- •1. Stylistic as a branch of science. Subjects, methods, related research and the differences between them.
- •2. The notion of style.
- •3. The notion of stylistic markedness
- •6.Expressive means and stylistic devices.
- •4. Expressiveness, evaluation, emotiveness.
- •5. The notion of variation. Variation is English language.
- •7. Spoken English and Written English.
- •12. The stylistic devices of zeugma and pun.
- •9.The stylistic device of metaphor.
- •13. The stylistic devices of oxymoron and antonomasia.
- •8. The notion of stylistic function
- •14. The stylistic devices of simile and hyperbole.
- •10. The stylistic devices of metonymy and irony.
- •11. The stylistic devices of epithet.
- •16. The stylistic devices of allusion and decomposition of set phrases.
- •15. The stylistic devices of periphrasis and euphemism.
- •20. The stylistic devices of asyndeton, polysyndeton and the gap-sentence link.
- •17. The stylistic devices of inversion, chiasmus and parallel structures.
- •18. The stylistic devices of repetition, enumeration and suspense
- •38. The newspaper headline.
- •19. The stylistic devices of detached constructions, climax(gradation) and antithesis.
- •21. The stylistic devices of ellipsis, aposiopesis (break-in-the-narrative), question in the narrative.
- •22. The stylistic devices of litotes and rhetorical question.
- •24. The stylistic devices of onomatopoeia, alliteration and assonance.
- •23. Free indirect thought and free indirect speech
- •26. The stylistic classification of the English vocabulary. Special colloquial vocabulary.
- •25. The stylistic classification of the English vocabulary. Special literary vocabulary.
- •30. Poetry. The notion of poetic conventions. Types of poetic conventions.
- •27. The notion of functional style. Approaches to the research into functional style. Classifications of fs.
- •29. Emotive prose.
- •28. The belles-lettres style
- •33. The language of drama
- •31. Rhyme, metre and rhythm.
- •35. The style of scientific discourse.
- •32. Lexical and syntactical features of poetry.
- •34. Publicist style.
- •36. The style of official documents.
- •37. The style of mass communication. The British Newspaper style.
24. The stylistic devices of onomatopoeia, alliteration and assonance.
Onomatopoeia. The stylistic approach to the utterance is not confined to its structure and sense. There is another thing to be taken into account which, in a certain type of communication plays an important role. This is the way a word, a phrase or a sentence sounds. The sound of most words taken separately will have little or no aesthetic value. It is in combination with other words that a word may acquire a desired phonetic effect. The theory of sound symbolism is based on the assumption that separate sounds due to their articulatory and acoustic properties may awake certain ideas, perceptions, feelings, images. Onomatopoeia is a combination of speech sounds which aims at imitating sounds produced in nature, by things, by people and by animals. There are 2 varieties of onomatopoeia: direct and indirect. Direct onomatopoeia is contained in words that imitate natural sounds, as ding-dong, cuckoo and the like. Indirect onomatopoeia is a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense. It is sometimes called ‘echo-writing’. Indirect onomatopoeia demands some mention of what makes the sound. It is sometimes very effectively used by repeating words which themselves are not onomatopoetic. Alliteration is a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies in the repetition of similar sounds, in particular consonant sounds. Alliteration, like most phonetic expressive means, does not bear any lexical or other meaning. Alliteration is generally regarded as a musical accompaniment of the author’s idea, supporting it with some vague emotional atmosphere which each reader interprets for himself. Alliteration in the EL is deeply rooted in the traditions of E. folklore. The laws of phonetic arrangement in Anglo-Saxon poetry differed greatly from those of present-day E. poetry. In OE poetry alliteration was one of the basic principles of verse and considered to be its main characteristic.
23. Free indirect thought and free indirect speech
Represented speech. There are 3 ways of reproducing actual speech: a) repetition of the exact utterance as it was spoken (direct sp); b) conversion of the exact utterance into the relater’s mode of expression (indirect); c) representation of the actual utterance by a second person, usually the author, as if it had been spoken, whereas it has not really been spoken but is only represented in the author’s words (represented sp). There is also a device which conveys to the reader the unuttered sp of the character, thus presenting his thoughts & feelings. The device is also termed represented sp. To distinguish b/w them we call the representation of the actual utterance through the author’s l-ge uttered represented speech, & the representation of the thoughts & feelings of the character – unuttered (inner) represented speech. Uttered represented speech demands that the tense should be switched from present to past, the personal prns from 1st &2nd to 3rd person as in indirect speech, but the syntactical structure of the utterance doesn’t change. Nowadays the device is used not only in the belles-lettres style, but in newspaper as well. But I the former it is generally used to quote the words of speakers in Parliament or at public meetings. // The thoughts & feelings going on in one’s mind & reflecting some previous experience are called inner speech. Inner speech is a psychological phenomenon. But when it is wrought into full utterance it ceases to be inner speech, acquires a communicative function & becomes a phenomenon of the l-ge. The reader is presented with a complete l-ge unit capable of carrying inf-n. This device is called inner represented speech. In.rep.sp retains the most characteristic features of inner sp. It is also fragmentary, but only to an extent which will not hinder the understanding of the communication. Inn.rep.sp unlike uttered rep.sp expresses feelings & thoughts of the character which were not materialized in spoken or written l-ge by the character. That is why it abounds in excl.words & phrases, elliptical constr-ns, breaks & other means of conveying feelings & psychological states. The tense forms are shifted to the past; the 3rd person personal prns replace the 1st & the 2nd.