- •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)
14. Publicistic style.
The publicistic style of language became a separate style in the middle of the 18th century. Unlike other styles, it has two spoken varieties, namely the oratorical substyle and the radio and TV commentary. The other two substyles are the essay (moral, philosophical, literary) and journalistic articles (political, social, economic). The general aim of publicistic style is to influence the public opinion, to convince the reader or the listener that the interpretation given by the writer or the speaker is the only correct one and to cause him to accept the expressed point of view.
Publicistic style is characterized by coherent and logical syntactical structure, with an expanded system of connectives and careful paragraphing. Its emotional appeal is achieved by the use of words with the emotive meaning but the stylistic devices are not fresh or genuine. The individual element is not very evident. Publicistic style is also characterized by the brevity of expression, sometimes it becomes a leading feature.
The oratorical style is the oral subdivision of the publicistic style. Direct contact with the listeners permits a combination of the syntactical, lexical and phonetic peculiarities of both the written and spoken varieties of language. The typical features of this style are: direct address to the audience (Your Worship, you, with your permission); sometimes contractions; the use of colloquial words. The SDs employed in the oratorical style are determined by the conditions of communication. As the audience rely only on memory, the speaker often resorts to repetitions to enable his listeners to follow him and to retain the main points of his speech. The speaker often use simile and metaphor, but these are generally traditional, because genuine SDs may be difficult to grasp.
The essay is rather a series of personal and witty comments than a finished argument or a conclusive examination of the matter. The most characteristic language features of the essay are: brevity of expression; the use of the first person singular; a rather expanded use of connectives; the abundant use of emotive words; the use of similes and sustained metaphors.
The language of journalistic articles is defined by the character of newspaper, magazine, as well as subjects chosen. Literary reviews stand closer to essays.
15. Scientific prose style.
The language of science is governed by the aim of the functional style of scientific prose, which is to prove a hypothesis, to create new concepts, to disclose the internal laws of existence, development, relations between different phenomena, etc.
Features:
1) The first and most noticeable feature of this style is the logical sequence of utterances with clear indication of their interrelations and interdependence. It will not be an exaggeration to say that in no other functional style do we find such a developed and varied system of connectives as in scientific prose.
2) A second and no less important feature, and perhaps the most conspicuous, is the use of terms specific to each given branch of science. Neutral and common literary words used in scientific prose will be explained, even if their meaning is only slightly modified, either in the context (by a parenthesis or an attributive phrase) or in a foot-note.
3) A third characteristic feature of scientific style is what we may call sentence-patterns. They are of three types: pоstulatory, augmentative and formulative.
4) A fourth observable feature of the style of modern scientific prose, and one that strikes the eye of the reader, is the use of quotations and references.
5) A fifth feature of scientific style, which makes-it distinguishable from other styles, is the frequent use of foot-notes, not of the reference kind, but digressive in character. This is in full accord with the main requirement of the style, which is logical coherence of ideas expressed. Anything that seems to violate this requirement or seems not to be immediately relevant to the matter in hand, but at the same time may serve indirectly to back up the idea, will be placed in a foot-note.
6) The impersonality of scientific writings can also be considered a typical feature of this style. This quality is mainly revealed in the frequent use of passive constructions. Scientific experiments are generally described in the passive voice, for example,
In connection with the general impersonal tone of expression, it should be noted that impersonal passive constructions are frequently used with the verbs suppose, assume, presume, conclude, infer, point out, etc., as in: 'It should be pointed out', 'It must not be assumed', 'It must be emphasized', 'It can be inferred', etc.
There is a noticeable difference in the syntactical design of utterances in the exact sciences (mathematics, chemistry, physics, etc.) and in the humanities. The passive constructions frequently used in the scientific prose of the exact sciences are not indispensable in the humanities. This, perhaps, is due to the fact that the data and methods of investigation applied in the humanities are less objective. The necessity to quote passages under observation and to amplify arguments seriously affects syntactical patterns. In the humanities some seemingly well-known pronouncement may be and often is subjected to re-evaluation, whereas in the exact sciences much can be accepted without question and therefore needs no comment.