Стилистика английский язык учебно-методическое пособие

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Название	Стилистика английский язык учебно-методическое пособие
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Тип	Учебно-методическое пособие

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Stylistic Syntax

Questions for discussion

Ellipsis, Nominative sentence, Aposiopesis: definitions and functions.
Repetition and Enumeration: definitions and functions.
Asyndeton and Polysyndeton: definitions and functions.
Inversion and Detachment: definitions and functions.
Parallelism and Chiasmus: definitions and functions.
Anaphora and Epiphora; definitions and functions.
Anadiplosis and Framing: definitions and functions.
Rhetoric question: definition, function.

Practical Exercise

Find out syntactical stylistic means and comment on their functions:

As the only endowments with which Nature had gifted Lady Crawley were those of pink cheeks and a white skin, and as she had no sort of character, nor talents, nor opinions, nor occupations, nor amusements, nor that vigour of soul and ferocity of temper which often falls to the lot of entirely foolish women, her hold upon Sir Pitt's affections was not very great (Vanity Fair. W. M. Thackeray).

There is a crime here that goes beyond denunciation. There is a sorrow here that weeping cannot symbolize. There is a failure here that topples all our success. The fertile earth, the straight tree rows, the sturdy trunks, and the ripe fruit. And children dying of pellagra must die because a profit cannot be taken from an orange (J. Steinbeck. The Grapes of Wrath).

To me education is a leading out of what is already there in the pupil’s soul. To Miss Mackay it is a putting in of something that is not there, and that is not what I call education, I call in intrusion (M. Spark. The prime of Miss Jean Brodie).

Vanity Fair - Vanity Fair! Here was a man, who could not spell, and did not care to read - who had the habits and the cunning of a boor; whose aim in life was pettifogging; who never had a taste, or emotion, or enjoyment, but what was sordid and foul; and yet he had rank, and honours, and power, somehow: and was a dignitary of the land, and a pillar of the state (Vanity Fair. W. M. Thackeray).

“And how do you tell them, may I ask?” said Bosinney.

“By their sense of property. A Forsyte takes a practical – one might say a commonsense – view of things, and a practical view of things is based fundamentally on a sense of property. A Forsyte, you will notice, never gives himself away.” (J. Galsworthy. The Forsyte Saga).

The conductor pulled his bell, and the tram moved slowly back the way it had come; out of the gas-glittering homage to a Queen; out of the purple and crimson and gold; out of the pomp on the walls and the bloodshed in the street; out of sight of the gleaming crowns and beaming blessings, back to the dimness of Dorset Street and home (S. O’Casey. I Knock at the Door)

All the public inscriptions in the town were painted alike, in severe characters of black and white. The jail might have been the infirmary, the infirmary might have been the jail, the town-hall might have been either, or both, or anything else, for anything that appeared to the contrary in the graces of their constructions (Ch. Dickens. Hard Times)

In another moment down went Alice after it, never once considering how in the world she was to get out again (L. Carroll. Alice in Wonderland)

Down, down, down. Would the fall never come to an end? Down, down, down. There was nothing else to do (L. Carroll. Alice in Wonderland)

The house is old, the trees are bare,

And moonless bends the misty dome;

But what on earth is half so dear,

So longed for as the hearth of home? (E. Bronte)

Ah, love, let us be true

To one another! For the world which seems

To lie before us like a land of dreams

So various, so beautiful, so new,

Hath really neither joy, nor love, nor light,

Nor certitude, nor peace, nor help for pain;

And we are here as on a darkling plain

Swept with confused alarms of struggle and fight,

Where ignorant armies clash by night (M. Arnold)

Ten thousand saw I at a glance

Tossing their heads in sprightly dance (W. Wordsworth. The Daffodils).

Text Stylistics

Questions for discussion

Convergence as a type of Foregrounding, its functions.
Coupling as a type of Foregrounding, its functions.
Defeated Expectancy as a type of Foregrounding, its functions.
Strong position as a type of Foregrounding, its functions.
Integrity as a text category
Discreteness as a text category

Practical Exercises

Exercise 1. What senses and how are foregrounded in the following fragments?:

One word is too often profaned

For me to profane it,

One feeling is too falsely disdained

For thee to disdain it;

One hope is too like despair

For prudence to smother,

And pity from thee more dear

Than that from another

(P.B. Shelley)

Her hair was as a wet fleece of gold, and each separate hair 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 her tail, and the green weeds of the sea coiled round it; and like sea-shells were her ears, and her lips were like sea-coral. The cold waves dashed over her cold breasts, and the salt glistened upon her eyelids (O. Wilde. The Fisherman and His Soul).

