Стилистический анализ текста. Учебное пособие
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restrained / unrestrained |
сдержанный / несдержанный |
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responsive / irresponsive |
восприимчивый / невосприимчивый |
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just / unjust |
справедливый / несправедливый |
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sensitive / insensitive |
чувствительный / нечувствительный |
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sensible / insensible |
благоразумный / неблагоразумный |
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sociable / unsociable |
коммуникабельный / некоммуника- |
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бельный |
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personal / impersonal |
личный / безликий, отчужденный |
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sympathetic / unsympathetic |
сочувствующий / черствый, несочувст- |
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вующий |
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tolerant / intolerant |
толерантный / нетолерантный |
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trustworthy / untrustworthy |
заслуживающий доверия / не заслужи- |
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вающий доверия |
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В. Expressing your opinion – intensifiers: |
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In my opinion / view |
По моему мнению |
My impression is… |
У меня сложилось впечатление |
From my perspective… |
С моей точки зрения |
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actually |
на самом деле; как ни странно |
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additionally |
кроме того |
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amazingly |
удивительно |
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considerably |
значительно |
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especially |
особенно |
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extremely |
крайне |
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mainly |
в основном |
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notably |
весьма, особенно |
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particularly |
особенно; подробно |
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predominantly |
преимущественно |
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remarkably |
необыкновенно |
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surely |
непременно |
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totally |
полностью, совершенно |
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truly |
по-настоящему |
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Theme, topics
The story / essay
• |
deals with |
• |
addresses |
• |
is concerned with |
• |
discusses |
• |
describes |
• |
presents |
• |
examines |
• |
covers |
• |
reveals |
• |
outlines |
• |
exposes |
• |
considers |
• |
dwells on |
• |
looks into |
• |
explains |
• |
treats |
The author unfolds a theme in which stupidity, hypocrisy and ambition play their sorry parts.
Problems and conflicts
The gist/core of the problem raised in the story is ...
The subject taken up in the story/article is ...
The issues/problems of... are the concern of this article.
The problems addressed in the article are acute (urgent, vital, burning).
The story deals with the burning problems of life: politics, economics, education, marriage, and so on.
The story is full of problems, but they emerge as part of life which is so energetically, vividly, frankly offered for our inspection.
The author remains concentrated on these problems throughout the story.
In his story the author turns to the conflicts of contemporary life.
The central conflict of the story is ...
Main idea
The main idea/message of the story is ...
... is the main thread of the story.
The idea is conveyed through the presentation of... (the dialogue of...)
The moral of the story is ...
Setting
The story is set in ...
The scene is laid in ..
The action takes place in ...
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Summary
The story is written in a form of... (the author's recollections, the dialogue, narration, autobiography)
As the story unfolds,...
The plot of the story is complicated (intricate, tangled up).
The story has a(n)
• interesting |
• witty |
• entertaining |
• banal |
• exciting |
• trite |
• gripping |
• commonplace |
• amusing |
• skillfully developed |
• enjoyable |
• slow-moving / fast- |
• funny |
moving plot |
The plot of the story centers round...
The plot of the story baffles the reader.
Composition and point of view
The text presents narration / description / character drawing / dialogue.
The story is told by one of the characters, by a narrator outside the story… It’s 1st person/ 3d person narrative.
Many of the events, reactions and descriptions in the story are seen through the main character's eyes.
Mood
... serves to convey to the reader the mood of the story (epic / dramatic, emotional / lyrical / humorous / ironical).
The atmosphere of gayety characteristic of the beginning is changed by sad humor towards the end.
The ironical treatment of the subject is seen from the very first lines.
The discrepancy between the subject matter and the manner of narration may serve the purpose of the writer to create ironic or humorous effect.
Characters
The author reveals the nature of his characters through (actions, details, dialogues, etc.)...
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The author resorts to the direct / indirect method of description.
We can judge about the traits of the character from his/her actions / bits of conversation…
From… we grasp/get the information about…
The author shows (presents)
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complex / complicated |
• |
superficial |
• |
simple |
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flat / round |
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imaginary |
• well / badly portrayed |
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realistic |
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characters |
•convincing / unconvincing
The author portrays /depicts the character truthfully, with convincing strokes.
The character is merely sketched.
The reader can easily understand the author's own attitude towards his characters. The author uses such epithets of positive/negative colouring as…
The author's irony exposes the vices of this society: hypocrisy, moneyworship, and moral degradation. That is why one can hardly find any positive character in the novel.
The character of the heroine is drawn with admirable skill. She is fullblooded and many-sided: adventurous, gifted, with a keen sense of humor and deep understanding of people.
He is the only character worthy of the author's positive estimate.
This description provides an essential clue to the character.
His life is characteristic of / typical of / peculiar to...
She is an embodiment of beauty.
Money becomes the prime object of their worship and respect.
Speech
The author resorts to graphic means to render the effect of the character’s intonation and thus to stress the emotional colouring of the utterance.
