МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ

НАЦІОНАЛЬНИЙ ТРАНСПОРТНИЙ УНІВЕРСИТЕТ

МЕТОДИЧНІ РЕКОМЕНДАЦІЇ
до семінарських занять та самостійної роботи
з дисципліни
«СТИЛІСТИКА АНГЛІЙСЬКОЇ МОВИ»
для студентів ІV курсу денної форми навчання
за напрямом підготовки 6.020303 «Філологія»
галузь знань 0203 «Гуманітарні науки» (перелік 2010 р.)
за спеціальністю 035 «Філологія»
галузь знань 03 «Гуманітарні науки» (перелік 2015 р.)

Київ НТУ 2018

 МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ
НАЦІОНАЛЬНИЙ ТРАНСПОРТНИЙ УНІВЕРСИТЕТ

МЕТОДИЧНІ РЕКОМЕНДАЦІЇ
до семінарських занять та самостійної роботи
з дисципліни
«СТИЛІСТИКА АНГЛІЙСЬКОЇ МОВИ»
для студентів ІV курсу денної форми навчання
за напрямом підготовки 6.020303 «Філологія»
галузь знань 0203 «Гуманітарні науки» (перелік 2010 р.)
за спеціальністю 035 «Філологія»
галузь знань 03 «Гуманітарні науки» (перелік 2015 р.)

Затверджено
на засіданні навчально-методичної Ради
Національного транспортного університету
протокол № від 2017 р.
Перший проректор__________ М.О. Білякович

Київ НТУ 2018

Методичні рекомендації до семінарських занять та самостійної роботи з
дисципліни «Стилістика англійської мови» для студентів ІV курсу денної
форми навчання за напрямом підготовки 6.020303 «Філологія», галузь
знань 0203 «Гуманітарні науки» (перелік 2010 р.) / за спеціальністю 035
«Філологія», галузь знань 03 «Гуманітарні науки» (перелік 2015 р.) / Укл.:
А. В. Єгорова, Я. О. Мозгова. – К. : НТУ, 2018. – 41 с.

УКЛАДАЧІ: Я.О. Мозгова, к.філол.н., доцент кафедри іноземної філології та

перекладу НТУ;

А. В. Єгорова, асистент кафедри іноземної філології та перекладу НТУ.

ВІДПОВІДАЛЬНИЙ ЗА ВИПУСК: Я.О. Мозгова, к.філол.н., доцент кафедри

іноземної філології та перекладу НТУ.

РЕЦЕНЗЕНТИ: Л.О. Шевчук, к. пед. н., доцент, завідувач кафедри іноземної

філології та перекладу НТУ.

Методичні рекомендації містять теоретичні відомості з дисципліни,

практичні завдання для семінарських занять та самостійної роботи, які
допоможуть студентам набути знань про стилістичні особливості англійської
мови, а також виробити вміння самостійного стилістичного аналізу, вміння
визначати засоби створення загальної стилістичної тональності тексту чи
певного стилістичного ефекту.
Методичні рекомендації призначаються для студентів IV курсу денного
відділення факультету економіки та права кафедри іноземної філології та
перекладу з метою забезпечення їх ефективної підготовки до семінарських
занять з курсу «Стилістика основної іноземної мови (англійська)» та організації
їх самостійної роботи з цього курсу, що передбачає вивчення теоретичного
матеріалу, а також оволодіння вміннями використовувати набуті знання на
конкретному мовленнєвому матеріалі.
 CONTENTS

Introduction………………………………………………………….........................4
Part І. Theoretical material…………………………………………………………5
1. Phonetic and morphological means of stylistics. Morphological means of
stylistics………………………………………………………………………………5
2. Stylistic classification of the English language……………………………………8
3. Stylistic semasiology of the English language. Figures of combination………….14
Part II. Seminars……………………………………………………………………18
1. Seminar 1. General notes on style and style study………………………………..18
2. Seminar 2. Phonetic and morphological means of stylistics……………………...19
3. Seminar 3. Stylistic classification of the English language……………………….23
4. Seminar 4. Stylistic syntax of the English language……………………………...26
5. Seminar 5. Stylistic semasiology of the English language………………………..30
6. Seminar 6. Functional styles of the English language. Linguistic aspects of text
interpretation…………………………………………..…………………………….37
Supplements…………………………………………………………………………38
References ……………………………………………….………………………….40
 ВСТУП

Методичні рекомендації до семінарських занять та самостійної роботи з

дисципліни призначено для студентів IV курсу денної форми навчання за
спеціальністю 035 «Філологія», галузь знань 03 «Гуманітарні науки» та
укладено відповідно до програми дисципліни «Стилістика основної іноземної
мови (англійська)».
У процесі вивчення дисципліни студенти мають отримати чітке уявлення
про стилістику як мікростилістичну (семантико-стилістичну) дисципліну, що
співставляє змістовні та стилістичні моменти тексту, а також як
макролінгвістичну дисципліну, яка бере до уваги лінгвістичні та
екстралінгвістичні чинники.
Методичні рекомендації містять теоретичний матеріал для самостійного
опрацювання, завдання для семінарських занять та самостійної роботи, які
мають на меті розвинути у студентів навички стилістичного аналізу. Завдання
до семінарських завдань спрямовані на розвиток вміння визначати мовні засоби
різних рівнів, які виконують стилістичну функцію, використовувати положення
й поняття стилістики на мовному та мовленнєвому матеріалі: коментувати,
пояснювати й ілюструвати стилістичні явища в різних сферах функціонування
мови, визначати їх стилістичні функції.
Перша частина методичних рекомендацій містить теоретичний матеріал
для самостійного опрацювання студентами. Друга частина присвячена
семінарським заняттям та індивідуальній роботі студентів, а саме питанням до
семінарських занять, практичним завданням до них та завданням для
самостійної роботи студентів.
PART I. THEORETICAL MATERIAL

SEMINAR 2

PHONETIC AND MORPHOLOGICAL MEANS OF STYLISTICS

Morphological means of stylistics

The main unit of the morphological level is a morpheme – the smallest

meaningful unit which can be singled out in a word. There are two types of
morphemes: root morphemes and affix ones. Morphology chiefly deals with forms,
functions and meanings of affix morphemes.
Affix morphemes in English are subdivided into word-building and form-
building morphemes. In the latter case affixation may be: 1) synthetical (boys, lived,
comes, going); 2) analytical (has invited, is invited, does not invite); 3) based on the
alteration of the root vowel (write – wrote); 4) suppletive (go – went).
There are few language (or paradigmatic) synonyms among English
morphemes and only some of them form stylistic oppositions, e.g. he lives – he does
live. Come! – Do come! Don’t forget – Don’t you forget. This scarcity of
morphological EM which is predetermined by the analytical character of the English
language is compensated by a great variety of SD.
Morphological SD as a deliberate shift in the fixed distribution of morphemes
can be created by means of: a) the violation of the usual combinability of morphemes
within a word, e.g. the plural of uncountable nouns (sands, waters, times), or the
Continuous forms of the verbs of sense perception (to be seeing, to be knowing, to be
feeling); b) the violation of the contextual distribution of morphemes, which is called
form transposition.

2.1. SD based on the use of nouns

The invariant grammatical meaning of the noun, that of substance, is realized

through grammatical categories of number, case, definiteness/indefiniteness which
can be used for stylistic purposes.
Such SD may be based on a) repeating the same words in a syntactical
construction, e.g. women are women, or b) using metaphorically nouns which belong
to different lexico-grammatical classes, e.g. He is a devil with the
women (S. Barstow).
In the opposition of singular::plural the latter is marked member, and,
accordingly, the possibilities of its stylistic use are greater. Nevertheless, singular
forms can also acquire stylistic meaning, e.g. to shook dark, to hunt pig. The formant
‘s’ as the marker of the category of possessiveness constantly widens the sphere of its
usage and its combinability. It frequently combines with inanimate and abstract
nouns, e.g. kitchen’s work, the plan’s failure. Sometimes it refers to a word group or
a sentence, e.g. The blonde I had been dancing with’s name was Bemice Crabs or
Krebs (J. Salinger). As a result, the opposition N1 of N2 :: N2’s N1 loses its stylistic
character.

2.2. SD based on the use of articles

Articles which form the nucleus of the category of definiteness/ indefiniteness

in modern English may be regarded as analytical formants that might impart to the
noun a stylistic colouring.
There are two ways of achieving a stylistic effect through the usage or non-
usage of articles:
1) the violation of usual combinability of the definite and indefinite articles
with proper names and the nouns denoting unique objects (sun, moon, sky, earth).
The indefinite article with proper names might acquire evaluative meaning. While the
definite article indicates a temporary or permanent quality of the person in question.
Names of unique objects while used with the indefinite article acquire the meaning
“one of many”;
2) the transposition of the meaning of a article in context. In this case the
objects or phenomena are introduced by the narrator as if they are familiar to the
reader. This device is sometimes called in medias res (the beginning from the
middle).

2.3. SD based on the use of adjectives

In contrast with nouns, adjectives have only one grammatical category, that of
comparison. The violation of morphemic combinability in adjectives which express
different degrees of comparison are typical of advertising techniques, e.g. the most
Italian car. The meaning of comparison can be also expressed lexically through
equonisms, e.g. senior – junior, and adjectives with the -ish suffix, e.g. mannish,
womanish, which are occasional words which sound less categoric.

2.4. SD based on the use of pronouns

Being very abstract, pronouns in contrast with nouns and adjectives are rarely
used stylistically, which makes their stylistic usage especially expressive.
Pronouns may acquire stylistic value if they denote persons or objects that have
not been named or introduced but are still represented as familiar. This device, in
media res plugs the reader into the midst of events, making the author’s narrative
more intimate (see E. Hemingway’s stories Now I Lay Me and In Another Country).
A particular stylistic effect may be created due to the usage of archaic (thee,
thou, thy) or low colloquial forms of pronouns. While archaic forms make the speech
sound official, solemn, or poetical, low colloquial forms usually render some speech
characteristics. Pronouns can also undergo various contextual transpositions:
1) when we is used instead of I (I – we transposition):
 a) Pluralis Auctoris (“editorial we”), when the author speaks on behalf
of a certain group, party, or class;
b) Pluralis Majestatis, when we is used as a symbol of royal power;
c) Pluralis Modestial, when we is used as a means of involving the
reader or listener into the author’s thoughts. It is typical of oral or
written scientific prose;
d) when we is employed to impart to the utterance a jocular
unceremonious coloring;
2) I – one transposition which gives an utterance a more general, impersonal
character;
3) I – you transposition which frequently occurs in reported speech and some
descriptions;
4) I – he/she transposition that takes place when:
a) the speaker tells his/her life story as an onlooker;
b) the speaker addresses himself/herself as an inrelocuter;
c) the speaker overstresses his/her relevance;
d) the speaker laughs away what is said about him/her by the others;
5) you – we (“clinical we”) transposition, which conveys a patronizing attitude of
the senior/superior to the junior/ inferior. It can also create a humorous effect.

