- •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.
10. Em and sd.
Expressive means – is a marked member of stylistic opposition which has an invariant meaning in language.
-language
-paradigmatic relations
-stylistic meaning is not contextually bound
Expressive means of a language are those phonetic, lexical, morphological and syntactic units and forms which make speech emphatic. Expressive means introduce connotational (stylistic, non-denotative) meanings into utterances. Phonetic expressive means include pitch, melody, stresses, pauses, whispering, singing, and other ways of using human voice. Morphological expressive means are emotionally coloured suffixes of diminutive nature: -y (-ie), -let (sonny auntie, girlies). To lexical expressive means belong words, possessing connotations, such as epithets, poetic and archaic words, slangy words, vulgarisms, and interjections. A chain of expressive synonymic words always contains at least one neutral synonym. For ex-le, the neutral word money has the following stylistically coloured equivalents: ackers (slang), cly (jargon), cole (jargon), gelt (jargon), moo (amer. slang), etc. A chain of expressive synonyms used in a single utterance creates the effect of climax (gradation). To syntactic expressive means belong emphatic syntactic constructions. Such constructions stand in opposition to their neutral equivalents. The neu¬tral sentence "John went away" may be replaced by the following expres¬sive variants: "Away went John" (stylistic inversion), "John did go away" (use of the emphatic verb "to do"), "John went away, he did" (emphatic confirmation pattern), "It was John who went away" ("It is he who does it" pattern).
Stylistic device – an intentional change of fixed distribution of language unit in speech.
-speech
-syntactical relations
-stylistic meaning is contextually bound
Stylistic devices (tropes, figures of speech) unlike expressive means are not language phenomena. They are formed in speech and most of them do not exist out of context. According to principles of their formation, stylistic devices are grouped into phonetic, lexico-semantic and syntactic types. Basically, all stylistic devices are the result of revaluation of neutral words, word-combinations and syntactic structures. Revaluation makes language units obtain connotations and stylistic value. A stylistic device is the subject matter of stylistic semasiology.
11. Foregrounding: the evolution of the notion, major types.
Foregrounding is - a stylistic device that includes the principles of formal textual organization that focus the reader’s attention on some certain fragments of the message.
- a stylistic device that draws attention to itself by defamilarization from everyday speech.
The term is borrowed from art criticism which distinguishes between the foreground and the background of a painting.
2 ways of producing foregrounding:
- parallelism: unexpected regularity, “more of the same”
- deviation: unexpected irregularity
These are relative concepts, because something can only be unexpectedly regular or irregular within a particular context.
Types of foregrounding:
- convergence: combination or accumulation of stylistic devices promoting the same idea (e.g. “and heaved, and heaved, still unrestingly heaved the black sea, as its vast tides were a conscience” – simile, repetition, inversion)
- coupling: semantically relevant appearance of equivalent elements in equivalent position. Coupling is based on the affinity of elements that occupy similar positions throughout the text. The affinity may be different in nature: phonetic, structural, semantic. Phonetic affinity is provided by the phonetic stylistic devices (alliteration, assonance, paronomasia), as well as such prosodic features as rhyme, rhythm and meter. Syntactical affinity is achieved by all kinds of parallelism and syntactical repetition – anadiplosis, anaphora, framing, chiasmus, epiphora, etc. Semantic coupling is demonstrated by the use of synonyms and antonyms, both direct and contextual, root repetition, paraphrase, sustained metaphor, semantic fields, recurrence of images, connotations or symbols.
- defeated expectancy: some element of the text receives prominence due to an interruption in the pattern of predictability. (e.g. “Miss Fairfax, ever since I met you I have admired you more than any girl … I have met … since I met you.” (O. Wilde)