INTRODUCTION TO STYLISTICIS THE SUBJECT AND MAIN OBJECTIVES OF STYLITICS - PowerPoint PPT Presentation

Title: INTRODUCTION TO STYLISTICIS THE SUBJECT AND MAIN OBJECTIVES OF STYLITICS


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INTRODUCTION TO STYLISTICISTHE SUBJECT AND MAIN
OBJECTIVES OF STYLITICS
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ROOTS AND PREDECESSORS

• Ancient time Rhetoric - the art of creating
  speeches and Poetics (process of artistic
  creation)
• Aristotle Poetics 320 B.C. epic drama and
  lyrics,
• Socrates - Dialectics ( the art of creating a
  dialogue)
• Poetics developed into Literary Criticism
  Rhetoric and Dialectics into Stylistics
• In ancient Rome

CAESAR and analogists CICERO and anomalists
Stressed regularity and system rules Focused on facts and data Their aim was to create simple clear and straightforward speeches Seneca and Tacituts Aimed at creation of flowery language Used unnatural syntactic patterns, artificial sentence structures Created anomalies on all language levels Their true message was secondary to the form of presentation


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MIDDLE AGES AND THE NEW AGE

• Anomalistic rhetoric of Cicero (aesthetically
  attractive) became a model way of public speaking
• Influence of ancient India brevity of speech
• Distinction between FORM and CONTENT
• The language of science, culture, administration
  (Latin) was different from the language of common
  people
• Romanticism style referred to written form of
  language Nicolas Boileau LArt poetique (1674)
  language and parole
• 1. stylus altus (works of art)
• 2. stylus mediocris (the style of high society)
• 3. stylus humilis (the style of low society and
  comedies)
• 19 century W.von Humboldt Uber die
  Verschiedenheit des menschlichen Sprachbaues..
  functional styles Prague Linguistic
  Circle (1926)

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PLAN

1. The Object, Objectives and Units of Stylistics,
   its Methodological Basis. Structural and
   Functional Approaches.
2. Stylistics and Other Sciences. Theory of
   Information. Major Scholars and Landmarks of
   Stylistics Development as a Science.
3. The Main Terms, Categories and Notions of
   Stylistics.
4. Expressive Means and Stylistic Devices.
   Expressiveness and Emotiveness.
5. Types of Meaning. Meaning and Sense. Meaning from
   a Stylistic Point of View
6. Functional styles and varieties of a language

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LITERATURE

1. ???????? ?.?. ???????????????? ??????????. ?.
   ???, 2012
2. Galperin I.R. Stylistics.- M. Higher School,
   1977, p.1
3. ??????????? ?.?. ?????????? ???????????
   ?????.-???? ???? ?????,1991
4. ??????? ?.?. ?????????? ???????????? ???????????
   ?????.- ?. ???????????, 1990
5. ??????? ?. ?. ??????????? ?????????? ???????????
   ?? ??????????? ???. ??????? ???? ?????, 2005
6. ?????? ?.?. ?????????? ??????????? ????.
   ??????? ???? ?????, 2004

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Stylistics is a branch of general linguistics.

• 2 objectives
• Investigation of special language media which
  secure the desirable effect of the utterance
  they are called stylistic devices(SD) and
  expressive means(EM). Stylistics studies the
  nature, functions and structure of SDs and EMs
• The second field of investigation is concerned
  with certain types of texts which due to the
  choice and arrangement of language means are
  distinguished by the pragmatic aspect of
  communication. These types are called functional
  styles of language.

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DEFINITION

• stylistics - is a science, a branch of
  linguistics, investigating principles and the
  results of selection and use of lexical,
  grammatical, phonetic and other language means
  for the transfer of thoughts and emotions under
  di
• Lat - stylus - a stick made of material for
  writing.
• Stylistics - from French " Stylistique "
  -instrument for Writing.fferent circumstances of
  communication

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Landmarks

• The first discussion on the problems of style
  Issues of linguistics in 1954
• Conference on Style - Indiana University , 1958
  publication of its materials in 1960 under the
  editorship of Thomas Sebeok
• Conference on Style , Moscow State Pedagogical
  Institute of Foreign Languages in 1969
• Symposium , Italy , Proceedings under the
  editorship of Prof. Chatman in 1971.
• American journals , Illinois University Style
  and Language and Style.

