- •1. Stylistic as a branch of science. Subjects, methods, related research and the differences between them.
- •2. The notion of style.
- •3. The notion of stylistic markedness
- •6.Expressive means and stylistic devices.
- •4. Expressiveness, evaluation, emotiveness.
- •5. The notion of variation. Variation is English language.
- •7. Spoken English and Written English.
- •12. The stylistic devices of zeugma and pun.
- •9.The stylistic device of metaphor.
- •13. The stylistic devices of oxymoron and antonomasia.
- •8. The notion of stylistic function
- •14. The stylistic devices of simile and hyperbole.
- •10. The stylistic devices of metonymy and irony.
- •11. The stylistic devices of epithet.
- •16. The stylistic devices of allusion and decomposition of set phrases.
- •15. The stylistic devices of periphrasis and euphemism.
- •20. The stylistic devices of asyndeton, polysyndeton and the gap-sentence link.
- •17. The stylistic devices of inversion, chiasmus and parallel structures.
- •18. The stylistic devices of repetition, enumeration and suspense
- •38. The newspaper headline.
- •19. The stylistic devices of detached constructions, climax(gradation) and antithesis.
- •21. The stylistic devices of ellipsis, aposiopesis (break-in-the-narrative), question in the narrative.
- •22. The stylistic devices of litotes and rhetorical question.
- •24. The stylistic devices of onomatopoeia, alliteration and assonance.
- •23. Free indirect thought and free indirect speech
- •26. The stylistic classification of the English vocabulary. Special colloquial vocabulary.
- •25. The stylistic classification of the English vocabulary. Special literary vocabulary.
- •30. Poetry. The notion of poetic conventions. Types of poetic conventions.
- •27. The notion of functional style. Approaches to the research into functional style. Classifications of fs.
- •29. Emotive prose.
- •28. The belles-lettres style
- •33. The language of drama
- •31. Rhyme, metre and rhythm.
- •35. The style of scientific discourse.
- •32. Lexical and syntactical features of poetry.
- •34. Publicist style.
- •36. The style of official documents.
- •37. The style of mass communication. The British Newspaper style.
33. The language of drama
The first thing to be said about the parameters of this variety of belles-lettres is that the language of plays is entirely dialogue. The author’s speech is almost entirely excluded, except for the playwright’s remarks and stage directions.
The degree to which the norms of ordinary colloquial language are converted into those of the language of plays, that is, the degree to which the spoken language is made literary varies at different periods in the development of drama and depends also on the idiosyncrasies of the playwright himself.
Any presentation of a play is an aesthetic procedure and the language of plays is of the type which is meant to be reproduced. Therefore even the language of a play approximates that of a real dialogue, it will none the less be stylized.
31. Rhyme, metre and rhythm.
Rhythm is a regular alteration of similar or equal units of speech. It is sometimes used by the author to produce the desired stylistic effect, whereas in poetry rhythmical arrangement is a constant organic element, a natural outcome of poetic emotion. Poetic rhythm is created by the regular recurrence of stressed and unstressed syllables or equal poetic lines. The regular alternations of stressed and unstressed syllables form a unit – the foot. There are 5 basic feet: iambus(a foot consisting of one unstressed syllable followed by one stressed syllable), trochee(a foot consisting of one stressed syllable followed by one unstressed syllable), dactyl(a foot consisting of one stressed syllable followed by two unstressed syllables), anapest(a foot consisting of two unstressed syllables followed by one stressed syllable) and amphibrach(a foot consisting of one unstressed syllable followed by one stressed and one unstressed syllable).
Rhyme is a characteristic feature of poetry but in prose euphony final sound (ending). Such recurrence takes place at the end of a poetic line. With regard to the similarity of sounds we distinguish: full rhymes, imperfect rhymes. With regard to the structure of rhymes we distinguish: masculine (or single) rhyme, feminine (or double) rhyme, dactylic (or triple) rhyme, full double or broken rhyme. The arrangements of rhymes may assume different schemes: couplet rhyme, cross rhyme, frame rhyme. The functions of rhyme in poetry are very important: it signalizes the end of a line and marks the arrangement of lines into stanza.
M e t r e is any form of periodicity in verse, its kind being determined by the character and number of syllables of which it consists. The metre is an ideal phenomenon characterized by its strict regularity, consistency and unchangeability.2 Rhythm is flexible and sometimes an effort is required to perceive it. In classical verse it is perceived at the background of the metre. In accented verse—by the number of stresses in a line. In prose—by the alternation of similar syntactical patterns. He gives the following definition of verse rhythm. It is "the actual alternation of stress which appears as a result of interaction between the ideal metrical law and the natural phonetic properties of the given .language material." 3 He holds the view that romantic poetry regards metrical forms as a conventional tradition, which hinders the vigorous individual creativity of the poet and narrows the potential variety of poetic material.
the most recognizable English metrical pa ft e r n-s.
There are five of them:
1. Iambic metre, in which the unstressed syllable is followed by a stressed one. It is graphically represented thus: (w-).
2. Trochaic metre, where the order is reversed, i.e.. a stressed syllable is followed by one unstressed (-^).
3. Dactylic me t r e—one stressed syllable is followed by two unstressed (-w).
4. Amphibrach i с metre—one stressed syllable is framed by two unstressed ^~w.
1 Many linguists hold that verse rhythm is based on alternation between stronger and weaker stresses. They maintain that four degrees of stresses are easily recognizable. But for the sake of abstraction—an indispensable process in scientific investigation — the opposition of stressed—unstressed syllables is the only authentic way of presenting tne problem of verse rhythm.
5. Anapaestic me tr e—iwo unstressed syllables are followed by one stressed (w-). These arrangements of qualitatively different syllables are the units of the metre, the repetition of which makes verse. One unit is called a foot. The number of feet in a line varies, but it has its limit; it rarely exceeds eight.