Функциональные стили современного английского языка

Структурные особенности газетного функционального стиля

Структурные особенности разговорного функционального стиля

Структурные и семантические особенности английских газетных заголовков

Стилистические функции пейзажа в стиле художественной прозы

Семантико-структурные типы риторических вопросов в публицистическом функциональном стиле

Лексико-фразеологические выразительные средства и стилистические приёмы

Образность как средство характеристики персонажей

Стилистико-экспрессивные функции эпитетов

Эмоциональные функции междометий

Интегративная функция иронии

Стилистико-экспрессивные функции метафоры

Художественная роль использования терминов в характеристике персонажей

Синтаксические выразительные средства и стилистические приёмы

Структура и стилистические функции риторических вопросов

Эллипсис как средство выражения экспрессии

Речевые средства характеристики персонажей

Интегративная функция авторской точки зрения

Интегративная функция повтора

Структурно-семантические свойства экспрессивных синтаксических конструкций

Синтаксический повтор и его стилистические функции

Стилистико-экспрессивные функции инверсии

Обращение в английской разговорной речи как средство выражения экспрессивности

Семантические транспозиции вопросительных предложений в английской разговорной речи.

Литература, рекомендуемая для написания курсовых работ

1. Арнольд И.В. Стилистика современного английского языка Л.: Просвещение, 1981.

2. Арнольд И.В.Семантика, стилистика, интертекстуальность. СПб, СПбГУ, 1999, 2004

3. Galperin I.R. Stylistics. M.: Высш. шк., 1977. P.307–312.

4. Screbnev Y.M. Fundamentals of English Stylistics. M.: Высш. шк., 1994. P. 200–213.

5. Скребнев Ю. М. Основы стилистики английского языка М.: Высш.шк., 2002

6. Будагов Р.А. Литературные языки и языковые стили. М.: Высш.школа, 1967

7. Виноградов В.В. Стилистика, теория поэтической речи, поэтика. М.: Изд-во АН СССР, 1966

8. Кухаренко В.А. Интерпретация текста, Л.: Просвещение, 1979

9.. Ефимов А.И. Стилистика художественной речи М.: Изд-во МГУ, 1961

10. Брандес М.П. Стилистический анализ М.: Высш.школа, 1971

11. Ицкович В.А. Языковая норма М.: Высш.школа, 1986

12. Виноградов В.В. О теории художественной речи М.: Высш.школа, 1971

13. Новое в зарубежной лингвистике. Лингвостилистика М.: Прогресс, вып. XI, 1980

14. Знаменская Т.А. Стилистика английского языка (основы курса) М. 2002

15. Одинцов В.В. Стилистика текста. Изд-во УССР, 2004

16. Разинкина Н.М. Функциональная стилистика. На материале английского и русского языков. М.: Высшая школа, 2004.

17. Разинкина Н.М. Стилистика английской научной прозы. М.: Высшая школа, 1972.

18. Максакова С.П. и др. Функциональная стилистика. Самара, 2004.

19. Гальперин И.Р. Информативность единиц языка М.: Высш.школа, 1974.

20. Очерки по стилистике. Ростов-на-Дону: РГПИ, 1975.

21. Разинкина Н.М. Функциональная стилистика.М.,1989.

22. Скребнев Ю.И, Очерк теории стилистики Горький: ГПИИЯ, 1975.

23. Сиротинина О.Б. Современная разговорная речь и её особенности. М.: Просвещение, 1974.

24. Трофимова Э.А. Экспрессивные синтаксические конструкции. Ростов-на-Дону: РГПИ, 1981.

