Stylistic Phonetics of the English Language. Phonographic Means of Stylistics.

1. The notion of expressive means and stylistic devices on the phonetic level.
2. The system of English instrumentation: alliteration, assonance, onomatopoeia, euphony. The notion of euphony.
3. Phonographic means of stylistics.
4.the system of English versification: rhyme, rhythm, Metre. English metrical patterns.

Alliteration is a phonetic stylistic device which aims at imparting a melodic effect to the utterance.
The essence of this device lies in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly
at the beginning of successive word (I.Galperin).
•Alliteration is deliberate repetition of identical (or acoustically similar) sounds (O.Morokhovsky).

Assonance
• is the repetition of similar vowels, usually in stressed syllables (V. Kukharenko).
• Assonance is the repetition of identical (or acoustically similar) vowels in close succession which is aimed at organization and
semantic meaning off the utterance.

Metre • is any form of periodicity in verse, its kind being determined by the character and number of syllables of which it
consists (V.Zhirmunsky).

Onomatopoeia •is a combination of speech sounds which aims at imitating sounds produced in nature by things, by people and
by animals (I.Galperin).

Rhyme • is the repetition of identical or similar terminal sound combinations of words (I.Galperin). Rhythm • is a deliberate
arrangement of speech into regularly reccuring units intended to be grasped as a definite periodicity which makes rhythm a
stylistic device (I.Galperin).

1. The notion of EM and SD on the phonetic level.

• The most powerful expressive means of any language are phonetic, because the human voice can indicate subtle nuances of
meaning that no other means can attain (1.Galperin).

• The phoneme as the main unit of the phonological level cannot be stylistically marked because of its unilateral nature.
• The phoneme helps to differentiate meaningful lexemes but has no meaning of its own.

=
no expressive means on phonological level

In any language, there exist certain devices or models of the organization of the sound continuum, which lead to creation of
stylistic effects on the phonetic levels -
• phonetic stylistic devices, i.e. special combinations and alterations of sounds in their syntagmatic succession, which in
combination with other language means create different stylistic effects.

•Orthography, especially in languages like English, practically does not reproduce phonetic peculiarities of speech, except in
cases when writers resort to graphons.

Interest in:

• Dialect features
• Variants of pronunciation (different representations of the same phoneme)

• Prosodic features are suprasegmental characteristics of a text or single utterance: stress, emphatic stress, tones, melody –
intonation in general.

• Aesthetic evaluation of sounds, viewed not as sequences, but units.

• The connection between contents and form is by no means confined in phonetics to the sense-differentiating function of
phoneme.
• The sounds themselves, though they have no extralingual meaning, possess (or seem to possess) a kind of expressive meaning,
and, hence, stylistic value.

The theory of sound symbolism

•Is based on the assumption that separate sounds due to their articulatory and acoustic properties may awake certain ideas,
perceptions, feelings, images, vague they might be.
• In poetry we cannot help feeling that the arrangement of sounds carries a definite aesthetic function.
Phonetic EMs : *pitch, melody, stress, pause *whispering, singing, and other ways of using human voice
Phonetic SDs : assonance, alliteration, onomatopoeia, euphony, cacophony

SD based on the usage of pronouns.

Pronoun has a grammatical meaning of a person or object or their quality without naming them. Pronoun can be used as a
second nomination: (пример влом писать)
Archaic forms of pronoun (thee, thoy, thy) are used in poetry to archaic some solemic and official effect. In prose these forms
may also be used to make English sound like a foreign speech.

SD can also be based on transposition за one pronoun by the other. The most usually is the transposition of I by We:
1)
2)
3)
4)

SD based on the usage of verbs.

Verbs have a grammatical meaning of the action and grammatical categories of tense, voice, mood, aspect, person, number.
Transposition can happen in the usage of tenses and voices. Continuous is more emotional than Indefinite tenses and substitute
them to make the utterance more emphatic. Continuous is also used to make speech sound polite and soft.
In order off enliven the nassation the change of tense planes is used, so tenses can alter.
Passive voice is used to avoid repetition of active voice.

Я ЗАЕБАЛАСЬ ПИСАТЬ ПРОСТИ БОЛИТ ПИЗДА

2. Models of the organization of the sound:

1) Versification 2) Instrumentation

•Versification - the art of creating verses according to certain rules, elaborated on the basis of the laws of the given language
and the poets` practice.

