- •1. Stylistic as a branch of science. Subjects, methods, related research and the differences between them.
- •2. The notion of style.
- •3. The notion of stylistic markedness
- •6.Expressive means and stylistic devices.
- •4. Expressiveness, evaluation, emotiveness.
- •5. The notion of variation. Variation is English language.
- •7. Spoken English and Written English.
- •12. The stylistic devices of zeugma and pun.
- •9.The stylistic device of metaphor.
- •13. The stylistic devices of oxymoron and antonomasia.
- •8. The notion of stylistic function
- •14. The stylistic devices of simile and hyperbole.
- •10. The stylistic devices of metonymy and irony.
- •11. The stylistic devices of epithet.
- •16. The stylistic devices of allusion and decomposition of set phrases.
- •15. The stylistic devices of periphrasis and euphemism.
- •20. The stylistic devices of asyndeton, polysyndeton and the gap-sentence link.
- •17. The stylistic devices of inversion, chiasmus and parallel structures.
- •18. The stylistic devices of repetition, enumeration and suspense
- •38. The newspaper headline.
- •19. The stylistic devices of detached constructions, climax(gradation) and antithesis.
- •21. The stylistic devices of ellipsis, aposiopesis (break-in-the-narrative), question in the narrative.
- •22. The stylistic devices of litotes and rhetorical question.
- •24. The stylistic devices of onomatopoeia, alliteration and assonance.
- •23. Free indirect thought and free indirect speech
- •26. The stylistic classification of the English vocabulary. Special colloquial vocabulary.
- •25. The stylistic classification of the English vocabulary. Special literary vocabulary.
- •30. Poetry. The notion of poetic conventions. Types of poetic conventions.
- •27. The notion of functional style. Approaches to the research into functional style. Classifications of fs.
- •29. Emotive prose.
- •28. The belles-lettres style
- •33. The language of drama
- •31. Rhyme, metre and rhythm.
- •35. The style of scientific discourse.
- •32. Lexical and syntactical features of poetry.
- •34. Publicist style.
- •36. The style of official documents.
- •37. The style of mass communication. The British Newspaper style.
19. The stylistic devices of detached constructions, climax(gradation) and antithesis.
Detached Constructions
placing one of the secondary parts of a sentence by some specific consideration of the writer so that it seems formally independent of the word it logically refers to. The structural pattern of DC have not been yet classified. The essential quality - the isolated parts are placed in position that makes the phrase seem independent. But a DC cannot rise to the rank of a primary member of the sentence – it always remains secondary, structurally it possesses all the features of a primary member. In the Eng. L. DCs are generally used in the belle-letters prose style & mainly with words that have some explanatory functions. DCs have been little investigated. Connected with the intonation pattern of the utterance. A variant of DC is parenthesis (a qualifying, explanatory or appositive word, phrase, clause, sentence, or other sequence which interrupts a syntactic construction without otherwise affecting it, having often a characteristic intonation and indicated in writing by commas, brackets or dashes).
Isolated members of the sentence are regarded as a special kind of inversion. Isolated members are syntactically separated from other members of a sentence with which they are grammatically and logically connected. The violation of the traditional word order and connections between the members of the sentence make isolated words more independent and give them greater prominence. Only secondary parts of the sentence, generally attributes, adverbial modifiers and apposition, may be used in isolation. In written speech isolated members are separated from the words they modify by graphic means: by a comma, brackets, dash, and even a full stop.
Isolated members of the sentence give prominence to some words and help the author to laconically draw the reader’s attention to a certain detail or circumstance or help the author to emphasize his emotional attitude toward what he describes. e.g. I have to beg you for money. Daily!
Climax presents a structure in which every successive sentence or phrase is emotionally stronger or logically more important than the preceding one. Such an organization of the utterance creates a gradual intensification of its significance, both logical and emotive, and absorbs the reader’s attention more completely. Climax may be of three main types:
1) quantitative, when it is quality or size that increases with the unfolding of the utterance.
2) qualitative, when intensification is achieved through the introduction of emphatic words into the utterance, which fact increases its emotive force.
3) logical, the most frequent type, in which every new concept is stronger, more important and valid.
A peculiar variety is presented in those cases when a negative structure undergoes intensification. As counterpart to climax stands Anticlimax, where emotion or logical importance is accumulated only to be unexpectedly broken and brought to a sudden cadence.
e.g. Silence fell upon Closter. Place, peace, oblivion.”
Antithesis is a stylistic device presenting two contrasting ideas in a close neighbourhood.
The phenomena opposed to one another can be pictured in an extended way. Or else the contradictory ideas may intermingle, thus creating the effect of not only the contrast, but also of the close unity of the contrasting features. E.g. The smell of life and richness, of death and digestion, of decay and birth, burden the air.
e.g. The smell of life and richness, of death and digestion, of decay and birth, burden the air.
Antithesis- a figure of speech based on parallel constructions with contrasted words (usually antonyms). It is based on relative opposition which arises out of the context through the expansion of objectively contrasting pairs, as in: "Youth is lovely, age is lonely, Youth is fiery, age is frosty." Here the objectively contrasted pair is 'youth' and 'age'. 'Lovely' and 'lonely' cannot be regarded as objectively opposite concepts, but being drawn into the scheme contrasting 'youth' and 'age', they display certain features which may be counted as antonymical. It is not only the semantic aspect which explains the linguistic nature of antithesis, the structural pattern also plays an important role. Antithesis is generally moulded in parallel construction. The antagonistic features of the two objects or phenomena are more easily perceived when they stand out in similar structures. This is particularly advantageous when the antagonistic features are not inherent in the objects in question but imposed on them. The structural design of antithesis is so important that unless it is conspicuously marked in the utterance, the effect might be lost. Antithesis is a device bordering between stylistics and logic. The extremes are easily discernible but most of the cases are intermediate. However, it is essential to distinguish between antithesis arid what is termed contrast. Contrast is a literary (not a linguistic) device based on logical opposition between the phenomena set one against anthr.