- •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)
22. Morphological means and devices of stylistics: sd based on the use of verbs.
The existing diversity of verb categories, forms and constructions makes this part of speech the richest one as to its stylistic possibilities. The verb has much more developed system of word-building and a greater number of grammatical categories than any other part of speech. Thus we may assume that its stylistic potential is considerable. And here again transposition is an important expressive means. The stylistic potential of the verb finds its obvious manifestations in the use of aspect, tense, voice, and mood forms.
Verb aspect forms have a lot of synonyms which allow diverse synonymous substitutions. Present, Past and Future Continuous forms, being more emotional than Indefinite ones, are frequently used instead of the latter to emphasise the emotional tension of the utterance or to impart politeness to it.
In lively emotional narrative about events in the past or expected in the future ‘The Present Historical Tense’ is used. The continuous forms (present, past or future) are used instead the indefinite forms. It is more emotional, sometimes they can express a momentary irritation.
e.g. One day I’m no longer spending my days running a sweet stall, I may write a book about us all.
Sometimes the continuous form, due to its emotiveness, proves to be milder and more polite than simple present.
e.g. The kind Mrs. Eliot puts mildly: ‘I’d better show you the way. He is not feeling so good to day.’
The interchange of verb tense forms (past with historic present or present with past or future) in the narrative makes the events, actions and situations described more vivid. Passive constructions which might have a greater emotional charge than active
23. Word and its Semantic Structure
The most essential feature of a word is that it expresses the concept of a thing, process, phenomenon, naming (denoting) them. Concept is a logical category, its linguistic counterpart is meaning. Meaning is the unity of generalization, communication and thinking. An entity of extreme complexity, the meaning of a word is liable to historical changes, which are responsible for the formation of an expanded semantic structure of a word. This structure is constituted of various types of lexical meanings, the major one being denotative, which informs of the subject of communication; and also including connotative, which informs about the participants and conditions of communication.
The denotative meaning is obligatory and it is not connected with the conditions of communication.
The majority of words of the English language posses denotative information only. So, they are stylistically neutral: man, house, to run, red etc. This does not mean that they cannot be used for stylistic purposes. A word in fiction acquires new qualities depending on its position, distribution, etc. Practically any word, depending on its context, may acquire certain connotations (honey-bum, sugar-plum).
The number, importance and the overlapping character of connotative meanings incorporated into the semantic structure of a word, are brought forth by the context, i.e. a concrete speech act that identifies and actualizes each one.
In the semantic actualization of a word the context plays a dual role: on one hand, it cuts off all meanings irrelevant for the given communicative situation. On the other, it foregrounds one of the meaningful options of a word, focusing the communicators' attention on one of the denotative or connotative components of its semantic structure.
The significance of the context is comparatively small in the field of stylistic connotations, because the word is labeled stylistically before it enters some context.