий стилистических терминов, список литературы для анализа текстов и список используемой литературы.

Вкачестве иллюстративного материала использована англоязычная литература XIX – XX веков.

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MODULE 1. THE TECHNIQUE OF THE STYLISTIC ANALYSIS

1.1.THE TECHNIQUE OF WRITING A SUMMARY

A)How to work on writing a summary.

A summary is the expression in a condensed form of the principal content of any piece of writing. In other words the summarizer should briefly render the main idea in his own words.

A summary is a good test of your ability to understand what you have read. If you can pick out essential points and then find your own ways of expressing them, you have really understood the passage.

The procedure for preparing a summary of any kind consists of four steps: 1) reading, 2) selecting, 3) writing, 4) comparing. First you must read the passage carefully to understand its meaning, then picking out the essentials, put the idea expressed into your own words.

Having grasped the essentials you now re-read the passage to see how well you have understood the details. Another problem in summarizing is that you should omit examples when possible.

The last step in writing a summary is comparing the written summary with the original passage to make sure that the essence of the original has been reproduced in a distinctly different language, that no idea which was not in the original has been introduced in the summary.

As to the length the summary should be shorter than the original piece of writing. How much shorter is determined by the purpose of the summary. If it is to serve as a self-aid in reviewing, the summary should give only a general statement of the essential thought of the original. If it is to serve a note for possible use in a research paper, the summary should include the main supporting ideas.

1.Read the passage that you will have to summarize.

2.Find the topic sentence of each paragraph. Write a list of points in note form. Do not include unnecessary facts.

3.Connect your points to write a rough draft of the summary in your words. Link all your sentences in a logical, progressive or chronological arrangement. Refer to the passage only when you want to make sure of some point.

4.Compare your summary with the original and cut out all non-essential

points.

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5.Write a fair copy of your summary and give your summary a title.

6.Mind some of the ways used in cutting down the length of a passage: illustrative details or figures may often be omitted; ideas expressed in figurative language must be put more simply and directly; repetitions must be cut out; sentences must be re-phrased and re-arranged.

B) How to shorten summary

An important technique to develop is writing as concisely as possible. Reword the following sentences to make them shorter by using, for example, short set phrases, ing forms, changing active verbs into passive clauses.

1.We work far better when we think in a creative way. Hint Use an adverb.

2.Despite the fact that you may not have the determination to succeed, you should have a try. Hint Use an ing form.

3.After they had completed the course, their health got better. Hint Use an ing form.

4.Negative statements can be demoralizing so you need to ignore them. Hint Make it into a command.

5.Sometimes it is necessary to take a few risks because doing this will help you to become more responsible. Hint Use an ing form.

6.Even if some people appear to be confident, it often turns out that those people are just as nervous as you are. Hint Change appear to an adverb.

C)Write a half-page summary of the text

from “Three Men in a Boat”, ch. XIV. 1) Remember to use the techniques of summary writing:

-Underline the key information in the question.

-Underline the relevant information in the text.

-Organize the information into a paragraph.

-Use linking phrases where appropriate.

-Check that your paragraph is not more than 70 words long.

2)For this and other similar assignments the following phrases may be helpful. Try and use the ones that are most suitable for the occasion.

a) At the beginning of the story (in the beginning) the author describes (depicts, dwells on, touches upon, explains, introduces, mentions, recalls, characterizes, analyses, comments on, enumerates, points out, generalizes, criticizes, makes a few critical remarks on, reveals, exposes, accuses, blames, condemns, mocks at, ridicules, praises, sings, the praises of, sympathizes with, gives a

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summary of, gives his (an) account of, makes an excursus into, digresses from the subject to describe the scenery, to enumerate etc.)

b)The story (the author) begins with a (the) description of (the introduction of the mention of, the analysis of, a (the) comment on, a review of, an account of, a (the) summary of, the characterization of, (his) opinion of, (his) recollections of, the enumeration of, the criticism of, some (a few) critical remarks about (of, concerning, etc.), the accusation of, the exposure of, the (his) praises of, the ridicule of, the generalization of, an excursus into

c)The story opens with… (See list 1 b).

