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Лабораторное занятие № 16. Overview: Stylistic features of English
functional styles
Цель: обобщающий обзор лексических пластов и функциональных
стилей английского языка и закрепление знаний о стилистических
особенностях английского языка.
Задачи:
- рассмотрение лексических пластов и стилистических
функциональных стилей современного английского языка;
- дать описательную характеристику различных функциональных стилей для
корректного распознавания их в письменном или устном предъявлении.
Ключевые понятия: Stylistically marked groups of words. Literary/bookish
layer. Poetic words. Archaic words. Terms Marginal layer. Foreign/loan words.
Neologisms. Colloquial layer. Slang. Jargonisms. Dialectal words. Nursery
words. Vulgarisms. 2. Distinctive Stylistic Features Of Functional Styles Of
English. Literary Colloquial style. Familiar colloquial style. Publicist (media)
style. The style of official documents. Scientific/academic style.
Вопросы для обсуждения:
1. Stylistically marked groups of words
2. Distinctive Stylistic Features Of Functional Styles Of English
Tips for Learning:
1. When getting ready for the first question you should pay attention to archaic
words, borrowed words and slangisms as stylistic phenomena.
Archaisms are divided to linguistic and non-linguistic ones. Linguistic
archaisms denote an object or a phenomenon which still exists, but has another
name already. Non-linguistic (historical) archaisms are words that denote obsolete
objects or phenomena that are out of use or don’t exist anymore. Archaisms used
in author's text are historical in their majority. They serve as helpers to create a
historical background of a text, making the culture of the past more vivid.
Borrowed (Loan) words are often used by authors to create local colorful
surrounding. Sometimes loan words are used to identify the nationality of a literary
character.
The problem of slang has always attracted linguists, i.e. such issues as the
appearance of slang, drawing a border line between slang and other language
layers, transfer of slang lexemes to commonly used neutral language. Specific
traits of the slang are abundance of synonyms, exclamations which are, in fact,
euphemisms. The most important stylistic function of slang words in an author’s
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text is providing the emotional, more often than not ironical and satirical colouring
to the object.
Practical task:
Ex 3, p. 91, Ex 4-5, p. 94
Source: Практикум по стилистике английского языка = A Manual of English
Stylistics : [учебное пособие] / М.П. Ивашкин, В.В. Сдобников, А.В. Селяев. –
М.: АСТ: Восток-Запад, 2007. – 101 с.
Лабораторное занятие № 17. Overview: stylistic analysis of sentences
Define the stylistic devices and expressive means in the sentences. Comment
on their stylistic value:
1. What I have described in the Frenchman, was merely the result of an
excited, or perhaps of a diseased intelligence.
2. I stared at the speaker in mute astonishment.
3. He was a sailor, evidently, – a tall, stout, and muscular-looking person, with
a certain dare-devil expression of countenance.
4. It’s just talk …It’s just what people say when they’re feeling sorry for
themselves. It’s just talk.
5. It is all head and no body, like the pictures of the Goddess Laverna, – or, at
best, all head and shoulders, like a codfish.
6. Truth is not always in a well.
7. I blush, I burn, I shudder, while I pen the damnable atrocity.
8. Actually, preoccupied though I was with Ruth’s possible, I did begin to
enjoy the paintings and the sheer peacefulness of the place.
9. In the greenest of our valleys,
By good angels tenanted,
Once fair and stately palace –
Radiant palace --reared its head.
10. By the aid of these we then busied our souls in dreams -- reading, writing, or
conversing, until warned by the clock of the advent of the true Darkness.
11. I shudder to name – and for this, above all, I loathed, and dreaded, and
would have rid myself of the monster had I dared – it was now, I say, the
image of a hideous – of a ghastly thing – of the GALLOWS!
12. I did, though, talk to Tommy about it a couple of years later.
13. Oh, mournful and terrible engine of Horror and of Crime – of Agony and of
Death!
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14. In this unnerved – in this pitiable condition – I feel that the period will
sooner or later arrive when I must abandon life and reason together, in some
struggle with the grim phantasm, FEAR.
15. And his brow was lofty with thought, and his eye wild with care; and, in the
few furrows upon his cheek I read the fables of sorrow, and weariness, and
disgust with mankind, and a longing after solitude.
16. A casual or inadvertent word; the accidental dropping or turning of a card,
with the accompanying anxiety or carelessness in regard to its concealment;
the counting of the tricks, with the order of their arrangement;
embarrassment, hesitation, eagerness, or trepidation – all afford, to his
apparently intuitive perception, indications of the true state of affairs.
