1. Базові поняття сучасної лінгвостилістики

Норма, висунення, образність, тропи, стилістичний прийом, виразний засіб, конвергенція, ідіостиль, функціональний стиль, мова як система, мовна компетенція та мовлення. Дихотомія норма :: стиль у сучасному мовознавстві. Інформація: ментальна репрезентація та механізми її вербального кодування.

2. Основні засоби творення образності у сучасній англійській мові

Виразні засоби і стилістичні прийоми:

Фонетичні: алітерація, рима, ритм, асонанс, ономатопія;

Графічні: пунктуація, розташування тексту, шрифт;

Лексичні: метафора (“жива” та “стерта”), метонімія, оксюморон, стилістично марковані лексичні одиниці (варваризми, сленгізми, терміни тощо). Значення (денотативне :: конототивне, первинне :: вторинне) Структура значення лексичної одиниці

Синтаксичні: паралелізм, перифраза, епіфора, діафора, анафора, літота, хіазм, інверсія та ін. Синтаксичні трансформації у стилістичному та лінгвокогнітивному аспектах.

3. Способи та механізми образного переосмислення значення різнорівневих одиниць

Лінгвокогнітивне підґрунтя фігур мови та мовлення. Концептуальна метафора, концептуальна метонімія, концептуальний оксюморон, концептуальна алюзія. Особливості концептуальної інтеграції.

4. Концептуальна картина світу :: концептуальний простір :: авторський стиль

Концептуальна картина світу як цілісний образ онтологічного середовища індивіда, результат його професійної та когнітивної діяльності, фокус подальшого сприйняття дійсності та джерело індивідуального когнітивного стилю мовної особистості. Концептуальна метафора як засіб відображення стереотипних соціокультурних ситуацій та детермінанта ситуативно релевантних стилістичних засобів і прийомів.

5. Стилістичні аспекти дискурсивного аналізу

Підходи до визначення дискурсу в сучасному мовознавстві. Типологія дискурсу. Поняття про дискурсивні стратегії та тактики. Мовні та мовленнєві засоби висунення (творення образності) у різних видах дискурсу.

6. Функціональні стилі сучасної англійської мови

Поняття регістру мовлення. Типологія функціональних стилів. Диференційні ознаки стилів художньої літератури, засобів масової інформації (газетного, ТБ дискурсу, Internet-дискурсу), офіційних документів тощо.

Література

Основна

Арнольд И.В. Стилистика современного английского языка: (Стилистика декодирования). – М.: Просвещение, 1990.

Теория метафоры: Сборник: Пер. с анг., фр., нем., исп., польск. яз./ Общ. ред. Н. Д. Арутюновой и М. А. Журинской. — М.: Прогресс. – 1990.

Трибуханчик А.М. Інтерпретаціяхудожнього тексту (англійська мова). – Ніжин: НДПІ,1992.

Galperin I.R. English Stylistics. – M.: Higher School, 1982.

Додаткова

Виноградов В.В. Стилистика. Теория поэтической речи. Поэтика. – М., 1963

Kolesnyk O.S. Notes On Style In English. – Manuscript.

Лакофф Дж. Мышление в зеркале классификаторов. Новое в зарубежной лингвистике. Вып. XXIII. Когнитивные аспекты языка: Пер. с англ. - М.: Прогресс, 1988. – С. 12-51.

Спеціалність "Мова та література (англійська)"

№	Змістові модулі	Кількість годин
		Лекції	Практичні заняття	Самост. роб.	Всього	Примітки
Модуль 1. Лінгвостилістика. Предмет, завдання та методи дослідження
1.	Вступ. Предмет “Стилістика”. Сучасні підходи до визначення стилю у мовознавстві.	2		9	11
2.	Базові поняття лінгвостилістики.	2	2	12	16
Всього		4	2	21	27
Форма модульного контролю- тестування
Модуль 2. Типи стилістик за рівнями мови як системи
3.	Фонетична стилістика	2	2	1	5
4.	Лексична стилістика	2	2	2	6
5.	Синтаксична та лексико-синтаксична стилістика	4	2	3	9
6.	Типи й механізми переосмислення значення	2	2	3	7
	Всього	10	8	9	27
Форма модульного контролю- тестування
Модуль 3. Функціональна стилістика
7.	Функціональні стилі в сачасній англійській мові	1	2	2	5
8.	Діалекти у сучасній англійській мові	2	2	4	8
9.	Стилістичний аспект дискурсивного аналізу	1	2	4	7
10.	Концептуальне підгрунтя регістрів мовлення	2		5	7
	Всього	6	6	15	27
	Всього за семестр	20	16	45	81
Форма модульного контролю - тестування
Форма підсумкового контролю - екзамен

