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Файл:Стилистика английского языка. English Stylistics. Учебное пособие
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СТИЛИСТИКА
АНГЛИЙСКОГО ЯЗЫКА
English sTYlisTiCs
Допущено Министерством образования
Республики Беларусь в качестве учебного пособия
для учащихся учреждений образования,
реализующих образовательные программы
среднего специального образования
по специальности «Иностранный язык»
2-е издание, стереотипное
Минск
РИПО
2018
2
УДК 811.111’38(075.32)
ББК 81.2Англ-5я723
С80
А в т о р ы :
канд. филол. наук, доцент Л. С. Крохалева,
доцент Т. Ф. Бурлак, канд. филол. наук, доцент С. Ф. Чистая,
канд. филол. наук, доцент С. Е. Кунцевич, Г. А. Назина
Р е ц е н з е н т ы :
доцент кафедры английской филологии УО «Гродненский
государствен ный университет имени Янки Купалы», канд. филол. наук,
доцент Е. О. Шейко; цикловая комиссия практической грамматики
Лингвогуманитарного колледжа УО МГЛУ (Т. А. Соболь).
Все права на данное издание защищены. Воспроизведение всей книги или любой
ее части не может быть осуществлено без разрешения издательства.
Выпуск издания осуществлен при финансовой поддержке Министерства
образо вания Республики Беларусь.
= English Stylistics :
С80
учеб. пособие / Л.С. Крохалева [и др.]. – 2-е изд., стер. – Минск :
РИПО, 2018. – 122 с.
ISBN 978-985-503-762-1.
В учебном пособии освещаются базовые теоретические положения, относящиеся к проблематике экспрессивной и фу нкциональной стилистики, которые составляют основу стилистик и как лингвистической дисциплины. Многочисленные
примеры использования лексических и синтаксических стилистических приемов
в оригинальных контекстах, а также аутентичные разножанровые тексты нацелены на формирование у обучаемых навыков лингвостилистического ана лиза.
Учебное пособие предназначено для учащихся учреждений среднего специального образования лингвистического профиля. Может быть использовано специализирующимися в английском языке студентами заочной формы обучения,
магистрантами и аспирантами нелингвистических вузов, а также широким кругом
лиц, интересующихся стилистическим своеобразием английского языка.
© Оформление. Республиканский институт
профессионального образования, 2017
3
ПРЕДИСЛОВИЕ
Учебное пособие «Cтилистика английского языка» соответствует Типовой учебной программе по стилистике для колледжей
и учреждений среднего специального образования лингвистического профиля и состоит из введения, двух частей, включающих
семь глав (две и пять соответственно), и четырех приложений.
Цель учебного пособия состоит в том, чтобы помочь учащимся
овладеть программным материалом по учебной дисциплине «Стилистика (английский язык)». Приоритетной задачей выступает формирование навыков лингвостилистического анализа текстов, принадлежащих к рассматриваемым функциональным стилям, с использованием инструментария экспрессивной стилистики.
Данное учебное пособие главным образом предназначено для
практического применения, поэтому при отборе учебного материала авторы принимали во внимание его значимость и актуальность не только в рамках лингвистики, но и в жизни современного
социума.
В учебном пособии освещаются базовые теоретические положения, относящиеся к проблематике экспрессивной и функциональной стилистики и составляющие основу стилистики как лингвистической дисциплины. В первой части наряду с теорией представлены многочисленные примеры использования лексических и
синтаксических стилистических приемов в оригинальных контекстах, подобранных авторами для анализа. Вторая часть дает представление об основных функциональных стилях английского языка.
Специфика рассматриваемых функциональных стилей проиллюстрирована аутентичными текстами либо их фрагментами, интерпретация которых предполагает формирование у обучаемых навыков лингвостилистического анализа. В обеих частях предусмо-
4
Предисловие
трены вопросы для самоконтроля и задания для организации
самостоятельной работы учащихся.