If I were fierce, and bold, and short of breath,

I’d live with scarlet Majors at the Base,

And speed glum heroes up the line to death.

You’d see me with my puffy petulant face,

Guzzling and gulping in the best hotel,

Reading the Roll of Honour. “Poor young chap,

I’d say – “I used to know his father well;

Yes, we’ve lost heavily in this last scrap.”

And then the war is done and youth stone dead,

I’d toddle safely home and die – in bed (S. Sassoon. Base Details)
Exercise 2. Analyse the elements of cohesion:

NOW, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them. This is the principle on which I bring up my own children, and this is the principle on which I bring up these children. Stick to Facts, sir! (Ch. Dickens. Hard Times)

A bird came down the Walk –

He did not know I saw –

He bit an Angleworm in halves

And ate the fellow, raw,
And then he drank a Dew

From a convenient Grass –

And then hopped sidewise to the Wall

To let a Beetle pass – (E. Dickinson)

Victoria became a symbol of all that was good and glorious in nineteenth century Britain. She managed to create such a rapport with her people that the members of the Royal Family became treasured representatives of the country. The real business of running the country, however, was left to parliament. One of the great achievements of the century was the gradual construction of a system of parliamentary democracy that was backed up by a permanent civil service which took care of the day-to-day running of the state. This system was much admired abroad because it provided stability and social cohesion at a time of rapid economic extension.

Exercise 3. Analyse the types of discourse in the following fragments:

The sun was going down. Every open evening, the hills of Derbyshire were blazed over with red sunset. Mrs Morel watched the sun sink from the glistening sky, leaving a soft flower-blue overhead, while the western space went red, as if all the fire had swum down there, leaving the bell cast flawless blue. The mountain-ash berries across the field stood fierily out from the dark leaves, for a moment (D.H. Lawrence. Sons and Lovers)

There is a crime here that goes beyond denunciation. There is a sorrow here that weeping cannot symbolize. There is a failure here that topples all our success. The fertile earth, the straight tree rows, the sturdy trunks, and the ripe fruit. And children dying of pellagra must die because a profit cannot be taken from an orange. And coroners must fill in the certificates – died of malnutrition – because the food must rot, must be forced to rot (J. Steinbeck. The Grapes of Wrath)

He smiled understandingly – much more that understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced – or seemed to face – the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor (F.S. Fitzgerald. The Great Gatsby)

Functional Stylistics

Questions for discussion

Belles-Lettres Style: spheres of usage, communicative aims, characteristics and types.
Publicistic Style: spheres of usage, communicative aims, characteristics and types.
Scientific Style: spheres of usage, communicative aims, characteristics and types.
Newspaper Style: spheres of usage, communicative aims, characteristics.
Official Style: spheres of usage, communicative aims, characteristics and types.
Colloquial Style: spheres of usage, communicative aims, characteristics and types.

Practical Exercises

Exercise 1. Compose the table

FS	Phonetic and graphical features	Lexical features	Morphological and Syntactic features	Compositional features
Belles-Lettres style
....

Exercise 2. Identify the functional style and analyze its peculiarities in the following examples:
1. Nothing could be more obvious, it seems to me, than that art should be moral and that the first business of criticism, at least some of the time, should be to judge works of literature (or painting or even music) on grounds of the production's moral worth. By "moral" I do not mean some such timid evasion as "not too blatantly immoral". It is not enough to say, with the support of mountains of documentation from sociologists, psychiatrists, and the New York City Police Department, that television is a bad influence when it actively encourages pouring gasoline on people and setting fire to them. On the contrary, television - or any other more or less artistic medium - is good (as opposed to pernicious or vacuous) only when it has a clear positive moral effect, presenting valid models for imitation, eternal verities worth keeping in mind, and a benevolent vision of the possible which can inspire and incite human beings towards virtue, towards life affirmation as opposed to destruction or indifference. This obviously does not mean that art should hold up cheap or cornball models of behaviour, though even those do more good in the short run than does, say, an attractive bad model like the quick-witted cynic so endlessly celebrated in light-hearted films about voluptuous women and international intrigue. In the long run, of course, cornball morality leads to rebellion and the loss of faith.
2. In tagmemics we make a crucial theoretical difference between the grammatical hierarchy and the referential one. In a normal instance of reporting a single event in time, the two are potentially isomorphic with coterminous borders. But when simultaneous, must'be sequenced in the report. In some cases, a chronological or logical sequence can in English be partially or completely changed in presentational order (e.g. told backwards); when this is done, the referential structure of the tale is unaffected, but the grammatical structure of the telling is radically altered. Grammatical order is necessarily linear (since words come out of the mouth one at a time), but referential order is at least potentially simultaneous.