Напрям, спеціальність, освітньо-кваліфікаційний рівень: 0101 – педагогічна освіта; 6.010103 – англійська мова і література; бакалавр

Курс – четвертий *, Семестр – перший (сьомий*)

Кількість кредитів часу – 1,5 (національних), 2 – ECTS

Модулів – 2; Змістових модулів – 6

Загальна кількість годин – 81: Лекцій – 20, Практичних – 16, Самостійної роботи – 45

Форма підсумкового контролю – екзамен

Розподіл балів при рейтинговій системі оцінювання з навчальної дисципліни “Стилістика сучасної англійської мови”

Модулі	Модуль 1		Модульний контроль	Модуль 2					Модульний контроль	Модуль 3				Модульний контроль	Підсумковий контроль (екзамен)	Сума
Кількість балів	20			40						40
Змістові модулі	ЗМ 1	ЗМ 2		ЗМ 3		ЗМ 4	ЗМ 5	ЗМ 6		ЗМ7	ЗМ 8	ЗМ 9	ЗМ 10
Кількість балів за видами роботи
			8	пр срс		пр срс	пр срс	пр срс	12	пр срс	пр срс	пр срс	срс пр	10	До 25	100
Робота на лекціях		1		2		1	1	1		1	1	1	1
Робота на практ. зан.	5	5		5		5	5	5		5	5	5	5
Виконання СРС		1				1	1	1		2	2	2
Всього за модуль	12				28					30
Інші види роботи (дод. / альтерн.)	реферування наукової літератури, складання порівняльних таблиць, схем, участь в олімпіадах, студентську наукову роботу тощо, нараховуються додатково 0-5																0-5
	Участь у студентських олімпіадах і конкурсах, наукових конференціях, семінарах, круглих столах – 0-5

Інтервальна шкала оцінок

Рейтинговий показник	Оцінка у національній шкалі	Оцінка ECTS
91-100	(відмінно / зараховано)	A (відмінно)
81-90	(добре / зараховано)	B (добре)
77-80		C (добре)
71-76	(задовільно / зараховано)	D (задовільно)
61-70		E (задовільно)
40-60	(незадовільно / незараховано)	FX (незадовільно – повторне складання
0-39		F (незадовільно)

Basic remarks…

A style from linguistic perspective is most commonly identified as a variable yet relatively stable in regard to certain groups of language users, contexts etc. set of linguistic means that serve to highlight ideas, create specific effects, and draw addressees' attention. It could be correct to speak of style as a synchronically relevant invariant of language systems' functioning that aims at expressive and therefore most effective creating of alternative (textual) worlds that correspond to the addressees' encoded experience thus triggering a desired feedback.

An expressive means (EMs) is a (potential) capability of language systems' (sub-systems') creating stylistic effects. EMs refer to language as a system while their potential expressiveness derives from systemic interrelations of phonetic, morphological, lexical and syntactic sub-systems. EMs are something that can be used within a national language's framework to create stylistic effects.

A stylistic device (SD) is better described as a unit belonging to the plane of actual text / discourse i.e. as a set of tropes traditionally implemented by an addresser (writer, speaker) in typical contexts. SDs are something that are used to convey an idea, provide images, imply judgments / attitudes, address background common knowledge etc.