17. It was a freak of fancy in my friend (for what else shall I call it?) to be
enamored of the Night for her own sake; and into this bizarrerie, as into all
his others, I quietly fell; giving myself up to his wild whims with a perfect
abandon.
18. His ordinary manner had vanished. His ordinary occupations were neglected
and forgotten.
19. And then on this vast and desolate landscape of night, where I was standing
alone and where Babette was only an illusion, I saw suddenly a possibility
that I'd never considered before, a possibility from which I'd fled, rapt as I
was with the world, fallen into the senses of the vampire, in love with color
and shape and sound and singing and softness and infinite variation.
20. I felt myself rising, as if I were floating in the darkness, and then the
darkness, like the heartbeat, began to fade.
21. Out of the mist which had followed the rain, a man was walking towards me.
22. The silence that followed might as well have been thunder.
23. God had always asked great sacrifice of those he loved most.
24. Salamat, still chatting with Mrs. Boake-Rehan Adams, was about to ask who
the young lady was who looked like a Renoir girl and gave one the feeling
of having been created out of rose petals and champagne…
25. I was glad the world was there, so I could be there too. I was alone, so I was
sad about everything. I was so glad about everything that I was sad.
26. He ran all the way to the Southern Pacific tracks, and all the boys were gone,
and the train was gone, and he sat down beneath the eucalyptus trees. The
whole world, in a mess. And he began to cry.
27. Funny thing is, this talk with her, it did help.
28. You’re the boy with the bad temper. A bad temper, but a big heart…
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29. So you’re waiting, even if you don’t quite know it, waiting for the moment
when you realise that you really are different to them; that there are people
out there, like Madame, who don’t hate you or wish you any harm, but who
nevertheless shudder at the very thought of you—of how you were brought
into this world and why—and who dread the idea of your hand brushing
against theirs.
30. If you want to pretend you’re happy, you don’t do it that way! Just take it
from me, you don’t do it that way! You definitely don’t!
Overview: stylistic analysis of abstracts
Define the stylistic devices and expressive means in the abstracts. Comment
on their stylistic value:
1. Money is the most important thing in the world. It represents health,
strength, honor, generosity and beauty as conspicuously and undeniably as
the want of it represents illness, weakness, disgrace, meanness and ugliness.
Not the least of its virtues is that it destroys base people as certainly as it
fortifies and dignifies noble people. (From “Preface” to “Major Barbara”
by George Bernard Shaw)
2. And I remember that on the afternoon of Christmas Day, when the others sat
around the fire and told each other that this was nothing, to the great snow-
bound and turkey-proud yule-log-crackling holly-berry-bedizened and
kissing-under-the-mistletoe Christmas when they were children, I would go
out, school-capped and gloved and muffle red, with my bright new boots
squeaking, into the white world on to the seaward hill, to call on Jim and
Dan and Jack and to walk with them through the silent snows cape of our
town. (From “Memories of Christmas” by Dylan Thomas)
3. The church was very exciting. It took a long time for me to disengage
myself from this excitement, and on the blindest, most visceral level, I never
really have, and never will. There is no music like that music, no drama like
the drama of the saints rejoicing, the sinners moaning, the tambourines
racing, and all those voices coming together and crying holy unto the Lord.
(From “The Fire Next Time” by James Baldwin)
4. Liberty? The true liberty of a man, you would say, consisted of his finding
out, or being forced to find out, the right path, and to walk thereon. To
learn, or to be taught, what work he actually was able for; and then by
permission, persuasion, and even com-pulsion, to set about doing of the
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same! That is his true blessedness, honour, liberty and maximum of
wellbeing; if liberty be not that, I for one have small care for liberty. (From
“Democracy,” by Thomas Carlyle)
5. The stretcher-bearers come back from the lines, walking in off step, so that
the burden will not be jounced too much, and the blood dripping from the
canvas, brother and enemy in the stretchers, so long as they are hurt. And
the walking wounded coming back with shattered arms and bandaged heads,
the walking wounded struggling painfully to the rear. (From “Battle Scene”
by John Steinbeck)
6. The idols of the Cave are idols of the individual man. For everyone (besides
the errors common to human nature in general) has a cave or den of his own,
which refracts and discolors the light of nature; owing either to his own
proper and peculiar nature or to his education and conversation with others;
or to the reading of books, and the authority of those whom he esteems and
admires; or to the differences of impressions, accordingly as they take place
in a mind preoccupied and predisposed or in a mind indifferent and settled.
