Lecture1 2013

www.themegallery.
com
L/O/G/O
Lecture 1 COMPARTIVE STYLISTIC STUDIES AS A BRANCH OF STYLISTICS.

Associate Professor V.V. Zhukovska
www.themegallery.com
RECOMMENDED
LITERATURE:
.. - : , 2001. - . 8-13. / .. , .. , .. , .. . .: , 1991. . 7-48. .. . .: , 1981. . 7-82. Galperin I.R. Stylistics. M.: Higher School, 1977. P. 9-32. .. . .: : , 2003. . 6-36. . .. . - : - , 2010. 240 . .., .. . : , 2004. . 5-16.
The old man died. The old man joined the majority.
The old man kicked the bucket.
1. Never seen the chap, not I! 2. Me, I never clapped eyes on this here guy. 3. I deny the fact of ever having seen this person. 4. I have no association with the appearance of the individual behold. 5. I have never certainly seen this man.
What is stylistics? Who is stylistics? (Mick Short)
The need for stylistics.
To do stylistics is to explore language, and, more specifically, to explore creativity in language. Doing stylistics thereby enriches our ways of thinking about language and exploring language offers a substantial purchase on our understanding of (literary) texts.
[Simpson, 2004: 3]
1.
The
origin
of
stylistics.
Stylistics is a branch of linguistics which investigates the entire system of expressive resources available in a particular language.
.
Stylistics is the science of literary style, the study of stylistic features (Oxford English Dictionary,1882)
.
Predecessors of stylistics
RHETORIC
POETICS
Aristotle (384 BC-322 BC) Cicero (106 BC-43 BC)

Quintilian (35 AD-96 AD)
Aristotles Rhetoric
In Book III (I.1), Aristotle points out that
it is not sufficient to know what one ought to say, but one must also know how to say it.
Quintilians Institutio oratoria
Firstly the three styles were distinguished
Plain style is for purposes of instruction. Intermediate style is for charming or conciliating an audience. Grand style is for moving an audience
The Prague Linguistic Circle Roman Jacobson
Roman Jacobson
The Prague School developed the concept of foregrounding, whereby poetic language stands out from the background of non-literary language by means of deviation (from the norms of everyday language) or parallelism.
Ukrainian stylisticians
Russian stylisticians
I.V. Arnold
The scope of interest of stylistics 1) the aesthetic function of language; 2) expressive means in language; 3) synonymous ways of rendering one and the same idea: 4) emotional coloring in language; 5) stylistic devices; 6) functional styles; 7) the interrelation between language and thought; 8) individual style of a writer.
The subject-matter of stylistics
Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream to dream before (E. Poe). (alliteration)
The blonde I had been dancing withs name was Bemice Crabs or Krebs (J. Salinger)
You sleep here she murmured in a voice light like a childs breath, offering him a lamp. Buenos noches, senorita, he said politely, taking it from her (J. Conrad).
What can you say about a twenty-five-yearold girl who died? That she was beautiful. And brilliant. That she loved Mozart and Bach. And the Beatles. And me. Once, when she specifically lumped me with those musical types, I asked her what the order was, and she replied, smiling, Alphabetical. At that moment I smiled too (E. Segal).
Stylistics does not study or describe separate linguistic units, it studies their stylistic function.
Stylistics is interested in the expressive potential of language units, their functioning and interaction in conveying ideas and emotions in a certain text or communicative context.
Stylistics pertains to all language levels and investigates language units from a functional point of view.
There is no separate stylistic level of language.
3. Types of stylistics.
Comparative stylistics investigates national and international features in stylistic systems of national languages, defines common and peculiar features in the organization of functional styles, and specifies national peculiarities in speech structure of functional styles.
Contrastive stylistics focuses on stylistic systems of unrelated languages.
Contrastive stylistics is the type of stylistic analysis that studies and compares the stylistic systems of two or more languages.
Its primary tasks are

1) to describe stylistically marked language units of all language levels in different languages; 2) to study stylistic resources of different languages; 3) to compare functional styles and genres of the languages under consideration;
4) to investigate the ways of expressing various stylistic concepts (e.g. humour or satire) or stylistic functions each compared language has in its disposal; 5) to compare individual styles of different authors who created their works in different languages and in different epochs.
Comparative stylistics as a linguistic discipline originated in the middle of the XXth century on the basis of comparative and typological methods of language research.
Nowadays three distinct directions are singled out in the field of comparative stylistic studies
The first one is theoretic and translation direction