2.5. SD based on the use of adverbs

Adverbs as one of the means of communicating intensity may be:

a) stylistically neutral, typical of both written and oral speech (exceedingly,
quite, too, utterly);
b) stylistically marked, typical of oral speech only (awfully, terribly,
dreadfully etc.)
The latter are close to intensifying particles.
Formal differentiation of suffix and non-suffix adverbs in Modern English is
supported by their stylistic usage. The use of non-suffix adverbs is typical of the oral
form of speech. In belles-lettres style they can became SD which impart greater
vividness and expressiveness to the personage’s speech. Both types of adverbs may
be found in the publicistic style.

2.6. SD based on the use of verbs

The existing diversity of verb categories, forms and constructions makes this
part of speech the richest one as to its stylistic possibilities. The stylistic potential of
the verb finds its obvious manifestations in the use of aspect, tense, voice, and mood
forms.
Verb aspect forms have a lot of synonyms which allow diverse synonymous
substitutions. Present, Past and Future Continuous forms, being more emotional than
Indefinite ones, are frequently used instead of the latter to emphasize the emotional
tension of the utterance or to impart politeness to it.
The interchange of verb tense forms (past with historic present or present with
past or future) in the narrative makes the events, actions and situations described
more vivid.
Passive constructions which might have a greater emotional charge than active
ones, because of their implicit agent, can make a literary text more expressive.
Impersonality accounts for either expressive or habitual use of passive
constructions in those texts (mostly scientific papers) which are characterized by
impartiality of judgement and objectiveness. Passive forms are also wide spread in
colloquial speech, in the publicistic and official styles.
The category of mood, due to its modality, the expression of the speaker’s
attitude to the events and phenomena described, also enjoys a great stylistic potential.
While considering the stylistic asuge of the imperative mood, it is important to
take into account: social factors (age, social status, educational background,
relations between the interlocutors) and different attitudional overtones (categoric,
pressing, mild, affectionate, threatening, ironocal). These shades of meaning are
chiefly rendered by means of intonation, but they can be also stressed by syntax
(please, kindly, will you? the use of you to intensify the harshness of tone).
Imperative mood forms in a literary text, especially in its title, are used to
create an illusion of the author’s or the narrator’s immediate contact with the reader.
Such forms are also frequent in the publicistic, oratorical, and newspaper texts.
Semantics of the subjunctive mood forms which express wish, supposition,
possibility, and unreality predetermine the use of these forms in all the styles of
Modern English.
Thus, the synthetical forms of the subjunctive mood which were looked upon
as obsolete have gained currency especially in American English. Such forms impart
to literary texts colloquial connotations. In the publicistic style do is preferred to the
analytical form with should which is regarded as more formal.
Subjective emotional evaluative may be also conveyed by means of the
“emotional should” or the “would+infinitive” construction, which expresses
supposition or the repetition of actions, e.g. “Why should I be ashamed of myself? –
asked Gabriel” (J. Joyce); Now that there was something to be seen for his money, he
had been coming down once, twice, even three times, a week and would mouse about
among the debris for hours… And he would stand before them for minutes
together (J. Galsworthy) [4].

SEMINAR 3

STYLISTIC CLASSIFICATION OF THE ENGLISH LANGUAGE

Every notional word of a natural language carries some definite information.

This information may be basic or denotative and additional or connotative.
 The majority of words of the English language posses denotative information
only. So, they are stylistically neutral: woman, table, to swim etc. This does not mean
that they cannot be used for stylistic purposes. A word in fiction acquires new
qualities depending on its position, distribution, etc. Practically any word, depending
on its context, may acquire certain connotations: sugar-plum, honey-bum etc.
The additional information or connotative meaning may be of four types:
- functional stylistic meaning which is the result of the constant usage of the
word in definite speech spheres or situations: foe, maiden, realm are mostly used in
poetry; terms and nomenclature words are used in scientific style and in official
documents;
- evaluative meaning which bears reference to things, phenomena, or ideas
through the evaluation of the denotate: out-of-date-method, time-tested method, firm-
obstinate-pig-headed;
- emotive meaning which expresses the speaker’s emotional attitude to the
denotate (chit, puppet, jade). Neutral words that name emotions like anger, pleasure,
and pain, should be distinguished from the above mentioned emotionally coloured
words;
- expressive meaning which does not refer directly to things or phenomena of
the objective reality, but to the feelings and emotions of the speaker. It is based on the
metaphoric transfer (speaking of a man – cockerel, bully, buck).
There are no strict rules for distinguishing between functional-stylistic
meaning and other connotative meanings. Moreover, the functional-stylistic meaning
which is connected with a certain sphere of communication may serve as a starting
point for the word acquiring other connotative meanings [4].

The word-stock of a language may be represented as a definite system in which

different aspects of words may be singled out as interdependent. A special branch of
linguistic science – lexicology – has done much to classify vocabulary.
For linguistic stylistics, a special type of classification, viz. stylistic
classification, is most important. The whole of the word-stock of the English
language is divided into three main layers: the literary layer, the neutral layer and the
colloquial layer.
The literary and the colloquial layers contain a number of subgroups each of
which has a property it shares with all the subgroups within the layer. This common
property, which unites the different groups of words within the layer, mat be called
its aspect. The aspect of the literary layer is its markedly bookish character. It is this
that makes the layer more or less stable. The aspect of the colloquial layer of words is
its lively spoken character. It is this that makes it unstable, fleeting.
The aspect of the neutral layer is its universal character. That means it is
unrestricted in its use. It can be employed in all styles of language and in all spheres
of human activity. It is this that makes the layer the most stable of all.
The literary layer of words consists of groups accepted as legitimate members
of the English vocabulary. They have no local or dialectal character.
The colloquial layer of words is not infrequently limited to a definite language
community or confined to a special locality where it circulates.
 The literary vocabulary consists of the following groups of words:
- common literary;
- terms and learned words;
- poetic words;
- archaic words;
- barbarisms and foreign words;
- literary coinages including nonce-words.
The colloquial (conversational, low-flown), e.g. trip, fun, chap, vocabulary falls
into the following groups:
- common colloquial words;
- slang;
- jargonisms;
- professional words;
- dialectal words;
- vulgar words;
- colloquial coinages.
The common literary, neutral and common colloquial words are grouped under
term standard English vocabulary [1].
Neutral words, which form the bulk of the English vocabulary, are used in
both literary and colloquial language. Neutral words are the main source of
synonymy and polysemy. It is the neutral stock of words that is so prolific in the
production of new meanings.
Literary words are chiefly used in writing and in polished speech. The literary
units stand in opposition to colloquial units. This especially apparent when pairs of
synonyms, literary and colloquial, can be formed which stand in contrasting relation.
Colloq. Neutral literary
Kid child infant
Daddy father parent
Get out go away retire
Go on continue proceed
Stylistic functions of literary words
Poetic words are stylistically marked, they form a lexico-stylistic paradigm. In
the 17 -18th centuries they were widely used in poetry as synonyms of neutral words.
th

