Добавил:
ivanov666
Опубликованный материал нарушает ваши авторские права? Сообщите нам.
Вуз:
Предмет:
Файл:Стилистика английского языка. English Stylistics. Учебное пособие
.pdf
31
Chapter 1. Lexical stylistics
3. Years ago, he used to be not a bad little kid. But they gave him the
moon and stars.
4. “What are you doing there, darling, in your birthday suit?” inquired
Mrs. Stolart.
5. The gas fire retired from service with a very sad little pop.
6. Rudolph knows the District Attorney wishes to place him in the old
rocking chair at Sing-Sing, and Rudolph is quite allergic to the idea. (Sing-
Sing is a state prison)
7. I’m asking you to be godmother to my very own little serene bundle
of joy.
8. I have a car a few streets away, provided the boys in the blue haven’t
removed it by force.
9. In the middle of the room a tired-looking man in a worn tuxedo was
beating the life out of an exhausted grand piano.
10. The ship was met by men in caps, men in bowler hats, men in blue
helmets.
Assignment 15. Say to what group the following euphemisms belong
(political, social, moral, etc.).
1. Visual harassment (= staring).
2. Verbal abuse (= criticism).
3. duty-not-paid importing (= smuggling).
4. Uprising (= a riot you approve of).
5. tactical pricing (= panicky price cut).
6. Persistency specialist (= a bill collector).
7. to depart, to go to a better place, to meet one’s maker, to pass away,
to check out, to call it a day, to hand in the dinner plate (= to die).
8. Pre-owned, pre-used (= second-hand).
9. Loaded, juiced, well-oiled (= drunk).
10. to be anticipating, to be expecting, to be in the family way
(= pregnant).
11. Public convenience, WC, washroom, restroom, loo, john (vulgar),
toilet (= a lavatory).
12. Senior, mature (= old, aged).
13. with special needs (= disabled).
14. A non-ordinary shopper (= a shop lifter).
32
Part I. EXPRESSIVE STYLISTICS
15. motivationally deficient (= lazy).
16. Significant other, best half (= a spouse).
17. Unacknowledged repetition (= plagiarism).
18. Faith-based organizations (= religious organizations).
19. Rightsizing (= lagging-off workers).
20. Cultural genocide (= correcting a pupil’s nonstandard language).
Assignment 16. Discuss the meanings of the following clichés /
allusions.
1. Homer and Trojan War: Trojan horse, Achille’s heel, Siren voices,
An Odyssey.
2. Gods and Goddesses: titanic strength, Olympian detachment,
mercurial disposition, martial music.
3. Ancient philosophy: stoic endurance, platonic friendship, Socratic
argument, epicurean delights.
4. Ancient history: Crossing of Rubicon, Spartan conditions, rich as
Croesus, Pyrrhic victory.
5. Mythology: Sisyphean task, Pandora’s Box, Procrustes’ bed, Midas
touch.
6. Labours of Hercules: Herculean labours, Augean filth, Hydra’s
heads, the capture of Cerberus.
Assignment 17. Analyse cases of allusion in the following examples.
State their origin.
1. The Tower of Babel will rise again over every corner of England.
2. He knew Mark was trying to be a good Samaritan and he appreciated
it.
3. “This Bill Denning, who’s one of our oldest friends.”
“Yes, we came out of the Ark together,” Denning said.
4. I’ll wait for you downstairs and take you home before the fairy
coach changes into pumpkin.
5. Makay bowed, a Cheshire grin on his face.
6. Duckling into swan was all very well for Brothers Grimm, but in
Boston it was downright theatrical.
7. Prodigals are given rough reception.
8. I could see that she was a big pale girl, Alice through t a strange
looking-glass.
33
Chapter 1. Lexical stylistics
9. New York had become the mecca for trade from all over the world.
10. TV or not TV? That is the question.
11. So it was Saturday afternoon, and it was hot, and the breeze was
dying, and there were nine of us left on the island, plus the stuff. Nine
Little Indians.
12. Tickets from Rugby to Doublin had actually been purchased in
the absurd and incredible name of Solomon Grandy.
Assignment 18. Read the following “digital” proverbs and sayings and
give their origins.
1. There is no place like home.com.
2. You can’t teach a new mouse old clicks.
3. A chat has nine lives.
4. Too many clicks spoil the browse.
5. Windows will never cease.
6. Don’t byte off more than you can view.
7. Fax is stranger than fiction.
8. A journey of a thousand sites begins with a single click.
Assignment 19. Point out cases of decomposing set phrases. Give their
original forms.
