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Файл:Стилистика. Методические рекомендации по организации самостоятельной работы студентов филологического факультета
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Студентам следует стремиться к активизации знаний и по другим
языковым дисциплинам, связанным со стилистикой междисциплинарными
отношениями.
Лабораторные занятия по стилистике английского языка призваны
содействовать выработке навыков профессиональной деятельности. Они
развивают научное мышление и речь, позволяют проверить знания студентов
и выступают как средства оперативной обратной связи.
Разнообразие занятий вытекает из собственно практической части. В
случае с лабораторными занятиями по стилистике это тренировочные
упражнения, направленные на узнавание в художественном тексте
стилистических приемов и выразительных средств языка. Задания для
анализа предлагаются по принципу «от простого к сложному», т.е. анализ
начинается с отдельных предложений, затем студентам предлагаются
короткие отрывки из художественных произведений, и, наконец,
законченный текст, т.е. короткий рассказ.
Важное значение при подготовке к лабораторному занятию имеет
чтение. Читая (не менее трех раз) анализируемое произведение, необходимо
выписывать из текста примеры употребления автором стилистических
приемов и изобразительных средств языка; сформулировать цели
употребления данных приемов, основную идею, тему; прокомментировать
особенности композиционного построения текста; привлечь для анализа
биографические сведения об авторе, времени создания произведения и
другую информацию, помогающую более полно интерпретировать замысел
автора и его воплощение. После окончания работы следует
систематизировать свои записи, свести их вместе, сгруппировать (например,
характеристики героев, портреты, пейзажи, лейтмотивы и т.д.) и на
основании этого изложить в письменном виде свои выводы по
прочитанному.
Для успешного анализа художественного текста студентам необходимо
обратиться к теоретическому материалу, предлагаемому в курсе
интерпретации.
Методические рекомендации
по стилистическому анализу художественного текста
Стилистический анализ отрывка или законченного художественного
текста опирается на смысловую составляющую текста. Прежде чем
приступить к стилистическому анализу, нужно полностью, в мельчайших
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деталях понять содержание полученного отрывка. Рекомендуется прочесть
его несколько раз, выписывая и идентифицируя стилистические приемы
(перевод незнакомых слов нужно посмотреть в словаре). Подумайте, для
передачи каких конкретных смыслов используются найденные вами
стилистические средства. Затем изложите ваш анализ в виде рецензии,
кратко формулируя содержание и более подробно рассматривая языковой
аспект экспрессивности. Прилагаемые практические рекомендации помогут
избежать наиболее часто встречающиеся ошибки.
I. Кратко (в 3-5 предложениях) изложите содержание анализируемого
отрывка
Не допускается пересказ текста. Не нужно описывать конкретные
детали, повороты сюжета. Необходимо дать предельно краткое смысловое
резюме. Например:
The extract depicts the life of its young narrator Jean Louse ―Scout‖ Finch in
the small town of Maycomb, Alabama. Her father, Atticus Finch, is a smart lawyer
with high moral standards. Attiсus decides to take up a case involving a black man,
Tom Robinson, who has been accused of raping a white girl named Mayella Ewell.
Attiсus is sure in his defendant's innocence but Tom has almost no chance to be
acquitted, because the white jury will never believe the black man. Being an
experienced young lawyer, Atticus Finch provides clear evidence that the accusers,
Mayella and her father, Bob, are lying.
II. Дайте функциональную характеристику текста: укажите типы
повествования (прямая речь персонажа, авторское повествование,
несобственно-прямая речь) и их основные признаки.
Следует избегать формальной характеристики выявленных типов
повествования (простого перечисления соответствующих признаков).
Необходимо каждый тезис подкреплять конкретными примерами из текста.
Например:
The extract is the example of the author’s and the character’s speech. The
character’s speech is colloquial which is easily guessed through the colloquial
parenthesis “Well..., after all”; elliptical sentences “-Tired?- Not at all”;
contractions “it's”, “can't”; low colloquial forms “ain't” and sub-standard
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vocabulary “chap”; “Buck up, darling”. The author’s speech which is bookish
abounds in the words of a literary stylistic layer “considerate”, “worship”. There
is a number of composite and complicated sentences in his speech: “Michael had
never heard Fleur cry, and to see her, flung down across the bed, smothering her
sobs in the quilt, gave him a feeling akin to panic.” “She struggled up and sat
cross-legged, her flushed face smudged with tears, her hair disordered.”