Styles (consequently – stylistic effects) are relevant in certain contexts only. The said contexts are usually viewed as linguistic (both communicants language / speech competence i.e. the ability to encode, convey and decode messages via a historically active variant of a national language) and extra-linguistic (time-space settings, social statuses, pragmatic intentions etc.). Contexts modify primary information providing hidden implications that together comprise what we tend to recognize as a style.

Styles indirectly correspond to (speech) genres and speech acts thus pertaining to the domain of discourse. Hence styles refer to institutionalized / non-institutionalized, group / individual discourse. Each of the indicated areas is characteristic for its peculiar (invariant) set of EMs and SDs while their separate representatives are responsible for creating idiostyles.

The pattern of text interpretation

1. General overview of the text’s contents (brief and concise outline of primary information) – “The text / extract under analysis runs about / deals with...”

2. The text’s composition.

3. TYPE of narration – 1) emotive prose 2) poetic diction 3) scientific discourse 4) meta – text

4. Source of narration – 1) author’s narrative 2) entrusted narrative 3) interior speech 4) represented speech 5) dialogue 6) a mixture of 1) – 5)

5. Narrative compositional forms used in the text – 1) description 2) argumentation 3) meditation 4) narrative proper

6. Expressive peculiarities of the text’s vocabulary and grammar: neutral , colloquial, bookish words, jargon / professional words / argot / taboo words, phrases, syntactic structures

7. Stylistic devices that provide the foregrounding of the text’s basic concepts:

1. phonetical: alliteration, assonance, euphony, onomatopoeia, rhythm

2. lexical: see specific use of bookish words, vulgarisms, archaic words, poetic words, neologisms, dialect words, terms, slang etc. Special emphasis should be laid onto the use of metaphor, metonymy, synecdoche, play on words, irony, hyperbole, understatement, oxymoron, epithets.

3. syntactical: simplicity / complexity of sentence structures, special devices: repetition – anaphora, epiphora, framing, anadiplosis, chain repetition, successive repetition; parallel constructions, inversion, suspense, detachment, ellipsis, apokoinu constructions, break

4. lexico-syntactical: - antithesis, climax, anticlimax, simile, litote, periphrasis

8. The message of the text.

9. Peculiarities of the author’s style

STYLISTIC DEVICES

Phonetic devices

A11iteration - deliberate reproduction of the same or similar consonants in close succession to achieve a certain acoustic effect. No longer mourn for me when I am. dead // Then you shall hear the surly sullen bell /Shakespeare/.

Assonance - deliberate repetition of similar or the same vowel a in close succession to achieve acoustic effect. Tenderly bury the tender young dead... /la Costa/.

Onomatopoeia- deliberate use of words or word combinations whose sounds produce an imitation of a natural sound. And toe silken sad uncertain - Rustling of each purple curtain...

Lexical devices

Archaic words - words which are not in the current use but understood by the speaking community. I saw thee weep...

Barbarisms - words borrowed from foreign langua­ges and not assimilated in English. “Hasta la vista, baby...”

Bookish or learned words - words of high-flown stylistic colouring used usually in official or high-flown style. Compare: a great crowd came to see - a vast concourse was assembled to witness; great fire - disastrous conflagration

Colloquial words - words used in private, unof­ficial type of communication but not violating the received stan­dard. "I have nothing against him - he's quite a nice chap and that sort of thing”

Dialect words- words characteristic of some local or social dialect. They have stylistic value only when used out of their special sphere of application

“I believe it’s not moonshine in your glass, is it?”

Historical words -words used to designate objects and phenomena peculiar to some past epoch. The claymore glimmered wickedly in O’Connor’s hands.

"I will without fail my Liege" - answered the jester.. (W. Scott).

Jargonisms social or cantish words – words and word combinations used by particular social groups to conceal their true meaning, to prevent other people from understanding. They were cooked for about two hours yet none of them unbuttoned.

Jargonisms professional- words and word combinations used by professional groups to indicate objects and notions characteristic of the given profession.

That walkie-talkie of yours is sure to vex a saint, Sarge. We’re in position. Roger. Wait till your modem handshakes with the server.

Neologisms stylistical - words or word combinations created by the author in accordance with the existing models of wordbuilding.