In modern poetry such a vocabulary barely exists. Poetic words are diverse; they
include:
- archaic words (commix – mix)
- archaic forms (vale – valley)
- historic words (argosy – large merchant ship)
- poetic words proper (anarch)
Their main function is to mark the text in which they are used as poetic, thus
distinguishing it from non-fiction texts. In modern poetry such words are seldom
used. Their stylistic meaning gets more vivid when they are contrasted to neutral
words.
Archaic words, i.e. out-dated words that denote existing objects, are divided
into two groups:
 a) archaic words proper: words which are no longer recognized in modern
English. They were used in old English and have either dropped out of language use
entirely or completely changed (troth – faith, losel – worthless)
b) archaic forms of the words: corse instead of corpse, an instead of and,
annoy instead of annoyance.
Speaking of archaic words we should distinguish “ageing\ newness” of the
word form and “ageing \ newness” of the denotate. And then, accordingly, we may
correlate archaic words and historic words on the one hand as well as lexical and
stylistic neologisms on the other.
Lexical neologisms are new words that denote new objects (laser shopping,
killer satellite). Stylistic neologisms are new names that denote already existing
objects and notions (mole – a spy who successfully infiltrates an organization;
ageism – discrimination of a person on the ground of age).
Historical words are associated with definite stages in the development of a
society and cannot be neglected, though the things and phenomena to which they
refer no longer exist. Historical words (yeoman, thane, baldric) have no synonyms as
compared to archaic words which may be replaced by their modern synonyms.
Historical words and lexical neologisms having no stylistic meaning, do not
form lexico-stylistic paradigms. But archaic words and stylistic neologisms mark the
text stylistically, distinguishing it from neutral speech.
In fiction, together with historical words, archaisms create the effect of
antiquity, providing a true-to-life historical background and reminding the reader of
past habits, customs, clothes etc. The usage of archaisms might in some cases lead to
a humorous or satirical effect.
Barbarisms and foreign words
There are many borrowings in every language, some of them being assimilated.
We may distinguish four groups of such words in English: foreign words, barbarisms,
exotic words, and borrowings.
Foreign words are close to barbarisms, but they are characterized by
occasional usage only, mainly in literary speech. They do not form a lexico-stylistic
paradigm, though they may be used to create some stylistic effect.
Barbarisms are words of foreign origin which have not been entirely
assimilated into the English language preserving their former spelling and
pronunciation. Most of them (e.g. chic, chagrin) have corresponding English
synonyms.
Exotic words are borrowed foreign words denoting objects characteristic of a
certain country (e.g. carzonet, matador). They have no synonyms in the language-
borrower, do not form a lexico-stylistic paradigm and therefore are not considered to
be lexical expressive means, but nevertheless they may be used for stylistic purposes.
Borrowings, if they are assimilated, do not differ much from native words as
far as their stylistic aspect is concerned. They are usually high-flown synonyms of
neutral native words (to commence – to begin, labour – work, female – woman).
The stylistic functions of barbarisms and foreign words are similar, they are
used to create a local coloring, to identify a personage as a foreigner, or to show
his\her mannerism.
 Bookish (learned) words are mostly used in official or high-flown style
(e.g. depicture, disimprove, dalliance). In official usage, they mark the text as
belonging to this or that style of written speech, but when used in colloquial speech
or in informal situations, they may create a comical effect.
Stylistic functions of colloquial (conversational) words
Here we refer colloquial words, general slang words (interjargon), special slang
words (social and professional jargons), dialectal words and vulgarisms. Some
linguists differentiate slang and jargon, but the difference is vague and is practically
irrelevant for stylistics. Generally, colloquial words according to their usage may be
divided into three groups: literary colloquial, familiar and low colloquial.
According to the relations between their form and meaning, all colloquial
words may be divided into three subgroups:
- words which are based on the change of their phonetic or morphological form
without changing their lexical and stylistic meaning;
- words which are the result of the change of both their form and lexico-
stylistic meaning;
- words which resulted from the change of their lexical and/or lexico-stylistic
meaning without changing their form.
The first subgroup comprises such varieties of word-form change as:
- clipping (shortening): serge – sergeant, caff – caffeteria;
- contamination of a word combination: leggo – let’s go, kinna – kind of,
c’mon – come on;
- contamination of grammatical forms: I’d go, there’s, we’re going.
These words have no lexico-stylistic paradigms. They possess denotative
meaning only.
Within the second group of colloquialisms, we may distinguish two varieties of
the word-form change leading to the alteration of its lexico-stylistic meaning:
a) the change of the grammatical form which brings the change of the lexico-
stylistic meaning: heaps – very many, a handful – a person causing a lot of trouble;
b) the change of the word-building pattern which causes the emergence of
another lexico-stylistic meaning through:
- affixation: oldie, tenner, clippie;
- compounding: backroom boy, clip-joint;
- conversion: to bag, teach in;
- telescopy: swellegant, flush, fruice;
- shortening and affixation: Archie (Archibald);
- compouding and affixation: strap-hanger, arty-crafty.
All these words form a lexico-stylistic paradigm as they have synonyms among
neutral and literary words and are characterized by various connotations while giving
additional characteristics to the denotate.
The third subgroup of colloquial words is the most numerous and comprises:
- words with emotive-expressive meaning only: oh, bach, ah as well as word
combinations having a special expressive function: I never, Good (Great) heavens,
God forbid;
 - words and word combinations having both connotative and denotative
meaning where the former one prevails: terribly, you don’t say so, did he really;
- words in which denotative and connotative meanings interplay: bunny – a
waitress, colt-team – young team;
- words in which denotative meaning in certain contextual conditions gives rise
to a new connotative meaning: affair – business, to have an affair – to be in love,
beggar – poor person, lucky beggar – lucky person;
- words denotative and connotative meanings of which are completely different
from their former meanings: chanter (poetic) – a singer; chanter (col.) – a person
who sells horses at the market.
Slang is composed of highly colloquial words whose expressiveness and
novelty make them emphatic and emotive as compared to their neutral synonyms.
Stylistic functions of phraseology
The question of the status of phraseological units (PhU) is very complicated.
There are many phraseological units which are quite neutral: in fact, in turn, for
instance, in order that, in principle. To this group we should also refer historical
PhU: the secular arm, the Blue and the Grey, the common beam; lexical neologisms:
oil crisis, energy crisis; and terminological PhU: supersentencial units, expressive
means etc.
Additional (connotative) information of PhU as that of any word, may be of
four types: functional stylistic, emotional, evaluative, and expressive-figurative.
Accordingly, PhU may be divided into two similar classes: PhU having a
lexico-stylistic paradigm and those having no lexico-stylistic paradigms.
PhU having a lexico-stylistic paradigm also fall into literary (be in accord with
somebody, play upon advantage, most and least, bring to mould; ad ovo, ad hoc, a la
carte; a heart of oak, Achilles heel) and conversational ones (Adams ale, slit the bat,
ask me another, monkey’s allowance, to get to the ball, admiral of the red, get the
bird).
Peculiar stylistic usage of PhU is accounted for the possibility of their
structural and contextual transformations which are oriented to achieving a definite
stylistic effect.
Structural transformations of PhU may be represented by:
1) expansion of PhU, e.g. When you had a weak case and knew it, Alan
thought, even straws should be grasped at firmly (from to catch at a straw);
2) reduction of PhU as the result of the compression of proverbs, sayings,
quotations etc, e.g. Howaden added severely: “Better too much too early than too
little too late” (from better late than never);
3) inversion of the components of PhU. It implies the change of the PhU
structure while preserving its original components, e.g. Fortunately, it’s only the
cat’s head and we still have a firm grip on the body (from to let the cat out of the
bag).
Contextual transposition of PhU presupposes that a PhU may be totally
reconsidered and reinterpreted in context, e.g. Pooh goes visiting and gets into a tight
place (from to be in a tight corner) [4].
 SEMINAR 4

STYLISTIC SEMASIOLOGY OF THE ENGLISH LANGUAGE

Figures of combination

Figures of combination are stylistic devices (SD) of semasiology. They are

stylistically relevant semantic means of combining lexical, syntactical and other units
(including EM) belonging to the same or different language levels. So, the realization
of the figures of combination is possible only in context. Frequently, these figures of
speech are the result of the interaction of word meanings or the meanings of word-
combinations, seldom – of paragraphs or larger text fragments.
There are three basic types of semantic relations between words, phrases, and
utterances:
- those involving similar (synonymous) meanings of such units. The speaker
combines within an utterance or text the units whose meaning he/she
considers similar, thus figures of identity are formed;
- those based on opposite (antonymous) meanings of the units. The speaker
combines within an utterance or text two semantically contrasting units. As
a result, figures of opposition are formed;
- those comprising somewhat different meanings of the units. The speaker
combines within an utterance or text lexical units denoting different but
close notions. As a result, the figures of unequality are formed.

Figures of identity

Relations of identity are realized in context where close or synonymous units

refering to the same object, or phenomenon are used. Here we refer simile and two
kinds of synonyms – specifying and substituting ones.
Simile (Latin: similie – similar) is a partial identification of two objects
belonging to different spheres or bringing together some of their qualities. The
objects compared are not identical, though they have some resemblance, some
common features. Emphasizing their partial identity gives new characteristics to the
referent.
Simile is a structure consisting of two components: the subject of comparison,
and the object of comparison which are united by formal markers: as, as…as, like, as
though, as if, such as etc., e.g. Unhappiness was like a hungry animal waiting
besides the track for any victim (G. Greene).
If formal markers are missing but the relations between the two objects are
those of similarity and identity, we have implied simile. In such similes, notional or
seminotional words (verbs, nouns etc.) substitute formal markers (to resemble, to
remind, to seem, resemblance etc.: e.g. H.G. Wells reminded her of the nice paddies
in her native California (A. Huxley).
 We should distinguish simile which is stylistically charged from logical
comparison which is not. The latter deals with the notions belinging to the same
sphere and it states the degree of their similarity and difference. In case of
comparison, all qualities of the two objects are taken into consideration, but only one
is brought to the foreground, e.g. He was a big man, as big as Simon, but with sandy
hair and blue eyes (D. Garett).
Both simile and metaphor are based on comparison. Metaphor is often called a
compressed simile which differs from simile proper structurally. However, the
difference between the two is not only structural but semantic as well. Simile and
metaphor are different in their linguistic nature:
- metaphor aims at identifying the objects; simile aims at finding some point
of resemblance by keeping the objects apart;
- metaphor only implies the feature which serves as the ground for
comparison, simile, more often than not, indicates this feature, so it is
semantically more definite.
Synonyms-substitutes (substituting synonyms) are words used to denote
object or action, supplementing new additional details, which helps to avoid
monotonous repetitions, e.g. But he had no words to express his feelings and to
relieve them would utter an obscene jest; it was as though his emotion was so violent
that he needed vulgarity to break the tension. Mackintosh observed this sentiment
with an icy disdain (W. S. Maugham).
Substituting synonyms are characterized by contextual similarity giving rise to
emotive-evaluative meaning. That is why some syninyms can be treated as such only
in context. Synonyms-substitutes are widely used in publicistic style. They are also
regarded as situational synonyms.
Synonyms-specifiers (specifying synonyms) are used as a chain of words
which express similar meanings. Such synonyms are used for a better and more
detailed description of an object or person, when every other synonym adds new
information about it. There are two ways of using specifying synonyms: as paired
synonyms, and as synonyms variations, e.g. … the intent of which perjury being to
rob a poor native widow and her helpless family of a plantation-patch, their only stay
and support in their bereavement and desolation (M. Twain).
These synonyms specify the utterance, adding some new information. Though
the given synonyms are very close in their meaning, they are different in stylistic
colouring. Synonymic variations specify the utterance, intensifying its emotional
value. Such synonyms are widely used in fiction and the publicistic style. In scientific
prose and official style, their usage is limited.

