Stylistics of the English Language 8. Morphological Expressive Means Outline презентация

(e.g. from relational, or classifying, to qualitative, or descriptive):
“Wordsworth honored himself by his simple adherence to truth, and was very willing not to shine; but he surprised by the hard limits of his thought. To judge from a single conversation, he made the impression of a narrow and very English mind; of one who paid for his rare elevation by general tameness and conformity.”
[English Traits by Ralph Waldo Emerson]

‘white swan’
[Yeats, Leda and Swan, from Arnold 2010]

‘Intelligent Business’
[A Coursebook in Business English, Pearson Education Limited, 2013]

normally do not allow it:
“You cannot be deader than the dead.”
[Hemingway, from Arnold 2010]
“Today you are You, that is truer than true.
There is no one alive who is Youer than
You.”  [Dr.Suess, Happy Birthday to You]

land of England blooms and grows; waving with yellow harvests, thick-studded with workshops, industrial implements, with fifteen million of workers understood to be the strongest, the cunningest, the willingest our Earth ever had; (…)”

[Thomas Carlyle, Past and Present]
‘The orangemostest drink in the world.’
“He was the most married man I’ve ever met.”
[from Arnold 2010]

Happens: Adventures in Non-Ordinary Realities”
[a book by Stanislav Grof (2006)]
“The English country gentleman galloping after a fox – the unspeakable in pursuit of the inedible.”
[Oscar Wilde]  
 

to the subject matter (e.g.irony, sarcasm):

‘What is not in dispute is that witnesses heard voices raised, and that at some point Mr.A and myself both fell, entwined, down the stairs, landing in the hall at exactly the moment when, as luck would have it, the front door opened to admit the first of Mr.A’s guests, my right honourable friend the Chancellor of the Exchequer.’
[Robert Harris, PMQ, (2000)]

stylistically marked pieces of description:

‘A camouflage of (…) dirty-jeaned drabness covers everybody and we merge into the background.’

[Marshall, from Znamenskaya 2005]

me to ask which of my books I would suggest.”

[C.JoyBell C., American author, cjoybellc.blogspot.ru] 

from the sky,
With infinite affection
And infiniter care
Her (Nature’s) golden finger on her lip
Wills silence everywhere.”
[Emily Dickinson, At night Nature takes care of the world]
“...The fine, the large, the florid — all off!” [Galsworthy]
“Curioser and curioser!” cried Alice. [L.Carroll]
“There was something she read once, something that she thinks was supposed to be about politics, but seems to describe their predicament exactly: ‘When the old is dying, and the new cannot be born, a variety of morbid symptoms appears.’” [Nick Hornby, Faith (1993)]

that Mr.A disclosed that he had misled us.”
[Robert Harris, PMQ (2000)]
to convey the psychological and emotional condition of the speaker:
“Surprisingly, the ground rushed away under his feet and he all but lost his balance.”
[A.Thorpe, The Glow (2005)]

indicate relational modification: mentally retarded, socially acceptable
and doing so, be part of a euphemistic expression, expressing the tolerant attitude of the speaker: volumetrically challenged instead of “plump/obese”

transposed into the stylistic meaning of conveying the attitude of a speaker to the subject matter:

“The comment was, as usual, robust; some might say robust in the extreme.” (indirect disapproval or indignation at the person who made such a comment)
[Robert Harris, PMQ, (2000)]

expressing uncertainty can get transposed into the stylistic function of showing mild/wary criticism:
“I was in his company for about an hour, but find it impossible to recall the largest part of his discourse, which was often like so many printed paragraphs in his book – perhaps the same – so readily did he fall into certain commonplaces (a trite remark).”
[English Traits by Ralph Waldo Emerson]

charge of the phrase:

‘an absurdly, incomprehensibly and untypically long lecture’

[Shakhovskiy, 2013]

noisy babble of self-interrogation that goes on in her head almost every minute of the day. Would she like a baby? (Probably, although…) Would she like one now? (Maybe, but…) Does she want one with Paul? (Sometimes, when…)”[Nick Hornby, Faith (1993)]

“Maybe he was trying to wind her up. Maybe he was trying to sound surer than he felt and it just came out that offensive, arrogant way. Maybe he was high on something.”
[Janice Galloway, The Bridge, (1996)]

noise as if 3 volcanoes and 3 thunderstorms worked out synchronically.’

[Shakhovskiy, 2013]

it must be like to be him, to have this one simple thought, this faith, that renders everything else in his life – his work, his family (a wife and two boys, both with eleven first names), his friends and his favourite TV programs – temporarily insignificant.”
[Nick Hornby, Faith (1993)]