Slang words- words of highly colloquial character whose expressiveness, novelty and certain coarseness make them emphatic and emotional compared to their neutral synonyms. Jus’ gimme that dead soldier – I’m gonna crack his ugly head with it...

Terms- words or word combinations used to express spe­cial notions, objects, phenomena, etc. characteristic of some branch of science. Terms have stylistic value only when used out of their specific sphere of application.

He’s a protein child. Jerry is a kind of species that cannot find a stable habitat.

Vu1garisms - words and word combinations denoting the notions which are taboo in a given speech community or words and word combinations with a strong emotive colouring of coar­seness or rudeness. I don’t give a damn of what these bastards think of me – I’m gonna do what I please... Taboo words - words and word combinations of low colloquial style considered improper in most contexts and communities. So what of Noodles – he was OK? – Nope. Fucked up as usual.

Allegory – expression of an abstract idea through some specific image. All is not gold that glitters. Still waters run deep.

Antonomasia -usage of a proper name for a common noun, or the usage of a common noun as a proper name.

So you did sign up for Dr. Evans. Shouldn’t have. A Freddie Krueger like him won’t do you any good.

TROPES

A trope (from the Greek word tropein, "to turn") concerns a shift in meaning from the ordinary use of a word.

Metaphor and Simile. In both, two un­like things are said to be alike. In a metaphor the comparison is implied; in a simile, it's explicit. The words like or as signal a simile.

Metaphor- transfer of a name from one object to ano­ther based on the supposed likeness of some features of the two. The sentensed fish went to the oven.

No matter how lovingly a person or doctor rapped at the door to Eddie's mind, Eddie refused to say "come in." (Grace Paley, "In Time Which Made a Monkey of Us All," The Little Disturbances of Man)

Simile - comparison of two objects belonging to diffe­rent spheres bat presented as having some feature in common. - The menu was rather less than a panorama, indeed, it was as repetitious as a snore. (E.O'Neil).

She is as tall blue lilacs are. (Leonard Meyer, Music the Arts and Ideas}

Metonymy- transfer of a name from one object or person to another due to some relations of the two. The grey cloak was faster and deadlier of the three shadows.

Synecdoche - type of metonymy in which a part rep­resents the whole or the whole represents the part.

Hey you, red nose, fetch yourself over here.

"He's in trouble with the law." "They have no bread for their table." "If we can find some wheels, we can meet you Saturday night."

Metaphorical epithet- epithet based on a metaphor and expressed usually by an "of"-phrase. - B.g. A ghost of a smile appeared on Soame’s lips. (Galsworthy).

Oxymoron -presentation of two contrasting ideas expressed by words syntactically dependent upon each other within one syntagma. It’s like a paradox in that both figures reveal sursine truths through contradiction. Unlike a paradox that involves an entire statement an oxymoron involves only two words placed side by side. – The deafening silence drove her crazy..."a terrible beauty is born.", "military intelligence" Cowards die many times before their deaths. (William Shakespeare, Julius Caesar, act 2, scene 2)

Personification- ascribing to a phenomenon, or an idea qualities, feelings and thoughts of a living being. – The sword sang its song of death.

No one, not even the rain, has such small hands.

Syllepsis - the use of one verb that is understood differently in relation to two or more objects.

He took the money and his time returning it. Give me liberty or give me death. (Patrick Henry)

Anthimeria -the use of a word in which one part of speech is exchanged for another—say a noun for a verb.

Let be be finale of seem. (Wallace Stevens) "He slimed me," Bill Murray cried after his encounter with the protoplasmic ghost. (Ghostbusters) "How does this loss impact on your daily life?"

Periphrasis - the substitution of one or more descriptive words for a proper name, or the substitution of a proper name for obvious associations with the name.

I expect Brick-head to deliver the cash soon. He had a Uriah Heep attitude toward his superiors.

Litotes - use of understatement to intensify an idea. It usually involves denying the contrary. She is not completely hopeless.

Epithet - word or word combination used attributively to provide expressive rather than logical description of the referent object. The Iron hate in Soul pushed bin on again. (H.Wilson).

