- •Preface
- •1.1. Problems of stylistic research
- •1.1. Problems of stylistic research
- •1.2. Stylistics of language and speech
- •1.3. Types of stylistic research and branches of stylistics
- •1.4. Stylistics and other linguistic disciplines
- •1.5. Stylistic neutrality and stylistic colouring
- •1.6. Stylistic function notion
- •1.6. Stylistic function notion
- •1.6. Stylistic function notion
- •2.1. Expressive means and stylistic devices
- •2.2. Different classifications of expressive means
- •2.2.1- Hellenistic Roman rhetoric system
- •2.2.2. Stylistic theory and classification of expresssive means by g. Leech
- •2.2.4. Classification of expressive means and stylistic devices by y. M.Skrebnev
- •3.1. The theory of grammatical gradation.
- •3.2. Grammatical metaphor and types of grammatical transposition
- •3.3. Morphological stylistics.
- •3.3.2. The article and its stylistic potential
- •3.3.3. The stylistic power of the pronoun
- •3.3.4. The adjective and its stylistic functions
- •3.3.5. The verb and its stylistic properties
- •3.4. Stylistic syntax
- •3.4. Stylistic syntax
- •3.4. Stylistic syntax
- •4.1. The notion of style in functional stylistics
- •4.1. The notion of style in functional stylistics
- •4.2. Correlation of style, norm and function in the language
- •I.V.Arnold presents these relations as a system of oppositions:
- •4.3. Language varieties:
- •4.4. Ал overview of functional style systems
- •1. The Belles-Lettres Style:
- •2. Publicist Style:
- •3. Newspaper Style:
- •1. Literary or Bookish Style:
- •2. PVee («Colloquial») Style:
- •1. Colloquial Styles:
- •4.5. Distinctive linguistic features of the major functional styles of English
- •4.5.1. Literary colloquial style
- •4.5.2. Familiar colloquial style
- •4.5.3. Publicist (media) style
- •4.5.4. The style of official documents
- •4.5.5. Scientific/academic style
- •5.1. Stylistics of the author and of the reader. The notions of encoding and decoding
- •5.2. Essential concepts of decoding stylistic analysis and types of foregrounding
- •5.2.1. Convergence
- •5.2.2. Defeated expectancy
- •5.2.3. Coupling
- •5.2.4. Semantic field
- •5.2.5. Semi-marked structures
3.4. Stylistic syntax
Syntactical categories have long been the object of stylistic research. There are different syntactical means and different classifications. The classifications discussed earlier in this book demonstrate different categorization of expressive means connected with syntax. However there axe a few general principles on which most of the syntactical expressive means are built. The purpose of this paragraph is to consider the basic techniques that create stylistic function on the syntactical level common for most stylistic figures of this type and illustrate them with separate devices.
The major principles at work on the sentence level are
I. The omission or absence of one or more parts of the sentence. II. Reiteration (repetition) of some parts.
The inverted word order.
The interaction of adjacent sentences.
j# The omission of the obligatory parts of a sentence results in ellipsis of various types. An elliptical sentence is a sentence with one or more of the parts left out. As a rule the omitted part can be reconstructed from the context. In this case ellipsis brings into relief typical features of colloquial English casual talk.
The laconic compressed character of elliptical sentences lends a flavour of liveliness to colloquial English. In fiction elliptical sentences have a manifold stylistic function. First of all they help create a sense of immediacy and local colour. Besides they may add to the character's make up, they lead to a better understanding of a mood of a personage.
Wish I was young enough to wear that kind of thing. Older I get the more I like colour. We're both pretty long in the tooth, eh? (Waugh)
Often elliptical sentences are used in represented speech because syntactically it resembles direct speech. The use of elliptical sentences in fiction is not limited to conversation. They are sometimes used in the author's narration and in the exposition (description which opens a chapter or a book).
/ remember now, that Sita's braid did not hurt. It was only soft and heavy, smelling of Castile soap, but still I yelled as though something terrible was happening. Stop! Get off! Let go! Because I couldn't stand how strong she was. (Erdrich)
A variety of ellipsis in English are one-member nominal sentences. They have no separate subject and predicate but one main part instead. One-member sentences call attention to the subject named, to its existence and even more to its interrelations with other objects. Nominal sentences are often used in descriptive narration and in
Chapter 3. Stylistic Grammar
exposition. The economy of the construction gives a dynamic rhyth^ to the passage. One-member sentences are also common in stage remarks and represented speech.
Matchbooks. Coaster trays. Hotel towels and washcloths. He was sending her the samples of whatever he was selling at the time. Fuller brushes. Radio antennas. Cans of hair spray or special wonder-working floor cleaners. (Erdrich)
Break-in-the narrative is a device that consists in the emotional halt in the middle or towards the end of an utterance. Arnold distinguishes two kinds: suppression and aposiopesis. Suppression leaves the sentence unfinished as a result of the speaker's deliberation to do so. The use of suppression can be accounted for by a desire not to mention something that could be reconstructed from the context or the situation. It is just the part that is not mentioned that attracts the reader's attention. It's a peculiar use of emphasis that lends the narration a certain psychological tension.
If everyone at twenty realized that half his life was to be lived after forty... (Waugh)
Aposiopesis means an involuntary halt in speech because the speaker is too excited or overwhelmed to continue.
But Mr. Meredith, Esther Silversleeves said at last, these people are heathens! Esther was the most religious of the family.—Surly you cannot wish... her voice trailed off. (Rutherfurd)
Decomposition is also built on omission, splitting the sentences into separate snatches. They are the result of detachment of parts of sentences. This device helps to throw in the effect of relief or express