- •1. The object of Stylistics and its key definitions: language, speech, text, sublanguage, register, style.
- •The notions of expressive means and stylistic devices (Galperin), tropes and figures of speech (Skrebnev).
- •Definition of style. Classifications of styles.
- •Belles-lettres style (I.R. Galperin). Language of poetry.
- •Language of the drama
- •1. Oratory and speeches
- •2. The essay
- •3. Articles
- •Newspaper style
- •Scientific prose style
- •Officialese
- •Stylistic phonetics and graphics. Graphon. Stylistic function of intonation.
- •Sound imitation and sound symbolism. Onomatopoeia. Assonance and alliteration. Paronomasia
- •Versification: rhythm and meter, rhymes. The most common types of English verse.
- •Stylistic morphology. Instances of synonymy of morphemes and inflexions. Instances of variability of their use.
- •Stylistic lexicology. General stylistic classification of words. Neutral and stylistically coloured words. Informal vocabulary: colloquialisms, slang, dialectal words, vulgarisms
- •Specific literary vocabulary
- •Stylistic semasiology. Nomination in language and speech. Imagery without transfer of denominations (autologous images) (‘Interpretation of Imaginative Literature’).
- •Tropes, or figures of replacement. Metaphor and its derivatives.
- •Metaphor
- •Personification
- •Metonymy and its derivatives. Antonomasia.
- •21. Irony, ways of creating irony.
- •Periphrasis, euphemism, epithet.
- •Hyperbole, meiosis, litotes.
- •Stylistic syntax. Stylistically relevant phenomena: syntactical deficiency, syntactical redundancy, inversion, unusual functions of certain communicative types of sentences.
- •Inversion
- •Isolated members of the sentence (detachment)
- •Types of figures of speech. Figures of co-occurrence.
- •Figures of identity. Simile, quasi-identity, synonymous replacements and specifiers.
- •Figures of inequality. Pun, zeugma, paradox. Semi-defined structures.
- •28. Figures of contrast. Oxymoron, antithesis.
- •Figures based on syntactical arrangement: gradation, bathos, parallelism, chiasmus, suspense
- •Figures based on syntactical transposition of words: parenthesis, inversion, detachment, rhetorical questions.
- •Figures entailing syntactical deficiency: ellipsis, aposiopesis, apokoinu, asyndeton.
- •Figures entailing syntactical redundancy: repetition, anaphora, epiphora, anadiplosis, framing, polysyndeton, convergence.
Figures entailing syntactical redundancy: repetition, anaphora, epiphora, anadiplosis, framing, polysyndeton, convergence.
Repetition as a stylistic device is a direct successor of repetition as an expressive language means, which serves to emphasize certain statements of the speaker, and so possesses considerable emotive force.
It is not only a single word that can be repeated but a word combination and a whole sentence too.
As to the position occupied by the repeated unit in the sentence or utterance, we shall mention four main types, most frequently occurring in English literature:
1) anaphora – the repetition of the first word of several succeeding sentences or clauses (a …, a …, a …);
2) epiphora – the repetition of the final word (… a, … a, … a);
3) anadiplosis or catch repetition – the repetition of the same unit (word or phrase) at the end of the preceding and at the beginning of the sentence (…a, a …);
The combination of several catch repetitions produces a chain repetition.
4) framing or ring repetition – the repetition of the same unit at the beginning and at the end of the same sentence (a …, … a).
Stylistic functions of repetition are various and many-sided. Besides emphasizing the most important part of the utterance, rendering the emotions of the speaker or showing his emotive attitude towards the object described, it may play a minor stylistic role, showing the durability of action, and to a lesser degree the emotions following it.
Repetition, deliberately used by the author to better emphasize his sentiments, should not be mixed with pleonasm – an excessive, uneconomic usage of unnecessary, extra words, which shows the inability of the writer to express his ideas in a precise and clear manner.
Morphological repetition, that is the repetition of a morpheme, is to be included into the stylistic means.
e.g. I might as well face facts: good-bye, Susan, good-bye a big car, good-bye a big house, good-bye power, good-bye the silly handsome dreams.
Polysyndeton is the connection of sentences, phrases or words based on the repetition of conjunctions or prepositions.
The repetition of the conjunction “and” before each word or phrase stresses these enumerated words or phrases.
Polysyndeton is sometimes used to retard the action and to create the stylistic effect of suspense.
Besides, polysyndeton is one of the means used to create a certain rhythmical effect.
e.g. He put on his coat and found his mug and plate and knife and went outside.
Convergence denotes a comb-n of stylistic devices promoting the same idea, emotion or motive. Any type of expr. means will make sense styl-ly 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 cert. styl. device and a definite stylistic fun-n.
A stylistic device is not attached to this or that stylistic effect. Therefore a hyperbole, for ex., 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 dif. devices for the same purpose. The use of more than one type of expr. 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.