- •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.
16. The stylistic devices of allusion and decomposition of set phrases.
An allusion is an indirect reference, by word or phrase, to a historical, literary, mythological, biblical fact or to a fact of everyday life made in the course of speaking or writing. The use of
allusion presupposes knowledge of the fact, thing or person alluded to on the part of the reader or listener. As a rule no indication of the source is given. This is one of the notable differences between quotation and allusion.
Linguistic fusions are set phrases, the meaning of which is understood only from the combination as a whole, as to pull a person's leg or to have something at one's finger tips. The meaning of the whole cannot be derived from the meanings of the component parts. The stylistic device of decomposition of fused set phrases consists in reviving the independent meanings which make up the component parts of the fusion. In other words, it makes each word of the combination acquire its literal meaning which, of course, in many cases leads to the realization of an absurdity. In the sentence "It was raining cats and dogs, and two kittens and a puppy landed on my window-sill" the fusion to rain cats and dogs' is freshened by the introduction of "kittens and a puppy," which changes the unmotivated combination into a metaphor which in its turn is sustained.
15. The stylistic devices of periphrasis and euphemism.
Euphemism is a word or phrase used to replace an unpleasant word or expression by a conventionally more acceptable one. The origin of the term 'euphemism' discloses the aim of the device very clearly, i.e. speaking well. Euphemism is sometimes figuratively called "a whitewashing device". The linguistic peculiarity of euphemism lies in the fact that every euphemism must call up a definite synonym in the mind of the reader or listener. Euphemisms may be divided into several groups according to their spheres of application. The most recognized are the following: 1) religious, 2) moral, 3) medical and 4) parliamentary. The life of euphemisms is short. They very soon become closely associated with the referent (the object named) and give way to a newly-coined word or combination of words, which, being the sign of a sign, throws another veil over an unpleasant or indelicate concept. political euphemisms. These are really understatements, the aim of which is to mislead public opinion and to express what is unpleasant in a more delicate manner. As has already been explained, genuine euphemism must call up the word it stands for. It is always the result of some deliberate clash between two synonyms. If a euphemism fails to carry along with it the word it is intended to replace, it is not a euphemism, but a deliberate veiling of the truth.
Periphrasis is a word-combination which is used instead of the word designating an object. Every periphrasis indicates the feature of a notion which impressed the writer and conveys a purely individual perception of a given phenomenon. As a result of frequent repetition periphrasis may become well established in the language as a synonymous expression for the word generally used to signify the object. Such word-combinations are called periphrastic synonyms. In contrast to periphrastic synonyms genuine periphrasis is created in the process of writing and is an element of the individual style of a writer. Periphrasis may be logical and figurative. Logical periphrases are based on logical notions. Figurative periphrasis may be based on metaphor and on metonymy. Euphemistic periphrasis is a variety of periphrasis which substitutes a mild, delicate expression for one which seems to be rude or unpleasant. Euphemistic periphrasis has some features in common with euphemisms. Periphrasis is used for various stylistic purposes, usually to achieve a humorous or satirical effect.
e.g. He bore under his arm the instruments of destruction.