Добавил:
ivanov666
Опубликованный материал нарушает ваши авторские права? Сообщите нам.
Вуз:
Предмет:
Файл:Стилистика английского языка. English Stylistics. Учебное пособие
.pdf
111
Chapter 5. The colloquial style
George: Well, that’s good. The only person I’ve spoken to really is my
tutor.
Martina: It’s good to have someone you can talk to. And he may help
you to meet other students.
George: Actually that doesn’t bother me. I’m bound to get to know
some people sooner or later.
Martina: Oh I would have thought so. Well we certainly have a lot of
work ahead of us. It seems like a long time, doesn’t it – studying for three
years.
George: Yes it does – but I’m sure it’ll go quickly. You know I’m
really dreading the first assessment.
Martina: Oh – where are you living?
George: I’m living in a hall of residence. I thought that would be a
good idea as there’d be a lot of people around but I’m finding it a bit
noisy.
Martina: So I guess you need to be somewhere on your own then?
George: Yes – well I do like to have some people around me, so I’d
prefer to live with a family somewhere in a house not too far from the
university.
Martina: Well good luck with that.
George: Yes thanks – and good luck to you as well. I have to dash now.
I’ve another lecture in ten minutes. Bye for now.
Martina: Bye.
A conversation of two university professors
from the novel “Thinks…” by the British author D. Lodge
They walk in silence for a while.
“I get the impression you wish you hadn’t come here”, he says.
“I’m probably just homesick,” she says. “I daresay I’ll settle down
soon, and enjoy it.”
“Why did you apply for the job?”
“I need the money, for one thing.”
“But they pay you peanuts!” he exclaims, adding, “I happen to know
because I’m on the Senate Academic Appointments Committee. I saw the
papers .”
“It may seem like peanuts to you, but I need it,” says Helen. “I don’t
earn a great deal from my books, alas. And although Martin’s life was
112
Part II. FUNCTIONAL STYLISTICS
insured, it only yields a modest annuity. But you’re right, it wasn’t just for
the money. My daughter’s having a gap year between school and
university, she’s in Australia. It was all planned before Martin died,
I didn’t want to stop her. It’s what they all do nowadays. And my son’s in
Iowa for his year abroad – he’s doing American Studies at Manchester.
The house seemed very big and echoey without them. And too full of
memories. I thought a change of scene would do me good…”
“What about you” she asks. “D’you like it here?”
“It’s all right,” he says, “but I’d go mad if I didn’t get away from time
to time.”
A stylized piece of colloquial speech
from the novel “Anything Considered” by the British writer P. Mayle
Brahms had been replaced on the stereo by the new Alain Souchon
CD that Susie had bought in Nice, and she came swaying out of the
sitting-room, champagne in hand, to welcome Bennett.
“Buona sera, signore”. She giggled, and spun around. “Well, do you
still like it?”
If anything, the scraps of gauze she was wearing looked even more
transparent and vestigial than they had in the boutique, and Bennett had
to swallow hard before commenting. “I’m so glad you decided on
something sensible, Suze. I’m sure your mother would approve.”
She pouted. “That’s so English. You should have seen those nice
Italians – kissing their fingers, rolling their eyes, shouting “Bellissima”
all over the place – it did a girl’s heart good, I can tell you.”
Bennett frowned. “When was this? What Italians?”
“Now don’t get all prickly, or I’ll start to think you’re jealous. There
was a knock at the door, and I thought you’d forgotten your key, and there
they were. They just came to pick up that little case in the hall, and they
were very sweet. They could teach Englishmen a thing or two. I mean,
can you imagine old Henry from Chelsea saying “Ciao, bella” without
sounding like a complete pronk?”
“Wait a minute, Suze. Shimo was supposed to be picking up that case.
He never said anything about two randy Italians.”
“There you go again. Charming, I’d say, not randy. Charming. Who’s
Shimo, anyway?”
113
Chapter 5. The colloquial style
Bennett felt a knot of foreboding tighten in his stomach. “Someone
I think I’d better call.”
But Shimo wasn’t there. He was on his way to Monaco. Would
monsieur like the remote number? Bennett put down the phone. “Oh,
sh it.”
“What’s the matter?”
“I have a nasty feeling something’s just gone wrong.”
REFERENCES
Арнольд, И.В. Стилистика. Современный английский язык : учеб.
6-е изд. / И.В. Арнольд. М. : Флинта ; Наука, 2002. – 384 с.
