- •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.
11. The stylistic devices of epithet.
Aim – to characterize an object & to point out to the reader sometimes even impose on him some of the properties or features of the object with the aim of giving an individual perception or evaluation of them. E. there’s no clash. it’s a complex device. Semantically E. may be divided into associated & unassociated. Associated E. will point to a feature to a certain extent inherent in the concept of the object. Unassociated E. will characterize the obj. by adding a feature not inherent in it to strike the reader with its novelty. ex. voiceless sands. repeated E. would become stable word-combination – “fixed e.” – true love, emerald grass. A lot of e. are in folklore. Compositional structure divides e. into simple e. (1 w. only) – the devil-inspired twins$ phrase e. – has my good-for-nothing son been here, sentence e. – that i-don’t-care-about-anything look. In this sentence are usually used words look and attitude; reversed e. – a big brute of an animal. Distribution of e. divides into string chain of e., transferred e. – unbreakfasted morning.
Epithet is a stylistic device based on the interaction of the logical and emotive meanings. It shows the purely individual emotional attitude of the writer or the speaker towards the object mentioned. Epithet is expressed by: 1) adjectives; 2) adverbs;
Adjectives and adverbs constitute the greatest majority of epithets. 3) participles, both present and past; 4) nouns, especially often in of-phrases; 5) word-combinations; 6) whole phrases.
The last two groups of epithets help the writer in a rather concise form to express the emotional attitude of a personage towards an object or phenomenon. In most cases it is a direct quotation of the character’s remark. Such a usage of a quotation for an epithet stresses the subjectivity, individuality of the character’s perception. It renders the emotional attitude of the personage. Phrase-epithet helps not only to reveal the individual view of the author and his characters but at the same time to do it in a rather economical manner. One more structural type of epithet is “monopolized” by the English language. It is based on the illogical syntactical relations between the modifier and the modified. Such constructions enable the writer to use nouns of high emotional coloring, supplying them with additional characteristics without overcrowding the description. Epithets vary not only in structure but in the manner of application too. So, most often we meet one-word, or simple epithet. Rather often epithets are used in pairs. Not seldom three, four, five and even more epithets are joined in chains. From the viewpoint of their expressive power epithets can be regarded as those stressing qualities of the object or phenomenon and as those transferring the quality of one object to its closest neighbour. When the same definition is given to a smile it becomes an individual evaluation of the same, and is classified as a transferred epithet. A metaphoric epithet presents a metaphor within an epithet. In most cases metaphoric epithet is expressed by adjectives and adverbs. Into the same group of metaphoric epithets must be included compound epithets, the second element of which is “-like”. As all the other stylistic devices, epithets become hackneyed through long usage. Epithets should not be mixed up with logical attributes which have the same syntactical function but which do not convey the subjective attitude of the author towards the described object, pointing out only the objectively existing feature of the same. e.g. “Can you tell me what time that game starts today?” The girl gave him a lipsticky smile.