Figures of opposition

This group of semasiological stylistic devices (SD) is characterized by the

combination in context of two or more words or word-groups with opposite
meanings. Their relations are either objectively opposite or are interpreted as such by
the speaker. Here we refer antithesis and oxymoron.
 Antithesis (Greek – opposition) is a stylistic device which presents two
contrasting ideas in close proximity in order to stress the contrast. There are several
variants of antithesis based on defferent relations of the ideas expressed:
- opposition of features possessed by the same referent, e.g. Some people
have much to live on, and little to live for (O. Wilde);
- opposition of two or more defferent referents having contrasting features,
e.g. Their pre-money wives did not go together with their post-money
daughters (E. Hemingway);
- opposition of referents having not only contrasting features but embracing a
wider range of features, e.g. New England had a native literature, while
Virginia had none; numerous industries, while Virginia was all
agricultural (Th. Dreiser).
Antithesis often goes along with other stylistuc features: anaphoric repetition,
parallelism, chiasmus, in particular. It is widely used in all kinds of speech: fiction,
publicistic, scientific and colloquial English. It performs various stylistic functions:
stressing the contrast and rhythmically organizing the utterance. Due to the last
quality antithesis is widely used in poetry in combination with anaphora, epiphora,
and alliteration.
Oxymoron – (Greek: oxymoron – witty – foolish) is also a combination of
opposite meanings which exclude each other. But in this case, the two semantically
contrasting ideas are expressed by syntactically interdependent words (in predicative,
attributive or adverbial phrases), e.g. He was certain the whites could easily detect
his adoring hatred to them (R. Wright).
Oxymoron reveals the contradictory sides of one and the same phenomenon.
One of its elements discloses some objectively existing feature while the other serves
to convey the author’s personal attitude towards this quality (pleasantly ugly,
crowded loneliness, unanswerable reply). Such semantic incompatibility does not
only create unexpected combinations of words, violating the existing norms of
compatibility, but reveals some unexpected qualities of the denotate as well.
As soon as an oxymoron gets into circulation, it loses its stylistic value,
becoming trite: pretty bad, awfully nice, terribly good.
Original oxymorons are created by the authors to make the utterance
emotionally charged, vivid, and fresh, e.g. Oh brawling love! Oh loving hate! Oh
heavy lightness! Serious vanity! Feather of lead, bright smoke, cold fire, sick
health! (W. Shakespeare).

Figures of unequality

Relations of unequality are the relations of meanings of words and word-

combinations which differ in their emotive intensiveness or logical importance. To
this group we refer:
- figures based on actualizing the emotional power of the utterance (climax or
anticlimax);
- figures based on two different meanings of words and word-combinations
(pun, zeugma).
 Climax or gradation (Latin: gradatio – gradualness; Greek: climax – a ladder)
is a structure in which every successive word, phrase, or sentence is emotionally
stronger or logically more important than the preceding one, e.g. Like a well, like a
vault, like a tomb, the prison had no knowledge of the brightness
outside (Ch. Dickens).
There are three types of climax:
- the arrangement of some lexical units characterizing the object in the same
emotional direction, e.g. As he wondered and wondered what to do, he first
rejected a stop as impossible, then as improbable, then as quite
dreadful (W. S. Gilbert);
- the arrangement of lexical units with logical widening of notions, e.g. For
that one instant there was no one else in the room, in the house, in the
world, besides themselves (M. Wilson);
- emphatic repetition and enumeration, e.g. Of course it is important.
Increadibly, urgently, desperately important (D. Sayers).
Gradation is widely used in fiction and the publicistic style. It is one of the
main means of emotional and logical influence of a text upon the reader and listener.
Anticlimax presents a structure in which every successive word, phrase, or
sentence is emotionally or logically less strong than the preceding one, e.g. Fledgeby
hasn’t heard anything. “No, there’s not a word of news,” says Lammle. “Not a
particle,” adds Boots. “Not an atom,” chimes in Brewer (Ch. Dickens).
We can distinguish two types of anticlimax:
- gradual drop in intensity;
- sudden break in emotive power. In this case, emotive and logical
importance is accumulated only to be unexpectedly brought up to a sudden
break, e.g. He was unconsolable – for an afternoon (J. Galsworthy).
Anticlimax is mostly used as a means of achieving a humorous effect.
Pun is a device based on polysemy, homonymy, or phonetic similarity to
achieve a humorous effect.
There are several kinds of pun:
1) puns based on polysemy, e.g. They had the appearance of men to whom
life had appeared as a reversible coat – seamy on both sides (O. Henry);
2) puns based on complete or partial homonymy, e.g.
Diner: Is it customary to tip a waiter in this restaurant?
Waiter: Why-ah-yes, sir.
Diner: Then hand me a tip. I’ve waited three quarters of an hour.
3) puns based on phonetic similarity, e.g.
I’ve spent last summer in a very pretty city of Switzerland.
Beme?
No, I almost froze.
Pun is used for satirical and humorous purposes. Many jokes are based on
puns.
Zeugma (Greek: zeugyana – to join, to combine) are parallel constructions
with unparallel meanings. It is such a structural arrangement of an utterance in which
the basic component is both a part of a phraseological unit and of a free word-
combination. So, zeugma is a simultaneous realization within the same short context
of two meanings of a polysemantic unit, e.g. If the country doesn’t go to the dogs or
the Radicals, we shall have you Prime Minister some day (O. Wilde). The verb
“to go” here realizes two meanings: to go to the dogs (to perish) and to go to the
Radicals (to become politically radical).
Zeugma combines syntactical and lexical characteristics. Syntactically, it is
based on similar structures, semantically it comprises different meanings, which leads
to logical and semantic incompatibility. Zeugma is mainly a means of creating a
humorous effect [4].

PART II. SEMINARS

SEMINAR 1

GENERAL NOTES ON STYLE AND STYLE STUDY

Points for discussion

1. The concept of style.

2. Style study and its subdivisions.
3. General notions of stylistics.

Рекомендована література:
1. Стилистика английского языка : Учебник / А. Н. Мороховский,
О. П. Воробьева, Н. И. Лихошерст, З. В. Тимошенко. – К.: Выща шк., 1991. –
272 с.
2. Арнольд И. В. Семантика. Стилистика. Интертекстуальность /
И. В. Арнольд. – СПб. : Изд-во Санкт-Петербургского ун-та, 1999. – 444 с.
3. Арнольд И. В. Стилистика современного английского языка.
Стилистика декодирования / И. В. Арнольд. – М. : Просвещение, 1990. – 300 с.
4. Гальперин И. Р. Стилистика английского языка. Учебник (на
английском языке). – 3-е изд. / И. Р. Гальперин. – М. : Высшая школа, 1981. –
334 с.
5. Єфімов Л. П. Стилістика англійської мови і дискурсивний аналіз /
Л. П. Єфімов, О. А. Ясінецька: учбово-методичний посібник. – Вінниця: НОВА
КНИГА, 2004. – 240 с.
 SEMINAR 2

PHONETIC AND MORPHOLOGICAL MEANS OF STYLISTICS

Points for discussion

1. Phonetic means of stylistics.

2. Morphological means of stylistics:
2.1. SD based on the use of nouns
2.2. SD based on the use of articles
2.3. SD based on the use of adjectives
2.4. SD based on the use of pronouns
2.5. SD based on the use of adverbs
2.6. SD based on the use of verbs.

Practical assignment

Phonetic means

I. Identify examples of alliteration in the following statements:

1. Mary had a little lamb.
2. Jack and Jill went up the hill.
3. Pick up a Penguin!
4. The rising world of waters dark and deep.
5. We’ll croon in tune, beneath the moon.
6. His soul swooned slowly as he heard the snow falling faintly through the
universe and faintly falling, like the descent of their last end, upon all the living
and the dead.

II. Identify examples of assonance in the following statements:

1. Pick up a Penguin!
2. Beanz meanz Heinz.
3. Find a bin to put it in.
4. Abracadabra! The magic spell is upon you!
5. What a wonderful bird is the pelican. Its beak can hold more than its belly can.
6. When the red, red robin. Comes bob, bob bobbin’ along.

III. Identify examples of onomatopoeia in the following statements:

1. The bees were buzzing around the hive.
2. Sue whispered the secret to her friend.
3. “Splish! Splash! I was taking a bath.”
4. By the end of the race he was gasping for breath.
5. The chaffinch and the cuckoo are common birds in Britain.
6. The susurration of her dress alerted us to her arrival.
 Morphological means

IV. Determine and analyse transposition of:

Nouns
1. “Who is your favorite classic novelist?” – “Thackeray.” – “Great Scott!” –
“Some think so; still I prefer Thackeray.”
2. This is the Naval Reserve Officers Training Corps. Its members are called
“Neurotics”.
3. The man I argued yesterday’s explanation puzzled me greatly.
4. “Madge, what’s ‘necessitas’, masculine or feminine?” – “Why, feminine, of
course.” – “Why?” – “Why, she was the mother of invention.”
5. “If I speak of a foot, and you show me your feet, and I give you a boot, would a
pair be called beet? If one is a tooth and a whole set are teeth, why shouldn’t
the plural of booth be called beeth?”

Articles
1. I will never go to a Sahara.
2. Sun: Friend not Foe.
3. Slowly but surely man is conquering Nature.
4. Advertisement: “Lion tamer wants tamer lion.”
5. I thought it was fine – especially the Chopin.
6. A ‘Drive Safe’ sign: “It’s better to be late, Mr. Motorist, than to be the late, Mr.
Motorist.”

Adjectives
1. “What are the comparative and superlative of bad, Berty?” – “Bad – worse –
dead.”
2. “I want you to teach my son a foreign language.” – “Certainly, madam, French,
German, Russian, Italian, Spanish – ?” – “Which is the most foreign?”
3. “Unmarried?” – “Twice”.
4. I don’t like Sunday evenings: I feel so Mondayish.
5. Landlady: “I think you had better board elsewhere.” Boarder: “Yes, I often
have.” Landlady: “Often had what?” Boarder: “Had better board elsewhere.”

Pronouns
1. “So your son is in college? How is he making it?” – “To be exact, he isn’t
making it. I’m making it and he’s spending it.”
2. “Correct this sentence: ‘it was me that spilt the ink.’” – “It wasn’t me that spilt
the ink.”
3. Chivalry is how you feel when you’re cold.
4. Are they going to take thee away?
5. Sign on the wall of a research laboratory: “Consider the turtle – He doesn’t
make any progress unless he sticks his neck out.”
 6. They arrived at the fifth inning. “What’s the score, Jim?” she asked a fan.
“Nothing to nothing,” was the reply. “Oh, goodly!” she exclaimed. “We
haven’t missed a thing!”

Adverbs
1. Jane was terrifically beautiful.
2. He seemed prosperous, extremely married and unromantic.
3. “Her husband didn’t leave her much when he died, did he?” – “No; but he left
her very often when he was alive.”
4. “Your hair wants cutting badly, sir,” said a barber insinuatingly to a customer.
“No, it doesn’t,” replied the man in the chair “it wants cutting nicely. You cut
it badly last time.”
5. “Shay, pardon me, offisher, but where am I?” – “You’re on the corner of
Broadway and Forty-second Street.” – “Cut out the details. What town am I
in?”