Describing a static situation presents problems parallel to those of presenting an event involving change or movement. Both static and dynamic events are made linear in grammatical presentation even if the items or events are, referentially speaking, simultaneous in space or time.
3. Techniques of comparison form a natural part of the literary critic's analytic and evaluative process: in discussing one work, critics frequently have in mind, and almost as frequently appeal to, works in the same or another language. Comparative literature systematically extends this latter tendency, aiming to enhance awareness of the qualities of one work by using the products of another linguistic culture as an illuminating context; or studying some broad topic or theme as it is realized ("transformed") in the literatures of different languages. It is worth insisting on comparative literature's kinship with criticism in general, for there is evidently a danger that its exponents may seek to argue an unnatural distinctiveness in their activities (this urge to establish a distinct identity is the source of many unfruitfully abstract justifications of comparative literature); and on the other hand a danger that its opponents may regard the discipline as nothing more than demonstration of "affinities" and "influences" among different literatures - an activity which is not critical at all, belonging rather to the categorizing spirit of literary history.
4. Caging men as a means of dealing with the problem of crime is a modern refinement of man's ancient and limitless inhumanity, as well as his vast capacity for self-delusion. Murderers and felons used to be hanged, beheaded, flogged, tortured, broken on the rack, blinded, ridden out of town on a rail, tarred and feathered, or arrayed in the stocks. Nobody pretended that such penalties were anything other than punishment and revenge. Before nineteenth-century American developments, dungeons were mostly for the convenient custody of political prisoners, debtors, and those awaiting trial. American progress with many another gim "advance", gave the world the penitentiary.

In 1787, Dr. Benjamin Rush read to a small gathering in the Philadelphia home of Benjamin Franklin a paper in which he said that the right way to treat offenders was to cause them to repent of their crimes. Ironically taken up by gentle Quakers, Rush's notion was that offenders should be locked alone in cells, day and night, so that in such awful solitude they would have nothing to do but to ponder their acts, repent, and reform. To this day, the American liberal - progressive - idea persists that there is some way to make people repent and reform. Psychiatry, if not solitude will provide perfectability.

Three years after Rush proposed it, a single-cellular penitentiary was established in the Walnut Street Jail in Philadelphia. By the 1830s, Pennsylvania had constructed two more state penitentiaries, that followed the Philadelphia reform idea. Meanwhile, in New York, where such reforms as the lock-step had been devised, the "Auburn system" evolved from the Pennsylvania program. It provided for individual cells and total silence, but added congregate employment in shops, fields, or quarries during a long, hard working day. Repressive and undeviating routine, unremitting labor, harsh subsistence conditions, and frequent floggings complemented the monastic silence; so did striped uniforms and the great wall around the already secure fortress. The auburn system became the model for American penitentiaries in most of the states, and the lofty notions of the Philadelphians soon were lost in the spirit expressed by Elam Lynds, the first warden of Sing Sing (built in 1825): "Reformation of the criminal could not possibly be effected until the spirit of the criminal was broken."

The nineteenth-century penitentiary produced more mental breakdowns, suicides, and deaths than repentance. "I believe," wrote Charles Dickens, after visiting such an institution, "that very few men are capable of estimating the immense amount of torture and agony which this dreadful punishment, prolonged for years, inflicts upon the sufferers." Yet, the idea persisted that men could be reformed (now we say "rehabilitated") in such hellholes - a grotesque derivation from the idea that man is not only perfectable but rational enough to determine his behavior through self-interest.

A later underpinning of the nineteenth-century prison was its profitability. The sale and intraprison use of prison-industry products fitted right into the productivity ethic of a growing nation. Convicts, moreover, could be and were in some states rented out like oxen to upright businessmen. Taxpayers were happy, cheap labor was available, and prison officials, busily developing their bureaucracies, saw their institutions entrenched. The American prison system - a design to reform criminals by caging humans - found a permanent place in American society and flourished largely unchanged into the twentieth century. In 1871, a Virginia court put the matter in perspective when it ruled that prisoners were "slaves of the state".

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