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XX century

• Germany New Idealists B.Croce, K.Vossler etc.
  developed individualistic and psychoanalytical
  approach to language
• French School of Charles Bally and F. de Saussure
  (Geneva) expressive stylistics
  STRUCTURALISM
• The Prague Linguistic Circle Jakobson,
  Trubetskoi, Mathesius and Copenhagen
  Structuralistic school Hjelmslev, in the US
  Sapir and Blooomfield
• 1920s Russia FORMALISM the focus of the text
  analysis was on the form (HOW) not content (WHAT)
  Roman Jakobson, Tynianov and Vinogradov

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Main representatives

• Michael Riffatere - theory of information
• Denotative and Connotative Meaning
• Decoding stylistics - I.V.Arnold
• Zhirmunsky(1921), Vinogradov (1923), Tynianov
  (1924) - literary trend of formalism
• Galperin, Lotman, Kukharenko, Morokhovsky
• Darbyshire 1971 A Grammar of Style
• Enkvist Linguistic Stylistics 1973

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Main Terms, Categories and Notions

• STYLE
• The correspondence between thought and language
  expression
• An individual manner of making use of language
• The set of rules how to write a composition
• The aesthetic function of language
• Expressive means in language
• Synonymous ways of rendering one and the same
  idea
• Emotional coloring in language
• A system of special devices called stylistic
  devices
• The splitting of the literary language into
  separate systems called styles
• The individual manner of an author in making use
  of language

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STYLE

• style is the man himself (Buffon 18thc.)
• Style is depth Darbyshire
• style is deviation Enkvist
• style is the result of an authors success in
  compelling language to conform to his mode of
  experience (Middleton Murry)
• Style is a contextually restricted linguistic
  variation (Enkvist)
• Style is a selection of non-distinctive features
  of language(Bloomfield)
• Style is simply synonymous with form or
  expression(Benedetto Croce)
• structures, sequences and patterns which extend
  beyond the boundaries of individual sentences -
  style (Archibald Hill )

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Individual style and idiolect

• Individual style implies the peculiarities of a
  writers individual manner of using language
  means to achieve the effect he desires
  components of individual style -
• composition of phrasal units
• rhythm and melody of utterances
• system of imagery
• preference for definite stylistic devices and
  their correlation with neutral language media
• interdependence of the language means employed by
  the author and those characteristic to his
  personages.
• The speech of any individual, which is
  characterized by particular elements, is called
  an idiolect that reveals his breeding and
  education

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"A VERY SHORT STORY by Ernest Hemingway

• One hot evening in Padua they carried him up onto
  the roof and he could look out over the top of
  the town. There were chimney swifts in the sky.
  After a while it got dark and the searchlights
  came out. The others went down and took the
  bottles with them. He and Luz could hear them
  below on the balcony. Luz sat on the bed. She was
  cool and fresh in the hot night.
• She loved him as always, but she realized now it
  was only a boy and girl love. She hoped he would
  have a great career, and believed in him
  absolutely. She knew it was for the best. The
  major did not marry her in the spring, or any
  other time. Luz never got an answer to the letter
  to Chicago about it. A short time after he
  contracted gonorrhea from a sales girl in a loop
  department store while riding in a taxicab
  through Lincoln Park.

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James Joyce Ulysses

• INELUCTABLE MODALITY OF THE VISIBLE AT LEAST
  THAT IF NO MORE, thought through my eyes.
  Signatures of all things I am here to read,
  seaspawn and seawrack, the nearing tide, that
  rusty boot. Snotgreen, bluesilver, rust
• coloured signs. Limits of the diaphane. But he
  adds in bodies. Then he was
• aware of them bodies before of them coloured.
  How? By knocking his sconce
• against them, sure. Go easy. Bald he was and a
  millionaire, maestro di color
• che sanno. Limit of the diaphane in. Why in?
  Diaphane, adiaphane. If you can
• put your five fingers through it, it is a
  gate, if not a door. Shut your eyes and see.
• Stephen closed his eyes to hear his boots
  crush crackling wrack and
• shells. You are walking through it howsomever. I
  am, a stride at a time. A
• very short space of time through very short
  times of space. Five, six the
• nacheinander. Exactly and that is the
  ineluctable modality of the audible.
• Open your eyes. No. Jesus! If I fell over a
  cliff that beetles o'er his
• base, fell through the nebeneinander
  ineluctably. I am getting on nicely in
• the dark. My ash sword hangs at my side. Tap
  with it they do. My two feet
• in his boots are at the end of his legs,
  nebeneinander. Sounds solid made
• by the mallet of Los Demiurgos. Am I walking into
  eternity along Sandymount
• strand? Crush, crack, crick, crick.