• Instrumentation (sound-instrumenting) - the unity of the means of the selection and combination of sounds, which give to the
text the definite emotional and expressive colouring.
1)alliteration
2)onomatopoeia
3)euphony

• Indirect onomatopoeia
is a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense. • E.g. And the silken,
sad, uncertain rustling of each purple curtain (E.Poe). - the repetition of the sound [s] produces the association of the rustling of
the curtain.

EUPHONY

•Euphony is traditionally considered to be the harmony of the utterance, first of all in the poetic text. •Euphony is sometimes
considered to be an optimal concord of sound and semantic parts of the utterance.
•Euphony includes different ways of organization of the sound flow - rhythm, rhyme, epiphora, anaphora, alliteration,
assonance, cacophony and other kinds of the sound repetition.

CACOPHONY

, •Cacophony is a grouping of harsh, discordant sounds, the sense of strain and discomfort in pronouncing and hearing.

Instrumentation and Versification

Instrumentation: alliteration, assonance, onomatopoeia, euphony, cacophony.

Versification: rhyme, rhythm, meter.

3. Phonographic means of stylistics.

•To create additional information in a prose discourse sound instrumenting is foregrounded mainly through the change of its
graphical representation.
• It is an effective means of supplying information about the speaker`s origin, social and educational background, physical and
emotional condition.
• Phonographic means are those ones the usage of which compensates lack of traditional of orthography and means
punctuation.
• E.g.
• 1. "Allll aboarrrrrrd." (W.Thackeray). – multiplication of letter.
• 2. "Help. Help. HELP." (A.Huxley) – capitalization of letter.
• 3. grinning like a chim-pan-zee..." .... (El.O`Connor) – hyphenation of the word.

• Graphon
is the intentional violation of the graphical shape of a word (of a word combination) used to reflect its authentic pronunciation.
• E.g. "sellybrated" (celebrated), “Eytalains" (Italians), "peepul" (people).

Graphic Means of Stylistics

are a set of external organization of the text, that is of the ways of arrangement of elements and parts of the text (paragraphs,
headlines) and of other polygraphic means (sizes and types of prints, ways of their arrangement, kinds of printing) which add
visual expressiveness to the text that helps to comprehend the context of the text.

Ways of Text Segmentation

1) Traditional Segmentation of the Text

•The text can be subdivided into the following components:
*the banner (streamer, screamer, ribbon, the line),
*kicker (teaser, overline, whiplash, the astonisher),
*the head (headline),
*underhead,
*leading paragraph (lead).

• The banner is a line printed in a big point in the upper right part of the text which singles out the main information.
• The overline is a word of several words printed in twice smaller print than the headline and located in the upper left side from
the headline.
• The headline is a word or several words printed in the same or a little less point than the banner, located above the leading
paragraph.
• The underhead is of 3 kinds:
*the bank (a secondary headline);
*the read-out (explanation to the banner);
*the subhead (the head which is located within the text)
The leading paragraph links the previous elements with the text.

2) Violation of the Segmentation of the Text

The text can lack traditional components (e.g. paragraphs, lines, etc.):

3) Macrosegmentation of the Text

The text may be segmented into parts by the use of empty space or change of the print:

4) Microsegmentation of the Text (Microparagraph)

Each sentence can be graphically arranged into a paragraph in order to emphasize its logical and expressive significance:

5) Graphic Segmentation of the Paragraph

Different print in the paragraph can represent inner and external speech of the characters.

6) Absence of a Part of the Text

The author can omit a part of the text deliberately. In such a way he gives the readers an opportunity to guess the possible
context:

7) Transposition of the Graphic Model of the Text

The means of arrangement of an official text can be used in fiction for the humorous effect.

Text Segmentation

1) Traditional Segmentation of the Text

2) Violation of the Segmentation of the Text
3) Macrosegmentation of the Text
4) Microsegmentation of the Text (Microparagraph)
5) Graphic Segmentation of the Paragraph
6) Absence of a Part of a Text
7) Transposition of the Graphic Model of the Text
8) Special Cases of the Graphic Segmentation of the Text

Thus, summing up the informational potential of the phonetic and graphic means of stylistics, we can underline their varied
application for creating the individual and social peculiarities of the speaker, the atmosphere of the communication act.

4. Rhyme and Rhythm. English metrical patterns. The system of English versification.

•Rhyme is the repetition of identical or similar terminal sound combinations of words.

