- •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)
34. Expressive means of English syntax based on the violation of the word order.
EM based on the violation of the grammatically fixed word order within a sentence or a deliberate isolation of some parts of the sentence. Here belong stylistic inversion, syntactical split, and detachment.
Stylistic Inversion is the violation of the fixed word order within an English sentence, the first and the last positions being most prominent. The direct word order may be changed either completely so that the predicate (predicative) precedes the subject (From behind me came Andrews voice (S. Chaplin)) or partially so that the object (adverbial modifier) precedes the subject predicate (Straight into the arms of the police they will go (A.Christie)).
Correspondently, we distinguish complete and partial inversion.
Separation or syntactical split is the splitting of syntactical unities with the fixed order of components succession. Very often it concerns a noun phrase comprising the attributive prepositional adjunct which can be removed from the word it modifies. Stylistically, syntactical split is used to emphasise the phrase which was separated, e.g. He had never seen the truth before, about anything (R. Warren)
Separation may be of two kinds:
the split of the components in the structure with the direct word order;
the split of the components in the structure with inversion.
Detachment is a separation of a secondary part of the sentence with the help of punctuation and intonation with the aim of emphasising it, e.g. Formidable and ponderous, counsel for the defence arose (A.Christie). Practically any secondary member of the sentence may be detached but most noticeable are cases with a detached attribute.
Detachment is to be regarded as a special kind of inversion, when some parts of the sentence are syntactically separated from its other members with which they are grammatically and logically connected.
35. Stylistic devices of English syntax based on the interaction of syntactical constructions in context
Parallelism is a repetition in close succession of the constructions formed by a similar syntactical pattern. Like inversion, parallelism may be complete and partial. Complete parallelism is observed when the syntactical pattern of the sentence that follows is completely similar to the proceeding one, e.g. His door-bell didn't ring. His telephonebell didn't ring (D. Hammett). In incomplete parallel constructions some of the elements in the parallel rows may be missing or intentionally omitted (to avoid unnecessary repetition) which results in ellipsis.
Parallelism is considered to be partial when either the beginning or the end of several neighbouring sentences are structurally similar, e.g. / want to see the Gorgensens together at home, I want to see Macawlay, and I want to see Studsy Burke (D.Hammett).
In literary prose – p.c. strengthen communicative and expressive importance of an expression.
In publicistic style and oratory – p.c. emphasize the main thought of an expression, to convince the hearer and reader, to make him accept their point of view.
Chiasmus (reversed parallelism) is a kind of parallelism where the word order of the sentence or clause that follows becomes inverted, e.g. He sat and watched me, I sat and watched him (D.Hammett).
The main stylistic function of chiasmus is to emphasise this or that part of the utterance, to break the rhythm and monotony of parallelism, to fix addressee’s attention on the given fact. e.g. Guild waited for me to say something, I waited for him (D. Hammett).
Anaphora is a repetition of words or phrases at the beginning of successive clauses or sentences, e.g. Ergo, she didn't. Ergo, there never was such a bet. Ergo, Beresford was lying. Ergo, Beresford wanted to get hold of those chocolates for some reason other than he stated (A.Berkley).
Anaphora contributes greatly to creating a certain rhythm of the narrative.
Epiphora is the repetition of the final words or word-groups in succeeding sentences or clauses, e.g. / come to you on the level. Studsy says you are on the level. Be on the level (D. Hammett).