16. The pecularities of the colloqual style

Colloquial style is the type of speech which is used in situation that allows certain deviations from the rigid pattern of literary speech used not only in a private conversation, but also in private correspondence.

The colloquial styles. These styles comply with the regularities and norms of oral communication. Reduction of grammatical forms makes the style morphological-ly distinguished, putting it in line with other colloquial styles. Sentences of literary colloquial conversation tend to be short and elliptical, with clauses connected asyndetically. The vocabulary of the informal colloquial style is unofficial. Besides neutral words, it contains lots of words with connotative The lowest level in the hierarchy of colloquial styles is occupied by substandard or special colloquial English. At the first glance, substandard English is a chaotic mixture of non-grammatical or contaminated speech pat-terns and vulgar words which should be criticized without regret. For example, the universal grammatical form ain’t is a simplified substitute for am (is, are) not, was (were) not, have (has, had) not, shall (will) not, there is (are, was, were) not: "I ain't sharin' no time. I ain't takin' nobody with me, neither" (J. Steinbeck). "It ain't got no regular name" (E. Caldwell). Substandard English speech abounds in obscene words marked in dictio-naries by the symbol "taboo", vulgarisms (bloody buggering hell, damned home-wrecking dancing devil), slangy words {busthead = inferior or cheap whisky, a pin-up girl = a sexually attractive young woman) and specific clichés (dead and gone, good and well, far and away, this here ...). Substandard English is used by millions of people in English speaking countries. It is a conspicuous indicator of low language culture and educational level. Being introduced into books, it becomes a picturesque means of protagonists' characterization.

Phonetic features:1) casual (gonna- going to); 2) use of reduced forms and contracted forms( i’d, we’ve); 3) omission of unaccented elements due to quick tempo; 4) emphasis of intonation as a powerful se. And SDs, capable to render subtle nuances of thought and feeling; 5)use of onomatopoetic words ( Hush, m-m-m);

Morphological features: 1)use of evaluative suffixes, nuance words formed on morphological and ph. Analogy (boldish, moody); 2) extensive use of phrasal v-bs instead of neutral and lit. Equivalents(to go to bed= to turn in)

Syntactical features: 1) use of simple short sentences; 2) use of echo,?, parallel constructions, repetitions; 3)asyndeton is used in complex sentences; 4) coordination is more often use then subordination. Repeated use of conj. “and” is a sign of spontaneity rather that an expr. Device; 5) use of ellipses; 6) use of tautology; 7) abandons of gab fillings elements (indeed, sure, well, ok, to be more exact)

Lexical features: 1)combination of neutral, familiar, and local and coll. Wordds(slang, vulgar and taboo words); 2)use of words of general meaning( gue, job, get. do);3) limited voc. Resources, use the same word in dif. meanings, if it not possess.(sone-good; nice-good); 4)abundonce of specific coll. Interjections(wow, oops); 5)use of hyperbole, epithets, evaluated voc., trite metaphor and simily); 6)Tautological substitution of personal pronomence and names of other pronomence; 7) mixture or curse w-ds and euphenisms.

Compositional features: 1)Use of Deviant lang. on low levels; 2)strong emotional colouring; 3) loose synt. organization of utterance; 4)frequently little coherence; 5)no special comp. Patterns.