• Rhyming words are generally placed at a regular distance from each other.
•In verse they are usually placed at the end of the corresponding lines.
• Identity and particularly similarity of sound combinations may be relative.

Types of Rhyme

The full rhyme • presupposes identity of the vowel sound and the following consonant sounds in a stressed syllable, as in might,
right; needless, heedless.
• When there is identity of the stressed syllable, including the initial consonant of the second syllable (in polysyllabie words), we
have exact or identical rhymes.

Incomplete rhymes

1)Vowel Rhymes the vowels of the syllables in corresponding words are identical, but the consonants may be different, as in
flesh-fresh- press.
2)Consonants rhymes show concordance in consonants and disparity in vowels, as in worth - forth; tale - tool; tremble- trouble;
flung- long.

Rhymes

1)Compound/Broken
The peculiarity of such rhymes is that the combination of words is made to sound like one word - a device which inevitably gives
a colloquial and sometimes a humorous touch to the utterance. f.e. upon her honour - won her: bottom-forgot em - shot him

2)Eye rhymes
The letters and not sounds are identical, as in love-prove, flood - brood, have - grave.

•It follows therefore, that whereas compound rhyme is perceived in reading aloud, eye-rhyme can only be perceived in the
written verse.

According to the way the rhymes are arranged within the stanza, certain models have crystallized, for instance:
•1. couplets – when the last words of two successive lines are rhymed. – aa.
•2. triple rhymes - aaa.
•3. cross rhymes – abab.
•4. framing or ring rhymes – abba.

Rhythm
•is a flow, movement, procedure, etc., characterized by basically regular recurrence of elements or features, as beat, or accent,
in alternation with opposite or different elements or features.

Rhythm in verse
is a combination of the ideal metrical scheme and the variations of it, variations which are governed by the standard.
•The most observable and widely recognized compositional patterns of rhythm making up classical verse are based on:
•1) alteration of stressed and unstressed syllables;
•2) equilinearity, that is an equal number of syllables in the lines;
•3) a natural pause at the end of the line, the line being a more or less complete semantic unit;
•4) identity of stanza pattern;
•5) established patterns of rhyming.

Rhythm in prose is based not on the regular alternations of the opposing units, i.e. a regular beat, but on the repetition of similar
structural units following one another or repeated after short intervals.
•Metre is any form of periodicity in verse, its kind being determined by the character and number of syllables of which it
consists.

•Foot is the smallest unit of stressed and unstressed syllables in verse.

• Iambus is a kind of the foot which consists of the first unstressed and the second stressed syllable.
• Trochee is the foot which consists of the first stressed and the second unstressed syllables.
• Dactyl is the foot which consists of 3 syllables, the first stressed and two other unstressed ones.
• Anapest is the foot which consists of 3 syllables, the first two unstressed and the last one stressed.
• Amphibrach is the foot which consists of 3 syllables, the first one unstressed, the next stressed and the last unstressed.

The most recognizable English metrical patterns are:

1. Iambie metre, in which the unstressed syllable is followed by a stressed one.
2. Trochaic metre, where the order is reversed, i.e. a stressed syllable is followed by one unstressed syllable.
3. Dactylic metre - one stressed syllable is fillowed by two unstressed.
4. Amphibrachie metre - one stressed syllable is framed by two unstressed.

• The basic rhythmical pattern of the poem is determined by the line, and the line is named according to the number of feet it
possesses:
• 1 foot - monometre;
• 2 feet - dimeter;
• 3 feet - trimeter;
• 4 feet – tetrametre;
• 5 feet - pentameter;
• 6 feet - hexameter;
•7 feet - heptameter;
• 8 feet - octameter.

Examples of Metrical Patterns

•1. Trochee
Men of England, wherefore plough For the lords who lay ye low? Wherefore weave with toil and care The rich robes your tyrants
wear? (P.B.Shelley)

•2. Iambus
There went three kings into the east, Three kings both great and high, And they had sworn a solemn oath: John Barleycorn
should die. (R.Burns)

• 3. Dactyl
Take her up tenderly, Lift her with care, Fashion d so slendery Young and so fair (Th.Hood).

• 4. Amphibrach:
I sprang to the stirrup and joris and he, I galloped, Dick galloped, we galloped all three (E.Browning).

• 5. Anapest
I am monarch of all survey From the central all round to the sea (A.Pope).