Добавил:
ivanov666
Опубликованный материал нарушает ваши авторские права? Сообщите нам.
Вуз:
Предмет:
Файл:Стилистика. Учебное пособие
.pdf
Министерство образования и науки Российской Федерации
Государственное образовательное учреждение
высшего профессионального образования
«Московский педагогический государственный университет»
Н. В. Обидина
Стилистика
Учебное пособие
МПГУ
Москва – 2011
124 с.
УДК 811.111
ББК 81.432.1
О 13
Рецензент –
кандидат филологических наук И. В. Стекольщикова
О 13 Обидина Н. В. Стилистика: Учебное пособие. – М.: ИПГУ, 2011. –
Пособие содержит теоретический и практический материал по
стилистике английского языка.
Предназначено для студентов факультета славянской и
западноевропейской филологии МПГУ, а также всех интересующихся
стилистикой языка.
В авторской редакции
ISBN 978-5-4263-0017-0
© МПГУ, 2011
© Оформление. Издательство «Прометей», 2011
The sight of a feather in a peacock‟s tail, whenever I gaze at it,
makes me sick!
Charles Darwin
(From Letter to Asa Gray,
dated 3 April 1860)
To my mom and dad.
Introduction
Ch. Darwin couldn‟t find any utility in the peacock tail. Let‟s find some beauty
in its style. We apply the instruments of stylistics as a study of beauty. And analyze
the cocktail of utility and beauty.
The cocktail here is a play of word meanings, a pun in stylistic terms. On the
one hand, it is used for the peafowl mail‟s extravagant tail. On the other, the cocktail
is a mixture of two or more ingredients. Such an ambiguity makes us smile and feel
pleased.
Stylistics seems to take place between science and art because of its aesthetic
function. In some way we can name stylistics a discipline of beauty. But what
discipline could beauty bear?
Stylistics is something about beauty. Or even stylistics is about beauty.
Thanks to Samoylova Margarita Alekseevna, Tarakanova Irina Viktorovna,
Tataru Liudmila Vladimirovna, Stekolschikova Irina Vitalievna, Tkachenko Aleksey
Konstantinovich, Shalygin Maxim Gennadievich, my family.
Content
Introduction ....................................................................................................... 1
1. Style & Stylistics ............................................................................................ 6
1.1. Style in Language ................................................................................ 6
1.2. Stylistics ............................................................................................. 11
1.3. Stylistic Analysis ............................................................................... 15
2. Expressive Means & Stylistic Devices .................................................. 23
2.1. Phonostylistics ........................................................................................... 23
2.1.1. Phonetic & Phonological Stylistics ..................................................... 23
2.1.2. Graphological Stylistics ...................................................................... 37
2.2. Grammatical Stylistics ............................................................................. 44
2.2.1. Morphological Stylistics ..................................................................... 44
2.2.2. Syntactical Stylistics ........................................................................... 44
2.3. Lexical Stylistics ....................................................................................... 57
2.3.1. Lexis .................................................................................................... 58
2.3.2. Semantics & Pragmatics ..................................................................... 64
2.3.3. Intertextual Features ............................................................................ 73
3. Functional Stylistics .................................................................................... 78
3.1. Publicist Style ............................................................................................ 81
3.1.1. Oratory & Speeches ............................................................................ 82
3.1.2. Essay .................................................................................................... 84
3.1.3. Journalistic Article & Editorial ........................................................... 84
3.1.4. Brief News Items ................................................................................. 85
3.1.5. Advertisement & Announcement ........................................................ 87
3.1.6. Headline .............................................................................................. 88
3.2. Scientific Style ........................................................................................... 93
3.3. Official Style ............................................................................................ 104
3.3.1. Language of Business ....................................................................... 107
3.3.2. Legal Documents .............................................................................. 108
3.3.3. Diplomatic Documents ...................................................................... 111
3.3.4. Military Documents .......................................................................... 111
Conclusion ...................................................................................................... 120
Bibliography .................................................................................................. 121
1. Style & Stylistics
#
SORT OF THING
EXAMPLE
LANGUAGE
1
Individuals
Different soccer players have different,
recognizable styles of running, passing and
shooting.
Personal style of
W. Shakespeare.
2
Groups of
people
Whole nations often do the same thing in
different typical ways. Thus, Chinese
cooking is based on the stir-fry technique,
British one - on oven-cooked dishes. These
are effectively different styles of cooking.
The jargon of
jazz-people.
3
The products of
human beings
Think of hair styles, for example, or
architecture styles.
Война и мир by
L.N. Tolstoy.
4
Periods
Baroque or Antic styles.
Archaic words.
5
Places
The midland with its typical nature and
climate.
Dialects.
Variants.
