Файл: Key Theme.docx

Key Theme:

3.4. Stylistic Devices (Tropes and Figures of Speech) and Communicative Stylistic Function

Problem Question:

Read the information below. What is the basic difference between figures of speech? Prove that any stylistic device (trope or figure of speech) on the violation of the law of a sign.

Tropes are based on the «transfer» of meaning, when a word is used an object which is not usually correlated with this word (metaphor, personification, metonymy, synecdoche, hyperbole, antonomasia, irony, etc.).

Figures of Speech are based on the specific arrangement of words, unusual constructions, repetitions or extension of a phrase (alliteration, assonance, all types of repetitions, litotes, euphemism, pun, zeugma, periphrasis, simile, etc. (Задорнова, 1986 : 4). Tropes are categories of paradigmatics («an axis of choice»), while Figures of speech belong to syntagmatics, (to the «axis of combination») (R. Jakobson).

Tropes are divided into: 1) «intellective» (based on the logical connection between the object and a word): metaphor, personification, metonymy, antonomasia, synecdoche etc.; 2) «emotive», based on the emotive — expressive —evaluative attitude to the object: hyperbole, euphemism, irony, enantiosemy, etc.

The stylistic effect of figures of speech is created due to the arrangement of linguistic units, unusual construction or extension of utterance.

There are 5 types of figures of speech: 1) periphrastic (periphrasis) antonomasia, euphemism, litotes, simile;

2. figures, based on repetition: a) of sounds — alliteration, assonance, pun, paronomasia; b) of morphemes — polyptotone, equal ending; c)of words - epiphora, anadiplosis, chiasmus; d) of conjunctions — polysyndetone; e) of sentences — parallel construction; f) anaphora — uniting repetitions at all the levels;

3. figures of speech, based on the rearrangement of the соmponents: anastrophe, hyperbaton, reversed epithet, «spoonerism»; . _ь

4. figures, based on the semantic arrangement of the components: ascending and descending gradation (climax and anticlimax), oxymoron, etc.;,

5. «dialogue» figures, implying real or hidden dialogue: rhetorical question, aposiopesis, etc.

3.4.1. Graphical Expressive Means

3.4.1.1. Graphon

Graphon is a creative stylistic device based on the intentional violation of the graphical shape of a word used to reflect its authentic pronunciation, or on the change of the accepted graphical text representation as in the poems below

Problem Question:

What is achieved by the graphical changes of writing — its types, the spacing of graphemes and lines? State the function of graphon in captions, posters, adverticements, etc., repetedly used in press, TV, roadside advertizing:

Word-form dissection (Figurative verses):

Lord, Who created in wealth and store

Though foolishly he lost the same,

Decaying more and more

Till he became

Most poor;

With Thee

Oh, let me rise

As larks harmoniously

And sing this day Thy victories:

Then shall fall further the flight in me.

My tender age in sorrow did begin;

And still with sickness and shame

Thou did so punish sin

That I became

Most thin.

With Thee

Let me combine

And feel this day Thy victory

For if I imp my wing on Thine,

Affliction shall advance the flight in me.

George Herbert (1593-1633)

Бокал из Вены

Испугались литераторы

разбежались плагиаторы

как в «Давыдку» я пришел

крикнул: «Пива!», сел за стол

меня вывели лакеи, взял

под ручку полисмен

дал тихохонько по шее

старый хрен

просыпа­-

юсь,

н

е

т

п

у

т

и

Удивляюсь, изумляюсь,

Пародия Венского на стихи И. Рукавишникова.

Новиков, 1989 : 423

Analyze the passages below. What is the function of graphon in the wr communication in comparison to the "real" act of speech?

The fear intense, the anger intense... EVERYTHING SO INTENSE EVERYBODY FAR FROM HOME AND ANGRY ANGRY ANGRY ANGRY ANGRY RAGE!

Roth, 2001:72

Nicole seemed Out of her Mind. I didn't want to come to the South with them because I felt Dick had enough on his hands.

FlTZDGERALD, 1977 :181

Linguistic Joke

A bus stop and two Italian men get on. They sit down and engage in an animated conversation. The lady sitting behind them ignores them at first, but her attention is galvanized when she hears one of the men say the following:

«Emma comes first. Den I come. Den two asses come together. I come once- a-more. Two asses, they come together again. I come again and pee twice. I come one lasta time».

«You foul-mouthed swine», retorted the lady indignantly. «In this country we don't talk about our sex lives in public!»

«Hey, coola down, lady», said the man. «Who is talkin' about sexa? I’m just tellin' my frienda how to spella „Mississippi"».

Indicate the kind of additional information about the speaker supplied by graphon:

I souport public edukasion

Think of the causes originating graphon (a physical defect of speech, young age, lack of education, the influence of dialectal norms, affectation, intoxication, carelessness of speech, etc.:

"Fanks", he said in a muffled voice, and then, with a small pop, vanished.

