- •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.
35. The style of scientific discourse.
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. The language means used, therefore, tend to be objective, precise, unemotional, devoid of any individuality; there is a striving for the most generalized form of expression. There are following characteristic features of scientific style:
1. the logical sequence of utterances;
2. the use of terms specific to each given branch of science;
3. so-called sentence-patterns. They are of 3 types: postulatory, argumentative and formulative.
4. the use of quotations and references;
5. the frequent use of foot-note, of the reference kind, but digressive in character.
The impersonality of scientific writings can also be considered a typical feature of this style.
32. Lexical and syntactical features of poetry.
Lexical and syntactical peculiarities, together with those just analysed, will present the substyle as a stylistic entity.
Among the lexical peculiarities of verse the first to be mentioned is imagery, which being the generic feature of the belles-lettres style assumes in poetry a compressed form: it is rich in associative power, frequent in occurrence and varied in methods and devices of materialization.
We here define imagery as a use of language media which will create a sensory perception of an abstract notion by arousing certain associations between the general and the particular, the abstract and the concrete, the conventional and the factual. It is hardly possible to under-estimate the significance of imagery in the belles-lettres style of language.
Then the passive constructions ('fish was brought', 'it was handed', 'the fish was taken away', 'cutlets were handed', 'They were refused', 'they were borne away', 'chicken was removed', -'sugar was handed her', 'the charlotte was removed', 'olives... caviare were placed', 'the olives were removed', 'a silver tray was brought', and so on) together with parallel construction and asyndeton depict the slow progress of the dinner, thus revealing the strained atmosphere of which all those present were aware.
This example illustrates the means by which an image can be created by syntactical media and repetition. Actually we do not find any transferred meanings in the words used here, i.e. all the words are used in their literal meanings. And yet-so .strong is the power of syntactical arrangement and repetition that the reader cannot fail to experience himself the tension surrounding the dinner table.
Another feature of the poetical substyle is its volume of emotional colouring. Here again the problem of quantity comes up. The emotional element is characteristic of the belles-lettres style in general. But poetry has it in full measure. This is, to some extent, due to the rhythmic foundation of verse, but more particularly to the great number of emotionally coloured words. True, the degree of emotiveness in works of belles-lettres depends also on the idiosyncrasy of the writer, on the content, and on the purport. But emotiveness remains an essential property of the style in general and it becomes more compressed and substantial in the poetic substyle. This feature of the poetic substyle has won formal expression in poetic words which have beenjegarded as conventional symbols of poetic language.
But poetical language remains and will always remain a specific mode of communication differing from prose. This specific mode of communication uses specific means. The poetic words and phrases, peculiar syntactical arrangement, orderly phonetic and rhythmical patterns have long been the signals, of poetic language. But the most important of all is the power of the wofds^used in poetry to express more than they usually signify in ordinary language.
Syntax also underwent noticeable changes' but hardly ever to the extent of making the utterance unintelligible* The liberalization of poetic language reflects the general struggle for a freer development of the literary language, in contrast to the rigorous restrictions imposed on it by the language lawgivers of the 18th century In poetry words become more conspicuous, as if they were attired in some mysterious manner, and mean more than they mean in ordinary neutral communications. Words-in poetic language live a longer life than ordinary words. They are intended to last. This is, of course achieved mainly by the connections the words have with one another and^ to some extent, by the rhythmical design which makes the words stand out in a more isolated manner so that they seem to possess a greater degree of independence and significance.