- •General Notes on Style and Stylistics
- •Stylistics and Other Linguistic Sciences
- •Meaning from a Stylistic Point of View
- •Stylistic Devices
- •Lexical Stylistic Devices
- •EMs and sDs based on the interaction of primary and contextual meanings
- •Em and sd based on the interplay of primary (dictionary) and derivative meanings (zeugma, pun, violation of phraseological units)
- •Sd based on the interaction between the logical and the nominal meanings of the word
- •Em and sd based on the interaction between the logical and emotive meanings
- •EMs and sDs which give additional characteristics to the objects described
- •Syntactical Stylistic Devices
- •SDs used within a sentence. SDs based on the juxtaposition (соположение) of different parts of the utterance
- •SDs based on the peculiarities of oral speech
- •SDs based on the stylistic use of interrogative and negative constructions (rhetorical questions, litotes)
- •SDs used within an utterance sDs based on parallelism
- •SDs Based on Repetition
- •Functional Style of the English Language
- •The Belles-Lettres Functional Style (the Style of Fiction)
- •The Scientific Prose Style
- •Popular Science prose
- •Newspaper Style
- •Paper 1
- •Paper 2
- •4. Answer the questions in writing
- •Translate the sentences and analyze the cases of metonymy
- •Paper 3
- •4. Give examples of irony and sarcasm.
- •5. Answer the questions in writing
- •Paper 4
- •5. Answer the questions in writing
- •6. Translate the sentences in writing. Indicate the types of cases of play on words, how it is created, what effect it adds to the utterance
- •Paper 5
- •Give your examples of antonomasia.
- •Analyze the following cases of antonomasia
- •Paper 6
- •Give your examples of different types of epithet
- •Define the type and function of epithet. Translate the sentences
- •Paper 7
- •Give your own examples of hyperbole, understatement and oxymoron.
- •7. In the following examples concentrate on cases of hyperbole and understatement. Translate the sentences.
- •Translate the following sentences, pay attention to oxymoron.
- •Paper 8
- •Learn the following phrases and use them in your own sentences:
- •4. Discuss the following cases of simile
- •Paper 9
- •3. Define the periphrases in the sentences and state their type:
- •Paper 10
- •7. Find examples of inversion and detachment in w. S. Maugham’s novel “Theatre”.
- •8. Analyze cases of inversion and detachment. Make the sentences sound neutral by restoring the word order
- •Paper 11
- •4. Find examples of represented speeh, rhetorical questions in w. S. Maugham’s novel “Theatre”.
- •5. Discuss different types of stylistic devices dealing with the completeness of the sentences
- •Analyze the structure and the functions of litotes
- •Paper 12
- •5. Find and analyze cases of suspense and climax. Indicate the type of climax
- •Paper 13
- •3. Discuss the semantic centre and structural peculiarities of antithesis
- •Paper 14
- •3. Find cases of different types of repetition, parallelism and chiasmus in w.S Maugham’s novel “Theatre”
- •4. Define repetition, parallelism and chiasmus
- •Paper 15
SDs used within a sentence. SDs based on the juxtaposition (соположение) of different parts of the utterance
They are inversion, detachment.
Inversion deals with the displacement of the predicate or the displacement of secondary members of the sentence and their shift into the front opening position of the sentence. Stylistic inversion aims at attaching logical stress or additional emotional colouring. The following patterns of stylistic inversion are most frequently used:
1) the object is placed before the subject
E.g. Talent Mr. Brown has, capital Mr. Brown has not.
2) the post-position of the attribute
E.g. Once upon the midnight dreary.
3) the predicative stands before the link verb and both are placed before subject E.g. Rude am I in my speech.
4) the adverbial modifier is placed at the beginning of the sentence
E.g. Eagerly I wished.
5) both the adverbial modifier and the predicate stand before the subject
E.g. In went Mr. Pickwick.
Detachment is regarded as a special kind of inversion. Its usage is based on the violation of the traditional means of connection between different members of a sentence, though logical ties between them always exist. The word order is not violated, but secondary members obtain their own stress and intonation because they are detached from the rest of the sentence by commas, dashes or even a full stop.
E.g. And I have to beg you for money. Daily.
The functions of inversion and detachment are almost the same, but detachment produces a much stronger effect, it gives prominence to some words and helps the author to draw the reader’s attention to certain details or circumstances, to emphasize his emotional attitude towards what he describes.
SDs based on the peculiarities of oral speech
These SDs are ellipsis, aposiopesis, represented speech.
Ellipsis is a deliberate omission from the construction of one or more words which are obviously understood
E.g. I went to Oxford as one goes into exile, she to London.
In contemporary prose ellipsis is mainly used in dialogue where it employed by the author to reflect the natural omission characterizing oral colloquial speech. In written speech ellipsis makes the sentence laconic and creates the effect of implication.
Ellipsis is the basis of the so-called telegraphic style in which connectives and redundant words are left out.
Aposiopesis (Break-in-the-Narrative) - умолчание, недосказ
It is the sudden breaking off in speech without completing a thought as if the speaker was unable or unwilling to state what was in his mind. It is used to convey the emotional state of the character. In this SD the intonation plays a great role. It is graphically marked by a series of dots or a dash
E.g. You just come home or I’ll…(the implication of a threat).
Good intentions but…(nothing has come of what was planned).
The pause after the break is generally charged with meaning.
Represented speech
There are three ways of reproducing actual speech:
direct speech;
indirect speech;
represented speech.
Represented speech exists in two types: uttered represented speech and unuttered (inner) represented speech.
Uttered represented speech demands that the tense should be switched from present to past. The personal pronouns should be changed from the first and the second to the third persons. As in indirect speech the syntactical structure does not change
E.g. Could he bring a reference from where he now was? He could.
Sometimes the shift from the author’s speech to the uttered represented speech is marked by some introductory words such as asked, said, smiled or by a formal break like a full stop or a number of dots.
E.g. In consequence he was quick to suggest a walk… didn’t Clyde want to go?
Unuttered represented speech
The thoughts and feelings going on in one’s mind and reflecting some previous experience are called inner speech.
It is psychological phenomenon but when it acquires a communicative function it becomes a phenomenon of the language. The expressive function of the language is suppressed by its communicative function, and the reader is presented with a complete language unite capable of carrying information. This device is called inner represented speech. It retains the most characteristic features of inner speech. Inner represented speech unlike uttered represented speech expresses thoughts and feelings of the character which were not materialized in spoken or written language by the character. That is why it abounds in exclamatory words and phrases, elliptical sentences and other means of conveying psychological states. The person gives vent to his emotions and this SD is used to depict the character. It is usually introduced by the verbs to feel, to think, to understand, to tell oneself, to ask, to occur, to meditate and the like
E.g. over and over he was asking himself: Would she receive him? Would she recognize him? What should he say to her?