- •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.
12. The stylistic devices of zeugma and pun.
Z. is defined as the use of the word in the same grammatical, but diff semantic relations to the 2 words in context. Sometimes the head word may be repeated. Syntactically every z. is a combination of a verb with 2 nouns within each pair the semantic relationship is different.
Zeugma - a SD, when a polysemantic verb that can be combined with nouns of most varying semantic groups is deliberately used with two of more homogeneous members, which are not connected semantically. This SD is particularly favoured in Eng. emotive prose & poetry. Is a strong & effective SD to maintain the purity of the primary meaning when the 2 meanings clash. By making the 2 meanings conspicuous in this particular way, each of them stands out clearly.
E.g. “All girls were in tears and white muslin”
Pun is more independent syntactically and some may require a rather big context to be understood. P. may be used to create a humorous effect. pun – another SD based on the interaction of 2 well-known meanings of a word or phrase. The main distinction between Z. & P. is a structural one. Z – the realization of 2 meanings with the help of a V which is made to refer to different subjects/objects. The P. is more independent. Is often used in riddles & jokes. P & Z are found in poetry & poetical descriptions, in emotive prose. E.g. “Did you hit a woman with the child?” – “No, Sir, I hit her with a brick.”
9.The stylistic device of metaphor.
Was first described by Aristotle. Is a matter of words. It’s deviant from literal usage because the name is transferred to where it doesn’t belong. M. is based on similarity between 2 things and therefore an implicit comparison created on the principle of analogy. It’s function is purely ornamental. M/ is a kind of compressed or folded comparison. M. is based on an image and that comparison should occur between classes of objects and not individual objects. M. has a dual semantic nature. both literary and transferred meaning should be still perceived in a M. 4 notions to describe the M.: topic(tenor) – the word used literary, vehicle (word used metaphorically), the ground (relationship between these 2 words), the tension (the incompatibility between these 2 words). Black developed 2 theories: 1) substitutional theory – M. terms can be replaced with literary terms which fit the same context in order to understand the M. 2) comparison theory – M. is a presentation of some underlying analogy or similarity in the form of a condensed or elliptical simile. Another (anomaly) theory – M. is grammatically deviant, semantically anomalous, conceptually absurd or false. As a SD M. can be classified into genuine and trite, or dead M. (degree of unpredictability) a trite M. can be revived if it’s converted into a sustained or prolonged M. ex. the car shot down the drive snorting explosive fury from the exhaust. Conceptual metaphor is not a stylistic device. It’s a pattern of thought. It’s a method of explaining smth. we do not know with a help of smth. we know. ex. time is money
A metaphor is the interaction between the logical and contextual logical meanings of a word which is based on a likeness between objects and implies analogy and comparison between them.Similar to all lexical stylistic devices metaphor may be genuine, that is original, invented by the writer, or trite, that is hackneyed, often used in the language. The metaphor suggests an analogy. An implied analogy and likeness to concrete objects makes abstract ideas more concrete, complex ideas more simple and the thoughts more comprehensible. The metaphor may be expressed through nouns, verbs, adjectives and adverbs.
The noun metaphor may consist of one word or may have an attribute in the form of an “of-phrase”. The verb-metaphor is very emphatic as it throws the metaphorical light on the subject of the sentence too. Metaphors expressed by adjectives and adverbs are called metaphorical epithets and will be dealt with in the chapter on the epithet. Sometimes a metaphor is not confined to one image. The writer finds it necessary to prolong the image by adding a number of other images, but all these additional images are linked with the main, central image. Such metaphors are called sustained or prolonged metaphors.
e.g. But there was no May morning in his cowardly human heart.