1. Most women are not so young as they are painted.
2. He’s wearing his political colours on his sleeve.
3. She had such good bones. Her skeleton would have been an ornament
in any closet.
4. And when he looked at Rob he saw an apple falling close to the tree.
5. The Czarina looked baffled, but she knew better than to ask why
the mountains were going to visit Muhammad.
6. For Wiggar’s news was something that added fuel to banked fire of
my own anxieties.
7. A good wife would have been able to keep her husband healthy,
wealthy and wise.
8. A woman’s place is in the House.
9. Don’t bite the hand that is dirty.
10. A stitch in time saves embarrassment.
34
Part I. EXPRESSIVE STYLISTICS
SELF-STUDY: CONTEXTS FOR STYLISTIC ANALYSIS
Assignment 20. Choose the right variant of the three stylistic devices
after each sentence. Check your answers against the key (see Appendix 2).
1. It was the first time a mink coat walked into his office.
a) metaphor b) metonymy c) irony
2. The theatres and picture houses shouted to him their knowledge of
girls and love.
a) pun b) metonymy c) personification
3. Some nights the only good things on TV are a vase and a clock.
a) pun b) irony c) metonymy
4. My very close friends lost their savings. Thanks to Mr. Charming.
a) epithet b) antonomasia c) hyperbole
5. She exhausted both her audience and her repertoire.
a) pun b) irony c) zeugma
6. Several promising young writers of sixty stroll over, listen and stroll
again taking their great thoughts with them.
a) pun b) metonymy c) irony
7. The blue suit grinned, might even have winked.
a) personification b) metonymy c) metaphor
8. She walked towards the door and the future.
a) metaphor b) zeugma c) irony
9. Margaret shook a reproachful finger at Rita.
a) personification b) irony c) epithet
10. She spent so many years trying to make this ugly duckling into a swan.
a) hyperbole b) metonymy c) allusion
11. Hope marched with us on that journey.
a) pun b) epithet c) personification
12. “What do you think, Frankie? Will the old man make a trip down
the aisle with Doris?” Kim pressed.
a) metaphor b) zeugma c) periphrasis
13. Cars crawled like coloured beetles between the buildings.
a) epithet b) simile c) pun
14. He crossed the lobby to the old elevator, punched the button and
waited eternity for it to arrive.
a) hyperbole b) periphrasis c) oxymoron
35
Chapter 1. Lexical stylistics
15. Better to lose with a wise man than to win with a fool.
a) allusion b) proverb c) personification
16. He smiled his pleasantly ugly smile as he came into the tiny
dressing-room.
a) pun b) epithet c) oxymoron
17. Mom nailed on her smile as she handed him the menu.
a) metaphor b) irony c) hyperbole
18. She sat inertly, propped doll-like in the seat.
a) metaphor b) irony c) simile
Assignment 21. Prepare in writing your analysis of various lexical stylistic
devices traced in the given contexts; be ready to comment on their functions in
class. Make use of any other examples which you like (See Assignments 1–19).
Assignment 22. Point out lexical stylistic devices in the text below. State
their functions.
She came gliding along London’s broadest street, and then halted,
swaying gently. She was a steamship of some 3,500 ton, flying the flag of
one of the new Baltic states. The Tower Bridge cleared itself of midgets
and toy vehicles and raised its two arms, and then she passed underneath,
accompanied by cheerfully impudent tugs, and after some manœuvring
and hooting and shouting, finally came to rest alongside Hay’s Wharf.
The fine autumn afternoon was losing its bright gold and turning into
smoke and distant fading flame, so that it seemed for a moment as if all
London bridges were burning down. Then the flare of the day died out,
leaving behind a quiet light, untroubled as yet by the dusk. On the wharf,
men in caps lent a hand with ropes and a gangway, contrived to spit ironically, as if they knew what all this fuss was worth, and then retired to
group themselves in the background, like a shabby and faintly derisive
chorus; and men in bowler hats arrived from nowhere, carrying dispatch
cases, notebooks, bundles of papers, to exchange mysterious jokes with the
ship’s officers above; and two men in blue helmets, large and solid men,
took their stand in the very middle of the scene and appeared to tell the
ship, with a glance or two, that she could stay where she was for the time
being because nothing against her was known so far to the police. The ship,
for her part, began to think about discharging her mixed cargo.