9000 shots in my career. I've lost almost 300 games. 26 times, I've been trusted to take the game winning shot and missed. I've failed over and over and over again in my life. And that is why I succeed.” [Michael Jordan]
“Life is 10% what happens to you and 90% how you react to it.” [C.S.Swindoll]
“But, even then, its temperature would be so low that it would take about a million million million million million million million million million million million (1 with sixty-six zeros after it) to evaporate completely.”
[S.Hawking, A Brief History of Time (1988)]

bar in Costello’s and he’s saying to a customer, I don’t have a tinker’s damn if you have ten pee haitch dees. I know more about Samuel Johnson than you know about your hand.”
[Francis McCourt, ‘Tis (1999)]

change in attitude to the subject matter:
“He was very sorry that Dr.Channing, a man to whom he looked up - no, to say that he looked up to him would be to speak falsely, but a man whom he looked at with so much interest – should embrace such views.”
[English Traits by Ralph Waldo Emerson]

meanings that are peculiar to particular sublanguages, explicitly or implicitly comparing them with the neutral ones common to all the sublanguages.
Paradigmatic morphology is concerned with the phenomenon of transposition within various word classes/parts of speech:
when a grammatical meaning which serves to indicate logical relations within a sentence gets transposed and acquires an emotive/expressive/stylistic connotation in a new context;

groups;
Gerunds - number, lexico-grammatical groups;
Verbs – tense and modality;
Adjectives – comparative and superlative forms, lexico-grammatical groups (syntactical valency), substantivisation;

in the context through repetition or transposition;
Pronouns – the case of personification and depersonification; the opposition “I-s/he”, “We-They”, the plurals of majesty and modesty;
Numerals - functions of exaggeration, persuasion, creating a symbolic meaning;
Articles – the use of indefinite and definite articles with proper nouns, gerunds, sentences, pronouns;
Prepositions – function of marking the attitude.

good-bye Ella Fitzgerald and what about having to see Paul’s mum and dad all the time because this would be their first grandchild <…>” [Nick Hornby, Faith (1993)]
“It feels as though she and Paul have got stuck: stuck in their north London flat, stuck in their will-we-won’t-we childless state, stuck with the same friends and the same restaurants and jobs and things to do, and she cannot see what is going to free them, propel them into the next stage of their life together.”[Nick Hornby, Faith (1993)]

don’t want to get used to the creaking,’ Paul screams. ‘Why should I get used to the creaking?’>
The man is right. They get used to the creaking. The get used to other things, too: cooking for three at dinner-time, and watching Brian slide down on his bottom until he can reach his steaming food <…>”
[Nick Hornby, Faith (1993)]

can be stylistically highlighted
often is based on the principles of addition and repetition of affixes

negative evaluation of a subject (caressing, jocular or pejorative):
“Yes, I, too, attended Hell-ton and survived. And, no, at that time, I was not the mental giant you see before you. I was the intellectual equivalent of a 98-pound weakling. I would go to the beach, and people would kick copies of Byron in my face.” [Dead Poets’ Society, a feature movie by Tom Schulman]

***-ling= a small, immature, or miniature version of what is denoted by the main stem.

or neutral connotations:

“I recognised the Mozartean technique in the piece.”

‘He described a Dantean scene when two 30 ft monsters fought to the death.’ [Oxford Dictionary]

manner -
‘a biggish wart that should be removed’ [Merriam-Webster]
as well as derogatory:
‘Her laughs are so mannish; slapping the table as she cackles loudly.’

is associated with exquisite elevated style, or the style peculiar to the person mentioned, – Dantesque, Turneresque, Kafkaesque, Kafkaesqueness :
‘Turneresque sunset’ [Merriam-Webster]

‘He emerges from the horrors with a  Kafkaesque account of life in the Chinese jails.’ [www.dictionary.com]

(and sometimes a half-affix –monger): drunkard, scandal-monger, black marketeer, mobster:

‘Many of the diamond dealers were black marketeers, working all sorts of deals.’ [Cambridge Dictionary]

the speaker:

“CHARTERIS (Comes beside Grace, and puts his left hand caressingly round her neck.) You see, dearie, she won't look the situation in the face.”
[The Philanderer byGeorge Bernard Shaw]

to lend the utterance a humorous effect:

‘F*** bastards, parents,’ Colin complained one Monday lunchtime. ‘You think they’re OK when you’re little, then you realise they’re just like …’
‘Henry VIII, Col?’ Adrian suggested. We were beginning to get used to his sense of irony; also to the fact that it might be turned against us as well. When teasing, or calling us to seriousness, he would address me as Anthony; Alex would become Alexander, and the unlengthenable Colin shortened to Col.
[Julian Barnes, The Sense of an Ending (2011)] 
***Reducing the name or lengthening it for the sake of emphasis – Alexander – Alex – stylistically marked

particular idea in the extract:
“His father, an ineffectual, inarticulate man with a taste for Byron and a habit of drowsing over the Encyclopedia Britannica,(…) hovered in the background of his family’s life, an unassertive figure with a face half-obliterated by lifeless, silky hair (…) ”
[F.Scott Fitzgerald, This Side of Paradise]

have to exploit whatever talent is given to them, and their talent is dying. They can die heroically, comically, ironically, slowly, suddenly, disgustingly, charmingly or from a great height.”

[Rosencrantz and Guildenstern Are Dead by Stopppard, Tom (1967), p. 75.]

Amory at quarter-back, exhorting in wild despair, making impossible tackles, calling signals in a voice that had diminished to a hoarse, furious whisper <…> finally bruised and weary, but still elusive, circling an end, twisting, changing pace, straight-arming… falling behind the Groton goal with two men on his legs, in the only touch-down of the game.”[This Side of Paradise by F.S.Fitzgerald, p.31]
“I don’t want to burst, she thinks later. Bursting is hopeless, useless, a waste of time and energy. Bursting achieves nothing; it just makes you sit on roofs like a mad person.<…> Bursting s undignified, and never helps you get what you want.” [Nick Hornby, Faith (1993)]