ROWLING

— Ef you's got hairy arms en a hairy breas' it's a sign dat you's agwine to be rich. Well, dey's some use in a sign like dat, "kase it"s so fur ahead. ( Missuri Ebonics).

TWAIN, 1983:20

So she lifted up her voice, at an angle calculated for distance, and shouted:«Y-o-u-u Tom!». TWAIN, 1983:20

Tom, it was middling warm in school, warn't it? — Yes'm.

Powerful warm, warn't it? — Yes'm.

Didn't you want to go in a-swimming, Tom?

Twain, 1982 : 11

Jim shook his head and said: — Can't, Mars Tom. Ole missis, she tole me Щ I got to go an' git dis water an' not stop foolin' roun' wid anybody.

Twain, 1982 : 16

...that work consists of whatever a body is obliged to do and that Play consists of whatever a body is not obliged to do.

Ш Twain, 1982 : 19

Problem Question:

1. Indicate the type of onomatopoeia used in the following extracts. Explain whatt associative and sound-instrumenting power is revealed in each of sound imitations.

..when suddenly, thump! thump! down she came upon a heap of sticks and leaves, and the fall was over.

Carroll

Silver bells...how they tinkle, tinkle, tinkle...

To the tintinnabulation that so musically wells

From the bells, bells, bells, bells,

Bells, bells, bells -

From the jingling and the tinkling of the bells.

And then it was as if someone jolted the machine, there were screams, sharp visions, children dashing, children fighting, pummelling, bleeding, screaming!

R. Bradbury. The playground.

Call it a combination of skin..., geography (it takes sooooo long to drive from Southampton to East Hampton, and topography...

Bushnell : 96

Then Sarah beeped in. She'd just gotten money to make her first independent film, and she was ecstatic...

Opp. Cit.:29

«0h honey», she cooed into the phone. She was in a good mood...

Opp. Cit.:30

3.4.2.2. Alliteration

Alliteration, a repetition of the same consonants at the beginning of neighbouring words or accented syllables. Alliteration is generally regarded as a musical accompaniment of the author's idea, supporting it with some vague emotional atmosphere which each reader interprets for himself.

Alliteration in the English language deeply rooted in the traditions of English folklore. The traditions of folklore are exceptionably stable and alliteration as a structural device is often used as a well—tasted means not only in verse but in emotive prose, in newspaper headlines («Fighting Football Fans Face Fines») in advertisements («Buy Brown's Best British Biscuits»), the book titles (« Sense and Sensibility», «Pride and Prejudice» (Jane Austin), «The School for Scandal»(Sheridan), «Of Mice and Men» (J. Oldridge); in proverb and sayings, In so called binominals: ship-shape, mish-mash, rat race, chit-chat, wishy-washy,flip- flops, pitter-patter, creepy-crawly, spick and span, sink or swim, slowly but surely, tit for tat, blind as a bat, betwixt and between, forgive and forget, etc.

Problem Question:

What is achieved by the repetition of the same consonants in close succession? What is the stylistic power of alliteration a) in poetry; b) in prose?

How sweet it were,...

To lend our hearts and spirits wholly

To the music of mild-minded melancholy;

To muse and brood and live again in memory.

A. Tennyson. The Lotus Eaters

(the sound «m» is often used in the poem to give a somnolent effect)

The happiest women like the happiest nations have no history.

Litton

Fair is foul, and foul is fair.

Shakespeare

No pain, — no palm; no thorns — no throne; no gall – no glory; no cross — no crown.

W.Penn

Maners and money make a gentleman.

English proverb

Money makes the mare go.

English proverb

Money is the only monarch.

English proverb

Если бы щетина моей щеки коснулась шелка кашне, я бы лишился чувств.

Набоков. Истинная жизнь С. Найта.

Пер. Горянина и Мейлаха

Блевал... бледный библиотекарь.

Набоков. Приглашение на казнь

Built better by Burco for you.

ADVERTICEMENT

(Linen): Detail. Design. Desire.

ADVERTICEMENT

3.4.2.3. Assonance

Assonance is a SD based on agreement of vowel sounds in words close to each other.

Problem Question:

What is achieved by the repetition of vowels in the following R. Kipling's poem?

How is it connected with the Boer War (1899—1902), when the poem was created?

What is the stylistic and communicative function of the assonance?

Boots

(Infantry Columns of the Earlier (Boer) War (1899 - 1902)

We're foot — slog — slog — slog — sloggin' over Africa!

Foot - foot — foot — foot — sloggin' over Africa —

(Boots - boots — boots — boots, movin' up an' down again!)

There's no discharge in the war!

Seven – six — eleven — five — nine-an'- twenty mile to-day —

For – eleven — seventeen — thirty-two the day before —

(Boots - booots — boots — boots, movin' up an' down again!)