Бурлак, Т.Ф. Функциональные стили английского языка = Functional
Styles of the English Language : учеб.-метод. пособие / Т.Ф. Бурлак [и др.].
Минск : МГЛУ, 2010. – 108 с.
Знаменская, Т.А. Стилистика английского языка. Основы курса : учеб.
пособие. 5-е изд., испр. и доп. / Т.А. Знаменская. – М. : Издательство ЛКИ,
URSS, 2008. – 224 с.
Лапшина, М.Н. Стилистика современного английского языка : учеб.
пособие / М.Н. Лапшина. М. : Издат. центр «Академия», 2013. – 272 с.
Мальцев, В.А. Стилистика ангийского языка = Essays on English
Stylistics : учеб. пособие / В.А. Мальцев. – Минск : Выш. шк., 1984. –
117 c.
Скребнев, Ю.М. Основы стилистики английского языка : учеб. 2-е изд.,
испр. / Ю.М. Скребнев. – М. : Астрель ; АСТ, 2003. – 221 с.
APPENDICES
APPENDIX 1
PLAN FOR COMPLEX STYLISTIC ANALYSIS
Different plans are recommended for complex stylistic analysis of a
concrete text. Yet, whatever the text under consideration is, the essence of
stylistic analysis is associated with the correct stylistic attribution of the
text and is connected with answering the questions listed below. The
questions are followed by some clichés that will help you to begin and
shape the answers. Here they are:
1. What is the text / extract about?
The text / extract deals with… .••
The text / extract reads about… .••
The text / extract is on / about… .••
2. Who writes / speaks? What are his / her professional interests?
The text / extract is written by a journalist / a reporter who works ••
for… / a scientist, etc.
The author of the text / extract is a well-known writer famous ••
for… .
The author of the text / extract also gives the floor to… .••
3. What is the target audience: professionals, laymen or the general
public?
The text / extract secures communication between… .••
The text is intended for those who are involved in… .••
The text / extract addresse•• s a wide readership.
The addressee of the text / extract is the scientist of the field.••
114
115
4. What is the aim of the author?
The author merely informs the reader.••
The author persuades / entertains / evokes aesthetic pleasure / ••
explains / instructs, etc.
5. What are the structural peculiarities of the text?
The text contains all formal elements of the structure.••
The author makes certain parts of the text more prominent by… .••
The structural arrangement of the text is rather specific due to… .••
The text is carefully paragraphed as… . ••
The journalist resorts to the inverted pyramid structure for… .••
The text is presented in the form of a dialogue / is a mixture of the ••
author’s words and the words of the characters.
6. How can you comment on the word choice?
The bulk of the vocabulary is neutral / bookish / literary / formal / ••
informal which is caused by the author’s intention to… .
The author applies a number of emotionally-coloured words so as to... .••
The clichéd expressions underline… .••
The abbreviations / neologisms are the markers of… .••
The text abounds in terminology which is a true sign of… . ••
The author uses vulgarisms / slang words / dialectal words / contracted ••
forms / interjections / intensifiers / phrasal verbs to show… .
Appendix 1
7. What grammatical features add a specific sounding to the
text / extract?
The majority of the sentences are simple because… .••
The presence of complex and compound sentences signals… .••
The use of elliptical / one-member sentences testifies to… .••
In general the author writes in the 3rd person / 1st person in order ••
to… .
The text / extract is full of passive voice constructions / impersonal ••
sentences which… .
The application of the generalizing pronoun •• we / the so-called “we-
of-modesty” contributes to… .
The elements of non-standard grammar indicate… .••
116
Appendices
8. Does the text / extract contain any lexical and syntactical expressive
means and stylistic devices / means of argumentation? If yes, of what
kind, and what role do they perform?
Lexical and syntactical expressive means and stylistic devices are ••
mainly absent from the text / extract as… .
Multiple stylistic devices make the text / extract expressive. ••
In his / her evaluation of what is in question the author applies ••
different lexical stylistic devices, to which belong… .
The epithets… speak out the emotions of the author and play on the ••
emotions of the addressee.
The humorous tone of the text / extract is created by the use of pun / ••
zeugma / periphrasis / hyperbole, etc.
The extract is dominated by the sustained metaphor… , the function ••
of which is… .
In most cases the lexical devices are dead (trite) because… .••
To strengthen the idea the author uses a number of syntactical ••
stylistic devices, for example… .
