- •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)
48. Figures of opposition: antithesis, oxymoron.
Antithesis – is a stylistic device which presents two contrasting ideas in close proximity in order to stress the contrast.
We may distinguish three varieties of antithesis.
opposition of features possessed by the same referent.
E.g. Some people have much to live on and little to live for (O.Wilde)
The purpose of this device is to show complex and contradictory nature of the object of speech.
opposition of two or more different reference having contrasting features.
The device serves to underline their incompatibility:
‘Large houses are still occupied while weavers’ cottages stand empty.’ (Gaskell)
‘His fees were high; his lessons were light.’ (O. Henry)
opposition of reference that embrace a wide range of features.
‘For the old struggle – mere stagnation, and in place of danger and death, the dull monotony of security and the horror of an unending decay!’ (Leacock)
Stylistic antithesis is not only an effective stylistic devise, but as all expressive means it is an expression of inner, elevated contents of speech.
Oxymoron is a combination of two words (mostly an adjective and a noun or an adverb with an adjective) in which the meaning of the two clashes, being opposite in sense:
‘His honour rooted in dishonour stood
And faith unfaithful kept him falsely true.’ (Tennyson)
The oxymoron reveals the contradictory nature of one and the same phenomenon. One of its components discloses some objectively existing feature or quality while the other serves to convey the author’s individual attitude towards the same.
The difference between antithesis and oxymoron is that 1st combines contradicting ideas within a sentence, and 2nd – within an utterance.
There are trite oxymorons (Terribly good, pretty dirty, awfully nice) and original oxymorons (to look their horrid best)
49. Figures of inequality (non-equivalence): climax, anticlimax, pun, zeugma.
Figures of inequality based on:
actualizing the emotional power of the utterance (climax, anticlimax);
two different meanings of words (pun, zeugma).
Climax presents a structure in which every consecutive sentence or phrase is emotionally stronger or logically more important than the preceding one.
According to Kukharenko it can be of three types:
quantitative (reveals the quantity of objects)
qualitative
logical
Anticlimax is counterpart to climax; takes place when the emotional or logical importance is first accumulated and then unexpectedly broken.
Types of anticlimax: 1. gradual drop in intensity
2. sudden break in emotional power.
Pun (witticism, word play) is a humorous use of words which sound the same or of two meanings of the word. Pun is more independent, it doesn’t need a basic component like zeugma.
Classification
based on polysemy
based on homonymy
based on phonetic similarity
Zeugma is a structural arrangement of an utterance in which parallel constructions have unparallel meanings. A zeugmatic construction consists of at least three constituents. The basic word of it stands in the same grammatical but different semantic relations to a couple of adjacent words. The basic word combined with the first adjacent word forms a phraseological word-combination. The same basic word combined with the second adjacent word forms a free word-combination. E.g. She dropped a tear and her pocket handkerchief.
It’s used to create a humoristic effect.