d)The scene is laid in…

e)The opening scene shows (reveals)…

f)We first see (meet) him (her, etc.) as a student of a medical college (a girl of fifteen, etc.).

g)The concluding words are…

THREE MEN IN A BOAT

By Jerome K. Jerome

CHAPTER XIV

We got out at Sonning1, and went for a walk round the village. It is the most fairy-like nook on the whole river. It is more like a stage village than one built of bricks and mortar. Every house is smothered in roses, and now, in early June, they were bursting forth in clouds of dainty splendor. If you stop at Sonning, put up at the “Bull”, behind the church. It is a veritable picture of an old country inn, with a green, square courtyard in front, where, on seals beneath the trees, the old men group of an evening to drink their ale and gossip over village politics: with low, quaint rooms and latticed windows2 and awkward stairs and winding passages.

We roamed about sweet Sonning for an hour or so, and then, it being too late to push on past Reading3, we decided to go back to one of the Shiplake islands, and put up there for the night. It was still early when we got settled and George said that, as we had plenty of time, it would be a splendid opportunity to try a good, slap-up supper. He said he would show us what could be done up the river in the way of cooking, and suggested that, with the vegetables and the remains of the cold beef and general odds and ends, we should make an Irish stew4.

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It seemed a fascinating idea. George gathered wood and made a fire, and Harris and I started to peel the potatoes. I should never have thought that peeling potatoes was such an undertaking. The job turned out to be the biggest thing of its kind that I had ever been in. We began cheerfully, one might almost say skittishly but our light-heartedness was gone by the time the first potato was finished. The more we peeled, the more peel there seemed to be left on; by the time we had got all the peel off and all the eyes out, there was no potato left – at least none worth speaking of George came and had a look at it – it was about the size of pea-nut. He said:

“Oh, that won’t do! You’re wasting them. You must scrape them”.

So we scraped them and that was harder work than peeling. They are such an extraordinary shape, potatoes – all bumps and warts and hollows. We worked steadily for five-and-twenty minutes, and did four potatoes. Then we struck. We said we should require the rest of the evening for scraping ourselves.

I never saw such a thing as potato-scraping for making a fellow in a mess. It seemed difficult to believe that the potato-scrapings, in which Harris and I stood, half-smothered, could have come off hour potatoes. It shows you what can be done with economy and care.

George said it was absurd to have only four potatoes in an Irish stew, so we washed half a dozen or so more and put them in without peeling. We also put in a cabbage and about half a peck5 of peas. George stirred it all up, and then he said that there seemed to be a lot of room to spare, so we overhauled both hampers, and picked out all the odds and ends and the remnants, and added them to the stew. There were half a pork pie and a bit of cold boiled bacon left, and we put them in. Then George found half a tin of potted salmon, and he emptied that into the pot.

He said that was the advantage of Irish stew: you got rid of such a lot of things. I fished out a couple of eggs that had got cracked, and we put those in. George said they would thicken the gravy.

I forget the other ingredients, but I know nothing was wasted; and I remember that towards the end, Montmorency, who had evinced great interest in the proceedings throughout, strolled away with an earnest and thoughtful air, reappearing, a few minutes afterwards, with a dead water-rat in his mouth, which he evidently wished to present as his contribution to the dinner; whether in a sarcastic spirit, or with a general desire to assist, I cannot say.

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We had a discussion as to whether the rat should go in or not. Harris said that he thought it would be all right, mixed up with the other things, and that every little helped; but George stood up for precedent! He said he had never heard of water-rats in Irish stew, and he would rather be on the safe side, and not try experiments.

Harris said:

“If you never try a new thing how can you tell what it’s like? It’s men such as you that hamper the world’s progress. Think of the man who first tried German sausage!”6

It was a great success, that Irish stew. I don’t think I ever enjoyed a meal more. There was something so fresh and piquant about it. One’s palate gets as tired of the old hackneyed things: here was a dish with a new flavor, with a taste like nothing else on earth.