The author resorts to such means of argumentation / logical ••
reasoning as… to support his / her position.
To ground his / her standpoint the author quotes the opinions of ••
public figures / outstanding writers / other scientists, etc.
The varied set of connectives secures… . ••
9. How well did the author succeed in achieving his / her aim?
The author achieved his / her purpose effectively. ••
The author did his / her best to stimulate the reader’s imagination / ••
assure the addressee / make a many-sided picture of the event.
The writer managed to arouse the reader’s interest / sympathy / ••
admiration / compassion.
10. So, all in all what proves that the text / extract under analysis
belongs to a particular style and its subdivision?
The language means and structural peculiarities of the text reflect ••
the conventions of the… style.
Judging by… it is possible to conclude / resume that the text / ••
extract is a piece of the scientific prose style, an example of popular
117
Appendix 2
scientific writing (an article) / of the news media style, an example of
“news” journalism (a news report) / of the belles-lettres style, an example
of fiction (a short story), etc.
APPENDIX 2
KEY TO SELF-CONTROL QUESTIONS
Chapter 1. Assignment 20: 1) b; 2) c; 3) a; 4) d; 5) c; 6) c; 7) b; 8) b;
9) c; 10) c; 11) c; 12) c; 13) b; 14) a; 15) b; 16) c; 17) a; 18) c.
Chapter 2. Assignment 6: 1) parallel constructions; 2) unuttered
represented speech, parallelism; 3) inversion; 4) anticlimax; 5) uttered
represented speech; 6) parenthesis; 7) litotes; 8) antithesis; 9) inversion;
10) inversion, detachment; 11) antithesis; 12) inversion, parallel
constructions; 13) ellipsis, parallelism; 14) uttered represented speech;
15) aposiopesis, litotes; 16) aposiopesis in the inner monologue;
17) ellipsis, anaphoric repetition, enumeration; 18) climax; 19) detachment,
litotes; 20) apo siopesis; 21) ellipsis, detachment; 22) polysyndeton,
inversion; 23) uttered represented speech; 24) parallel constructions;
25) rhetorical question; 26) climax; 27) parenthesis, climax, aposiopesis;
28) inversion) 29) inversion, ellipsis; 30) climax, detachment; 31) ellipsis,
aposiopesis; 32) questions-in-the-narrative, parallel constructions,
ellipses; 33) antithesis; 34) suspense.
118
Appendices
APPENDIX 3
LIST OF SELECTED STYLISTIC TERMS
Term Transcription
allusion
anadiplosis
pl. anadiploses
anaphora
antithesis
pl. antitheses
antonomasia
aposiopesis
asyndeton
chiasmus
climax
decomposition of
апозиопезис / апозиопеза
асиндетон (бессоюзная
set phrases
detachment
ellipsis
pl. ellipses
epiphora
epithet
z
gap-sentence link послепредложение
hyperbole
inner monologue
inversion
irony
litotes
аллюзия
анадиплосис /
анадиплозис
анафора
антитеза
антономазия /
антономасия
свя зь)
хиазм
градация
дефразеологизация
обособление
эллипсис
эпифора
эпитет
гипербола
внутренний монолог
инверсия
ирония
литота
119
Appendix 3
Term Transcription
metaphor
metonymy
oxymoron
parallelism
periphrasis
pl. periphrases
personification
play on words /
метафора
метонимия
оксюморон
параллелизм
перифраз
олицетворение
игра слов
pun / word play
polysyndeton
полисиндетон
(многосоюзная связь)
question-in-the-
narrative
quotation
повествовательный
вопрос
цитата
represented speech несобственно-прямая
речь
rhetorical question
simile
stylistic device
suspense
synecdoche
trite (syn.: dead,
hackneyed) meta-
риторический вопрос
сравнение
стилистический прием
ретардация
синекдоха
стершаяся / избитая /
традиционная метафора
phor
trope
zeugma
троп
зевгма
120
Appendices
APPENDIX 4
LIST OF AUTHORS WHOSE BOOKS WERE USED
AS ILLUSTRATIVE MATERIAL
J. Austin, J. Archer, A. Christie, Ch. Dickens, J. Galsworthy, O’Henry,
Gregory MCDonald, John.D. MacDonald, Ross. MacDonald,
K. Mansfield, S. Maugham, J.B. Priestley, W. Shakespeare, B. Shaw,
M. Twain, P.H. Wodehouse.
Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]