Verbs
1. “And your brother, who was trying so hard to get a government job, what is
doing now?” – “Nothing. He got the job.”
2. “Can you tell me where this road goes, please?” – “I don’t go anywhere; it just
stops where it is.”
3. “Waiter!” – “Yes, sir.” – “What’s this?” – “It’s bean soup, sir.” – “No matter
what it’s been. What is it now?”
4. “What would you do if you were in my shoes?” – “Polish them!”
5. “So you’re not going to Paris this year?” – “No – it’s London we’re not going
to this year; it was Paris we didn’t go to last year.”
6. “I’m taking political economy at college.” – “That’s a useless course. Why
learn to economize in politics? It’s not been done” [2].

Individual work

Sample

Ah, distinctly I remember, it was in the bleak December,

And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow, – vainly I had sought to borrow
From my books surcease of sorrow – sorrow for me lost Lenore –
For the rare and radiant maiden whom the angels name Lenore –
Nameless here for evermore
(Edgar Allan Poe. The Raven)

These are the lines of the famous poem by Edgar Poe The Raven which tell us
about the frustrated feeling the author has because of his sorrow. The morbid feeling
generated by the supernatural reality of the poem is conveyed through numerous
cases of alliteration and assonance which create the effect of dream-like
transformation of things into each other, all of them having the same thread of
association – the ominous atmosphere emanated by the Raven: distinctly – wished;
bleak – each – eagerly; vainly – maiden – name – nameless; separate – wrought –
ghost – wished – sought; rare – radiant; books – surcease – sorrow.
The sensation of distress and pain which weighs heavily upon the author is
expressed through the repetition of back vowels and diphthongs: remember –
December – ember; morrow – borrow – sorrow – sorrow; Lenore – Lenore –
evermore.

І. He owned a pet shop. He sold cars and dogs and monkeys, he dealt in fish
food and bird seed, prescribed remedies for ailing canaries, on his shelves there were
long rows of gilded cages. He considered himself something of a professional man.
There was a constant stir of life in his dusky shop – whispered twitters,
rustling, squeals, cheeps, and sudden squawks. Small feet scrampered in frantic
circles, frightened, bewildered, blindly seeking. Across the shelves pulsed this sudden
endless flicker of life (L.E. Reeeve. Caged)

ІІ. “One doesn’t fail exams,” said Grimsdyke firmly. “One comes down, one
muffs, one is ploughed, plucked, or pipped. These infer a misfortune that is not one’s
own fault. To speak of failing is bad taste. It’s the same idea as talking about passing
away and going above instead of plain dying” (R. Gordon. Doctor in the House)

ІІІ. Billy wasn’t a Catholic, even though he grew up with a ghastly crucifix on
the wall. His father had no religion. His mother was a substitute organist for several
churches around town. She took Billy with her whenever she played, taught him to
play a little, too. She said she was going to join a church as soon as she decided
which one was right.
She never did decide. She did develop a terrific hankering for a crucifix,
though. And she bought one from a Santa Fe gift shop during a trip the little family
made out West during the Great Depression (K. Vonnegut. Slaughterhouse-five)

ІV. And the light, a wakened heyday of air

Tuned low and clear and wide,
A radiance now that would emblaze
And veil the most golden hom
Or any entering of a nedden clearing
To a standing, astonished, revealed…
That the actual streets I loitered in
Lay lit like fields, or narrow channels
About to open to a burning river;
All brick and window vivid and calm
As though composed in a rigid water
No random traffic would dispel
(Alvin Feinman. November Sunday Morning)
 SEMINAR 3

STYLISTIC LEXICOLOGY OF THE ENGLISH LANGUAGE

Points for discussion

1. Stylistic differentiation of the English vocabulary. Types of connotations:

emotive, evaluative and expressive.
2. Stylistic functions of literary words: poetic diction, archaic words,
barbarisms, bookish words, stylistic neologisms.
3. Stylistic functions of conversational words: colloquial words, general slang,
special slang, vulgarisms.
4. Stylistic functions of words which have no lexico-stylistic paradigm:
historical words, exotic words, terms, lexical neologisms.
5. Stylistic functions of phraseology.

Practical assignment

I. Define the stylistic value of each of the following words: neutral,

common literary, common colloquial:

1) leave, abandon, kick;

2) free, dismiss, liberate, release;
3) associate, comrade, friend, buddy, china;
4) lodgings, accomodation, flat, digs;
5) phoneyness/phoniness, hypocrisy;
6) conversation, chat, intercourse;
7) disposition, mood, spirit, guts, shade;
8) bad temper, depression, dumps, bate;
9) primate, monkey;
10) spring, prime;
11) quick, alive, quickie;
12) believe, accept, buy;
13) perjurer, story-teller, liar;
14) wits, comprehension, understanding, brains, smarts;
15) inform, acquaint, let know, put (someone) in the picture;
16) alluring, beautiful, drop-dead;
17) show up, materialize, come, appear;
18) physician, doc, doctor;
19) daddy, father, parent;
20) intelligent, clever, smart, highbrow, brainy;
21) welkin, sky, azure, empyrean;
22) misappropriate, defalcate, steal, pocket, cabbage;
23) eve/even, eventide, twilight, evening;
24) eatables, eats, nourishment, food;
 25) get, arrest, collar;
26) eclipse, darkening;
27) dayspring, dawn, morning;
28) Homo sapiens, humanity, people, flash;
29) start, commence, begin;
30) die, kick the bucket, pass away, decease;
31) infant, descendant, child, kid;
32) nipper, crook, thief;
33) continue, proceed, go on;
34) mischief, misconduct, acting up, monkey business;
35) villain, culprit, criminal;
36) money, currency, needful, dough, dibs [2].

II. Match the words with the Cockney slang equivalents:

1) north and south a) head

2) tit for tat b) teeth
3) rosie lee c) mouth
4) loaf of bread d) suite
5) dicky dirt e) wife
6) mince pies f) boots
7) whisle and hute g) eyes
8) plates of meat h) shirt
9) hampstead heath i) feet
10) trouble and strife j) tea
11) daisy roots k) hat

III. In the excerpts which follow, identify the lexical EM and SD used.
Explain their stylistic functions in the given contexts.

1. “I’ve been thinking of goin’ into business, Mr. Charles. When you’re settled,
that is, Mr. Charles. I’ope I should never leave you in the lower of need.”
“Business! What business?”
“I’ve set my ‘eart on ‘aving a little shop, Mr. Charles.” Charles place the cup
back on the speedily proffered salver (J.Fowles. The French Lieutenant’s Woman)

2. Towards the end of the following month, parcels of books began to arrive
periodically at Vale View from the London branch of the international Medical
Library… He discovered and was swamped by the therapeutic advance of
biochemistry. He discovered reual thresholds, blood ureas, basal metabolism, and the
albumen test. As this keystone of his student’s days fell from him he groaned aloud
(A. Cronin. The Citadel)

3. A bird din the hand was worth two in the bush, he told her, to which she
retorted that a proverb was the last refuge of the mentally destitute. He suggested to
her the possibility that his income would be halved and he knew that there was no
argument which could have greater weight with her. She would not listen
(S. Maugham. The Painted Veil)

4. I ranged about the kitchen in the dirty muted haze, touching things here and
there. I ached with discomfort and distress. “God, what a rotten light. You couldn’t
possibly sew by this light, I hope you don’t try. Lydia was so mean. Are there any
stronger bulbs in the cupboard? Ah yes, a hundred watts, that’s better. Could you turn
the light out again? All night, I’ll take my shoes off (I. Murdoch. The Italian Girl)

5. I went back into the kitchenette and made the coffee and waited for it to
drip. Randall followed me out this time and stood in the doorway himself.
“This jewel gang has been working in Hollywood and around for good ten
years to knowledge”, he said. They went too far this time. They killed a man. I think,
I know why” (R. Chandler. Farewell, My Lovely)

6. “Why, uncle”, replied Lambourne, “thinkest thou I am an infidel, and would

harm those of mine own house?”
“It is for no harm that I speak, Mike”, answered his uncle, “but a simple
humour of precaution which I have, Tim, thou art as well gilded as a snake when he
casts his old slough in the spring-time” (W. Scott. Kenilworth)

7. “I can just remember her. She’s a skeleton in the family cupboard, isn’t she?
And they’re such fun.”
“She wasn’t much of a skeleton as I remember her”, murmured Euphemia,
“extremely well covered”.
After sounding him (Old Jolyon), the fellow pulled a long face as long as your
arm, and ordered him to stay in bed and give up smoking
(J. Galsworthy. The Forsyte Saga) [4].

Individual work

State the type and function of literary and colloquial words in the
following examples:

1. “Thou art the Man,” cried Jabes, after a solemn pause, leaning over his
cushion. “Seventy times didst thou gapingly contort thy visage – seventy times seven
did I take council with my soul – Lo! this is human weakness: this also may be
absolved. The first of the seventy first is come. Brethren – execute upon him the
judgement written. Such honour have all His saints.” (E. Br.)
2. “Here we are now,” she cried, returning with the tray. “And don’t look so
miz.” (P.)
3. I didn’t really do anything this time. Just pulled the dago out of the river.
Like all dagos, he couldn’t swim. Well, the fellow was sort of grateful about it. Hung
around like a dog. About six months later he died of fever. I was with him. Last thing,
just as he was pegging out, he beckoned me and whispered some excited jargon about
a secret. (Ch.)
4. Isolde the Slender had suitors in plenty to do her lightest hest. Feats of arms
were done daily for her sake. To win her love suitors were willing to vow themselves
to perdition. But Isolde the Slender was heedless of the court thus paid to her. (L.)
5. If manners maketh man, then manner and grooming maketh poodle. (J. St.)
6. “Let me warn you that the doc is a frisky bacheldore, Carol. Come on, now,
folks, shake a leg. Let’s have some stunts or a dance or something.” (S. L.)
7. Riding back I saw the Greeks lined up in column of march. They were all
still there. Also, all armed. On long marches when no action threatened, they had
always piled their armour, helmets and weapons in their carts, keeping only their
swords; wearing their short tunics (made from all kinds of stuff, they had been so
long from home) and the wide straw hats Greeks travel in, their skins being tender to
sun. Niw they had on corselets or cuirasses, helmets, even grades if they owned them,
and their round shields hung at their backs. (M. R.)
8. There was a fearful mess in the room, and piles of unwashed crocks in the
kitchen. (A. T.)
9. “We’ll show Levenford what my clever lass can do. I’m looking ahead, and
I can see it. When we’ve made ye the head scholar of the Academy, then you’ll see
what your father means to do wi’ you. But ye must stick in to your lessons, stick it
hard.” (A. C.)
10. “The scheme I would suggest cannot fail of success, but it has what may
seem to you adrawback, sir, in that it requires a certain financial outlay.”
“He means,” I translated to Corky, “that he has a pippin of an idea but it’s
going to cost a bit” (P. G. W.) [3].