III. Стилистическая фонетика
Найдите и опишите фонетические стилистические приемы, используемые для речевой характеристики персонажей, просодические
стилистические средства (эмфатическое ударение, интонация, паузы, ритм).
Опишите авторские стилистические средства (аллитерация, ономатопея и др.)
Если в отрывке выявлены приемы на уровне стилистической фонетики,
следует не просто назвать их, а раскрыть характер экспрессивного эффекта и
механизм его создания. Например:
Неверно: there are alliteration (Homebody. Helpmate) and emphatic stress
(W-l-F-E) in the sentence.
Верно: The character’s irritation at his interlocutor’s dullness is masterfully
expressed with the help of phonetic expressive means. Emphasis is achieved by the
special print of the word in capital letters through the hyphen “W-1-F-E”.
Alliteration “Homebody. Helpmate” makes the utterance even more meaningful.
IV. Стилистическая морфология
Найдите в тексте случаи морфологических транспозиций (местоимений,
глаголов, существительных и др.), стилистически значимого повтора и
варьирования морфем. При анализе на уровне стилистической морфологии
нужно не ограничиваться общими фразами, а как можно конкретнее
охарактеризовать создаваемый стилистико-смысловой эффект. Например:
Неверно: There is a case of morphological transposition whose aim is
emphasis (She did shoot the man).
Верно: The transposition of the auxiliary do in the characterization of the
protagonist “She did shoot the man” conveys the tint of impatience and
persistence.
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V. Стилистическая лексикология
Охарактеризуйте с точки зрения экспрессивно-стилистического по-
тенциала лексику анализируемого отрывка. Не нужно стремиться к формальному выделению в тексте различных стилистических классов слов.
Необходима привязка к смысловой канве анализируемого текста. При отсутствии значимых в смысловом отношении приемов на данном уровне
можно перейти к стилистической семасиологии.
VI. Стилистическая семасиология
Найдите и опишите стилистические приемы на уровне семасиологии
(фигуры замещения и фигуры совмещения). Анализу стилистических приемов
на этом уровне следует уделить особое внимание ввиду их повышенной
смысловой «весомости». Нужно не только увидеть прием, но и раскрыть его
смысловую нагрузку, уметь объяснить механизм создания стилистического
эффекта. В случае тропов, например, можно назвать прямое и переносное
значение и пояснить соотношение между ними (перенос по сходству,
смежности, контрасту). Приветствуется, если в ходе анализа будут
продемонстрированы знания теории (места приема в классификации стилистических средств) и выявлены случаи стилистической конвергенции.
Например:
Metaphorical epithet “sleepy trees” conveys tranquility and serenity of the
nature surrounding the character. The reversed epithet “mountain of a man”,
which is in fact the case of stylistic convergence of metaphor and hyperbole,
expressively describes the character’s appearance – he was a stout clumsy person.
Trite antithesis in combination with alliteration “now or never” shows how
decisive the character was in her intention to stand her ground. The figure of
contrast – oxymoron – “adoring hatred” – helps render the contradictory nature
of the feeling the character exercised at the moment.
VII. Стилистический синтаксис
Найдите и опишите стилистические приемы на уровне синтаксиса,
стараясь «привязать» их к смысловой стороне текста и вскрыть источники
(механизмы создания) экспрессивности. Например:
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Неверно: The author uses parallelism, anaphora (People staggering and
falling. People fighting aid cursing), and anadiplosis (...people. People...) in the
extract. A rhetorical question is always interesting from the stylistic point of view
(Who knows?).
Верно: The author employs the convergence of stylistic means in the
description of the crowd. Anadiplosis “...people. People...‖ is amplified with the
anaphoric repetition of the noun “people” in the sequence of parallel
constructions ―People staggering and falling. People fighting and cursing”. These
devices in combination with antithesis ―into gates, coming out of gates” give
rhythm to the description of chaos in the crowd revealing the atmosphere of
exasperation. The rhetorical question ―Who knows?” is an emphatic negation
(pseudo-negative sentence in Screbnev’s classification).