The personage is splendidly characterized through their speech as uncultured, uneducated (his speech abounds in colloquialisms and vulgarisms, the grammar is incorrect).
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Assessment of the story
The story has a deep emotional/intellectual appeal.
This story is intended to provoke thought.
This story gives food for thought.
This story is realistic in style, cordial in comedy, sympathetic in mood.
The story provokes contradictory assessments.
The story is marked with pessimism/optimism.
The story is characterized by gripping narrative and deep emotional im-
pact.
The story is permeated with irony/lofty ideas/strong feeling
The story is a remarkable insight into human character/ The story is an indepth study of human nature.
The story reveals human virtues and vices.
The story shows the author's concern with the moral principles.
The charm of the story lies in a realistic portrayal of the characters and a truthful description of...
The charm of this story lies in its interesting plot and exciting situation. At the same time it conveys deep thought, keen observation and sharpness of characterization. These very qualities assure the author of an outstanding place in the annals of literature and in the hearts of all who love good stories.
This story is a delight to read, even though it is made of material which is so disgusting and depressing.
Though possessing some social problems, this story seems to have an air of being away from reality.
Whatever is sick, sad and ugly in modern urban life is depicted in the story; its rare moments of beauty too.
Author and his (her) style
The author gives an account of...
The author conveys his emotions to the reader using ...
The author brings to the reader's notice (draws the reader’s attention to)…
The author gives a comprehensive and vivid picture of...
The author voices dissatisfaction with ...
The author seems to be the spokesman of the spirit of time.
The author's aim is to concentrate the reader's attention on the inner world of his characters.
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The author displays a mastery in rendering the subtleties and contradictions of life.
The author is focused on human feelings and relationships, actions and motives.
The author explores the complexity of human character/ smb's inner mo-
tives.
There is one trait always present in this author's books, which singles him out of commonplace writers.
The author's attention is focused on ...
It is ... that falls under the author's observation.
The author's strong point lies in a vivid description of the beliefs, customs, manners, costumes, language of the epoch plus the energy and movement which his story displays.
The author's sympathy lies with ...
The author’s attitude (sympathy / contempt / indifference) to… is seen from…
The author is known for a deep psychological analysis of his heroes and a very thoughtful attitude to the burning political and social problems of the day.
The foundation of the author's talent lies in a remarkable power of ironic insight combined with an extremely keen and faithful eye for all the phenomena on the surface of the life he observes…
The author starts a new tradition of bringing the language of literature (in the author's speech, no less than in that of the personages) close to the language of real life. He does away with the elaborate syntax of the 19th century prose and cultivates somewhat abrupt sentences, true to the rhythm and the intonation of the spoken language and full of low colloquialisms and even slang.
Giving the author his due for brilliance of style and a pointed ridicule of many social vices, such as snobbishness, money-worship, pretence, self-interest, etc., we realize, however, his cynical attitude to mankind. It is quite obvious that when describing the corruption of modern society, he is not indignant but rather amused.
The author's style is remarkable for its powerful sweep, brilliant illustrations and deep psychological analysis. Everything he touches seems to reflect the feelings of the heroes, and his power in depicting their passions - hate, fear, revenge, remorse, love - is enormous.
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Linguistic and stylistic means
Such SD as…are keyed to the purpose of expressing/exposing.... (use the nouns to be more specific)
Such SD as… serve the purpose of giving the reader a deep insight into the situation and the characters
The idea of… is conveyed / expressed / revealed / displayed through…
This idea is further sustained / developed through the use of…
...leads to comical effect.
... intensifies the total effect.
... brings out the character's essential nature.
... adds much to the revelation of...
... stands in contrast to ...
The compositional arrangement of the text (stylistic devices) helps to bring the idea out (to create tense atmosphere, to show the real state of things…)
The author resorts to simile/metaphor/epithets… in order to reveal / show / accentuate / enhance…
The enumeration shows the author's striving for an exhaustive and fully detailed presentation of the phenomenon dealt with.
The following stylistic devices contribute to the expressiveness of the pas-
sage.
The author makes extensive use of ... to render the story more vivid, convincing, more real and emotional.
All the descriptive attributes used in the passage serve to convey to the reader...
An additional humorous effect is produced by...
The description of ...is contrasted to that of...
In this paragraph the same image is further developed and enhanced through the use of…
Vocabulary
The choice of vocabulary and stylistic devices is admirable / The vocabulary is elaborate.
The text is rich in the choice of words (literary or bookish, terms, foreign words and barbarisms, colloquialisms, slang words).
The author avoids common, neutral words and uses emotionally coloured
ones.
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The author resorts to high-flown phrases/expressions to show...
There is a tendency to deliberate employment of strictly literary vocabulary to depict most trivial facts.
The abundant use of colloquial expressions and idioms serves to make the dialogue sound natural.
Syntax
The syntax too participates in conveying the atmosphere of…
The abrupt change of sentence length and structure contributes to the expressiveness of the passage.