36
Part I. EXPRESSIVE STYLISTICS
This cargo was so mixed that it included the man who now emerged
from the saloon, came yawning on the deck, and looked down upon Hay’s
Wharf. This solitary passenger was a man of medium height but of a
massive build, square and bulky about the shoulders, and thick-chested.
He might have been forty-five; he might have been nearly fifty; it was
difficult to tell his exact age. His face was somewhat unusual, if only
because it began by being almost bald at the top, then threw out two very
bushy eyebrows, and finally achieved a tremendous moustache, drooping
a little by reason of its very length and thickness; a moustache in a
thousand, with something rhetorical, even theatrical, about it. He wore,
carelessly, a suit of excellent grey cloth but of a foreign cut and none too
well-fitting. This passenger had come with the ship from the Baltic state
that owned her, but there was something about his appearance, in spite of
his clothes, his moustache, that suggested he was really a native of this
land, but that is perhaps all it did suggest. He was one of those men who are
difficult to place. The sight of him did not call up any particular background,
and you could not easily imagine him either at work or at home. He had
come from the Baltic to the Thames, but it might just as well have been
from any place to another place. As he stood there, straddling at ease, a
thick figure of a man but not slow and heavy, with his gleaming bald front
and giant moustache, looking down at the wharf quite incuriously, he
seemed a man who was neither coming home nor leaving it, and yet not a
simple traveller, and this gave him a faint piratical air.
(from “Angel Pavement”, a novel by J.B. Priestley)
REFERENCES
Арнольд, И.В. Стилистика английского языка : учеб. / И.В. Арнольд. 4-е изд.,
испр. и доп. М. : Флинта ; Наука, 2002. – 383 с.
Бурлак, Т.Ф. Практикум по стилистике английского языка. = A Practice
Book in English Stylistics / Т.Ф. Бурлак, Л.С. Крохалева, С.Е. Кунцевич.
Минск : МГЛУ, 2005. – 106 с.
Гальперин, И.Р. Стилистика английского языка = English Stylistics /
И.Р. Галь пе рин. 5-е изд. М. : Книжный дом «Либроком», 2013. – 336 с.
Знаменская, Е.А. Стилистика английского языка. Основы курса : учеб.
пособие / Т.А. Знаменская. 3-е изд., испр. М. : Едиториал УРСС, 2005. – 208 с.
Мальцев, В.А. Учебное пособие по аналитическому чтению / В.А. Маль цев.
Минск : Выш. шк., 1980. – 240 с.
37
Chapter 2. Syntactical stylistics
CHAPTER 2. SYNTACTICAL STYLISTICS
THEORY
Syntax deals with the patterns of word arrangement and formulates
rules for correct sentence building. Sometimes a need arises to intensify
the utterance and the normative structures are replaced by what is
traditionally called or
According to Galperin I.R. all syntactical stylistic
devices may be systematized according to four major principles:
1) compositional patterns of syntactical arrangement, 2) peculiar linkage,
3) particular use of colloquial constructions, 4) stylistic use of structural
meaning.
Group Stylistic device
I. Compositional patterns of
syntactical arrangement
II. Peculiar linkage Asyndeton
III. Particular use of
colloquial constructions
IV. Stylistic use of structural
meaning
Stylistic inversion
Detachment
Lexico-syntactical repetition
Enumeration
Climax
Parallel construction
Antithesis
Suspense
Polysyndeton
Gap-sentence link
Ellipsis
Aposiopesis
Question-in-the-Narrative
Represented speech
Rhetorical question
Litotes
38
Part I. EXPRESSIVE STYLISTICS
GROUP I. COMPOSITIONAL PATTERNS OF SYNTACTICAL
ARRANGEMENT
This group includes such devices as: stylistic inversion, detachment,
different types of repetition, parallel construction, climax, antithesis,
suspense. Each of the devices is characterized either by a shift from the
normative word order (Subject, Predicate, Object, Modifier) or a peculiar
arrangement of sentence members in an utterance. Such deviant structures
can carry certain stylistic functions.
is displacement of some members of a sentence
aimed at giving additional logical or emotional stress to the utterance.
Inversion may be complete – when the word order is changed so that
the predicate precedes the subject, or partial with the displacement of
the secondary sentence members.
Complete inversion:
Out there in the darkness was the ocean.