The word STYLISTICS is derivative from STYLE. Style is originated from the
Latin word stilus which meant a short stick sharp at one end and flat at the other, used
by the Romans for writing on wax tablets. In time the meaning of the word stilus
came to denote not only the tool of writing, but also the manner of writing.
This manner could be hardly described. On the one hand, style is something
individual (thus, different singers have different styles of singing), on the other, it
belongs to society (we may talk about Russian manner of behaviour, thinking and so
on). It includes the creative processes (which make the work of art recognizable) and
the set of rules (distinguishing the Baroque style, etc.). The style domain spreads out
something distinctive and something common. In other words, it covers everything.
In such a way, it is uneasy to define style as something concrete. But also it is
felt to be not so much abstract. Style is somewhere here and there, close and far.
Something and somewhere between the opposite forces. By the way, stilus itself has
two completely different ends: sharp and flat, used to change (correct) each other.
The unsteady notion of style as an object of stylistics makes its study rather
contradicting and interesting. All-or-nothing view does not work. So, we are trying to
balance.
1.1. Style in Language
Style is a general manner of doing something which is typical or representative
of a person or group, a time in history, etc. [Longman Dictionary of English
Language and Culture, 1998].
Table 1 - All Sorts of Things Have Style
6
From the very beginning included in the process of writing, i.e. language, style
#
PERIOD
CLASSIFICATION OF STYLE
1
Ancient Greece
The languages of drama and tragedy (high), poetry (medial),
comedy (low).
2
Ancient Rome
Three general styles (urbanitas, rusticitas, peregrinitas) and
three poetic genres.
3
Enlightment
Lomonosov‟s theory of the three styles (social and cultural
criteria of speech evaluation).
4
Modern times
Three general styles: neutral (literary normal), high (poetic,
bookish, pompous), and low (colloquial, derogatory).
went through different stages of historical development, preserving in a majority of
standpoints its triple nature:
Table 2 - Notion of Style
So, generally, three styles are distinguished: the GRAND, MIDDLE and PLAIN.
The example on clothing can give some idea of what is meant by the three styles: we
may think of the plain style as the working dress of language, and the grand style as
ceremonial dress for a state occasion. For the middle style, between the two, the
watchword is elegance – perhaps respectable clothes for a night out [Leech, 1969:
17].
All the rules of usage cannot be codified in dictionaries. The conventions of
such subdivisions of the language lie in more or less unanalyzed feelings about what
is appropriate in a certain situation. Disregarding conventions does not lead to
misunderstanding so much as to embarrassment or amusement. If on receiving a
formal wedding invitation Mr and Mrs Gordon Jones… you reply familiarly in
writing Thanks a lot – so sorry I can't make it, this is a faux pas similar to that of
turning up at the wedding without a jacket, or wearing tennis shoes at a ball.
The question on being appropriate may be interpreted as being correct or
suitable for a particular situation or occasion. The general system of particular
patterns is a very abstract notion; nevertheless, there are some inner mechanisms for
being and feeling appropriate. These mechanisms are making for choice and
arrangement of language units.
CHOICE
Communicative situation presupposes a particular purpose in a particular social
setting. The idea beard with Sit down may represent a lot of additional information,
when expressed as ‗Take the seat, please‘, ‗Do sit down‘, ‗May I offer you a chair?‘,
‗Sit, Down!‘ and so forth.
This specificity lies in language variation and choice for the language user to
achieve desired effects of the message upon the receiver of information (a reader or a
hearer). It is well known that the search for an adequate expression often takes an
enormous amount of time and mental effort [Гальперин, 1977: 16]. This idea is
7
brilliantly expressed by В. Маяковский in the poem Разговор с финиспектором о
поэзии:
Поэзия —
та же добыча радия.
В грамм добыча,
в год труды.
Изводишь
единого слова ради
тысячи тонн
словесной руды.
Every premeditated use of language goes some way towards the ideal of a style
in which linguistic choices precisely fit their purpose, and bear their full weight of
meaning. The phrase le mot juste is misleading if it suggests that acceptable prose
style is merely a matter of choosing the right words – it is rather a question of
drawing freely from all the expressive resources of the language, lexical,
grammatical, phonological and graphical, for the purpose in hand [Leech, 1969: 2728].
To illustrate this quality, let us go through a short passage from Under the Net
by Iris Murdoch: „While I was thinking these thoughts a little stream was running
softly somewhere in my mind, a little stream of reminiscence. What was it? Something
was asking to be remembered. I held the book gently in my hands, and followed
without haste the course of my reverie, waiting for the memory to declare itself‘.
Indeed, Pope‟s well-known definition of wit „What oft was thought but ne‘er
well express‘d‘ (An Essay on Criticism) seems to sum up the idea of linguistic choice.
The most frequent definition of style is one expressed by Seymour Chatman: ‗Style is
a product of individual choices and patterns of choices among linguistic possibilities‘
[Chatman, 1967: 30].
