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Stylistic Phonetics
Stylistic Phonetics
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.
Phonetic stylistic devices are
Phonetic EMs
- pitch, melody, stress, pause, whispering, singing, and other ways of using human voice
PhoneticSDs
- assonance, alliteration,onomatopoeia, euphony, cacophony
The system of English versification and instrumentation
Models of the organization of the sound flow are divided into two groups:
versification
instrumentation.
Rhyme and Rhythm. English metrical patterns. The system of English
versification.
(might, right).
When there is identity of the stressed syllable, including the initial consonant of the second
syllable (in polysyllabic words), we have exact or identical rhymes.
A Fool might once himself alone expose,
Now One in Verse makes many more in Prose.
Incomplete rhymes :
Eye-rhyme or half-rhyme
(love - prove, flood - brood, have – grave).
framing or ring rhymes - abba.
According to the way the rhymes are
arranged within the stanza, certain models have been defined:
couplets - aa.
(I think that I shall never see
A poem lovely as a tree." - Joyce Kilmer)
triple rhymes - aaa. (sanity, vanity )
cross rhymes - abab.
Rhythm is the pattern of sounds perceived as the recurrence of equivalent “beats” at more
or less equal intervals.
English rhythm is manifested in a metrical pattern, i.e. the sequence and measure beats
and “off-beats” arranged in verse lines and governing the alternations of stressed and
unstressed syllables.
Foot is the smallest unit of stressed and unstressed syllables in verse.
Iambus [ aıʹæmbəs ]
Trochee [ troʊki ]
Dactyl
Anapest
Amphybrach
iambic foot
That time | of year | thou mayst | in me | behold
trochaic foot
Tell me | not in | mournful | numbers
anapestic foot
And the sound | of a voice | that is still
dactylic foot
This is the | forest pri | meval, the | murmuring | pine and the | hemlocks
Types of instrumentation (sound-instrumenting)
1) Alliteration
“Lick, crack, sick, hack. The beggar harried her open back.
Crash, bang, clang!!
We want no parlay with you and your grisly gang who work your wicked will.”
-- Winston Churchill
GRAPHICAL STYLISTICS
e.g. “Well, thanks very much,” he said, “but – I don’t know – you see – ”
- Italics
Multiplication of letters
-e.g. Well, Alice has a dog, the absu-u-urdest creature.
Hyphanation
-e.g. And the ship’s the L-e-m-m-a-l-a,
Lemmala. Can you remember that?
The graphon
is an associative stylistic device of the phono-graphical level which is realized through the
distortion of spelling norms
Contact graphons
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.
Various ways of arrangement (segmentation) of the text
The banner
The overline
The headline
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 text can lack traditional components (e.g. paragraphs, lines, etc.):
e.g.
Mouse)Won
mouse)Won
derfully is
anyone else entirely who doesn't
move (Moved more suddenly than) whose tiniest smile? May Be
bigger than the fear of all
hearts never which have
(Per
haps) loved…
(E.E.Cummings)
3) Macrosegmentation of the Text
The text may be segmented into parts by the use of empty space or change of the print:
It felt terrible. The worst moment in my life. Terrible, it felt. It still does.
Each sentence can be graphically arranged into a paragraph in order to emphasize its logical and
expressive significance:
e.g. "Someone's behind us", Nisus said. They were at the first of the boats now. Again the
noise behind them… (J.Aldridge)
5)Graphic Segmentation of the Paragraph
Different print in the paragraph can represent inner and external speech of the characters:
e.g. "I can give you sedative and sleeping pills, of course, but that's not going to touch what's really
wrong".
"Which is, all this unnatural mixing of the classes. Doesn't do, you know. People should know their
place and stick to it. I'd like some sleep-pills, all the same". (D. Lessing)
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:
e.g. "…But the passion between those two children was a genuine thing.
……………………………………………………………
…………
"For quite three years George was under the influence of his passion for Priscilla, never really forgot
her, always in a dim, dumb, subconscious way felt the
frustration…" (R. Aldington)
7)Transposition of the Graphic Model of the Text