- •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.
12. The theory of image. The image structure, types of images.
Image – a speech fragment that contains image-bearing information.
- any word expression that imparts picturesqueness and vividness.
In verbal art imagery is embodied in words used in a figurative way to attain a higher artistic expressiveness.
Unlike the words in literal expressions which denote, or say directly what they mean according to common verbal practice or dictionary usage, words in figurative expressions connote, or acquire additional layers of meaning in a particular context.
Thus, the literal (dictionary, logical) meaning is the one easily restored irrespective of the context, while the figurative (contextual) meaning is the one materialised in the given context.
So, the verbal image is a pen-picture of a thing, person or idea expressed in a figurative way, i.e. by words used in their contextual meaning. Images – due to their frequent use – often become recognized symbols.
E.g. a bridge for ‘transition from past to future, from bad to good, from danger to rescue’ (‘Old Man at the Bridge’ by E. Hemingway).Linguistic figurativeness or linguistic imagery can be found in various lexical lingual means that are termed either tropes (Ancient Gk. tropos ‘to turn’), or – like in our course – lexical stylistic devices.
A trope can be defined as a sort of transfer based on the interplay of lexical meanings of a word that results in establishing connections between different or even opposite notions or things, which are understood to have some similarity in the given context .NB! Imagery can be created by lexical SD’s only.
The rest of stylistic devices (morphological and syntactical, phonetic, graphic) do not create imagery, but serve as intensifiers: they can add some logical, emotive, expressive information to the utterance.
In rhetoric the verbal image is described as a complex phenomenon, a double picture generated by linguistic means, which is based on the co-presence of two thoughts of different things active together:
• the direct thought – the tenor (T).
• the figurative thought – the vehicle (V).
E.g. She (T) is a bird of passage (V).The tenor is the subject of thought, while the vehicle is the concept of a thing, person or an abstract notion with which the tenor is compared or identified.
As I.V. Arnold points out, the structure of a verbal image also includes:
• the ground of comparison (G) — the similar feature of Т and V;
• the relation (R) between Т and V;
• the type of identification/comparison or, simply, the type of a trope.
Images may be:
• general (macroimages), e.g. ‘The Moon and Sixpence’ by W.S. Maugham
• individual (microimages), e.g. that great ocean of deep depression. (Priestley)
I.R. Galperin divides images into three categories:
• visual, e.g. It was a feast of colour. (Maugham)
• aural (acoustic), e.g. He sprang to the machine, which was now going pocketa-pocketa-queep-pocketa-queep. (Thurber)
• relational, e.g. a man of figures, a man of great dignity. (Priestley)