Учебное пособие завершается планом комплексного стилисти-ается планом комплексного стилистического анализа различных типов текстов (в том числе и нехудожественных) с позиций коммуникативно-функционального подхода. Концептуальной основой плана является понимание текста
как субъектоцентрического феномена. План также базируется на
моделях интерпретации разножанровых текстов, разработанных
на кафедре стилистики английского языка Минского государственного линг ви стического университета и в течение ряда лет успеш но
используемых в учебном процессе. Подобные модели углубляют
и расширяют традиционное лингвостилистическое толкование
текста и тем самым способствуют формированию дискурсивностилистических компетенций обучаемых.
Учебное пособие разработано на кафедре стилистики английского языка Минского государственного лингвистического университета. В авторский коллектив вошли: кандидат филологических
наук, доцент Людмила Сергеевна Крохалева (Cинтаксическая стилистика, Научный стиль, общее руководство авторским коллективом), доцент Тамара Фадеевна Бурлак (Лексическая стилистика,
Стиль официальных документов), кандидат филологических наук,
доцент Светлана Федоровна Чистая (Медийный стиль, Художественный стиль, план комплексного стилистического анализа
текста), кандидат филологических наук, доцент Светлана Евгеньевна Кунцевич (Предисловие, Введение, разработка композиционной структуры и оформление пособия), старший преподаватель
Гликерия Анатольевна Назина (Разговорный стиль, список стилистических терминов).
INTRODUCTION
Stylistics is the academic discipline which studies certain aspects of
language variation. Being an essential part of general linguistics, stylistics
occupies the highest position in the traditional hierarchy of linguistic
disciplines with theoretical phonetics at the bottom, theoretical grammar
and lexicology in between. The object of study of this discipline is
s t y l e , but the term needs further qualification as far as it is used in
numerous senses.
The word style was borrowed into European languages from Latin;
originally stylos meant a short stick, sharp at one end and flat at the
other. Such a tool was used for writing on wax tablets in ancient times.
Now the word style can be applied to almost any kind of human activity
which is performed in more than one way, as well as to the result of such
an activity. Since speech communication is a unique sphere of human
activity, it is not surprising that there exist various definitions of style
in linguistics. The understanding of this term mainly depends on the
scholar’s point of view and the aim of investigation. In a most general
sense style is the result of individual choices and patterns of choice
among linguistic possibilities. That is, the same thought, idea, belief,
opinion, emotion, feeling or attitude can be expressed in more than one
way. And it is very important to say the right thing at the right time and
in the right place.
Depending on the school of thought linguists apply the term stylistics
to l i n g u o s t y l i s t i c s , t h e s t y l i s t i c s o f d e c o d i n g and
l i t e r a r y s t y l i s t i c s . It is necessary to add to this list d i s c o u r s e
s t y l i s t i c s which is a comparatively new trend of contemporary
stylistic research. Linguostylistics in its turn is traditionally subdivided
into e x p r e s s i v e s t y l i s t i c s and f u n c t i o n a l s t y l i s t i c s .
5
6
Introduction
EXPRESSIVE STYLISTICS
According to the theory of language levels, can
be further subdivided into p h o n o s t y l i s t i c s , m o r p h o l o g i c a l
s t y l i s t i c s , s y n t a c t i c a l s t y l i s t i c s , l e x i c a l s t y l i s t i c s
and t e x t s t y l i s t i c s . Also one should not ignore g r a p h i c a l
s t y l i s t i c s . Firstly, though graphic means do not belong to the
generally recognized language levels, they serve to convey in written
texts those ideas, feelings and emotions which in the oral types of texts
are expressed by intonation and stress. Secondly, the layout of the text, its
visual design (types, fonts, iconic elements, etc.) play an important role in
logical structuring of the content expressed by the author in a particular
language form.
The basic notions of expressive stylistics areexpressive means
and s t y l i s t i c d e v i c e s w hich convey stylistic information.
information can be understood as an aggregate of different shades and
nuances of stylistic meaning and typical or specific stylistic colouring of
the language means employed in the text.
are those phonetic, morphological, syntactical and
lexical forms which are used for the purpose of logical and / or emotive
intensification of the utterance. Lexical expressive means, for example, are
labelled in good dictionaries as “intensifiers”; in most cases they have
corresponding synonymous forms which are stylistically neutral.