SEMINAR 4

STYLISTIC SYNTAX OF THE ENGLISH LANGUAGE

Points for discussion

1. The notion of expressive means and stylistic devices on the syntactical level.
2. Expressive means of English syntax based on:
- the reduction of the sentence structure (ellipsis, aposiopesis, nominative
sentences, asyndeton);
- the redundancy of sentence structure (repetition, anadiplosis, tautology,
polysyndeton, emphatic constructions, parenthetical clauses);
- the violation of word order in the sentence structure (stylistic inversion,
syntactical split, detachment).
3. Stylistic devices of English syntax based on:
- the interaction of syntactical constructions (parallelism, chiasmus,
anaphora, epiphora);
- the transposition of syntactical meaning in context (rhetorical questions);
 - the transformation of types and forms of coonection between clauses and
sentences (parcellation, coordination instead of subordination, subordination
instead of coordination).

Practical assignment

I. Discover parallelism and the types of repetition:

1. I might as well face facts: good-bye Susan, good-bye a big car, good-bye a
big house, good-bye power, good-bye the silly handsome dreams. (J. Br.)
2. Obviously – this is a streptococcal infection. Obviously. (W. D.)
3. And everywhere were people. People going into gates and coming out of
gates. People staggering and falling. People fighting and cursing. (P.A.)
4. Failure meant poverty, poverty meant squalor, squalor led, in the final
stages, to the smells and stagnation of B. Inn Alley. (D. du M.)
5. Halfway along the righthand side of the dark brown hall was a dark brown
door with a dark brown settie beside it. After I had put my hat, my gloves, my
muffler and my coat on the settie we three went through the dark brown door into a
darkness without any brown in it. (W. G.)
6. And a great desire for peace, peace of no matter what kind, swept through
her. (A. B.)
7. I wanted to knock over the table and hit him until my arm had no more
strength in it, then give him the boot, give him the boot, give him the boot – I drew a
deep breath. (J. Br.)
8. He ran away from the battle. He was an ordinary human being that didn’t
want to kill or be killed. So he ran away from the battle. (St. H.)
9. She stopped, and seemed to catch the distant sound of knocking.
Abandoning the traveller, she hurried towards the parlour, in the passage she
assuredly did hear knocking, angry and impatient knocking, the knocking of someone
who thinks he has knocked too long. (A. B.)
10. When he blinks, a parrot-like look appears, the look of some heavily
blinking tropical bird (A. M.) [3].

II. Find and analyse cases of detachment and inversion:

1. Benny Collan, a respected guy, Benny Collan wants to marry her. An agent
could ask for more? (T. C.)
2. Women are not made for attack. Wait they must. (J. C.)
3. She was crazy about you. In the beginning. (R. W.)
4. She narrowed her eyes a trifle at me and said I looked exactly like Celia
Briganza’s boy. Around the mouth. (S.)
5. Out came the chase – in went the horses – on sprang the boys – in got the
travellers. (D.)
 6. And she saw that Gopher Prairie was merely an enlargement of all the
hamlets which they had been passing. Only to the eyes of a Kennicot was it
exceptional (S. L.) [3].

III. In the excerpts which follow, find the syntactical EM and SD used.
Explain their stylistic functions in the given context:

1. Everyone knows the glories of Shonts. Its façade. Its two towers. The great
marble pond. The terraces where the peacocks walk and the lower lake with black
and white swans. The great park and the avenue. The view of the river winding away
across the blie country. And of the Shonts Velasques – but that is not in America, and
the Shonts Rubens, which is in the National Gallery. And the Shonts porcelain. And
the Shonts past history. It was a refuge for old faith; it had priest holes and secret
passages. And haw at last the marques had to let the Shonts t the Laxtons – the
peptonished Milk and Baby Soother people – for a long term of years (G. Wells.
The Story of Shonts)

2. …but her words, everybody’s words were soon lost under the incessant flow
of Miss Bates, who came in talking, and had not finished her speech under many
minutes after being admitted to the circle of the fire...
“So very obliging to you. No rain at all. Nothing to signify I do not care for
myself. Quick thick shoes. And Jane declares … Well! – (as soon as she is within the
door) – Well! This is brilliant, indeed! – this is admirable! – Excellently contrived,
upon my word. Nothing wanting. Could not have imagined it. So well lighted up. –
Jane, Jane, look – did you ever see anything?” (J. Austen. Pride and Prejudice)

3. They said… But why continue? Why go on? It is desolating, desolating. And
then they dare wonder why the young are cynical and desparing and angry and
chaotic! And they still have adherents, who still dare to go on preaching to us! Quick!
A shire to the goodness Cant and imprudence (R. Aldington. Death of Hero)

4. Why – I ask everybody – why worry me? Nobody answers that question, and
nobody lets me alone. Relatives, friends, and strangers all combine to annoy me.
What have I done? I ask myself, I ask my servant, Louis, fifty times a day – what
have I done? Neither of us can tell. Most extraordinary! (W. Collins. The Woman in
White)

5. One may hope, in spite of the metaphorists, to avoid the breath of the deadly
upas tree; one may, by great good fortune, succeed in blacking the eye of the basilisk;
one might even dodge the attentions of Cerberus and Argus; but no man, alive or
dead, can escape the gaze of the Rubberer (O. Henry. 100 Selected Stories)
 6. When the chorus came, we even made a desperate effort to be merry. We
refilled our glasses and joined in; Harris, in a voice trembling with emotions, leading,
and I following a few words behind:
Two lovely black eyes;
Oh! What a surprise!
Only for telling the man he was wrong.
Two –
There we broke down. The unutterable pathos of George’s accompaniment to
that “two” we were, in our then state of depression, unable to bear. Harris sobbed like
a little child, and the dog hawled till I thought his heart or his jaw must surely break
(Jerome K. Jerome. Three Men in a Boat)

7. There was too much colour in her cheeks, too much energy in her manner,
too much firmness in her voice. The little book of Hartright’s drawings – the fatal
book that she will dream over whenever she is alone – was in one of her hands
(W. Collins. The Woman in White)

8. It meant still more than that: it meant – after years of movement from one
house to another – a home. For it was my mother’s first thought – if indeed it has not
been a cherished dream – to buy land and build (R. Kent. It’s Me, Oh Lord)

9. “I’ve seen worse,” he said critically. “But you’ll never do it in them clothes.
You want to get light tan shoes and a black suit and a straw hat with a coloured band,
and talk a good deal about Pittsburg and freight differentials, and drink sherry for
breakfast in order to work off phony stuff like that” (O. Henry. 100 Selected Stories)

10. Michael remarked again in the straightness of his short nose, the length of
his eyelashes, and his shy wild expression, tentative, gentle, untouched (I. Merdoch.
The Bell)

11. You can buy of them a rattlesnake-skin necktie, an automobile, or an

eighty-five-dollar, latest style, ladies’ tan coat in twenty different shades. Navarro &
Platt first introduced pennies west of the Colorado River. They had been ranchmen
with business heads, who say that the world did not necessarily have to cease its
revolutions after free grass went out.
Every spring, Navarro, senior partner, fifty-five, half Spanish, cosmopolitan,
able, polished, had “gone on” to New York to buy goods (O. Henry. 100 Selected
Stories)

12. I liked Dresden. I liked its old-world streets, its monumental places. I like
the great church which the royal family attended. I liked seeing royalty all dressed up.
I liked the choir with real opera singers. I liked the great art museum and its
wonderful pictures (R. Kent. It’s Me, Oh Lord)
 13. These devotees of curiosity swarm like flies, in a moment in a struggling,
breathless circle about the scene of an unusual occurrence. If a workman opens a
manhole, if a street-car runs over a man from North Tarrytown, if a little boy drops
an egg on his way home from the grocery, if a casual house or two drops into a
subway, if a lady loses a nickel through a hole in the lisle thread, if the police drag a
telephone and a racing chart forth from an Ibsen Society reading-room, if Senator
Depew or Mr. Chuck Connors walks out to take the air – if any of these incidents or
accidents takes place, you will see the mad, irresistible rush of the ‘rubber’ tribe to
the spot (O. Henry. 100 Selected Stories)

Individual work

In the excerpts which follow, find the syntactical EM and SD used.

Explain their stylistic functions in the given context and describe the relations
between the stylistically charged sentence structures and word-order:

1. I hurried him into the house. The treachery that I had every reason to expect,
the treachery that might deprive me of every advantage I had gained, was at that
moment perhaps, in process of accomplishment (W. Collins. The Woman in White).
2. Every little caution that Marian and I practised towards her – every little
remedy we tried, to strengthen and steady slowly the weakened, shaken faculties, was
a fresh protest in itself against the risk of turning her mind back on the troubled and
the terrible past (W. Collins. The Woman in White).
3. The pauses in the dull beating of the surf were filled up by the dreary
rustling of the dwarf trees near the grave, and the cold faint bubble of the brook over
its stony bed. A dreary scene and a dreary hour. My spirits sank fast as I counted out
the minutes of the evening in my hiding-place under the church porch (W. Collins.
The Woman in White).
4. He got up. I thought he was going. No. more talk, more time for the
development of infectious influences – in my room, too – remember that, in my
room! (W. Collins. The Woman in White).
5. And yet, despite this elevating thought – so symptomatic of his brave new
outlook – he felt confused, strangely dissatisfied. Had he really made the most of his
chance? Mrs. Lawrence had seemed to like him. But you never could tell with people
like that. What a marvellous house, too! (A. Cronin. The Citadel).