A lot of factors determine choices in speech behavior:
the aim of communication,
the relations between the participants,
the attitude towards the subject matter of communication.
The choices may be logical, psychological, social, aesthetic, and pragmatic.
Hence, language means selection may be:
optional or obligatory,
occasional or systematic,
individual or common to groups of individuals,
deliberate or non-deliberate.
The problem of deliberate choice of language means and devices causes two
varieties of what is called personal style: individual style and idiolect [Гальперин,
1977: 13]:
8
Table 3 - Varieties of Personal Style
INDIVIDUAL STYLE
IDIOLECT
The habitual manner of speech,
characterized by the peculiarities
typical of any particular
individual.
A unique combination of language units,
expressive means and stylistic devices peculiar to
a given writer, which makes that writer‟s works
or even utterances recognizable.
Language choice brings up the problem of the norm. The fact that there are
different norms for various types and styles of language does not exclude the
possibility and even the necessity of arriving at some abstract notion of norm as
invariant, which should embrace all variants with their most typical properties. So the
norm is the invariant of the language patterns circulating at a given period of time
[Гальперин, 1977:19].
The norm presupposes neutral, non-marked elements. Marked ones give rise to
the notion of style as deviation. It is necessary to place linguistic deviation into a
wider aesthetic context, by connecting it with the general principal of foregrounding.
FOREGROUNDING
Foregrounding is the practice of making something stand out from the
surrounding words or images [Leech, 2007]. It is „the „throwing into relief‟ of the
linguistic sign against the background of the norms of ordinary language‟ [Wales,
2007].
The term was first associated with Paul Garvin in the 1960s, who used it as a
translation of the Czech aktualisace (literally to actualise), borrowing the terms from
the Prague school of the 1930s [Pope, 2002].
Building on the ideas of the Russian Formalists, the Prague School developed
the concept of FOREGROUNDING, whereby poetic language stands out from the
background of non-literary language by means of deviation (from the norms of
everyday language) or parallelism. Parallelism can be described as unexpected
regularity, while deviation can be seen as unexpected irregularity [Leech, 1969].
Foregrounding can occur on all levels of language (phonology, graphology,
morphology, lexis, syntax, semantics and pragmatics) [Simpson, 2004]. Parallelism is
usually expressed in the repetition of sounds, lexical and syntactical units. Deviation
deals with any language aspect.
According to the Prague School, the background language is not fixed, and the
relationship between poetic and everyday language is always shifting. Moreover, a
difference between parallelism and mechanical repetition strikes. As Roman
Jakobson said, „any form of parallelism is an apportionment of invariants and
variables‟ [Jakobson, 1966]. So, in any parallel pattern there must be an element of
identity and an element of contrast.
Parallelism is typical of many other aspects of human culture. The opening
bars of Beethoven‟s Fifth Symphony forcefully illustrate the patterning of constants
9
and variables which is basis to almost all aspects of musical form [Austerlitz, 1961:
STYLE
FUNCTION
CREATION
UTILITY
Pragmatic function – to achieve a
desirable effect in the course of
communication.
Standard language means,
conditioned by the social sphere
and the purpose of
communication.
BEAUTY
Aesthetic function – to attract
attention and make pleasure.
Inventory ways of expressing
ideas.
439-444]:
Picture 1 - Fifth Symphony by Beethoven
As a rule, anyone who wishes to investigate the significance and value of a
work of art must concentrate on the element of interest and surprise, rather than
automatic pattern. Thus, foregrounding is a very general principle of artistic
communication considering that a work of art in some way deviates from norms
which we, as members of society, have learnt to expect in medium used [Garvin,
1958]. To our mind, the controlling force in art is balance.
BALANCE
Studying style is investigating norm and deviance, invariant and variant, nonmarked and marked elements, neutrality and expression, background and foreground,
tradition and originality. To be scientific, we are keeping balance between multiple
opposite forces.
In the metaphysical or conceptual sense, balance is used to mean a point
between two opposite forces that is desirable over purely one state or the other, such
as a balance between the metaphysical Law and Chaos - law by itself being overly
controlling, chaos being overly unmanageable
[http://en.wikipedia.org/wiki/Balance_%28metaphysics%29, Retrieved 15.09.2011].
To some extent we may accept balance between structural and emotional as the
essence of beauty.
BEAUTY
As far as beauty is a characteristic or idea that provides a perceptual experience
of pleasure, meaning, or satisfaction [http://en.wikipedia.org/wiki/Beauty, Retrieved
10.07.2011], it is interesting to find its measure. In economical theory, a measure of
the happiness or satisfaction is utility, gained from a good or service
[http://en.wikipedia.org/wiki/Utility_(disambiguation), Retrieved 10.07.2011]. What
is utility in style then?
Table 4 - Utility & Beauty in Style
10
Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]