Expressive means intensify the thought contained in the utterance by
commonly used language means (e.g. emotionally coloured words, modal
verbs and expressions, diminutive suffixes – as in the words auntie,
streamlet).
is a productive model, an abstract pattern into
which any content may be inserted. Stylistic devices can be regarded
as a special code which has to be well known to the reader / listener
for him / her to successfully decipher it. Stylistic devices function as
marked units carrying stylistic information. Concrete realizations of
an abstract scheme help to achieve desirable communicative effects.
Actually, stylistic devices are those expressive means which correspond
to certain language patterns included into the system of stylistic devices,
each of them having a special name (e.g. metaphor, metonymy, rhetorical
question, etc.).
7
Introduction
Expressive means and stylistic devices perform in context various
stylistic functions. The stylistic function can be defined as a pragmatic
usage of a certain type of stylistic meaning – expressive, figurative,
emotive, evaluative – in a communicative situation / in context. Some
examples of stylistic functions are as follows: d e t a i l i n g ,
concreting, evoking feelings, exciting emotions,
s t i r r i n g u p i m a g i n at i o n, the functions of i n t e n s i f i c a t io n ,
accentuation, gradation, laying emphasis, etc.
Text stylistics aims at investigating the most effective ways and means
of producing texts belonging to different styles, substyles and genres.
Stylistic analysis of a concrete text should lead to a clear and profound
understanding of its content and form which are inseparable. In this
respect stylistically significant seem to be the problems related to the
types of information imparted by the text, the problem of text categories
such as informativity, modality, expressiveness, emotiveness, accentuation
and the problem of basic textual segments (a paragraph, for instance).
As this book is mainly designed for practical usage, the authors are
selective in the areas they cover. Because of a special role played by
lexical and syntactical devices in transferring stylistic information, the
emphasis is on lexical and syntactical stylistics (See Chapter 1 and
Chapter 2, Part I).
FUNCTIONAL STYLISTICS
Within the framework of the communicative-and-functional approach,
scholars distinguish among different versions of the given language, the
so-called functional styles. is a system of interrelated
language means serving a definite aim in communication; functional
styles are products of concrete social tasks set out by the language
community (Galperin I. R.). They are the tools which help people to
understand one another in different spheres of communication, including
art, science, political, social and private life, etc. A particular choice and
arrangement of vocabulary, grammar and other linguistic means, called
style markers, are typical of texts belonging to a certain functional style.
Each functional style is further subdivided into substyles and genres.
Substyles and genres, in their turn, have their own language and
compositional peculiarities.
8
Introduction
One should bear in mind that, firstly, linguists are not unanimous in
their understanding of the nature of functional style; secondly, functional
styles undergo historical changes connected with technological
development of human civilization and with historical development of
the language itself.
According to the existing classifications, one can single out t h e
style of official documents, the scientific prose
s t y l e , the newspaper style and the publicist style (today some linguists
think that these two taken together establish the style of mass media and
certain parts of it should be treated as t h e n e w s m e d i a s t y l e a n d
the style of advertising) , t h e b e l l e s - l e t t r e s s t y l e ,
the style of religion, and t h e c o l l o q u i a l s t y l e . But not all of them
are generally accepted, for that reason only five of them (those given here
in spacing) are analysed in this book.
Each functional style is represented by a certain variety of genres that
are typical only of it (See, for instance, the news media and scientific
genres in Part II). To give a clear description of the functional style it is
necessary to study thoroughly many texts of the same genre as well as
many texts belonging to different genres of a particular style. Today’s
picture of functional styles is rather schematic as the result of a durable
tendency to extrapolate the linguistic data derived from randomly selected
texts to the functional style as an abstract language whole (Razinkina
N. M.).
THE STYLISTICS OF DECODING
Nowadays no science is entirely isolated from other domains of
human knowledge. Stylistics refers to such adjacent disciplines as
rhetoric and literature; apart from that, it is confronted with certain
overlapping issues of logic, psychology, sociology, statistics and the
theory of information.
