- •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)
43. Figures of quality: epithet. Semantic and structural types of epithets.
Epithet – an emotionally-evaluative or expressive-imaginary definition (attribute) of some denotatum. In epithet there’s a seme (минимальная единица содержания) which denotes the subjective attitude of speaker towards a subject of speech (poor mother – widowed mother).
It is essential to differentiate between logical attributes and epithets proper. Logical attributes are objective and non-evaluating (a round table, green meadows). Epithets proper are subjective and evaluative, mostly metaphorical. These qualifications make epithets expressive (wild wind, loud ocean).
Epithets may be classified on the basis of their semantic and structural properties.
Semantically, epithets fall into two groups: epithets associated with the nouns modified and epithets not associated with the nouns modified.
Associated epithets point out typical features of the objects which they describe. Such typical features are implied by the meaning of the nouns themselves:
If forest, then – dark
If tears, then – bitter.
Unassociated epithets ascribe such qualities to objects which are not inherent in them, as a result, metaphors emerge fresh, unexpected, expressive: voiceless sands, helpless loneliness.
From the point of view of their compositional structure epithets may be divided into:
1) simple (adjectives, nouns, participles): e.g. He looked at them in animal panic.
2) compound: expressed by compound adjectives e.g. an apple - faced man;
3) phrasal epithets: expressed by word-combinations of quotation type e.g. It is his do - it - yourself attitude.
4) clausal epithets: expressed by sentences: e.g. I-don’t-want-to-do-it felling.
5) reversed epithets - composed of 2 nouns linked by an of-phrase: e.g. "a shadow of a smile";
44. Figures of quality: Irony. Context types of irony.
Irony denotes a trope / figure based on direct opposition of the meaning to the sense. It is the use of words, word-combinations and sentences in the meanings opposite to those directly expressed by them (i.e. opposite to their logical meaning) for purpose of ridicule. Thus in the sentence: ‘It must be delightful to find oneself in a foreign country without a penny in one’s pocket.’ The word “delightful’ acquires a meaning quite the opposite to its primary dictionary meaning, that is ‘unpleasant’, ‘not delightful’.
Irony is generally used to convey a negative meaning. The effect of irony largely depends on the unexpectedness and seeming lack of logic of a word used by the author in an incompatible context. The reader is fully aware of the contrast between what is logically expected and what is said. This contrast of meanings very often produces a humorous effect.
Sometimes irony is not pointed out at all: its presence in the text is deduced only by reasoning. The reader cannot possibly believe that the author can be praising the object of speech in earnest. Sometimes the whole of the narrative is ironical, as the case is with the description the matrimonial schemes of Becky Sharp. (Thackeray)
In the stylistic device of irony it is always possible to indicate the exact word whose contextual meaning diametrically opposes its dictionary meaning. This is why this type of irony is called verbal irony. There are very many cases, though, which we regard as irony, intuitively feeling the reversal of the evaluation, but unable to put our finger on the exact word in whose meaning we can trace the contradiction between the said and the implied. The effect of irony in such cases is created by a number of statements, by the whole of the text. This type of irony is called sustained, and it is formed by the contradiction of the speaker's (writer's) considerations and the generally accepted moral and ethical codes. Many examples of sustained irony are supplied by D. Defoe, J. Swift or by such XX- th c. writers as S. Lewis, K. Vonnegut, E. Waugh and others.
Irony must not be confused with humor. Humor always causes laughter. Irony rather expresses a feeling of irritation, displeasure, pity, regret.