SEMINAR 5

STYLISTIC SEMASIOLOGY OF THE ENGLISH LANGUAGE

Points for discussion

1. General characteristics of figures of substitution as semasiological

expressive means (EM). Classification of figures of substitution; EM based
on the notion of quantity; EM based on the notion of quality.
 2. Figures of quantity: hyperbole, meiosis, litotes.
3. Figures of quality (qualification):
- metonymy: synecdoche, periphrasis, euphemism;
- metaphor: syntactical and semantic differences of metaphor and metonymy,
types of metaphor, antonomasia, personification, allegory, epithet;
- irony.
4. Figures of identity: simile, synonyms-substitutes, synonyms-specifiers.
5. Figures of opposition: antithesis, oxymoron.
6. Figures of unequality: climax, anticlimax, pun, zeugma.

Practical assignment

І. Indicate the cases of: hyperbole, meiosis, litotes:

1. I don’t speak empty words.

2. An old dog barks not in vain.
3. He would give the world for her fair eyes.
4. An unfortunate man would be drowned in a tea-cup.
5. You make noise enough to wake the dead.
6. It hadn’t been for nothing after all.
7. To write a novel is as simple for him as falling off a chair, I suppose.
8. I have not seen you for ages.
9. I wouldn’t say it is beyond your purse to buy that book.
10. A watched pot never boils.
11. No man is indispensable.
12. Nothing is impossible to a willing heart.
13. He was a good-for-nothing fellow.
14. Dear aunt, you frightened me out of my senses. (H. Fielding)
15. He said: “I thought I’d come up and have a word with you,
father”. (A. Cronin)
16. We’ll be back in three shakes of a dead lamb’s tail. (J. Conroy)
17. He seemed to me to be frightened all to pieces. (A. Doyle)
18. These cabins aren’t half bad. (H. Wells)
19. “Well, that’s not a bad idea,” he said finally. (M. Wilson)
20. He proceeded very slowly and cautiously, an inch at a time. (J. London) [2].

ІІ. Іdentify metonymy in the statements:

1. It’s about time you put your foot down.

2. Japan is sometimes referred to as the land of the rising sun.
3. The whole city will welcome this grant from the government.
4. The pound has risen in strength today against the dollar.
 5. She saw around her, clustered about the white tables, multitudes of violently
red lips, powdered cheeks, cold, hard eyes, self-possessed arrogant faces, and
insolent bosoms. (A. B.)
6. For several days he took an hour after his work to make inquiry taking with
him some examples of his pen and inks. (Dr.)
7. “Some remarkable pictures in this room, gentlemen. A Holbein, two Van
Dycks and if I am not mistaken, a Velasquez. I am interested in pictures.” (Ch.)
8. Except for a lack of youth, the guests had no common theme, they seemed
strangers among strangers; indeed, each face, on entering, had struggled to
conceal dismay at seeing others there. (T. C.)
9. He made his way through the parfume and conversation. (I. Sh.)
10. “It was easier to assume a character without having to tell too many lies and
you brought a fresh eye and mind to the job.” (P.) [2; 3].

III. Find examples of synecdoche in the following statements:

1. Fifty head of cattle were sold at auction yesterday.

2. Everton scored in extra time to win the Cup.
3. England lost the Ashes in 1997.
4. In the estuary there appeared a fleet of fifty sail [2].

IV. Match the periphrases with the notions they represent:

1) the Father of Rivers/ Waters a) a soldier/ military man

2) a daughter of the soil b) a woman
3) a daughter of Eve c) the Nile
4) a daughter of Jezebel d) a peasant woman
5) a son of Mars e) an impudent woman

1) a son of the Nile a) an eagle

2) a son of Vulcan b) a tavern-keeper
3) a son/ knight of the Spigot c) death
4) the king of birds d) a crocodile
5) the king of terrors e) a (black) smith, farrier

V. Analyse the following cases of antonomasia:

1. A stout middle-aged man, with enormous owl-eyed spectacles, was sitting…

on the edge of a great table. I turned to him.
“Don’t ask me,” said Mr. Owl Eyes washing his hands of the whole matter.
(Sc. F.)
2. The next speaker was a tall gloomy man. Sir Something Somebody. (P.)
 3. Now let me introduce you – that’s Mr. What’s-his-name, you remember him,
don’t you? And over there in the corner, that’s the Major, and there’s Mr. What-
d’you-call-him, and that’s an American. (E. W.)
4. We sat down at a table with two girls in yellow and three men, each one
introduced to us as Mr. Mumble. (Sc. F.)
5. Cats and canaries had added to the already stale house an entirely new
dimension of defeat. As I stepped down, an evil-looking Tom slid by us into the
house. (W. Gl.)
6. Kate kept him because she knew he would do anything in the world if he
were paid to do it or was afraid not to do it. She had no illusions about him. In her
business Joes were necessary. (J. St.) [3].

VI. Analyse the given cases of irony:

1. The lift held two people and rose slowly, groaning with diffidence. (I. M.)
2. When the war broke out she took down the signed photograph of the Kaiser
and, with some solemnity, hung it in the men-servants’ lavatory; it was her one
combative action. (E. W.)
3. Mr. Vholes is a very respectable man. He has not a large business, but he is a
very respectable man. He is allowed, by the greater attorneys to be a most respectable
man. He never misses a chance in his practice which is a mark of respectability, he
never takes any pleasure, which is another mark of respectability, he is reserved and
serious which is another mark of respectability. His digestion is impaired which is
highly respectable. (D.)
4. With all the expressiveness of a stone Welsh stared at him another twenty
seconds apparently hoping to see him gag. (R. Ch.)
5. Bookcases covering one wall boasted a half-shelf of literature. (T. C.)
6. He spent two years in prison, making a number of valuable contacts among
other upstanding embezzlers, frauds and confidence men whilst inside. (An. C.)
7. But every Englishman is born with a certain miraculous power that makes
him master of the world. As the great champion of freedom and national
independence he conquers and annexes half the world and calls it
Colonozation. (B. Sh.)
8. Apart from splits based on politics, racial, religious and ethnic backgrounds
and specific persoality differences, we’re just one cohesive team. (D. U.)
9. She’s a charming middle-aged lady with a face like a bucket of mud and if
she has washed her hair since Coolidge’s second term, I’ll eat my spare tire, rim and
all. (R. Ch.)
10. Soony Grosso was a worrier who looked for and frequently managed to
find, the dark side of most situations (P. M.) [3].

VII. Indicate the cases of: oxymoron, antithesis:

1. The garage was full of nothing.

2. Good words cost nothing and are worth much.
 3. Better a lean peace than a fat victory.
4. Sprinting towards the elevator he felt amazed at his own cowardly courage.
5. The play was awfully funny.
6. The newly planted trees wouldn’t stand the gentle violence of the wind.
7. Little pigeons can carry great messages.
8. A joke never gains an enemy but often loses a friend.
9. Old Jolyon seemed a master of perennial youth.
10. There were some bookcases of superbly unreadable books (E. W.) [2].

VIII. In the excerpts which follow, find out figures of qualification used.
Explain their stylistic functions in the given context.

1. Huddled in her grey fur against the sofa-cushions, she had a strange
resemblance to a captive owl, bunched in its soft feathers against the wires of a cage.
The supple erectness of her figure was gone, as though she had been broken by cruel
exercise, as if there were no longer any reason for being beautiful, and supple, and
erect (J. Galsworthy. The Man of Property)

2. Already at six and six-thirty in the morning they have begun to trickle; small
streams of human beings Manhattan or city-ward, and by seven and seven-fifteen
these streams nave become sizable affairs. By seven-thirty and eight, they have
changed into heavy, turbulent rivers, and by eight-fifteen and eight-thirty and nine,
they are raging torrents, no less. They overflow all the streets and avenues and every
available means of conveyance. They are pouring into all available doorways, shops,
factories, office-buildings – those huge affairs towering significantly above them.
Here they stay all day long, causing those great hives and their adjacent streets to
flush with a softness of colour not indigenous to them, and then at night, between five
and six, they are going again, pouring forth over the bridges and through the subways
and across the ferries and out of the trains, until the last drop of them appears to have
been exuded, and they are pocketed in some outlying side-street or village of
metropolitan hall-room and the great turbulent night of the city is on once more
(Th. Dreiser. Sister Carrie)

3. I knew them all, or knew what they did for a living: timber, flour, textiles,
insurance. Timber and flour were standing at the counter discussing the cost of
labour. Textiles at a table in the opposite side of the room was complaining about his
garage bills. Insurance was listening waiting his turn (J. Brain. Room at the Top)

4. There is no more thrilling sensation I know of the sailing. It comes as near to

flying as man has got to yet – except in dreams. The wings of the rushing wind seem
to be bearing you onward, you know not where. You are no longer a slow, plodding
puny thing of clay, creeping tortuously upon the ground; you are a part of Nature!
Your heart is throbbing against hers. Her glorious arms are round you, raising you up
against her heart! Your spirit is at one with hers; your limbs grow light! The voices of
the air are singing to you. The earth seems far away and little; and the clouds, so
close above your head, are brothers, and you stretch your arms to them
(J. K. Jerome. Three Men in a Boat)

5. But no fish at all was in it, no any monster or thing of horror, but only a little
Mermaid lying fast asleep.
Her hair was wet fleece of gold, and each separate hair was as a thread of fine
gold in a cup of glass. Her body was as white ivory, and her tail was of silver and
pearl. Silver and pearl was tail; and the green weeds of the sea coiled round it; and
like sea-shells were her ears, and lips were like sea-corals (O. Wilde. The Fishman
and His Soul)

6. Well, that’s the way I was. A dusty little thinker thinking stony little
thoughts and casting them at obvious shadows, when my meditations were
interrupted. I thought I heard a voice. Then I thought it was a noise of the machinery.
Stresses and strains make conveyers talk. They scream curses, they grumble and
complain. When they can take the load they whistle like butcher boys used to whistle
when there was meat for the butcher to deliver (S. Chaplin. The Thin Seam)

7. Cleman’s eyes no sooner fell upon the object of his old passion, ten it
shivered and broke to pieces.
Flora, always tall, had grown to be very broad too, and short of breath; but that
was not much. Flora whom he had left a lily, had become a peony; but that was not
too much. Flora who had seemed enchanting in all she said and thought, was diffuse
and silly. That was much. Flora, who had been spoiled and artless long ago, was
determined to be spoiled and artless now. That was a fatal blow (Ch. Dickens. Little
Dorrit)

8. Stoney smiles the sweet smile of an alligator (J. Steinbeck. In Dubious

Battle)

9. Did you ever see anything in Mr. Pickwick’s manner and conduct toward the
opposite sex to induce you to believe (Ch. Dickens. The Posthumous Papers of the
Pickwick Club)

Discover which figures of combination are used in the excerpts.