Дополнительная литература

1. Short M. Exploring the Language of Poems, Plays and Prose. L., 1996.

2. W.Strunk Jr.and E.B.White. The Elements of Style. Allyn and Bacon, Boston, London.1972.

3. Риффатер М. Критерии стилистического анализа / Новое в зарубежной лингвистике. Вып. 9. М., 1981

4. Розенталь Д.Э., Теленкова М.А. Словарь-справочник лингвистических терминов. Пособие для учителя. 3-е издание, испр. и доп. М.: Просвещение, 1985

5. Большой энциклопедический словарь. Языкознание/ Гл. ред. В.Н. Ярцева. М.: Большая Российская энциклопедия, 1988

6. H.C.Widdowson. Practical Stylistics. Oxford University Press, 1992.

7. Peter Verdonk. Stylistics.Oxford, 2003.

 

МОДУЛЬ III. Квалитативное измерение знаний по курсу стилистики: тесты, стилистический анализ произведений, план анализа текста, вопросы и требования к экзамену, рекомендации по подготовке к экзамену

Тест промежуточной аттестации представляет собой одну из письменных форм контроля, являясь простейшей формой контроля, которая направлена на проверку владения терминологическим аппаратом, конкретными знаниями в области стилистики английского языка.

Тест состоит из небольшого количества элементарных задач, представляет возможность выбора из перечня ответов.

По содержанию такие тесты являются гомогенными, основанные на содержании одной дисциплины.

По методологии интерпретации результатов – критериально- ориентированные.

Задания в ниже предлагаемом тесте направлены на выбор одного из предлагаемых ответов.

A) Тестовые задания закрытого типа.

Multiple Choice Test 1.

1) The word-stock of the English language is divided into three main layers:

a) standard - neutral - non-standard; c) literary - neutral - colloquial;

b) publicist - scientific - poetic; d) poetic - official - bookish

2) A set of lingual units actually used in a given sphere is called

a) vocabulary c) sublanguage

b) style d) norm

3) The speech of an individual which is characterized by peculiarities typical of that particular individual is called

a) ideophone c) dialect

b) idiolect d) sociolect

4) Graphons are not used to show

a) individual mispronunciation of certain sounds c) historical background

b) social dialect d) emotional speech

5) The witticism A handsome man kisses misses, an ugly one misses kisses is based upon

a) anadiplosis c) epiphora

b) framing d) chiasmus

6) He was not without taste is an example of

a) synecdoche c) epithet

b) litotes d) antithesis

7) The literary vocabulary does not include

a) poetic words c) dialectal words

b) archaic words d) barbarisms and foreign words

8) Which of the following words is not a barbarism

a) macho c) figurative

b) nouveau riche d) patio

9) Archaisms are used in official documents for

a) creating historical colouring c) terminological exactness

b) creating emotional colouring d) satirical purposes

10) Words whose aim is to preserve secrecy within one or another social group are called

a) jargonisms c) professionalisms;

b) slang d) terms

11) The following example The possessive instinct never stands still is based on

a) onomatopoeia c) alliteration

b) assonance d) paronomasia

12) All these sentences are elliptical except one

a) Glad to know you c) That enough?

b) Dusk - of a summer night d) Haven't read them

13) The sentence Mr.P ickwick bottled up his vengeance and corked it down is an example of

a) sustained metaphor c) simile

b) trite metaphor d) syntactic tautology

14) In the example And talk! She could talk a hind leg from a donkey! hyperbole is combined with

a) metonymy c) metaphor

b) irony d) allusion

15) Which of the following examples is not meiosis

a) a few flights on Broadway c) not quite too late

b) a pretty penny d) before you could say Jack Robinson

16) The trope based on likeness of the two objects is

a) metonymy c) irony

b) simile d) metaphor

17) This stylistic device is used to express abstract ideas through concrete pictures
a) allegory c) allusion

b) antonomasia d) alliteration

18) Which of the following is an ordinary comparison (not a simile)

a) He is as beautiful as a weather cock c) She jumped at me like a tigress

b) The boy is as clever as his mother d) She sings like a nightingale

19) Figures of inequality do not include

a) climax c) oxymoron

b) bathos d) zeugma

20) A two-member utterance in which the theme is the traditional denomination of the object, where is the rheme is figurative denomination is

a) simile c) periphrasis

b) quasi-identity d) euphemism

21) Rhythmical patterns in prose are based on the use of the following stylistic syntactical devices except

a) enumeration c) repetition

b) chiasmus d) inversion

22) Topicalization (communicative emphasis) of the 'theme' is the stylistic function of

a) prolepsis c) anticipatory construction

b) aposiopesis d) inversion

23) Scientific prose style is not characterized by

a) logical sequence of utterances c) impersonality

b) a peculiar individual selection of vocabulary and syntax d) the use of terms

24) The number of sublanguages is

1)2 c)15

2) 5 d) infinite

25) Which of the following is not oxymoron

a) sweet sorrow c) a deafening silence

b) awfully nice d) nice rascal

26) Which of the following is not characteristic of professionalisms

a) are used in a definite trade c) are coined to nominate new concepts..