Comparative Stylistics of French and English: A Methodology for Translation by Jean-Paul Vinay and Jean Darbelnet (1958) by A. Fedorov (1971)
The second branch of comparative stylistic studies (the so-called comparative and typological branch) is concerned with specifically linguistic issues.
Ch.Bally French Stylistics V. Gak (1975, 1977, 1983) O. Yefimov (1963) and I. Bilodid (1972). published in Kyiv in 1980.
The third, purely stylistic branch of comparative stylistics is interested in the stylistic peculiarities of the given language, which are conditioned by its specific perception and analysis of the world.
French Stylistics (1965) distinguished Russian Y.Stepanov
by the stylistican
Translation theory and comparative stylistics are two philological disciplines which have a single methodological basis, the comparison of linguistic and literary material at the contextual level.
Methods of stylistics.
Basic notions of stylistics.
realized within one sentence
realized within a superphrasal unit or paragraph
realized within the whole literary work
The expressive means (EM) of a language are those phonetic, morphological, word-building, lexical, phraseological and syntactical forms which exist in the language-as-a-system for the purpose of logical and/or emotional intensification of the utterance [Galperin, 1977: 27].
LEVELS OF LANGUAGE Phonetics pitch melody stress
EXPRESSIVE MEANS
drawling drawling syllables of certain
pausation
whispering
a sing-song manner of speech
Morphology
grammar means (e.g.
word-building
means
shifts in tenses, the

usage of obsolete
(e.g.
the
usage
of
diminutive suffixes to add some emotional colouring to words as y(ie) in birdie, and let in streamlet, piglet)
forms as in He hath brethren)
Figures of speech do not create images, but serve to intensify expressiveness of speech, increase its emotive colouring with the help of syntactic constructions (inversion, rhetorical questions, and parallel constructions).
Thematic means are the set of topics (themes) preferred by a certain literary trend.
The group of scholars O.M. Morochovskyi, O.P. Vorobjova, N.I. Lyhosherst and Z.V. Tymoshenko define expressive means as a marked member of stylistic opposition which has an invariant meaning in language: Mr Pickwick went in (stylistically neutral) Went in Mr Pickwick In went Mr Pickwick Mr Pickwick went in, he did It was Mr Pickwick who went in
A stylistic device is an intentional change of fixed distribution of the language unit in speech.
Imagery is a descriptive language used in literature to evoke mental pictures or sensory experiences.
An image may be visual (pertaining to the eye), olfactory (smell), tactile (touch), auditory (hearing), gustatory (taste), abstract (appealing to what may be described as the intellect) and kinaesthetic (pertaining to the sense of movement and bodily effort).
Fog
The fog comes On little cat feet. It sits looking Over harbor and city on silent haunches and then moves on. kinaesthetic image auditory, tactile, visual images kinaesthetic image visual image auditory image kinaesthetic image

Lecture1 2013

Hochgeladen von

Dokumentinformationen

Originalbeschreibung:

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Lecture1 2013

Hochgeladen von

Copyright:

Verfügbare Formate

www.themegallery.

Lecture 1 COMPARTIVE STYLISTIC STUDIES AS A BRANCH OF STYLISTICS.

The old man kicked the bucket.

What is stylistics? Who is stylistics? (Mick Short)

The need for stylistics.

Aristotle (384 BC-322 BC) Cicero (106 BC-43 BC)

Quintilian (35 AD-96 AD)

In Book III (I.1), Aristotle points out that

Quintilians Institutio oratoria

Firstly the three styles were distinguished

The Prague Linguistic Circle Roman Jacobson

The subject-matter of stylistics

There is no separate stylistic level of language.

Contrastive stylistics focuses on stylistic systems of unrelated languages.

Its primary tasks are

The first one is theoretic and translation direction

French Stylistics (1965) distinguished Russian Y.Stepanov

Basic notions of stylistics.

realized within one sentence

realized within a superphrasal unit or paragraph

realized within the whole literary work

LEVELS OF LANGUAGE Phonetics pitch melody stress

drawling drawling syllables of certain

grammar means (e.g.

shifts in tenses, the

forms as in He hath brethren)

Das könnte Ihnen auch gefallen