(From “The Idols of the Mind” by Francis Bacon)
7. It is the long vacation in the regions of Chancery Lane. The good ships Law
and Equity, those teak-built, copper-bottomed, iron-fastened, brazen-faced,
and not by any means fast-sailing Clippers, are laid up in ordinary. The
Flying Dutchman, with a crew of ghostly clients imploring all whom they
may encounter to peruse their papers, has drifted, for the time being. Heaven
knows where. The Courts are all shut up, the public offices lie in a hot sleep,
Westminster Hall itself is a shady solitude where nightingales might sing,
and a tenderer class of suitors than is usually found there, walk., offices at
anchor, idle clerks lounging on lop-sided stools that will not recover their
perpendicular until the current of Term sets in, lie high and dry upon the
ooze of the long vacation. Outer doors of chambers are shut up by the score,
messages and parcels are to be left at the Porter's Lodge by the bushel. A
crop of grass would grow in the chinks of the stone pavement outside
Lincoln's Inn Hall, but that the ticket-porters, who have nothing to do
beyond sitting in the shade there, with their white aprons over their heads to
keep the flies off, grub it up and eat it thoughtfully. (From“Bleak House” by
Charles Dickens)
8. They worked together, coming and going, in a rhythm, which carried their
feet and their bodies in tune. She stooped, she lifted the burden of sheaves,
she turned her face to the dimness where he was, and went with her burden
over the stubble. She hesitated, set down her sheaves, there was a swish and
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hiss of mingling oats, he was drawing near, and she must turn again. And
there was the flaring moon laying bare her bosom again, making her drift
and ebb like a wave. He worked steadily, engrossed, threading backwards
and forwards like a shuttle across the strip of cleared stubble, weaving the
long line of riding shocks, nearer and nearer to the shadowy trees, threading
his sheaves with hers. And always, she was gone before he came. As he
came, she drew away, as he drew away, she came. Were they never to meet?
Gradually a low, deep-sounding will in him vibrated to her, tried to set her in
accord, tried to bring her gradually to him, to a meeting, till they should be
together, till they should meet as the sheaves that swished together.
(From“The Rainbow” by D. H. Lawrence)
9. You may see her now, as she walks down the favourite turning, and enters
the Deeps by a narrow path through a group of Scotch firs - her tall figure
and old lavender-gown visible through an hereditary black-silk shawl of
some wide-meshed net-like material; and now she is sure of being unseen,
she takes off her bonnet and ties it over her arm. One would certainly
suppose of her to be farther on in life than her seventeenth year - perhaps
because of the slow resigned sadness of the glance, from which all search
and unrest seem to have departed, perhaps because her broad-chested
figure has the mould of early womanhood. Youth and health have
withstood well the involuntary and voluntary hardships of her lot, and the
nights in which she has lain on the hard floor for a penance have left no
obvious trace; the eyes are liquid, the brown cheek is firm and rounded, the
full lips are red. With her dark colouring and jet crown surmounting her tall
figure, she seems to have a sort of kinship with the grand Scotch firs, at
which she is looking up as if she loved them well. Yet one has a sense of
uneasiness in looking at her - a sense of opposing elements, of which a
fierce collision is imminent: surely there is a hushed expression, such as
one often sees in older faces under borderless caps, out of keeping with the
resistant youth, which one expects to flash out in a sudden, passionate
glance, that will dissipate all the quietude, like a damped fire leaping out
again when all seemed safe. But Maggie herself was not uneasy at this
moment. She was calmly enjoying the free air, while she looked up at the
old fir-trees, and thought that those broken ends of branches were the
records of past storms, which" had only made the red stems soar higher.
