- •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.
58. Methods of characterization of the literary text personage.
The process of conveying information about a character is called characterisation.
? DIRECT (TELLING)
Direct statements about a character's personality and telling what the character is like , Person as a combination of qualities
? INDIRECT (SHOWING)
• Through appearance/ environment
• Through actions
• Through speech/thoughts
• Through other characters
• REINFORCEMENT BY ANALOGY
• Analogous names
• Analogous characters
• Analogous environment
59. Perceptive semantics of the literary text. The notion of “split addressee”. Major criteria for the differentiation of literary text addressees.
It is the literary text that makes its choice of the reader, suggesting a pattern of interpretation and thus constructing an image of its intended reader, i.e. the ghost of the addressee.
Linguistic signals of addressee orientation (SAO) – patterns of interpretation, inscribed in text as codes, which affect the real audience’s perception through the creating the image of the intended reading audience.
All aspects and manifestations of textual addressee orientation are embraced by the umbrella term “receptive semantics”. In essence, it can be understood as property of literary text that embodies an in-built dialogue between the author and the intended reader. Epistemologically(относящийся к теории познания), it is an area of literary semantics that studies various ways and means to construe the intended reader’s psychological and linguistic portrait.
R.Jacobson introduced the tripartite correlation of split reference, split addresser and split addressee.
Literary text addressee are classified according to 2 criteria:
1) external (interpretational) - applied to multitude of empirical (опытный) readers
2) internal (textual) – various textual dimensions of the reader’s image, already inscribed in text
60. Reader-in-the-text as a literary text construct. Typology of “in-text” readers.
Unlike the conventional discourse, where the recipient is oriented towards the immediate reader, multiple recipients or non present party, literary discourse addresses a hypothetical/intended reader/ target audience. Prototypical addressee type is an idealized reader. The implied reader (model reader, reader’s image) constitutes the mediating link between the author and reader. Te narrative presence of the implied reader in literary discourse is called the narratee , the narrator’s counterpart which in text is signaled by various SAO. The communicative goal in literary discourse envisages an aesthetic response based on defamiliarization as seeing familiar things in a new light. It makes a literary discourse processing complicated, prolonged and deautomated. The response mechamism in literary communication departs from prototypical understanding, focuses on several interpretations.
As literary communic. Has 3 different dimensions:
Empirical (real)
Hypothetical (virtual)
Textual
Its addressees fall into 3 categories
1) real readers
2) hypothetical reading audience (idealized reader)
3) textual readers (ideal reader/impied/model and the mock reader/fictitious reader, a narratee)
1) from a naive through average to critical reader (for IDEAL reader)
2) from alienated to involved naratee (for MOCK reader)