1. Women have a wonderful instinct about things. They can discover

everything except the obvious (O. Wilde)

2. “I was a young man then – Good Heavens, it’s a quarter of a century ago
– and I wanted to enjoy all the loveliness of the world in the short time allotted to me
before I passed into the darkness” (S. Maugham)
 3. Sprinting towards the elevator he felt amazed at his own cowardly
courage (G. Markey)

4. It was the best of times, it was the worst of times, it was the age of
wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of
incredulity, it was the season of Light, it was the season of Darkness, it was the
spring of hope, it was the winter of despair, we had everything before us, we had
nothing before us, we were all going direct to Heaven, we were all going the other
way (Ch. Dickens)

5. – Did you hit a woman with a child?

– No, sir, I hit her with a brick.
(Th. Smith)

6. He was an actor and a clever one, but he was difficult to suit and so was
often out of work. He was about thirty, a man with a pleasantly ugly face and a
clipped way of speaking that made what he said sound funny (S. Maugham)

7. With wild cries and desperate energy she leaped to another and till another
cake – stumbling – leaping – skipping – springing upwards again (H. Beecher-Stowe)

8. He was like Apollo, with just that soft roundness which Praxitele gave him,
and that suave, feminine grace which has in it something troubling and mysterious.
His skin was dazzling white, milky, like satin, his skin was like a woman’s
(S. Maugham)

9. “Yes, yes”, he said, “except in your case you told me to get a position. The
homely word “job”, like much that I have written, offends you” (J. London) [4].

Individual work

I. Distinguish between irony, zeugma and pun:

1. The quickest way to break a bad habit is to drop it.

2. Joe’s been putting two and two together to make a million.
3. He is really now a gentleman of the three outs: out of pocket, out of elbow,
out of credit.
4. “Unmaried?” – “Twice.”
5. Your project is just fit for the wastepaper basket.
6. “Lord Henry, I am not at all surprised that the world says that you are
extremely wicked.” – “But what world says that?” asked Lord Henry, elevating his
eyebrows. “It can only be the next world. This world and I are on exellent terms.”
7. Telling of a member expelled from her club, a woman said: “They
dismembered her.”
 8. Last time it was a nice, simple, European-style war.
9. The man who is always asking for a loan is always left alone.
10. (She, tearfully) – “You said if I’d marry you you’d be humbly grateful.” –
(He, sourly) – “Well, what of it?” – (She) – “You’re not; you’re grumbly hateful” [2].

II. Find and analyse the given cases of metaphor:

1. At the last moment before the windy collapse of the day, I myself took the
road down. (Jn. H.)
2. Geneva, mother of the Red Cross, hostess of humanitarian congresses for the
civilizing of warfare! (J. R.)
3. I was staring directly in front of me, at the back of the driver’s neck, which
was a relief map of boil scars. (S.)
4. She and the kids have filled his sister’s house and their welcome is wearing
thinner and thinner. (U.)
5. He smelled the ever-beautiful smell of coffeee imprisoned in the can. (J. St.)
6. His voice was a dagger of corroded brass. (S. L.)
7. They walked along, two continents of experience and feeling, unable to
communicate. (W. G.)
8. He had hoped that Sally would laugh at this, and she did, and in a sudden
mutual gush they cashed into the silver of laughter all the sad secrets they could find
in their pockets (U.) [3].

SEMINAR 6

FUCTIONAL STYLES OF THE ENGLISH LANGUAGE.

LINGUISTIC ASPECTS OF TEXT INTERPRETATION

Points for discussion

1. The notion of functional style. The problem of functional style classifiction.

1.1. Official style in Modern English.
1.2. Publicistic style in Modern English.
1.3. Scientific style in Modern English.
1.4. Belles-lettres style in Modern English.
2. Stylistics of speech. Types of texts. Genres of texts.
3. Basic notions of literary text interpretation.
4. Types of narration.

Рекомендована література:
1. Стилистика английского языка : Учебник / А. Н. Мороховский,
О. П. Воробьева, Н. И. Лихошерст, З. В. Тимошенко. – К. : Выща шк., 1991. –
272 с.
 2. Арнольд И. В. Стилистика современного английского языка.
Стилистика декодирования / И. В. Арнольд. – М. : Просвещение, 1990. – 300 с.
3. Гальперин И. Р. Стилистика английского языка. Учебник (на
английском языке). – 3-е изд. / И. Р. Гальперин. – М. : Высшая школа, 1981. –
334 с.
4. Єфімов Л. П. Стилістика англійської мови і дискурсивний аналіз /
Л. П. Єфімов, О. А. Ясінецька : учбово-методичний посібник. – Вінниця :
НОВА КНИГА, 2004. – 240 с.
5. Кухаренко В. А. Інтерпретація тексту. – В. : Нова книга, 2004. – 261 с.
6. Тураева З. Я. Лингвистика текста. – М. : Просвещение, 1986. – 127 с.
7. Kukharenko V. A. A Book of Practice in Stylistics. – V. : Nova Knyga,
2000. – 160 p.
 ДОДАТКИ
Додаток А

ПИТАННЯ ДО ІСТИПУ
ЗІ
СТИЛІСТИКИ АНГЛІЙСЬКОЇ МОВИ

1. Предмет і завдання вивчення стилістики. Галузі стилістики.

2. Охарактеризуйте науковий стиль.
3. Текст як предмет вивчення стилістики. Контекст. Типи контекстів.
4. Розмовна лексика. Діалектна лексика. Роль цих лексичних пластів у
літературній мові.
5. Норма і відхилення від норми.
6. Фонетичні стилістичні засоби: алітерація, асонанс, ономатопія, евфонія.
7. Лексична стилістика. Слово та його значення. Денотативне та конотативне
значення.
8. Охарактеризуйте художній стиль.
9. Стилістичне використання фразеології.
10. Способи передачі чужого мовлення. Монолог. Діалог. Полілог.
11. Екзотизми, варваризми та їхні стилістичні функції.
12. Охарактеризуйте офіційно-діловий стиль.
13. Морфологічна стилістика. Стилістичний потенціал частин мови.
14. Лінгвостилістичний аналіз тексту. Принципи та алгоритми стилістичного
аналізу тексту.
15. Термінологічна лексика. Професіоналізми. Стилістичні можливості цих
лексичних пластів.
16. Текст та основні поняття стилістики.
17. Лексика іншомовного походження та її стилістичне використання.
Неологізми, застаріла лексика.
18. Фігури якості: метафора, метонімія, синекдоха, антономазія, персоніфікація,
іронія, алегорія, епітет, евфемізм, перифраз.
19. Морфологічна стилістика. Дієслово та його стилістичні властивості.
20. Морфологічна стилістика. Стилістичний потенціал іменника та
прикметника.
21. Текстовий рівень. План оповідача і план персонажів. Понадфразова єдність і
абзац.
22. Стилістичний синтаксис. Еліпсис, номінативні речення, асиндетон.
23. Основні текстові категорії: інтегративність, дискретність, персональність /
імперсональність, установка на читача.
24. Синтаксична стилістика. Тавтологія, полісиндетон, повтор, перелік,
паралелізм, хіазм, анафора, епіфора.
25. Місце стилю в системі практичного вживання мови. Стиль як категорія
цілісності твору. Жанрова форма. Стильова форма.
26. Співвідношення стилю, норми та функції у мові.
27. Фігури тотожності: порівняння, синоніми-заступники, уточнюючі синоніми.
28. Парадигматика і синтагматика художнього тексту. Актуалізація на рівні
тексту: заголовок, власне ім’я, художня деталь, сильна позиція.
29. Емоційна, оцінна, експресивна і стилістична складові конотації.
30. Стилістичний аналіз графіки. Пунктуація. Особливості шрифту.
31. Синтаксичні стилістичні прийоми. Риторичне питання.
32. Фігури нерівності: клімакс, антиклімакс, каламбур, зевгма.
33. Фігури кількості: гіпербола, мейозис, літота.
34. Типи, способи викладу, представлені у художньому прозаїчному тексті:
авторське мовлення, персонажне мовлення, невласне-пряме мовлення.
35. Поняття функціонального стилю. Функціональні стилі основної іноземної
мови.
36. Синтаксична стилістика. Інверсія. Транспозиція синтаксичних структур.
37. Стилістичне використання синонімів.
38. Фігури протилежності: оксиморон, антитеза.
39. Просторічна, жаргонна, арготична лексика в стилістичному аспекті.
40. Стилістичний прийом парцеляції.
41. Стилістика та інші лінгвістичні дисципліни.
42. Стилістичне використання слів, які входять до лексико-стилістичної
парадигми.
43. Вставні конструкції та їхні стилістичні функції.
44. Стилістичний синтаксис. Паралельні конструкції. Риторичне питання.
Інверсія.
45. Стилістичні фігури у художніх та нехудожніх текстах.
 СПИСОК ВИКОРИСТАНИХ ДЖЕРЕЛ

1. Гальперин И. Р. Стилистика английского языка. Учебник (на

английском языке). – 3-е изд. / И. Р. Гальперин. – М. : Высшая школа, 1981. –
334 с.
2. Єфімов Л. П. Стилістика англійської мови і дискурсивний аналіз /
Л. П. Єфімов, О. А. Ясінецька : учбово-методичний посібник. – Вінниця: НОВА
КНИГА, 2004. – 240 с.
3. Кухаренко В. А. Практикум зі стилістики англійської мови
(англійською мовою). – В. : НОВА КНИГА, 2003. – 160 с.
4. Методичні вказівки до семінарських та практичних занять з стилістики
англійської мови для студентів IV курсів (Видання 2) / О. П. Воробйова,
Л. Ф. Бойцан, Л. В. Ганецька та ін. – К. : Вид.центр КНЛУ, 2001. – 64 с.