And it was nourishing, too. As George said, there was good stuff in it. The peas and potatoes might have been a bit softer, but we all had good teeth, so that did not matter much; and as for the gravy, it was a poem – a little too rich, perhaps, for a weak stomach, but nutritious.

1.2. SOME GENERAL FEATURES TO BE CONSIDERED IN THE

ANALYSIS OF A PIECE OF WRITING

a) Functional styles of speech.

Depending on the contents and the aim of the utterance we usually distinguish several functional styles of speech: a) the style of fiction (стиль худо-

жественной прозы); b) the style of scientific prose (стиль научной прозы); and d) publicist style (публицистический стиль) which includes oratorical style (ораторский стиль), c) official style (официально-канцелярский стиль)

The choice of vocabulary and sentence patterns is to a great extent determined by their being used in spoken or written speech, each possessing distinctive characteristics of its own. Oratorical style is especially noted for abundant use of stylistic expressive means because it is often the effective use of language that plays a major part in winning the listeners over to the speaker’s side.

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Distinctive Linguistic Features of Functional Styles.

Scientific/academic style

Morphological features

Terminological word building and word-derivation: neologism formation by affixation and conversion.

Restricted, use of finite verb forms. Use of 'the author's we' instead of I. Frequent use of impersonal constructions.

Syntactical features

Complete and standard syntactical mode of expression.

Syntactical precision to ensure the logical sequence of thought and argumentation.

Direct word order.

Use of lengthy sentences with subordinate clauses.

Extensive use of participial, gerundial and infinitive complexes. Extensive use of adverbial and prepositional phrases.

Frequent use of parenthesis introduced by a dash. Abundance of attributive groups with a descriptive function.

Preferential use of prepositional attributive groups instead of the descriptive of phrase.

Avoidance of ellipsis, even usually omitted conjunctions like 'that' and 'which'. Prevalence of nominal constructions over the verbal ones to avoid time reference for the sake of generalization.

Frequent use of passive and non-finite verb forms to achieve objectivity and impersonality.

Use of impersonal forms and sentences such as mention should be made, it can be inferred, assuming that, etc.

Lexical features

Extensive use of bookish words e. g. presume, infer, preconception, cognitive.

Abundance of scientific terminology and phraseology.

Use of words in their primary dictionary meaning, restricted use of connotative contextual meanings.

Use of numerous neologisms. Abundance of proper names.

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Restricted use of emotive coloring, interjections, expressive phraseology, phrasal verbs, colloquial vocabulary.

Seldom use of tropes, such as metaphor, hyperbole, simile, etc.

Compositional features

Types of texts compositionally depend on the scientific genre: monograph, article, presentation, thesis, dissertation, etc.

In scientific proper and technical texts e. g. mathematics: highly formalized text with the prevalence of formulae, tables, diagrams supplied with concise commentary phrases.

In humanitarian texts (history, philosophy): descriptive narration, supplied with argumentation and interpretation.

Logical and consistent narration, sequential presentation of material and facts. Extensive use of citation, references and foot-notes. Restricted use of expressive means and stylistic devices.

Extensive use of conventional set phrases at certain points to emphasize the logical character of the narration, e.g. as we have seen, in conclusion, finally, as mentioned above.

Use of digressions to debate or support a certain point.

Definite structural arrangement in a hierarchical order: introduction, chapters, paragraphs, conclusion.

Special set of connective phrases and words to sustain coherence and logic, such as consequently, on the contrary, likewise.

Extensive use of double conjunctions like as... as, either... or, both... and, etc. Compositionally arranged sentence patterns: postulatory (at the beginning), argumentative (in the central part), formulative (in the conclusion).

Distinctive features described above by no means present an exhaustive nomenclature for each type. A careful study of each functional style requires investigation of the numerous types of texts of various genres that represent each style.

Publicist (media) style Phonetic features (in oratory)

Standard pronunciation, wide use of prosody as a means of conveying the subtle shades of meaning, overtones and emotions.

Phonetic compression.

Morphological features

Frequent use of non-finite verb forms, such as gerund, participle, infinitive.

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