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NORM, expressiveness and emotiveness

• Norm is an invariant, which should embrace all
  variable phonemic, morphological, lexical, and
  syntactic patterns with their typical properties
  circulating in the language at a definite period
  of time.
• language-as-a-system and language-in-action,
  language and speech (discourse), lange and
  parole.
• Expressiveness in etymological sense is a kind
  of intensification of the utterance (or a part of
  it).
• Emotiveness - reveals emotions of the writer or a
  speaker by not directly manifesting their
  emotions but by echoing real feelings, designed
  to awaken co-experience on the part of the reader

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Emotional synonyms

• BIG enormous, huge, large, gigantic, great,
  immense, monstrous, macroscopic, mammoth,
  tremendous
• SMALL little, tiny, minute, miniature,
  miniscule, undersized, diminutive, lilliputian,
  midget, petite
• BEAUTIFUL - fair, fine, good-looking, handsome,
  splendid, gorgeous, lovely, picturesque, pretty,
  scenic, stunning
• UGLY disfigured, evil-looking, grotesque,
  monstrous, hideous, repulsive, unsightly
• INTERESTING - absorbing, engrossing, fascinating,
  gripping, riveting, entertaining, amusing,
  intriguing
• BORING - boring, deadening, dull, irksome, slow,
  tedious, tiresome, wearisome, uninteresting

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Expressiveness vs emotiveness
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Expressive means

• Expressive means are those phonetic,
  morphological, word-building, lexical,
  phraseological, syntactical forms, which exist in
  language-as-a-system for the purpose of logical
  or emotional intensification of the utterance.
• Phonetic EM - pitch, melody, stress, pausation,
  drawling out, whispering and sing-song manner
• Morphological EM - number, Historical Present,
  shall in the 2 or 3 person, demonstrative
  pronouns, verbals
• Lexical EM - different affixes e.g. diminutive
  suffixes dearie, sonny, auntie, streamlet. At
  the lexical level expressiveness can also be
  rendered by the words possessing inner expressive
  charge - interjections, epithets, slang and
  vulgar, poetic or archaic words, set phrases,
  idioms, catchwords, proverbs and sayings

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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, But make allowance for their doubting too If you can wait and not be tired by waiting, Or, being lied about, don't deal in lies, Or being hated don't give way to hating, And yet don't look too good, nor talk too wise If you can dream - and not make dreams your master If you can think - and not make thoughts your aim, If you can meet with Triumph and Disaster And treat those two impostors just the same If you can bear to hear the truth you've spoken Twisted by knaves to make a trap for fools, Or watch the things you gave your life to, broken, And stoop and build 'em up with worn-out tools R.KIPLING IF If you can make one heap of all your winnings And risk it on one turn of pitch-and-toss, And lose, and start again at your beginnings, And never breathe a word about your loss If you can force your heart and nerve and sinew To serve your turn long after they are gone, And so hold on when there is nothing in you Except the Will which says to them "Hold on! If you can talk with crowds and keep your virtue, Or walk with Kings - nor lose the common touch, If neither foes nor loving friends can hurt you, If all men count with you, but none too much If you can fill the unforgiving minute With sixty seconds' worth of distance run, Yours is the Earth and everything that's in it, And - which is more - you'll be a Man, my son!
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Harvey Keitel recites IF by R.Kipling
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Stylistic devices

• Stylistic device is a conscious and intentional
  intensification of some typical structural and/or
  semantic property of a language unit (neutral or
  expressive) promoted to a generalized status thus
  becoming a generative model.
• SDs display an application of 2 meanings the
  ordinary one (already established in
  language-as-a-system) and a special imposed on
  the unit by the author (or content), a meaning,
  which appears in language-in-action
• Stylistic devices (tropes, figures of speech)
  unlike expressive means are not language
  phenomena. They are formed in speech and most of
  them do not exist out of context. According to
  principles of their formation, stylistic devices
  are grouped into phonetic, lexico-semantic and
  syntactic types. Stylistic devices are the result
  of revaluation of neutral words,
  word-combinations and syntactic structures.
  Stylistic devices are studied by stylistic
  semasiology.