Euphemism-a variety of periphrasis which substltutes an expression which seems to be rude or unpleasant for one more mild and delicate. I had to borrow his Chevy truck to get to the rancho...

Hyperbole -a deliberate overstatement. – A skyscraper-type gorilla blocked my way to the office...

Irony - opposition of the meaning expressed and the meaning meant when the meaning expressed substitutes the meaning meant. She turned with the sweet smile, of an alligator. (J. Steinbeck).

Syntactic devices, schemes

Whereas tropes concern unusual uses of words, schemes con­cern unusual patterns of words. Tropes involve word meanings; schemes, word arrangements. Note that as long as language units function when arranged syntagmatically some devices listed above as belonging to phonetic may also be viewed as syntactic.

Schemes of Balance

Parallelism - involves grammatical elements similar in structure (It adds weight and force to ideas and thus af­fects the rhythm of the voice).

/… / here is a certain place where dumb-waiters boom, doors slam, dishes crash /…/

Antithesis - the use of parallel structure to emphasize con­trasting ideas. More generally, antithesis can be defined as ideas or words in sharp opposition.

It is a sin to believe evil of others, but it is seldom a mistake. (H.L. Mencken, A Book of Burlesques) To every complicated problem, there's a simple solution—­that is wrong. (H.L. Mencken) Marriage has many pains, but celibacy has no pleasures. (Samuel Johnson, Rasselas XXVI)

Isocolon - the use of grammatical elements equal in structure and in length (the same number of words, and in its strictest use, the same number of syllables).

With stars in her eyes and veils in her hair, with cyclamen and wild violets—what nonsense was he thinking? She was fifty at least; she had eight children.

Schemes of Unusual or Inverted Word Order

Anastrophe - the use of inverted or unusual word order.

Insoluable questions they were, it seemed to her, standing there, holding James by the hand. (Virginia Woolf, To the Lighthouse)

Parenthesis - the insertion of a phrase or a clause that inter­rupts the main part of a sentence. The interruption is usually indicated by ( ) or by commas or dashes.

And the very fact that he had had to choose respectability to hide behind was proof enough (if anyone needed further proof) that what he fled from must have been some opposite of respectability too dark to talk about.

(William Faulkner)

Schemes of Omission

Ellipsis - the deliberate omission of a word or words that can be understood by the reader from the previous context and from the grammar of the sentence. The understood words must be compatible with the grammar.

To some people that's the stuff of which legends are made, to others jokes. (Phyllis Rose, "Nora Astorga," New York Times)

Asyndeton - a deliberate lack of conjunctions between par­allel or related clauses. One effect is to quicken the rhythm of a sentence or series of sentences. An asyndetic style often includes anaphora (repeated clause or phrase openers).

Now that science is looking, chaos seems to be everywhere. A rising column of cigarette smoke breaks into wild swirls. A flag snaps back and forth in the wind. A dripping faucet goes from a steady pattern to a random one. (James Gleick, Chaos)

Aposiopesis or break - a sudden interruption in speech caused by some strong emotion or reluctance to continue or finish the sentence for some other reason. – She was so nice to me whenever I dropped into her old shabby place and I... but who cares!

Polysyndeton —the intentional use of many conjunc­tions.

Then the elephant had gone on into the thick forest and Da­vid had seen him ahead standing gray and huge against the trunk of a tree. (Ernest Hemingway, The Garden of Eden)

Alliteration - the repetition of initial consonants.

The soul selects her own society. (Emily Dickinson)

Polyptoton - the repetition of words with the same root but different endings or in different forms.

Poverty and isolation produce impoverished and isolated minds.

Assonance is the repetition of similar vowel sounds.

The spider skins lie on their sides, translucent and ragged, their legs drying in knots.

(Annie Dillard, Holy the Firm)

Anaphora - the repetition of the same word or phrase at the beginnings of clauses or sentences.

We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were. (Joan Didion, "On Keeping a Notebook")

Epistrophe - the repetition of words or phrases at the end of subsequent clauses or sentences.