(From “The Mill on the Floss” by George Eliot)
10. It is the long vacation in the regions of Chancery Lane. The good ships Law
and Equity, those teak-built, copper-bottomed, iron-fastened, brazen-faced,
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and not by any means fast-sailing Clippers, are laid up in ordinary. The
Flying Dutchman, with a crew of ghostly clients imploring all whom they
may encounter to peruse their papers, has drifted, for the time being. Heaven
knows where. The Courts are all shut up, the public offices lie in a hot
sleep. Westminster Hall itself is a shady solitude where nightingales might
sing, and a tenderer class of suitors than is usually found there, walk. The
Temple, Chancery Lane, Sergants' Inn and Lincoln's Inn even unto the
Fields, are like tidal harbours at low water; where stranded proceedings,
offices at anchor, idle clerks lounging on lop-sided stools that not recover
their perpendicular until the current of Term sets in, lie high and dry upon
the ooze of the long vacation. Outer doors of chambers are shut up by the
score, messages and parcels are to be left at the Porter's Lodge by the
bushel. A crop of grass would grow in the chinks of the stone pavement
outside Lincoln's Inn Hall, but that the ticket-porters, who have nothing to
do beyond sitting in the shade there, with their white aprons over their heads
to keep the flies off, grub it up and eat it thoughtfully. (From “Bleak House”
by Charles Dickens)
Overview: complex stylistic analysis of the text
Prepare the analysis of the text ―The Roads We Take‖ by O’Henry
Source: Практикум по стилистике английского языка = A Manual of English
Stylistics : [учебное пособие] / М.П. Ивашкин, В.В. Сдобников, А.В. Селяев. –
М.: АСТ: Восток-Запад, 2007. – 101 с.
Рекомендуемая литература
Основная литература
1. Стилистика современного английского языка : учеб. пособие для студ.
учреждений высш. проф. образования / М.Н. Лапшина. – СПб.:
Филологический факультет СПбГУ ; М.: Издательский центр «Академия»,
2013. – 272 с.
Дополнительная литература
1. Арнольд, И.В. Стилистика. Современный английский язык: учебник для
вузов / И.В. Арнольд. - 8-е изд., испр. и доп. - М.: Флинта, Наука, 2006.384с.
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2. Знаменская, Т.А. Стилистика английского языка: Основы курса: учеб.
пособие / Т.А. Знаменская. - 5-е изд., испр. и доп. - М.: Ком Книга, 2008. 224с. МОРФ
3. Иванова, Т.П. Стилистическая интерпретация текста: пособие по англ.
языку для ин-тов и фак. иностр. яз. / Т.П. Иванова, О.П. Брандес. – М.
:Высш. шк., 1991. – 144 с.
4. Кухаренко, В.А. Практикум по интерпретации текста : учеб.пособие для
студентов пед. ин-тов / В.А. Кухаренко. – М. : Просвещение, 1987. – 176
с.
5. Новикова, И.А. Практикум к курсу английского языка под редакцией В.Д.
Аракина. 4 курс / И.А. Новикова. – М. :Гуманит. изд. центр ВЛАДОС,
2003. – 200 с.
6. Практикум по стилистике английского языка = AManual of English
Stylistics: [учебное пособие] / М.П. Ивашкин, В.В. Сдобников, А.В.
Селяев. – М.: АСТ: Восток-Запад, 2007. – 101 с.
7. Cкребнев, Ю.М. Основы стилистики английского языка: учебник для ин-
тов и фак. иностр. яз. / Ю.М. Скребнев. – М. : Высш. шк., 1994. – 240 с.
(на англ. яз.)
8. Сосновская, В.Б. Аналитическое чтение: учеб.пособие для ин-тов и фак.
иностр. яз. / В.Б. Сосновская. – М. :Высш. шк., 1974. – 184 с.
9. Galperin, I.R. Stylistics : учеб. пособие для вузов / I.R. Galperin. – М. :Высш.
шк., 1977. – 325 с.
10. Kukharenko, V.A. SeminarsinStyle: учеб. пособие для студентов пед. интов / V.A. Kukharenko. – М. : Просвещение, 1971.
11. Sturova, E.A., ShiryaevaZh.L. GuidetoAnalyticalReading: учеб. пособие для
студентов пед. ин-тов / E.A. Sturova, Zh.L. Shiryaeva. – Липецк, 2002. – 129 с.
12. Thorne, S. Mastering Advanced English Language / Sara Thorne. – Mac Millan
Press Ltd., London, 1997. – 1468 p.
Интернет-ресурсы
1. Style and Stylistics. Robert de Beaugrande. Nov. 2003.
http://www.beaugrande.bizland.com/
Style%20and%20Stylistics.htm.Illustrated introduction.
2. A Handshake with Halliday: The Origin of Style. John Phillips.
http://www.angelfire.com/de/jwp/handshake.html. Michael Halliday’s approach
and an analysis of Tennyson poem.
3. `I only said--the syntax--': Elision, recoverability, and insertion in Emily
28
Dickinson's poetry. John Schmit. 1993. http://www.cswnet.com/~erin/ed7.htm.
Close analysis of the poetry of Emily Dickinson.