Stylistic features of the text
The next part of the analysis deals with the stylistic features of the text. It
focuses on the language register, or combination of different registers (formal,
semi-formal, neutral, semi-informal, informal; high-flown, poetic, casual,
colloquial etc.) employed by the author, on syntactic peculiarities of the text (types
of sentences prevailing, rhetoric questions, elliptical or inverted phrases, parallel
constructions), special choice of the vocabulary (terms, dialectisms, slang, etc.),
stylistic tropes (see a short description of some of them below), and the general
tone or atmosphere of the text (serious, light, elevated, solemn, ironical, humorous,
gloomy and so forth). The thorough analysis of these features will enable you to
define the author's position, his/her attitude towards the subject of the story and its
problems, towards the characters and their actions, and finally to understand
properly the author's message, the main idea of the story. Sometimes these
attitudes and the message are expressed openly and directly (usually in the
beginning or the end of the story), but more often than not it is revealed indirectly
in the whole complex of linguistic and stylistic peculiarities of the text, in the
author's characteristics of the characters, in the atmosphere created by the author in
the story. Hence, the analysis of stylistic features of the story has a principal
importance for the proper understanding of its message.
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Steps in Text Analysis
Step 1
Introduction: briefly define the text type (the functional style and the genre), the
topic, the problems raised, the cultural and historical background of the author and
his text.
Step 2
What messages does the system of images convey? Stylistic devices.
Step 3
If it is non-fiction, what is the genre? (a public speech, an advertisement, an
academic text, a letter, a feature article, a polemic article etc.)
Step 4
1) What is the structure of the prosaic text? (narration, description, characters’
speech)
2) What is the purpose of the text? (to inform, to persuade, to influence, to urge, to
warn). What linguo-stylistic means are used by the author to achieve the purpose?
3) What compositional elements can we see there? (exposition, the narrative hook,
development of action, climax, disentanglement (denouement))
5) What mood or atmosphere is created by the author with the help of stylistic
devices and the choice of verbs, nouns and adjectives?
6) What are the attitude and the tone of the text under analysis (positive negative,
ironical, lyrical, sad, and joyful)?
7) How do the actions and the speech of personages characterize them? What
stylistic means are employed for this purpose?
8) What are the relations between characters’ speech and the author’s remarks in
drama? Also consider 5), 6), 7).
POETRY
9) What is the rhyme pattern of a poem?
10) What metre does the poet use? (Trochee, Iambus, Dactyl, Amphybrach,
Anapaest); or is it blank / free verse?
11) What is the rhythm of the text? (relevant for both prose and poetry)
12) Consider points 5) and 6).
13) Are there any allusions or cultural realia in the prosaic, dramatic or poetic text?
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Step 5
What is the author’s message?
Conclusion
Once again enumerate the means with the help of which the author conveys the
message and achieves the goal of communication with the reader.
The final step of the text analysis includes your personal impressions and attitudes
towards the story, its subject, problems, stylistic features and the message.
Helping Phrases
To analyse the SDs and EMs used in the sentence/ extract/ text use the list of
helping phrases below:
• The key idea that runs through the text/story/selection/extract/etc. is that...
• The idea is embodied in the character/image of...
• To carry the idea to the mind of the reader the author resorts to...
• The author's idea/aim/purpose/etc. is to convince the reader that...
• For this purpose the author has selected those stylistic devices and expressive
means of the language which serve best to achieve the aim set, namely...
• To assume a pronounced stylistic significance...
• This SD is used as an emotional intensifier of...
• The author adheres to this SD because...
• The repetition of... creates a dramatic ring in the narration/contributes to the
romantic flavour of the passage
• The repetition of ... makes the members of the construction/ paragraph more
conspicuous because of the stressed position they occupy
• To portray smb/ to draw smb's portrait in full accord with smb's moral properties/
etc. the author deviated from the narrative perspective
• The author is detached in his attitude towards.../he is deeply personally involved
in the discussion of...
• The atmosphere of tension/anguish/etc. is created and maintained by the author
thanks to the usage of...
• The descriptive details that contribute to the realism of the fragment are the
following...
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Tips on literary work analysis
Answers to the questions below will help you to give and form your own
opinion on the language of the story/extract/fragment.