What I do know is this. If you go so far out on a limb that it breaks, you have gone too far. If you lose your perspective, you have gone too far. If you don't see the joke anymore, you have gone too far. (Connor FreffCochran, "Going Too Far")

Epanalepsis - the use of the same word or phrase at the beginning and end of a clause or sentence.

Blood hath bought blood, and blows have answer'd blows;

Strength match'd with strength, and power confronted power. (William Shakespeare, King John, Act II, Scene i)

Anadiplosis - the repetition of the last word of a clause (or sentence) in the first word of the following one.

How can people think that artists seek a name? A name, like a face, is something you have when you're not alone. (Annie Dillard, Holy the Firm)

Tricolon - the use of three parallel phrases or clauses, usually climactically arranged.

But in a larger sense, we cannot dedicate—we cannot conse­crate—we hannot hallow this ground. (Abraham Lincoln)

Chiasmus - repetition in which the order of words in one clause is reversed in the second.

Nature forms patterns. Some are orderly in space but disor­derly in time, others orderly in time but disorderly in space. (James Gleick, Chaos)

Anadiplosis or catch repetition -repetition of the same element or unit at the end, of the preceding and at the be­ginning of the following utterance. - With Bewick on my knee I felt happy: happy at last In my way. (Ch.Broate).

Anaphora - repetition of the first word or group of words at the beginning of several successive sentences or clauses. - And everywhere- there were people. People going into gates and people coming out of gates. People staggering and falling. People, fighting and cursing. (P.Abrahams).

Apokoinu construction - blend of-two cla­uses through a word which has two syntactical functions, one in each of the .two blended clauses. - There was a door led into the kitchen.(E.Hemingway)

Chain repetition - combination of several catch repetitions.

Chiasmus- reversed parallelism. – I know what you want – you want what I’ve got.

Coordination instead of Subordination - usage of coordination in the cases where subordination is logically ex­pected (usually the use of "and'', as in Hemingway). Detachment- isolation of some parts of the sentence to make it more prominent.

E11ipsis- deliberate omission of. some members of the sentence for stylistic purpose.

I won’t take a single buck from him. You got it? Not one.

Epiphora - repetition of the final word or group of words in several succeeding sentences or clauses.

Parallelism- two or wore sentences built by the same syntactic pattern closely following each other.

Polysyndeton- connection of sentences, phrases or words based on the repetition of the sane conjunction.

Rhetorical question - presentation of an affirmative or negative statement in the form of a question. - Is there not blood enough upon your penal codes that must be pored forth? (Byron).

Ring repetition- repetition of the same unit at the beginning and at the end of some utterance. We are nice to our mas-s-s-ster, yesssss we are... (J.R.R. Tolkien)

Stylistic inversion- violation of the tra­ditional order of words which does not alter the grammatical meaning of the sentence but gives it an additional emotional or emphatic colouring.

Subordination instead of coordination - usage of subordination In cases where coordination is logically expected.

Syntactic tautology- repetition of some member of the sentence, usually the subject expressed by a noun or, a pronoun. – Old Ms. Spider, she was a disaster incarnate.

Zeugma - usage of semantically different bat syntactically similar construction in close succession. - Mr. Pikwick took his hat and his leave. /Dickens/.

Antithesis- presentation of two contrasting ideas in close succession. Mr. Pinski was a man of great ambitions and tiny toes.

Litotes - presentation of a statement in the form of a negation. – I surmise the individual standing in front of me is far from a loser you’ve tried to make of him.

Periphrasis - using a roundabout for of expres­sion instead of a simpler one, to designate the same object. Wearing leather on a horse of steel I ride (Joe de Maio, Manowar).

Climax- structure in which every successive sentence, phrase or word is emotionally stronger and logically more impor­tant than the preceding one. For that one instant there was no one else in the room, in the house, in the world, besides themselves. (M.Wilson).

Anticlimax- counterpart of climax, where emotional or logical importance is accumulated only to be unexpectedly broken and brought to a sudden break. This was appalling - and soon forgotten. (J.Galsworthy)