The story presents a sample of spoken English with its main peculiarities: elliptical sentences, contractions, colloquialisms and so on.
List of authors whose texts were used
R. Aldington, A. Cronin, W. H. Davis, Ch. Dickens, F. Scott Fitzgerald, Robert Frost, Jerome K. Jerome, J. Galsworthy, Gr. Green, W. Golding, E. Hemingway, St. Heym, John Keats, K. Mansfield, Malcolm X J., O’Hara, M. Renault, D. Salinger, A. Tennyson, N. Travis, R. P. Warren, O. Wilde, M. Wilson, W. Wordworth, R. Wright.
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Используемая литература
1.Александрова О.В. Хрестоматия по английской филологии. М.: «Выс-
шая школа»,1991. – 253 с.
2.Аракин В.Д. Практический курс английского языка для III курса. М.: Высшая школа, 1989.
3.Аракин В.Д. Практический курс английского языка для IV курса. М.: Высшая школа, 1975.
4.Басс Э.М. Научная деловая корреспонденция. Английский язык. М.:
Наука, 1991.
5.Берлизон С.Б. и др. Пособие по письменной практике (на англ. яз.). Учебное пособие для студентов фак. и ин-тов иностр. яз. Л.: Просве-
щение, 1976.
6.Кухаренко В.А. Практикум по стилистике английского языка. М.: Высшая школа, 1986.
7.Рекомендации по ведению деловой и частной переписки на английском языке / Под ред. Н.С. Трифоновой. Ростов н/Д: Научный сервис, 1991.
8.Sosnovskay V.B. Analytical Reading. M., 1974.
9.Sushinskaya S.; Sushinsky I.. Law and Business. M.: ГИС, 1999.
10.Ramsay Fowler, Jane E.Aaron. The Little Brown Handbook. The HarperCollins CollegePublishers, Sixth Edition, N.Y.1995.
139
APPENDIX
A. Glossary
1. |
Стилистика |
Stylistics |
(stai `listiks) |
2. |
Стиль |
Style |
|
3. |
Жанр |
Genre |
( a: nr) |
4. |
Тропы |
Tropes |
(troups) |
5. |
Выразительное средство |
Expressive means |
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6, |
Стилистический прием |
Stylistic device |
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7. |
Художественный стиль |
Belles-lettres style |
(`bel`letr) |
8. |
Метафора |
Metaphor |
(`metэfэ) |
9. |
Метонимия |
Metonymy |
(mi`tonimi) |
10. |
Синекдоха |
Synecdoche |
(si` nekdэki) |
11. |
Ирония |
Irony |
(`aierэni) |
12. |
Зевгма |
Zeugma |
(`zju:gmэ) |
13, |
Каламбур |
Pun |
|
14. |
Эпитет |
Epithet |
(`epi et) |
15. |
Оксиморон |
Oxymoron |
('oksi` mo:ron) |
16. |
Антономасия |
Antonomasia |
(æntэnэ` meisiэ) |
17. |
Сравнение |
Simile |
(`simili) |
18. |
Парафраза (перефраз) |
Periphrasis |
(pэ` rifrэsis) |
19. |
Эвфемизм |
Euphemism |
(`ju:fimisэm) |
20. |
Гипербола |
Hyperbole |
(hai` pэ:bэli) |
21. |
Преуменьшение |
Understatement |
|
22. |
Клише |
Cliche |
(`kli: ei) |
23. |
Аллюзия |
Allusion |
(э` lu:зэn) |
24. |
Обособление |
Detachment |
|
25. |
Оттягивание |
Suspense |
(sэs`pens) |
26. |
Эмфатическое подчеркивание |
Emphatic construction |
|
27. |
Параллелизм |
Parallel construction |
|
28. |
Хиазм |
Chiasmus |
(kai`æzmэs) |
29. |
Повтор |
Repetition |
|
30. |
Анафора |
Anaphora |
(э`næfэгэ) |
31. |
Эпифора |
Epiphora |
(i` pifэrэ) |
32. |
Кольцевой повтор (обрамле- |
Framing |
|
33. |
Подхват (анадиплозис) |
Anadiplosis |
(`ænэdi` plousis) |
34. |
Корневой повтор |
Root-repetition |
|
35, |
Плеоназм |
Pleonasm |
(`рli:.эnæzэm) |
36, |
Тавтология |
Tautology |
(to:`tolэdзi) |
37. |
Перечисление |
Enumeration |
(i` nju:mэrei n) |
38. |
Градация (климакс) |
Climax |
(`klaimэks) |
39. |
Антитеза |
Antithesis |
(æn`ti isis) |
40. |
Полисиндетон |
Polysyndeton |
(`poli`sinditэn) |
41. |
Асиндетон |
Asyndeton |
(æ`sinditэn) |
42. |
Эллипс |
Ellipsis |
(i`lipsis) |
|
|
140 |
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