Classifications of expressive means and stylistic devices презентация

E.g.: I do know you! I'm really angry with that dog of yours! That you should deceive me! If only I could help you!

E.g. April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers. (T. S. Eliot)

Examples:

“farmyards away”, “a grief ago”, “all sun long”

“As Connie had said, she handled just like any other aeroplane, except that she had better manners than most.”

E.g. alliteration:
“Robert Rowley rolled a round roll round”
instead of
“Robert turned over a hoop in a circle”

E.g. The machine sitting at the desk was no longer a man; it was a busy New York broker... (O.Henry).

E.g. (verbal irony):
It must be delightful to find oneself in a foreign country without a penny in one's pocket.

She possessed two false teeth and a sympathetic heart. (O. Henry)

At noon Mrs. Turpin would get out of bed and humour, put on kimono, airs and the water to boil for coffee. (O. Henry)

E.g. sweet sorrow, deafening silence

simile
periphrasis
euphemism
hyperbole

That fellow is like a bear.
She is as beautiful as a flower.
My heart is like a singing bird.

He was so tall that I was not sure he had a face (O. Henry)

E. g.: ”The principal production of these towns... appear to be soldiers, sailors, Jews, chalk, shrimps, officers and dock-yard men.”(Dickens, "Pickwick Papers")

“ If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you
And make allowance for their doubting too,
If you can dream and not make dreams your master,
If you can think and not make thoughts your aim,
Yours is the earth and everything that's in it,...
And which is more, you'll be a Man, my son.”
(R. Kipling)

Types of climax
1) Logical
2) Emotional
3) Quantitative

"Nobody ever stopped him in the street to say, with gladsome looks, 'My dear Scrooge, how are you? When will you come to see me?' No beggars implored him to bestow a trifle, no children asked him what it was o'clock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the blind men's dogs appeared to know him, and when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails, as though they said, 'No eye at all is better than an evil eye, dark master!’" (Ch. Dickens)

"It was a lovely city, a beautiful city, a fair city, a veritable gem of a city.”

"They looked at hundreds of houses; they climbed thousands of stairs; they inspected innumerable kitchens." (Maugham)

"Little by little, bit by bit, and day by day, and year by year the baron got the worst of some disputed question." (Dickens)

"Soames turned away; he had an utter disinclination for talk like one standing before an open grave, watching a coffin slowly lowered." (Galsworthy)

"Bicket did not answer his throat felt too dry." (Galsworthy)

"The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect." (Dickens)

"Should you ask me, whence these stories?
Whence these legends and traditions, With the odours of the forest, With the dew, and damp of meadows, With the curling smoke of wigwams, With the rushing of great rivers, With their frequent repetitions,…" (Longfellow)

"She and that fellow ought to be the sufferers, and they were in Italy" (Galsworthy)

"It was not Capetown, where people only frowned when they saw a black boy and a white girl. But here... And he loved her" (Abrahams)

“For what is left the poet here?
For Greeks a blush—for Greece a tear.” (Byron)

"How long must it go on? How long must we suffer? Where is the end? What is the end?" (Norris)

graphons - graphic means to reproduce the phonetic peculiarities of individual speech or dialect, e.g.: Thquire!... Your thervant! Thith ith a bad pieth of bithnith, thith ith… (Ch. Dickens)
Other graphic means to emphasise the «unheard» phonetic characteristics such as the pitch of voice, the stress, and other melodic features, e.g. italics, capitalisation, repetition of letters.
Onomatopoeia

alliteration
assonance
paronomasia
rhythm and meter
rhyme

E. g.:
historical present
What else do I remember? Let me see.
There comes out of the cloud our house... (Dickens)

depersonification
«Where did you find it?» asked Mord Em'ly of Miss Gilliken with a satirical accent.
«Who are you calling "it"?» demanded Mr. Barden aggressively. «P'raps you'll kindly call me 'im and not it». (Partridge)

Syntagmatic lexicology also studies simple lexical repetition.
E.g.: He thought and thought and thought it over and over and over.

ellipsis
aposiopesis
suppression
one-member nominative sentences
morphologically incomplete sentences
asyndeton

1. Repetition of sentence parts
2. Syntactic tautology - (A) prolepsis, (B) tautology in appended statements):
A. Prolepsis: Miss Tillie Webster, she slept forty days and nights without waking up. (O. Henry)
B. Tautology in appended statements: I know what the like of you are, I do. (B. Shaw)
You’ve made a nice mess, you have. (Jerome)
3. Polysyndeton

parallelism
anaphora
epiphora
framing
anadiplosis
chiasmus

anaphora (identity of beginnings, initial elements).
E. g. If only little Edward were twenty, old enough to marry well and fend for himself, instead often. If only it were not necessary to provide a dowary for his daughter. If only his own debts were less. (Rutherfurd)

Framing (repetition of some element at the beginning and at the end of a sentence, paragraph or stanza).
E. g. Never wonder. By means of addition, subtraction, multiplication and division, settle everything somehow, and never wonder. (Dickens)

Chiasmus (parallelism reversed, two parallel syntactical constructions contain a reversed order of their members).
E. g. That he sings and he sings, and for ever sings he— I love my Love and my Love loves me! (Coleridge)

FIGURES OF REPLACEMENT

Figures of quantity: hyperbole, understatement (including litotes)
Figures of quality: metaphoric and metonymic group
Figure of contrast: irony

FIGURES OF CO-OCCURRENCE
Figures of identity: simile, quasi-identity, synonymous replacement
Figures of inequality: specifying (clarifying) synonyms, climax, anti-climax, zeugma, pun, disguised tautology
Figure of contrast: oxymoron, antithesis

"... she was not unlike Morgiana in the 'Forty Thieves'." (Dickens)
"And Captain Trevelyan was not overpleased about it." (Christie)
"A chiselled, ruddy face completed the not-unhandsome picture." (Pendelton)
"You wouldn't exactly call Warley heavily industrialized." (Braine)
"His suit... had... that elasticity disciplined only by first-rate tailoring which isn't bought for very much under thirty guineas." (Braine)

FORMAL MARKERS OF PERSONIFICATION
Capitalization: «No sleep till morn, when Youth and Pleasure meet To chase the glowing Hours with flying feet». (Byron)
Personal pronouns “he” and “she”: «Then Night, like some great loving mother, gently lays her hand at our fevered head... and, though she does not speak, we know what she would say...» (Jerome).
Direct address: «О stretch by reign, fair Peace, from shore to shore Till conquest cease, and slavery be no more». (A. Pope)

“Don’t act like a Romeo in front of her.”
The rise in poverty will unlock the Pandora’s box of crimes.
“This place is like a Garden of Eden.”
“Hey! Guess who the new Newton of our school is?”

E.g. fairy-tales, fables, philosophical or satirical novels (Gulliver’s Travels by Jonathan Swift)

FIGURES OF CO-OCCURRENCE
Figures of identity: simile, quasi-identity, synonymous replacement
Figures of inequality: specifying (clarifying) synonyms, climax, anti-climax, zeugma, pun, disguised tautology
Figure of contrast: oxymoron, antithesis

Level-based classification of EMs and SDs (lexical, morphological, syntactical, phonetic and graphical level).
A great emphasis is laid on decoding stylistics, the terminology from the theory of information is applied.
SDs and EMs are studied on the basis of oppositions.
Text stylistics, context and intertextuality are discussed.