For example, the stylistics of decodingappeared under the influence of
the theory of information. In terms of this theory:
communication can be defined as an activity in which information ••
is transferred from one system to another by means of some physical
embodiment;
9
Introduction
human language is the most powerful and elaborate of all means of ••
communication.
In a natural language, messages are materialized in two kinds of signals:
they are sound waves in the atmosphere (phonic substance), and the signs
of writing or printing (graphic substance). In terms of the theory in
question, language can be regardedas a very complicated code. In codes
like languages no matter what is said, more can always be said about the
same topic, and there is always more than one way of saying it. In language
as a code there is always a potential, a stock of signs which could be used
to convey the same message, to develop the same idea. This feature may
be termed as ; it is the redundancy of the language code that
provides the opportunity of choice (Maltzev V. A.).
The primary concern of stylistics of decoding is with language codes
and the particular message the reader can draw from the text, deciphering
these codes while reading. It is claimed that the stylistics of decoding is
based on the theoretical grounds of linguo- and literary stylistics
(Arnold I. V.). The central interest of this school of stylistic studies is the
output of the act of communication, the effect of the message. Needless to
say, that only a skillful reader / listener can perceive the information
contained in the text objectively.
LITERARY STYLISTICS
Some scholars think that the language of a particular writer can hardly
be considered as an issue of linguostylistics. The reason is as follows: not
only language means are to be analysed to understand the peculiarities of
the author’s style. One should take into account the problems touched
upon in the work of art, the message expressed in it, the literary trend the
writer belongs to, the literary techniques employed, the aesthetic value of
the work as an artistic whole. The object of linguostylistics is language,
and its functioning in texts; the object of literary stylistics is literature
and, to a great extent, how language is used in it.
Thus, the problem of individual style is a common ground for literature
and linguistics. The term presupposes a deliberate,
though often intuitional, choice of language means. It is normally applied
to the writer’s peculiar manner of using these language means to achieve
the effects he / she desires. If the writer does possess an individual style,
10
Introduction
it is easily recognizable and marked by uniqueness. By the language
community, individual styles are linked to concrete proper names. The
individual style is based on justifiable deviations from the literary norm;
therefore, it presupposes a perfect knowledge of its variants bearing this
or that stylistic colouring. The analysis of the author’s language preferences
seems to be the most important procedure in estimating his / her creative
individuality. Speech and language habits characteristic of an average
person are called idiolect.
The observation of how the language code is used by the writer or
poet serves only as a means to the main aim, that is interpretation. To
interpret and evaluate literary pieces of writing as works of art is the
ultimate purpose of literary stylistics.
DISCOURSE STYLISTICS
is a comparatively new interdisciplinary branch
of stylistics. The noun discourse can designate “conversation”; “lengthy
treatment of a subject”; “lecture, speech”. Used as a term, this word is
also polysemantic: it means a “cohesive utterance containing more than
one sentence”, “a text”, “an unlimited number of texts developing one
and the same theme or overall topic”.
Having a wide range of usages, the term in question tends to replace
the term that is a purely linguistic one. In discourse
stylistics a special accent is laid on a wider range of extralinguistic
factors – ideological, social, cultural, historical, psychological, etc. The
words text and discourse are also treated by linguists as synonyms. In
case they are used in different senses, text is regarded as an abstract unit
belonging to language-as-a-system, and discourse is understood as an
element of language-in-action / speech. Alongside these approaches,
there exit many more essentially rational ones.
As for discourse analysis, it is similar to stylistic analysis, but its main
aim is to unveil the effects of a social situation / context on language
choices and text interpretation. In other words, discourse analysis is context bound; therefore, it presupposes a careful study of its varied extralinguistic characteristics, mentioned above, the social relationships of the
participants of the communicative event, the target audience (e. g. “ideal”
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