- •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
5.2.1. Convergence
Convergence as the term implies denotes a combination or accumulation of stylistic devices promoting the same idea, emotion or motive. Stylistic function is not the property and purpose of expressive means of the language as such. Any type of expressive means will make sense stylistically when treated as a part of a bigger unit, the context, or the whole text. It means that there is no immediate dependence between a certain stylistic device and a definite stylistic function.
A stylistic device is not attached to this or that stylistic effect. Therefore a hyperbole, for instance, may provide any number of effects: tragic, comical, pathetic or grotesque. Inversion may give the narration a highly elevated tone or an ironic ring of parody.
This «chameleon» quality of a stylistic device enables the author to apply different devices for the same purpose. The use of more than one type of expressive means in close succession is a powerful technique to support the idea that carries paramount importance in the author's view. Such redundancy ensures the delivery of the message to the reader.
An extract from E. Waugh's novel «Decline and Fall» demonstrates convergence of expressive means used to create an effect of the glamorous appearance of a very colorful lady character who symbolizes the high style of living, beauty and grandeur.
The door opened and from the cushions within emerged a tall young man in a clinging dove-gray coat. After him, like the first breath of spring in 'he Champs-Elysee came Mrs. Beste-Chetwynde—two lizard-skin feet, silk legs, chinchilla body, a tight little black hat, pinned with platinum
Chapter 5. Decoding Stylistics and Its Fundamental Notions
and diamonds, and the high invariable voice that may be heard in any Ritz Hotel from New York to Budapest.
Inversion used in both sentences (...from the cushion within emerged a tall man; ...like the first breath of spring came Mrs. Beste-Chetwynde) at once sets an elevated tone of the passage.
The simile that brings about a sensory image of awakening nature together with the allusion to Paris—the symbol of the world's capital of pleasures—sustains this impression: like the first breath of spring in the Champs-Ely see. A few other allusions to the world capitals and their best hotels—New York, Budapest, any Ritz Hotel all symbolize the wealthy way of life of the lady who belongs to the international jet-set distinguished from the rest of the world by her money, beauty and aristocratic descent.
The use of metonymy creates the cinematographic effect of shots and fragments of the picture as perceived by the gazing crowd and suggests the details usually blown up in fashionable newspaper columns on high society life: two lizard-skin feet, silk legs, chichilla body, a tight little black hat... the invariable voice.
The choice of words associated with high-quality life style: exotic materials, expensive clothes and jewelry creates a semantic field that enhances the impression still further (lizard, silk, chinchilla, platinum and diamonds). A special contribution to the high-flown style of description is made by the careful choice of words that belong to the literary bookish stratum: emerge, cushions, dove, invariable.
Even the name of the character—Mrs. Beste-Chetwynde—is a device in itself, it's the so-called speaking name, a variety of antonomasia-Not only its implication (best) but also the structure symbolizes the
5.2. Essential concepts of decoding stylistic analysis
lady's high social standing because hyphenated names in Britain testify to the noble ancestry. So the total effect of extravagance and glamour is achieved by the concentrated use of at least eight types of expressive means within one paragraph.