b) belong to non-literary layer d) are monosemantic

27) A stylistic device based on the simultaneous realization of logical meanings - dictionary and contextual which stand in opposition to each other is

a) simile c) zeugma

b) irony d) quasi-identification

28) Little Miss Muffet she sat on a tuffet... is an example of

a) repetition c) prolepsis

b) personification d) appended statement

29) A combination of anaphora and epiphora in two or more adjacent utterances is called

a) framing c) symploca

b) anadiplosis d) chiasmus

30) The stylistic effect of anti-climax is

a) humour c) emotional tension

b) irony d) vividness of description

31) This example of zeugma She dropped a tear and her pocket handkerchief is based on

a) grammatical analogy c) contrast

b) semantic incompatibility d) logical collision of notional words

32) Which of the following statements is not true

a) Stylistic colouring, as well as stylistic neutrality of linguistic units is the result of their distributional capacities.

b) Neutral linguistic units possess connotations in their semantic structure.

c) There are as many norms as sublanguages.

d) Style is a departure from the norm of the given national language.

33) The slang word ice ('jewelry ') is formed on the basis of

a) metaphor

b) metonymy

c) irony

d) hyperbole

34) Which of the statements does not characterize nominative sentences

a) They are widely used in stage directions

b) they comprise only one principle part expressed by a noun

c) Their stylistic effect is creating the isolated image of the object

d) They are incomplete versions of complete two-member sentences

35) The example 'The smile extended into a laugh; the laugh into a roar' illustrates

a) anaphora c) anadiplosis

b) epiphora d) chiasmus

36) The function of parenthesis in the sentence "clay suddenly looked at X with new - higher – interest than before" is

a) modality c) specification

b) evaluation d) generalization

37) Trisyllabic metres do not include

a) anapaest c) dactyl

b) trochee d) amphibrach

38) The stylistic effect of the sentence 'We were proud first, honest next, and after that we believed in right and wrong' is based on

a) sustained metaphor c) gradation

b) bathos d) periphrasis

39) The creation of the polyphony is one of the functions of

a) inversion c) synonymic repetition

b) parenthesis d) periphrasis

40) Figures of identity do not include

a) simile c) quasi-identity

b) specifiers d) replacers

c)

Multiple choice test 2

1. The function of which style is to prove a hypothesis, to create new concepts, to disclose the internal laws of existence, development, relations between different phenomena, etc.

a) Publicist c) belles-lettres

b) Scientific d) style of official documents

 

2. Words used in scientific prose tend to be used in their

a) figurative meaning c) primary logical meaning

b) contextual meaning d) pure grammatical meaning

3. What science left its own domain and travel freely in linguistics by means of investing its terms?

a) Physics c) Chemistry

b) Biology d) Mathematics

 

4. In the scientific prose there is the most developed and varied system of

a) synonyms c) polysemantic words

b) connectives d) colloquialisms

 

5. What sentence-pattern do not exist in scientific style?

a) postulatory c) explanatory

b) argumentative d) formulative

 

6. The impersonality of scientific writings is mainly revealed by

a) personal pronouns c) plural forms of nouns

b) passive constructions d) 3^rd person narration

 

7. “ Abstract—Ontogenesis is a teleonomic process directed at the formation of an adult animal which is capable of reproduction, and has its strategy and tactics. Morphogenetic processes directed towards this goal constitute the strategy of ontogenesis; evolution is realized through genetically determined changes in the course of strategic processes essential for phylembryogeneses. Tactics of ontogenesis implies those variations which are adaptive or make the process of development more rational, without affecting the strategic processes and inducing changes in the structure of adult animals. These statements are illustrated by examples from insect embryology. The most significant and diverse variation of early embryogenesis are observed in parasitic and viviparous animals. It has been shown that tactic features may also have recapitulation importance.”

