
- •1. Stylistics as a linguistic discipline. The subject-matter and aims of stylistics.
- •2. Basic approaches to language investigation. The functions of language.
- •Stylistics and other linguistic disciplines.
- •4. Types of stylistics. Kinds of literary stylistics.
- •5. Basic notion of stylistics.
- •Variant-invariant
- •6. Stylistics and the information theory. Basic components of the information transmission model. Chief processes in the information transmission.
- •7. Style as a general semiotic notion. Different interpretations of style. Individual style.
- •8. Expressive means and stylistic devices as basic notions of stylistics.
- •9. The notion of norm. Relativity of norm
- •10. The theory of image. The structure of image.
- •11. The notion of context. Types of context
- •13. Belles letters style.
- •14. Publicistic style.
- •15. Scientific prose style.
- •16. The style of official documents.
- •17. Newspaper style.
- •18. Phonetic means of stylistics: English instrumentation and English versification.
- •Onomatopoeia
- •19. Graphical means of stylistics. Graphon.
- •20. Morphological means and devices of stylistics: sd based on the use of nouns; sd based on the use of articles.
- •21. Morphological means and devices of stylistics: sd based on the use of pronouns; sd based on the use of adjectives; sd based on the use of adverbs.
- •22. Morphological means and devices of stylistics: sd based on the use of verbs.
- •23. Word and its Semantic Structure
- •24. Types of connotative meaning.
- •25. Criteria for stylistic differentiation of the English vocabulary.
- •Words having a lexico-stylistic paradigm
- •Words having no iexico-stylistic paradigm
- •26. Stylistic functions of the words with a lexico-stylistic patadigm.
- •27. Stylistic functions of literary (high-flown) words.
- •Poetic diction.
- •Archaic words.
- •Barbarisms and foreign words.
- •28. Stylistic functions of conversational (low-flown) words
- •29. Stylistic functions of the words with no lexico-stylistic paradigm
- •30. Stylistic usage of phraseology.
- •31. The notion of expressive means and stylistic devices on the syntactical level.
- •32. Expressive means of English syntax based on the reduction of the sentence structure.
- •33. Expressive means of English syntax based on the rebundancy of the syntactical pattern.
- •34. Expressive means of English syntax based on the violation of the word order.
- •35. Stylistic devices of English syntax based on the interaction of syntactical constructions in context
- •36. Stylistic devices of English syntax based on the transposition of syntactical meaning in context.
- •37. Stylistic devices of English syntax based on the transposition of the types and means of connection between clauses and sentences.
- •38. General characteristics of stylistic semasiology. Semasiology vs onomasiology. Lexical semasiology vs stylistic semasiology. The notion of secondary nomination.
- •39. General characteristics of figures of substitution as semasiological expressive means. Classification of figures of substitution.
- •40. Figures of quantity.
- •41. Figures of quality: metonymical group.
- •42. Figures of quality: metaphoric group. Types of metaphor.
- •43. Figures of quality: epithet. Semantic and structural types of epithets.
- •44. Figures of quality: Irony. Context types of irony.
- •45. General characteristics of figures of combination as stylistic devices of semasiology.
- •46. Classification of figures of figures of combination.
- •47. Figures of identity (equivalence): simile, synonyms-substitutes and synonyms-specifiers.
- •48. Figures of opposition: antithesis, oxymoron.
- •49. Figures of inequality (non-equivalence): climax, anticlimax, pun, zeugma.
- •50 The notion of the text! Different approaches to the definition, Basic classifications of text models.
- •51 Basic notions of literary text
- •It is characterized by:
- •52 The notion of the author of the literary text. Internal and external aspects of the author’s presence. Author’s image as a textual category.
- •53 The narrator in a literary text. Types of narrators with regard to the author and with regard to the textual world.
- •54. The degree of the narrator’s presence in a literary text (degree of perceptability).
- •55 The notion of the narrative perspective (focalization). Types of narrative perspectives.
- •56 Facets of focalization (perceptive, psychological, ideological)
53 The narrator in a literary text. Types of narrators with regard to the author and with regard to the textual world.
A narrator is an entity within a story that tells the story to the reader. It is one of three entities responsible for story-telling of any kind. The others are the author and the reader (or audience). The author and the reader both inhabit the real world. The narrator exists within the world of the story and presents it in a way the reader can comprehend.
The concept of the unreliable narrator (as opposed to Author) became more important with the rise of the novel in the 19th Century.
In literature and film, an unreliable narrator (a term coined by Wayne C. Booth in his 1961 book The Rhetoric of Fiction) is a literary device in which the credibility of the narrator is seriously compromised. This unreliability can be due to psychological instability, a powerful bias, a lack of knowledge, or even a deliberate attempt to deceive the reader or audience. Unreliable narrators are usually first-person narrators, but third-person narrators can also be unreliable.
The nature of the narrator is sometimes immediately clear. For instance, a story may open with the narrator making a plainly false or the story itself may have a frame in which the narrator appears as a character, with clues to his unreliability. In many cases the narrator's unreliability is never fully revealed but only hinted at, leaving the reader to wonder how much the narrator should be trusted and how the story should be interpreted.
Until the late 1800s, literary criticism as an academic exercise dealt with poetry (including epic poems like The Iliad and Paradise Lost, and poetic drama like Shakespeare). Most poems did not have a narrator distinct from the author. But novels, with their immersive fictional worlds, created a problem, especially when the narrator's views differed significantly from that of the author.
Types of Narrators:
First-person narrative is a literary technique in which the story is narrated by one character, who explicitly refers to him or herself in the first person, that is, using words and phrases involving "I" and "we".
First-person plural narrators tell the story using "we", that is, no individual speaker is identified; the narrator is a member of a group that acts as a unit. The first-person-plural point of view occurs rarely but can be used effectively, sometimes as a means to increase the concentration on the character or characters the story is about.
(rarely) second-person narrative, in which the protagonist is referred to in the second person, as "you".
The third-person narrative is narration in the third person. The participants in the narrative are understood to be distinct from the person telling the story and the person to whom, or by whom, it is read.
The third-person limited omniscient is a narrative mode. In this mode, the reader and writer observe the situation from the outside through the senses and thoughts of every character equally and without bias, although that focal character(is the character around whom the events of the story revolve.) may shift throughout the course of any given narrative.