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Types of context

• Linguistic context is the encirclement of a
  language unit by other language units in speech.
  Such encirclement makes the meaning of the unit
  clear and unambiguous. It is especially important
  in case with polysemantic words. Microcontext is
  the context of a single utterance (sentence).
  Macrocontext is the context of a paragraph in a
  text. Megacontext is the context of a book
  chapter, a story or the whole book.
• An extralingual (situational) context is formed
  by extralingual conditions in which communication
  takes place physical context and abstract
  context. Temporal or chronological context ,
  psychological context

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Linguistic micro context
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Extralinguistic context
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Speech and writing (oral and written language
varieties)

• Speech is normally a continuous stream of sound.
  Conversations are often accompanied by other sign
  systems which aid understanding. These might be
  physical gestures, facial expressions, even
  bodily posture. Meaning in speech is commonly
  conveyed by tone and other non-verbal means such
  as irony. Speech quite commonly includes false
  starts, repetition, hesitation

• Writing is the use of visual symbols which act as
  a code for communication between individuals or
  groups. The code of written language consists of
  letter-forms (the alphabet) used to form a visual
  image of spoken words. Words are formed in
  accordance with the conventions of spelling, then
  combined according to the rules of syntax to form
  meaningful statements.

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Types of Meaning

• primary (denotative) meaning and additional
  (connotative) meaning/ objective and emotive
  planes
• Connotative meaning may be of 4 types
• 1.functional (reflecting the sphere of usage of
  the word) formal/informal dear Sir/ Hey, dude
• 2.evaluative (positive, negative or neutral)
  ambitious/pushy/goal-oriented
• 3.emotive (rendering the attitude of the speaker)
  Its fabulous! Disgusting! Oh boy! Tut tut!
• 4.expressive (containing an image of pragmatic
  value) to express what is really meant
• stylistic meaning as distinguished from lexical
  one, which is representing primary information,
  is based on the secondary (additional)
  information.

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Types of Meaning

• Lexical meaning is given explicitly while
  stylistic meaning is always implied. Lexical
  meaning is relatively stable, and stylistic
  meaning is liable to change
• Grammatical meaning reflects the relations
  between words or some forms of words or
  constructions, it can also be called structural
  meaning. All the words have grammatical meaning
  simply because they belong to some language and
  have their place in it
• Logical, emotive and nominal meaning
• Logical meaning (synonymously called referential
  or direct) is the precise naming of a feature, an
  idea, a phenomenon or an object. There can be
  primary and secondary logical meanings. All the
  meanings fixed by the dictionaries comprise what
  is called the semantic structure of a word

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Types of Meaning

• Emotive meaning also materializes the concept of
  a word but it has reference to the feelings and
  emotions of a speaker towards the thing. It names
  the object by evaluating it.
• Usually we deal with contextual emotive meaning.
  But some classes of words interjections,
  exclamations, and swearwords are direct
  carriers of emotive meaning. Interjections have
  even lost completely their logical meaning e.g.
  alas, oh, ah, pooh, darn, gosh.
• Nominal meaning steps in when we deal with the
  words serving the purpose of singling out one
  definite and singular object of a whole class of
  similar objects. These words are classified by
  grammarians as proper nouns as different from
  common nouns

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Functional styles of language

• The object of linguostylistics as the study of
  the nature, functions and structure of SDs and
  EMs and the study of the functional styles of
  language.
• Functional style (FS) may be defined as a system
  of interrelated language means which serves a
  definite aim of communication
• FSs are sometimes called registers or discourses
• the language of belles-lettres
• the language of publicistic literature
• the language of press/media
• the language of scientific prose
• the language of official documents
• I.V. Arnold mentions four styles poetic style,
  scientific style, newspaper style, colloquial
  style.

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Linguistic stylistics and literary stylistics

• The old man is dead. ?????? ????.
• The gentleman well advanced in years attained the
  termination of his terrestrial existence. ??????
  ?????????
• The ole bean kicked the bucket. ?????? ???? ?????
• Linguistic stylistics and literary stylistics are
  two separate and at the same time interconnected
  branches of stylistics
• Linguistic stylistics studies functional styles
  of a language and the elements of language from
  the point of view of their ability to express and
  cause emotions
• Literary stylistics studies expressive means and
  stylistic devices characteristic for a definite
  work of art, man of letter, literary movement,
  trend or epoch, and factors influencing the
  expressiveness of language.
•  

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Structure of Stylistics

• Phoneme
• Morpheme
• Lexeme
• Sentence
• Paragraph
• Text

• Stylistic phonetics
• Stylistic morphology
• Stylistic lexicology
• Stylistic syntax

Connection of stylistics with other branches of
linguistics Stylistics and phonetics Phonetics
studies sounds, articulation, rhythmics and
intonation. Stylistics concentrates on expressive
sound combinations, intonational and rhythmic
patterns. Stylistics and lexicology Lexicology
describes words, their origin, development,
semantic and structural features. Stylistics also
deals with words, but only those which are
expressive in language or in speech. Stylistics
and grammar Grammar describes regularities of
building words, word-combinations, sentences and
texts. Stylistics restricts itself to those
grammar regularities, which make language units
expressive.