- •1. Stylistics as a linguistic discipline. The subject-matter of stylistics and its basic notions.
- •2. General scientific background of linguo-stylistics. Information theory and stylistics. The definition of information. Different types of information.
- •3. Information theory and linguistics. The major types of information from a linguo-stylistic prospective.
- •4. The principal model of information transfer. Its constituents.
- •5. The principal model of information transfer. Basic processes involved. Information loss and accumulation.
- •6. Types and kinds of stylistics.
- •7. Basic notions of stylistics: language, speech activity, and speech; syntagmatics and paradigmatics; marked and unmarked members of stylistic opposition.
- •8. Basic notions of stylistics: style, individual style; norm; variant, context.
- •9. Linguistic vs stylistic context, other types of context.
- •10. Em and sd.
- •11. Foregrounding: the evolution of the notion, major types.
- •12. The theory of image. The image structure, types of images.
- •13. Style and meaning. Types of connotations.
- •14. Forms and varieties of language. The notion of received standard.
- •15. Basis for the stylistic differentiation of the English vocabulary; stylistic and functional style.
- •16. См. 17, 18, 19, 20
- •17. Stylistic potential of neutral words.
- •18. Literary words and their stylistic functions.
- •19. The interrelations between archaic word, historic words, stylistic and lexical neologisms.
- •21. The notions of em and sd on the syntactic level.
- •22. General characteristics of the English syntactical expressive means.
- •23. Syntactical em based on the redundancy of elements of the neutral syntactic model.
- •24. Syntactical em based on the violation of word order of elements of the neutral syntactic model.
- •25. Syntactic sd based on the interaction of several syntactic constructions within the utterance.
- •26. Syntactic sd based on the interaction of forms and types of syntactic connections between words, clauses, sentences.
- •27. Syntactic sd based on the interaction of the syntactic construction meaning with the context.
- •28. General characteristics of the English semasiological means of stylistics.
- •29. Classification of figures of substitution. Em based on the notion of quantity an em based on the notion of quality.
- •30. General characteristics of figures of substitution as expressive means of semasiology.
- •31. General characteristics of figures of combination as stylistic devices of semasiology.
- •32. Figures of quality: general characteristics.
- •33. Figures of quantity: hyperbole, meiosis.
- •49. Major paradigms of literary text interpretation.
- •50. Hermeneutic, logical, psychological perspectives of the literary text interpretation.
- •51. Basic notions of literary text interpretation: textual reference and artistic model of the world. Fictitious time and space.
- •52. Basic notions of the literary text interpretation. Text partitioning and composition. Implication and artistic detail.
- •53. The notion of the author in the narrative text. Internal and external aspects of the author’s textual presence.
- •54. The notion of the point of view. Types of point of view.
- •55. The narrator in the literary text. Types of narrators.
- •56. Approaches to fictional character within the framework of modern text interpretation.
- •57. Major classifications of literary text characters.
- •58. Methods of characterization of the literary text personage.
- •59. Perceptive semantics of the literary text. The notion of “split addressee”. Major criteria for the differentiation of literary text addressees.
- •60. Reader-in-the-text as a literary text construct. Typology of “in-text” readers.
- •61. Linguistic signals of addressee-orientation. Cognitive mechanisms of their formation and functioning, their typology.
56. Approaches to fictional character within the framework of modern text interpretation.
1. Hermeneutic approach: characters are dominantly representations of human beings. It is necessary to take into consideration the specific historical background of the characters and their creators.
1. Psychoanalytical – concentrates on the psyche of both characters and recipients. They aim at explaining the inner life of characters, as well as the reactions of viewers, users, readers with the help of psychodynamic models of personality (e.g. developed by Freud and Lacan).
2. Structural and semiotic approaches highlight the very difference between characters and human beings, focusing on the construction of characters and the role of (linguistic, visual, audible or audio-visual) text. They regard characters as sets of signifiers and textual constructs.
3. Cognitive theories view characters as text-based constructs of the human mind, whose analysis requires both models of understanding text and models of the human psyche.
Character - any entity (individual or collective) – normally human or human-like – introduced in a work of narrative fiction. Characters are “storyworld participants”. Characters can be human, supernatural, animal or personifications of abstractions (allegorical). Characters can be fictional or based on real people.
? Realistic view (a character can be discussed apart from the text)
? Semiotic view (it is impossible to extract characters from the text and discuss them as real human beings)
? Mixed approaches (Rimmon-Kennan: “Characters are abstract constructs. These constructs are by no means human beings in the literal sense of the word, they are partly modelled on the reader's conception of people and in this they are person-like”)
57. Major classifications of literary text characters.
? Aristotle: agents/ performers
? Vladimir Propp: characters as functions
? Greimas: the actantial model, (based on Propp's theories): the six actants (subject, object, helper, opponent, sender, receiver) are divided into three oppositions, each of which forms an axis of the description:
? Chatman: characters as a set of features/properties
How to reconstruct the character:
Four Principles:
? Repetition of relevant characteristics
? Accumulation of relevant characteristics
? Relation to other characters
? Transformations
Axes of character analysis:
• complexity (from CRs constructed around 1 dominant trait to complex CRs)
• development (from static CRs to fully developed )
• penetration into the 'inner life'. (from CRs whose state of mind is open to those whose is opaque, not clear)
CLASSIFICATION OF CHARACTERS:
• Flat/round characters
• Static/Dynamic characters
• Driver/Passenger characters (character-driven novel/ plot-driven novel)
• Main (central, major)/minor characters
• Mimetic/didactic characters
• Stock characters, foil characters
? Driver characters
? Protagonist – Antagonist
? Guardian – Contagonist
? Passenger characters
? sidekick
? reason
? emotion
? skeptic