4. The Interpretation of Order. A Study in the Poetics of Homeric Repetition by
AhuviaKahane. James V. Morrison. 1994.
http://ccat.sas.upenn.edu/bmcr/1994/94.09.11.html Review of book applying
stylistics.
5. The Sociolinguistics of the 'S- Word': 'Squaw' in American Placenames. William
Bright. http://www.ncidc.org/bright/Squaw_revised.doc. Argues against the
derogatory use of the word.
6. Designing a worldwide web-based stylistics course and investigating its
effectiveness. Mick Short, Dawn Archer.2003.
http://www.findarticles.com/cf_dls/m2342/1_37/
101862385/p1/article.jhtml.Includes references to general teaching of stylistics.
7. Vagrant sympathies: from stylistic analysis to a pedagogy of style. John Tinker.
2003. http://www.findarticles.com/cf_dls/m2342/1_37/
101862388/p1/article.jhtml. Writers defined more by word usage than content.
8. Style. http://www.engl.niu.edu/style/archives/abs30_2.htm. Journal: abstracts
free online.
9. Pragmatics and Stylistics Research Group.
http://www.ling.lancs.ac.uk/groups/stylist/publications.htm. A short bibliography:
not online.
10. Style and Stylistics: Some Sources. Rebecca Moore Howard.http://wrt-
howard.syr.edu/Bibs/Style.bib.html. Fairly general bibliography: not online.
11. http://encyclopedia2.thefreedictionary.com/stylistics
12. http://www.twirpx.com/file/160300/
13. http://youreng.narod.ru/stylistics.html
14. http://rusmir.philarts.spbu.ru/courses/modern-russian-stylistics/lection_1/view
15. http://www.britannica.com/EBchecked/topic/570324/stylistics
16. http://wrt-howard.syr.edu/Bibs/Style.bib.html
17. http://www.lancs.ac.uk/fass/projects/stylistics/
18. http://www.answers.com/topic/stylistics
19. http://grammar.about.com/od/rs/g/Stylistics-term.htm
20. http://www.engl.niu.edu/style/vol37n1.html
21. http://en.wikipedia.org/wiki/Stylistics_(linguistics)
22. http://findarticles.com/p/articles/mi_m2342/is_4_39/ai_n16834371/
23. www.elibrary.ru - Научная электронная библиотека
24. http://iprbookshop.ru - ЭБС IPRbooks
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Методические рекомендации по подготовке
к лабораторным занятиям
Объектом работы при подготовке к лабораторным занятиям являются
тексты лекций, дополнительная теоретическая литература по изучаемым
проблемам, а также отрывки из художественных текстов англоязычных
писателей и поэтов, в которых студенты самостоятельно выделяют и
анализируют применение стилистических приемов. Студент должен овладеть
разными типами анализа (целостным, сравнительным, структурным),
научиться оперировать литературоведческими категориями.
Изучение стилистики предусматривает систематическую
самостоятельную работу студентов над материалами для дополнительного
чтения; развитие навыков самоконтроля, способствующих интенсификации
учебного процесса. Изучение лекционного материала по конспекту лекций
должно сопровождаться изучением рекомендуемой литературы, основной и
дополнительной, внесением необходимых корректировок и пояснений в
текст лекций. В ходе самостоятельной работы студенты готовят конспекты
ответов по изучаемым теоретическим вопросам. При подготовке к каждому
занятию необходимо обратиться к курсу лекций по данному вопросу и
учебным пособиям, чтобы уточнить терминологию, найти аналогии
анализируемым стилистическим приемам.
При выполнении самостоятельной работы по изучению теоретических
вопросов необходимо конспектировать основные положения с включением
научной терминологии. Работу с терминами целесообразно свести к ведению
глоссария, который может быть организован в алфавитном порядке или в
соответствии с изучаемыми разделами. Данный вид работы призван
существенно облегчить процесс подготовки к экзамену.
При работе с терминами рекомендуется вести словарь, составляемый
по схеме: ТЕРМИН на английском языке – ТРАНСКРИПЦИЯ – АНАЛОГ
ТЕРМИНА на русском языке – ОПРЕДЕЛЕНИЕ на английском языке (при
необходимости продублировать определением на русском языке) – ПРИМЕР
из англоязычной художественной литературы с указанием названия
произведения и автора.
При работе с примерами необходимо стремиться не только к
узнаванию приема или выразительного средства, но и к пониманию цели его
употребления в данном контексте, функциональной, семантической и
прагматической нагрузки, которой обладает данный прием.
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