- •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)
54. The degree of the narrator’s presence in a literary text (degree of perceptability).
This ranges from maximum of covertness to maximum of overtness. The maximum of covertness is often mistaken for a complete absence of the narrator.
Signs of perceptibility:
Description of setting (sig of a narrator presence) (what should be told in details)
Identification(definition) of characters (the author identify the character to the reader : handsome, ugly, clever, rich. … (the narrator’s knowledge about him0
Temporal summary : presupposes a desire to account for time passage ,to satisfy. Questions about what has happened.
Definition of character -also suggests an abstraction generalization on summing up the part of the narrator as well.
- a desire to identify authoritative characterization
Report of what characters do not think or say.
Commentary can be on the story or on the narration
Interpretation - provide information about interpret;
Judgement - narrator’s moral
Generalization- - extends the significance of the particular case. Unlike interpretation, judgement and generalization are concerned with the represented world, but problems of representing.
55 The notion of the narrative perspective (focalization). Types of narrative perspectives.
Narrative perspective shows the narrator’s position regarding the story as a whole and its specific minor aspects. It is the perspective from which the reader is shown actions, character and events of the textual world.
According to Домашнев, Шишкина , Гончаров narrative perspective can be:
Omniscient or unlimited (external focalization) - is told by the author, using the third person, and his knowledge ad prerogatives are unlimited. He is free to switch form one episode to another. He is free to go wherever he wishes, to peer inside minds and hearts of characters. He can interpret their behavior, he can comment, he knows all. It offers constant danger that author may come between the readers and the story or shifting of new point of character to character.
Limited Omniscient (internal focalization) - in the third person, from the view point of the character, looks through his eyes, his mind. He knows everything about this character ,but nothing about other.
Objective- forces readers to make their own interpretation. But it must really on action or dialogues ,that’s why it must depend on the author.
Omniscient (external) Omniscient(internal)
Time An external narrator an internal narrator
Uses all the temporal is limited to the
Diminisions(виміри) present of the characters.
Of the story (Past, Pr)
Space the narrator is located the view of a limited observer
above the objects of his
Perception and chooses panoramic plain; close up description; the average
or middle
Cognition the narrator knows the knowledge of internal
everything. His knowledge narrator is restricted. This
Is unlimited. This style type is called subjective
Of narration is objective colored, involved
Or neutral involved focalization