This text belong to

a) Style of official documents c) Scientific

b) Belles-lettres d) Publicist

 

8. Of what character are the foot-notes in scientific prose?

a) reference c) explanatory

b) digressive d) informative

 

9. Point out the feature of language of the scientific prose that is incorrect

a) unemotional

b) precise

c) devoid of any individuality

d) subjective

e) striving for the most generalized form of expression.

 

10. The process when some scientific and technical terms begin to circulate outside the narrow field they belong to and eventually begin to develop new meanings is called

a) transposition c) determinization

b) broadening d) expansion

 

 

Б) ANALYSIS ASSIGNMENT

 

1. Найдите примеры противопоставлений (антитезы) в отрывке из романа Дж. Б. Пристли «They Walk in the City” и опишите функцию этого стилистического приема..

 

2. Опишите стилистические особенности речи персонажа из отрывка К.Менсфилд “The Lady’s’ Maid”.

 

3.Analyze the text “Up the Down Staircase” from the textbook by V.D.Arakin.

4. Analyze the following text from the story “Bliss” by K.Mansfield.

Although Bertha Young was thirty she still had moments like this when she wanted to run instead of walk, to take dancing steps on and off the pavement, to bowl a hoop, to throw something up in the air and catch it again, or to stand still and laugh at – nothing, simply.

What can you do if you are thirty and, turning the corner of your own street, you are overcome, suddenly, by a feeling of bliss – absolute bliss! – as though you’d suddenly swallowed a bright piece of that late afternoon sun and it burned in your bosom, sending out a little shower of sparks into every particle, into every finger and toe?…

Oh, is there no way you can express it without being “drunk and disorderly”? How idiotic civilisation is! Why be given a body if you have to keep it shut up in a case like a rare, rare fiddle?

“No, that about the fiddle is not quite what I mean”, she thought, running up the steps and feeling in her bag for the key – she’d forgotten it, as usual – and rattling the letter-box. “It’s not what I mean, because – Thank you, Mary” – she went into the hall. “Is nurse back?”

“Yes, M’m.”

“And has the fruit come?”

“Yes, M’m. Everything’s come”.

“Bring the fruit up to the dining-room, will you? I’ll arrange it before I go upstairs”.

“It was dusky in the dining-room and quite chilly. But all the same Bertha threw off her coat; she could not bear the tight clasp of it another moment, and the cold air fell on her arms.

But in her bosom there was still that bright glowing place – that shower of little sparks coming from it. It was almost unbearable. She hardly dared to breathe for fear of fanning it higher, and yet she breathed deeply, deeply. She hardly dared to look into the cold mirror – but she did look, and it gave her back a woman, radiant, with smiling, trembling lips, with big, dark eyes and an air of listening, waiting for something… divine to happen… that she knew must happen… infallibly. Mary brought in the fruit on a tray and with it a glass bowl, and a blue dish, very lovely, with a strange sheen on it as though it had been dipped in milk.

“Shall I turn on the light, M’m?”

“No, thank you, I can see quite well”.

There were tangerines and apples stained with strawberry pink. Some yellow pears, smooth as silk, some white grapes covered with a silver bloom and a big cluster of purple ones. These last she had bought to tone in with the new dining room carpet. Yes, that did sound rather far-fetched and absurd, but it was really why she had bought them. She had thought in the shop: “I must have some purple ones to bring the carpet up to the table”. And it had seemed quite sense at the time.

When she had finished with them and had made two pyramids of these bright round shapes, she stood away from the table to get the effect – and it really was most curious. For the dark table seemed to melt into the dusky light and the glass dish and their blue bowl to float in the air. This, of course, in her present mood, was so incredibly beautiful… She began to laugh.

“No, no. I’m getting hysterical”. And she seized her bag and coat ran upstairs to the nursery. (K. Mansfield. “Bliss”).