Up rolled the blind; the window went up with a jerk.
And help her he would whether she cooperated or not.
Partial inversion:
The English he avoided like a plague.
Him they liked and respected. = He was a “good cop”. (The object is
placed in preposition).
Bitterly he would return… to dozens of memories of his childhood.
(The adverbial modifier is placed at the beginning of the sentence).
He was an ageing Peter Pan, glib, bland and eccentric. (The attribute
is placed after the word it modifies).
The major function of stylistic inversion is to attach logical stress or
additional emotional colouring to the surface meaning of the utterance.
In the word order is not violated, but a secondary member,
usually an attribute or an adverbial modifier is detached from the rest of
the sentence with the help of commas, dashes or full stops. In this way
this member acquires a greater stress or significance:
He paused before starting the engine again, gently, almost reluctantly.
Sometimes a detached construction obtains the form of an explanatory
or qualifying remark put into a sentence. Such variant of detachment is
39
Chapter 2. Syntactical stylistics
called parenthesis. In writing parenthesis is indicated by commas,
brackets or dashes:
Angie looked up awed, feeling (again to her irritation) that she couldn’t
possibly have any business there.
He – stubbornly – denies all knowledge.
Detachment produces a stronger effect than inversion as it presents
parts of the utterance significant from the author’s point of view in a more
or less independent manner.
is a stylistic device based on repeating
words, word groups or sentences for some stylistic purposes: to draw the
attention of the reader to the key-word of the utterance, to emphasise the
main idea of the sentence. There are s e v e r a l f o r m a l v a r i e t i e s
of repetition.
Simple Repetition is a repeated use of the same word or sentence one
after the other:
The worst thing was the fear; the fear. The nameless fear, the sense of
impending doom that hangs over her. And then there was another fear,
even worse, not nameless at all, that of having to live without love. That
was terrible.
Ordinary repetition emphasizes both the logical and the emotional
meanings of the repeated word.
Anaphora is based on a deliberate repetition of a word or phrase at the
beginning of several successive clauses or paragraphs:
Lennon stared at the wood’s shadows around him.
He stared at the door of the silent chalet.
He stared at the faintly glowing numbers on his wrist watch.
The main stylistic function of the anaphora is to create the background
to the non-repeated unit, which through its novelty, becomes
foregrounded.
Epiphora, as opposed to anaphora, is the repetition of the same word
or phrase at the end of successive clauses, paragraphs or stanzas:
There was no particular reason why he should be there, but still it was
disappointing, and he was disappointing and everything was disappointing.
The main function of epiphora is to add stress to the final words of the
sentence.
40
Part I. EXPRESSIVE STYLISTICS
In framing the initial elements are repeated at the end of an utterance
or a paragraph:
It wasn’t so sad, she kept sayings to herself fiercely, desperately trying
to force her concentration on her book. It wasn’t so bad.
Framing makes the utterance more compact and complete, it also
singles out paragraphs.
Anadiplosis / catch repetition , is the repetition of a word or group of
words that end one clause (or sentence) at the beginning of the next one:
In the beginning was the Dream. The Dream of a small solemn blond
girl, fifth daughter of a factory worker in Dearborn.
Chain repetition is the succession of several anadiploses:
I know how indifference gives place to dislike, dislike to hate, and
hate to loathing.
This is the most emphatic type of repetition which signifies the peak
of emotions of the speaker.
In general repetition is a powerful means of emphasis, besides it adds
rhythm and balance to the utterance.
Enumeration is a stylistic device by which separate things, properties
or actions are brought together forming a chain of grammatically and
semantically homogeneous parts of an utterance:
I had a fairly set routine of entertaining. Over the years I’d organized
the whole business of ashtrays, cigarettes, matches, nuts, mints, candles,
flowers, sofa cushions, drapes, lightning, music and so on….
Heterogeneous enumeration gives the reader or listener an insight into
the mind of the hero, into his love for grouping absolutely different
things.
In climax / we deal with an ascending series of words or
utterances in which intensity and significance increase step by step:
“Are you feeling all right?” “Yes, I’m fine. Perfect. Terrific.”
Depending on the nature of the phenomenon emphasised one can
differentiate between three types of climax: logical, emotional and
quantitative.
In logical climax every consecutive word or utterance is more
significant or essential than the preceding one from the logical point of
view. Thus the objective or the subjective author’s attitude towards the
thing is disclosed:
Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]