- •1. Stylistics as a linguistic discipline. The subject-matter and aims of stylistics.
- •2. Basic approaches to language investigation. The functions of language.
- •Stylistics and other linguistic disciplines.
- •4. Types of stylistics. Kinds of literary stylistics.
- •5. Basic notion of stylistics.
- •Variant-invariant
- •6. Stylistics and the information theory. Basic components of the information transmission model. Chief processes in the information transmission.
- •7. Style as a general semiotic notion. Different interpretations of style. Individual style.
- •8. Expressive means and stylistic devices as basic notions of stylistics.
- •9. The notion of norm. Relativity of norm
- •10. The theory of image. The structure of image.
- •11. The notion of context. Types of context
- •13. Belles letters style.
- •14. Publicistic style.
- •15. Scientific prose style.
- •16. The style of official documents.
- •17. Newspaper style.
- •18. Phonetic means of stylistics: English instrumentation and English versification.
- •Onomatopoeia
- •19. Graphical means of stylistics. Graphon.
- •20. Morphological means and devices of stylistics: sd based on the use of nouns; sd based on the use of articles.
- •21. Morphological means and devices of stylistics: sd based on the use of pronouns; sd based on the use of adjectives; sd based on the use of adverbs.
- •22. Morphological means and devices of stylistics: sd based on the use of verbs.
- •23. Word and its Semantic Structure
- •24. Types of connotative meaning.
- •25. Criteria for stylistic differentiation of the English vocabulary.
- •Words having a lexico-stylistic paradigm
- •Words having no iexico-stylistic paradigm
- •26. Stylistic functions of the words with a lexico-stylistic patadigm.
- •27. Stylistic functions of literary (high-flown) words.
- •Poetic diction.
- •Archaic words.
- •Barbarisms and foreign words.
- •28. Stylistic functions of conversational (low-flown) words
- •29. Stylistic functions of the words with no lexico-stylistic paradigm
- •30. Stylistic usage of phraseology.
- •31. The notion of expressive means and stylistic devices on the syntactical level.
- •32. Expressive means of English syntax based on the reduction of the sentence structure.
- •33. Expressive means of English syntax based on the rebundancy of the syntactical pattern.
- •34. Expressive means of English syntax based on the violation of the word order.
- •35. Stylistic devices of English syntax based on the interaction of syntactical constructions in context
- •36. Stylistic devices of English syntax based on the transposition of syntactical meaning in context.
- •37. Stylistic devices of English syntax based on the transposition of the types and means of connection between clauses and sentences.
- •38. General characteristics of stylistic semasiology. Semasiology vs onomasiology. Lexical semasiology vs stylistic semasiology. The notion of secondary nomination.
- •39. General characteristics of figures of substitution as semasiological expressive means. Classification of figures of substitution.
- •40. Figures of quantity.
- •41. Figures of quality: metonymical group.
- •42. Figures of quality: metaphoric group. Types of metaphor.
- •43. Figures of quality: epithet. Semantic and structural types of epithets.
- •44. Figures of quality: Irony. Context types of irony.
- •45. General characteristics of figures of combination as stylistic devices of semasiology.
- •46. Classification of figures of figures of combination.
- •47. Figures of identity (equivalence): simile, synonyms-substitutes and synonyms-specifiers.
- •48. Figures of opposition: antithesis, oxymoron.
- •49. Figures of inequality (non-equivalence): climax, anticlimax, pun, zeugma.
- •50 The notion of the text! Different approaches to the definition, Basic classifications of text models.
- •51 Basic notions of literary text
- •It is characterized by:
- •52 The notion of the author of the literary text. Internal and external aspects of the author’s presence. Author’s image as a textual category.
- •53 The narrator in a literary text. Types of narrators with regard to the author and with regard to the textual world.
- •54. The degree of the narrator’s presence in a literary text (degree of perceptability).
- •55 The notion of the narrative perspective (focalization). Types of narrative perspectives.
- •56 Facets of focalization (perceptive, psychological, ideological)
21. Morphological means and devices of stylistics: sd based on the use of pronouns; sd based on the use of adjectives; sd based on the use of adverbs.
SD BASED ON THE USE OF ADJECTIVES
In contrast with nouns, adjectives have only one grammatical category, that of comparison. The violation of morphemic combinability in adjectives which express different degrees of comparison are typical of advertising techniques, e.g. the most Italian car. The meaning of comparison can be also expressed lexically through equonisms, e.g. senior — junior, and adjectives with the -ish suffix, e.g. mannish, wommanish, which are occasional words which sound less categoric.
Qualitative adjectives are always estimative, that is why they are used as epithets (crazy bicycle, tremendous achievements).
SD BASED ON THE USE OF PRONOUNS
Being very abstract, pronouns in contrast with nouns and adjectives are rarely used stylistically, which makes their stylistic usage especially expressive.
Pronouns may acquire stylistic value if they denote persons or objects that have not been named or introduced but are still represented as familiar. This device, in media res plunges the reader into the midst of events, making the author's narrative more intimate (see E. Hemingway's stones Now I Lay Me and In Another Country).
A particular stylistic effect may be created due to the usage of archaic (thee, thou, thy) or low colloquial forms of pronouns. White archaic forms make the speech sound official, solemn, or poetical, low colloquial forms usually render some speech characteristics. Pronouns can also undergo various contextual transpositions:
1) when we is used instead of I (/ -> we transposition):
Pluralis Auctoris ("editorial we"), when the author speaks on behalf of a certain group, party, or class;
Pluralis Majestatis, when we is used as a symbol of royal power:
Pluralis Modestial, when we is used as a means of involving the reader or listener into the author's thoughts, it is typical of oral or written scientific prose,
when we is employed to impart to the utterance a jocular unceremonious colouring,
/ => one transposition which gives an utterance a more general, impersonal character;
/ => you transposition which frequently occurs in reported speech and some descriptions;
/ => he/she transposition that takes place when:
the speaker tells his/her life story as an onlooker;
the speaker addresses himself / herself as an interlocutor;
the speaker overstresses his/her relevance;
the speaker laughs away what is said about him/her by the others;
you => we ("clinical we") transposition, which conveys a patronising attitude of the senior/ superior to the junior / inferior. It can also create a humorous effect.
When you is replaced by one, the statement becomes generalized
When I is substituted by he, she or nouns, the speaker either tries to analyse his own actions with the eyes of a stranger, or he is ironical about himself.
Use of archaic pronouns thou, thy, thine creates the atmosphere of solemnity and elevation, or brings us back to ancient times.
SD BASED ON THE USE OF ADVERBS
Adverbs as one of the means of communicating intensity may be:
stylistically neutral, typical of both written and oral speech (exceedingly, quite, too, utterly):
stylistically marked, typical of oral speech only (awfully, terribly, dreadfully etc.). The latter are close to intensifying particles.
Forma! differentiation of suffix and non-suffix adverbs in Modern English is supported by their stylistic usage. The use of non-suffix adverbs is typical of the oral form of speech. In belles-lettres style they can become SD which impart greater vividness and expressiveness to the personage's speech. Both types of adverbs may be found in the publicists style.