1. Is the language of the work expressive/ powerful/ charged with emotion/
stylistically coloured? Does the author make a vast use of tropes and figures of
speech?
2. Is simplicity/ accessibility/ brevity/ concision/ etc. a characteristic feature of the
author's style?
3. Is the story written in a high-flown /plain/ colloquial/formal/pompous/
bombastic/ lofty/ florid/ an informal/ elevated/ ornate/ ornamental/ austere/ etc.
language?
What mood and atmosphere does it create?
4. Do all the personages speak good English? Is their accent or dialect suggestive?
What can you say about the personages' educational background and social class?
5. Analyse the stylistic devices used to create the image; group them in accordance
with the impression they produce. Does the impression change throughout the
extract? Support your opinion with the necessary stylistic devices.
6. What mood is the main character in? What syntactic/ lexical/ phonetic/
graphical means make the character's thoughts emotional?
7. Note rhythmical sentences and dwell upon the effect they produce.
8. Speak on the role of syntax in creating certain effects.
9. Which stylistic groups prevail in the story: bookish, colloquial, or neutral? What
effect does it produce?
10. What stylistic device prevails in the paragraph/ the fragment?
11. What stylistic device links the two paragraphs? Is its usage advantageous?
Give your reasons.
12. Comment on the use of italics in the extract.
13. What kind of repetitions does the author use in the extract? How do they render
his message? What is the message?
14. Are all the parts of the story written in the same style or are there any
fragments, which are stylistically contrasted to the rest of the story because of the
language and style?
15. Are there passages written in a kind of rhythmical prose? How is this rhythmic
effect achieved? Does the rhythm create the effect of dynamism (monotony)?
16. What kind of atmosphere is rendered? (That of fuss/ fatigue/ haste/ annoyance/
panic/ terror/ etc.)
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17. Group the tropes and figures of speech used by the author in accordance with
the image(s) (the mood) they create or the situation(s) (the environment, the
characters' inner state, etc.) they describe.
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Образец стилистического анализа художественного текста
Style and meaning in the novel “A Tale of Two Cities” by Charles Dickens
Written during the crisis in Dickens’ life ―A Tale of Two Cities‖ reflects all
the contradictory emotions that tore him apart at the time. The break-up of his
marriage and the killing of his magazine ―Household Words‖, all contributed to the
writing of this stirring tale. No wonder it is permeated with contrasts on all levels –
phraseological, syntactical, textual. The devices of parallels and contrasts are rather
favourites with Dickens and the novel abounds in them, whether it deals with the
individuals or with the whole nations. Parallel structures being the most frequent
stylistic means in the novel contribute a lot to its exposing pathos as well as the
psychological depth.
In fact, nearly all essays on Dickens’ personality and works note the
tremendous intensity of his emotions, that undoubtedly influenced the novel. His
perception of life was built on contrasts and suffered no half-tints. This couldn’t
but effected the technique of his writing. Now, as regards the novel in question,
Dickens himself admitted his partial attitude towards his creation in the preface to
the first edition of ―A Tale of Two Cities‖: ―I have so far verified what is done and
suffered in these pages, as that I have certainly done and suffered it all myself‖.
That emotional perturbation and partiality found its expression in the
representation of the antithetic social systems and in the heart-rending display of
the characters’ conflicting emotions.
The very sentence that initiates the novel and consequently sets the intonation
to the whole book, is the brilliant example of antithesis that assumes the shape of
the classical parallelism. “It was the best of times, it was the worst of times , it
was the age of wisdom, it was the age of foolishness, it was the epoch of belief,
it was the epoch of incredulity, it was the season of Light, it was the season of
Darkness, it was the spring of hope, it was the winter of despair, we had
everything before us, we had nothing before us, we were all going direct to
Heaven, we were all going direct the other way…” Such a mighty beginning
surely prepares the reader for the extraordinary events and intense feelings
awaiting for him further in the novel that should be received in the superlative
degree of comparison only. It is no mere chance that these abstract statements
precede the official narration: “It was the year of Our Lord one thousand seven
hundred and seventy-five.” The germs of the French revolution originated in that
remote year, but before the historical outline of the period the author introduces his
reader into the world of spiritual strife and intent passions which are the true
contents of this book.
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