Graphical stylistic means
Punctuation marks (exclamation, interrogation, dash, full-stop & comma, inverted commas)
Typographic techniques (Italics, capital letters, spacing out, multiplication of letters, hyphenation, bold type)
Graphon – distortion of spelling norm
Metaphor. Types of M.
Identification of one concept (T) with another (V) and resulting violation of normal correspondence between norms. Explains the unknown in terms of the known; reflects the author’s vision of the universe, is highly imaginative and produces strong artistic effect; the basis is mental comparison
Maltzev:
Noun M.
T is V: Beauty is but flower
T turns into V: Six seconds to press three buttons, then the truck turns into a steel tortoise
Something makes T into V: The rising sun made every cloud a bonfire
V replaces T: Our lamp is spent, it’s out
Adj, Adv., V. M. (V. is hidden, implied)
It was a fine romantic cigarette and she enjoyed it (Adj.)
The shoe shops were prisms of yellow light and past them busses were trumpeting (V.)
Simple (1 V) and sustained (contributory Vs)
Genuine (original, full of imagery)
Trite (ready-made clichés)
Personification
Name given to a special kind of metaphor in which abstract ideas or inanimate objects are identified with persons – are ascribed human characteristics of actions. Dramatic power of description.
When the Night meets the moon. (capitalizing)
The moon held a finger to her lips (pronouns)
Syntactical devices (arrangement)
Inversion (ads additional logical or emotional stress)
Object in pre-position: Over everything she brooded and brooded.(
Attr. is placed after the mod. word: Spring begins with the first narcissus, rather cold and shy and wintry
Predic. Is placed before the subj.: Shameless and fascinating the advertisements were.
Adv. mod. is placed at the beg. of the sent.: Weakly she climbed the stairs and opened the door
Mod. and pred. stand b4 the subj.: There was a rustling in the bushes on his left and suddenly like a cuckoo from a nursery clock out popped a large black bird.
Detachment (detached from the sentence by means of punctuation)
He looked round, expectant.
Sometimes – qualifying remark
It was indeed, to Forsyte eyes, an odd house.
Parallel constructions (identical or similar syntactical structure in two or more sentences, or parts of sentences)
Summer was silent as well. In much of what had been the United States, no birds sang, no dogs barked, no frogs croaked, no fishes leaped.
Chiasmus (rep. of synt. patterns but with reversed order in one of the utterances)
She was a good sport about all this, but so was he.
Lexico-Syntactical repetition
Simple (repetition of the same word or sentence one after another)
He was the man in the Iron Mask. A grey metallic face with iron cheekbones and narrow iron brow, iron folds …
Anaphora (repetition of a word or a phrase at the beginning of several clauses)
At Crome all the beds were ancient pieces of furniture. Beds carved and inlaid. Beds painted and gilded. Beds of walnut and oak, of rare exotic woods. Beds of every date and fashion.
Epiphora (rep. at the end of utterances)
Her plain face with its narrow lips was tight, her skin was stretched tightly over her bones, her smile was tight, her hair was tight, her clothes were tight…
Framing (initial elements are repeated at the end)
The day had fairly begun to break. The public houses were already open… The busy morning of the half of the London population had begun.
Anadiplosis (rep. at the end of one clause and at the begin. of the other)
She was ever so beautiful, more beautiful than “D”, or “Mademoiselle”, or “Auntie” June or even “Auntie Polly”, to whom he had taken a fancy.
Chain repetition (succession of several anadiploses)
Rapidly the feeling became a strong hunch, the hunch became a conviction, and the conviction became a compulsion.
Enumeration (separate actions are brought together)
She wasn’t sure of anything anymore, of him, of herself, their friends, her work, their future.
Suspense (author’s desire to delay the most important information)
Two women who were hastening home to scramble their husbands’ dinners together – it was five minutes to four – stopped to look at her
Climax (ascending series of words aimed at intensifying events step by step)
Logical C. (each word is more intense than the previous one)
But for the M.R.C.P. it’s the most difficult medical exam in the whole school. It’s – it’s a murder! Tul! She’s a lamb, a dove, a fool to him
Emotional C. (words are more powerful from emotional p.o.v.)
She was a crashing, she was a stupendous, she was an excruciating bore
Qualitative C. (intensification of quantity in each group)
Mary had counted the months, the weeks, the days, the hours to Anthony’s return
Antithesis (antagonistic objects are presented by dictionary or contextual antonyms)
For many are called but few are chosen
Syntactical devices (linkage)
Asyndeton (avoidance of conjunctions)
There was no rest for her and no rest for us. She tosses, pitched, stood on her head, sat on her tail, rolled, groaned.
Polysyndeton (repetition of conjunctions)
All the inhabitants of Hampton and Thoulsey, dress themselves up in boating costumes, and come and march round the lock with their dogs, and flirt, and smoke, and watch the boats
The Gap-Sentence Link (formal separation of the two parts of the utterance with a full stop – dialogues and represented speech. Author’s subjective interpretation)
I think if we wanted to do an adoption, this is an ideal opportunity, but nothing says we have to it now. Or later
Syntactical devices (colloquial constructions)
Elipsis (omission of word(s) necessary to complete the sentence, but not necessary for understanding)
You feel alright? Anything wrong, or what?
Aposiopesis (sudden breaking off of a thought in the middle of the sentence. Unwilling to speak)
And yet – his whole alibi depends on her word. But in that case…
Question-in-the-Narrative (asked solely to produce an emotional effect. The answer is self evident)
But if you can’t help yourself, who can? I suppose nobody.
Represented speech
Direst S.
Indirect S.
Comb. lex. and synt. peculiarities of colloquial and literary speech.
It was funny to think that in a few hours she would be someone else, someone’s wife… what did that mean? Who would she be then?
Tense-forms are switched from present to past
Pronouns are changed from 1st and 2nd to 3rd
Synt. structure does not change.
Uttered RS
Then Barley himself was distracted while he tried in his passable French to explain to a tall Palestinian that no, he was afraid that he was NOT a member of the Peace Group, old boy, and alas NOT the manager of the hotel either.
Unuttered RS (inner monologue)
Unhappily, Andrew began to compound an antipyretic mixture. Spirits of nitre, salicylate of sodium – where the dickens was the soda sal? Oh! There it was!
Syntactical devices (structural meaning) (transposition)
Rhetorical question (sentence is put in form of a question, not an exclamation)