PHONO-GRAPHICAL AND MORPHOLOGICAL STYLISTICS Lecture on English Stylistics

PHONO-GRAPHICAL AND MORPHOLOGICAL STYLISTICS Lecture on English Stylistics 4 th year of study N. P. Izotova

LECTURE OUTLINE Stylistic Potential of Graphical SDs. n Ponetic Means of Stylistics. n Morphological Aspects of Stylistics. n

References and Related Literature 1. Мороховский А. Н. , Воробьева О. П. , Лихошерст Н. И. , Тимошенко З. В. Стилистика английского языка. – К. , 1991. 2. Гальперин И. Р. Стилистика английского языка. – М. , 1981. 3. Єфімов Л. П. Стилістика англійської мови і дискурсивний аналіз. Учбово-методичний посібник. – Вінниця: «Нова книга» , 2004. 4. Скребнев Ю. М. Основы стилистики английского язика: Учебник для ин-тов и фак. иностр. яз. – 2 -е изд. – М. , 2003.

References and Related Literature 5. Kukharenko V. A. Seminars in Stylistics. – M. : Флинта, 2010. – 184 с. 6. Методичні вказівки до семінарських та практичних занять із стилістики англійської мови для студентів IV курсу / Уклад. О. П. Воробйова, Л. Ф. Бойцан, Л. В. Ганецька, О. Ю. Дубенко, І. О. Іноземцева, Л. Р. Чеботарьова, Л. Д. Якимчук. – К. : КДЛУ, 1996 (1997).

GRAPHON V. A. Kukharenko 1928 A prominent Ukrainian scholar in the field of stylistics and text interpretation

Graphical SD Graphon is an intentional violation of the graphical shape of a word (or word combination) used to reflect its authentic pronunciation, to recreate the individual and social peculiarities of the speaker, the atmosphere of the communication act (V. A. Kukharenko)

Graphons n. Italics She was simply beautiful. When Will’s ma was down here keeping house for him – she used to run in to see me, real often. ” (S. Lewis) “Now listen, Ed, stop that, now. I’m desparate. I am desperate, Ed, do you hear? ” (Ch. Dickens) §

Graphons § Capi. Tali. Sation I’ll NEVER see him again. O Music! Sphere – descended maid, // Friend of Pleasure, Wisdom’s aid! (W. Collins) If way to the Better there be, it exacts a full look at the Worst. (Th. Hardy)

Graphons n s p a c i n g of graphemes (hy-phe-na-ti-on, m-m-multiplication) and lines: “His wife, ” I said. W-I-F-E. Homebody. Helpmate. Didn’t he tell you? ” (Myrer) “Appeeeee Noooooyeeeeeerrr! (Idem) He missed our father very much. He was s-l-a-i-n in North Africa (J. D. Salinger)

Main functions of graphon: It indicates irregularities or carelessness of pronunciation: “My daddy’s coming tomorrow on a nairplain” (D. J. Salinger) After a hum a beautiful Negress sings “Without a song, the dahay would never end”

Main functions of graphon: It supplies information about the speaker’s origin, social and educational background, physical or emotional condition: “Thquire! … Your thervant! Thith a bad pieth of bithnith, thith ith…” You don’t mean to thay that thith your firth time. (D. Cusack)

Graphon “Father, ” said one of children at breakfast, “I want some more ’am, please. ” – “You mustn’t say ‘am, my child, the correct form of the word is ‘am, ” retorted his father, passing the plate with sliced ham on it. “But I did say ‘am, ” pleaded the boy. “No, you didn’t: you said ‘am instead of ‘am. ” The mother turned to the guest, smiling: “Oh, don’t mind them, sir, pray. They are both saying ‘am and both think it is ‘am they are saying. ”

Main functions of graphon: It individualizes the character’s speech, adds plausibility, vividness, memorability: “ALL our troubles are over, old girl, ” he said fondly. “We can put a bit by now for a rainy day, ” (S. Maugham) Kiddies and grown-ups too-oo-oo We haven’t enough to do-oo-oo. (R. Kipling)

Main functions of graphon: It conveys the atmosphere of authentic live communication, of the informality of the speech act: Best jeans for this Jeaneration Follow our advice: Drinka Pinta Milka Day “Well, I dunno. I’ll show you summat. ” (St. Barstow)

The most powerful expressive means of any language are phonetic, because the human voice can indicate subtle nuances of meaning that no other means can attain. I. Galperin

Phoneme 1) unilateral nature of a phoneme: the sounds themselves have no meaning Structural linguistics: Ferdinand de Saussure (1857– 1913) 2) a twofold sign; linguistic unit that possesses its own meaning Phonosemantics: M. Magnus, А. В. Журавлев, В. І. Кушнерик

Phonosemantics Cheerfulness /a/, /o: /, /e/, /l/, /m/, /n/, /v/ Sadness /u: /, /d/, /t/, /s/, /r/, /g/ (В. І. Кушнерик)

3) Strings of phonemes are the signifiers of semantic clusters (called meaning) in verbal signs called words. The aesthetic organization focuses more than is done usually on the string of phonemes, disrupting (or delaying at least) the automatic transition from the signifier to the signified. Delayed categorisation Cognitive approach: R. Tsur

Phoneme Linguistic unit has no meaning of its own but helps to differentiate meaningful lexemes. Cf. : while unable to speak about the semantics of [əu], [ju: ], we acknowledge their sense-differentiating significance in sew [səu] (шити) and [sju: ] (спускати воду)

Devoid of denotative and connotative meaning, a phoneme has a strong associative and soundinstrumenting power.

MODELS OF THE SOUND FLOW ORGANIZATION Versification – the art of creating verses according to certain rules, elaborated on the basis of the laws of the given language and the poets’ practice. n Instrumentation (sound-instrumenting) – the unity of the means of the selection and combination of sounds, which give to the text a definite emotional and expressive colouring. n

RHYTHM n is a flow, a movement, procedure, etc. , characterized by basically regular recurrence of elements or features, as beat, or accent, in alternation with opposite or different elements or features. Webster’s New Encyclopedic Dictionary

RHYTHM The regular alternation of stressed and unstressed syllables. In English stressed syllables occur at equal periods of time (В. Ю. Паращук)

RHYTHM in verse as a SD n is a combination of the ideal metrical scheme and the variations of it, variations which are governed by the standard.

RHYTHM in prose as a SD n is based on the repetition of similar structural units following one another or repeated after short intervals.

Means of rhythm creation Verbal means: n phonetic layer (e. g. the succession of stressed/unstressed syllables); n lexical layer: words pertaining to rhythm description such as song, chant; sensory images; n syntactic layer (e. g. epiphora, anaphora, homogenous sentence members, parallel constructions )

Means of rhythm creation n Narrative layer: a deviation from standard norms in plot, structure, way of narration, time presenting.

RHYME n. Is the repetition of identical or similar terminal sound combinations of words.

Types of Rhyme Single-syllable or masculine rhyme hot-pot; cold-old n Double-syllable or feminine rhyme: A woman's face with Nature's own hand painted Hast thou, the master-mistress of my passion; A woman's gentle heart, but not acquainted With shifting change, as is false women's fashion n (W. Shakespeare) § triple syllable rhyme grinding cares - winding stairs

Types of Rhyme True or perfect rhyme believe/conceive, dutiful, unbeautiful; n Imperfect rhyme (half rhyme or slant rhyme) heat, heart; Tim, skin; dry, died; love, fluff n

Types of Rhyme n end rhymes I am the daughter of Earth and Water, And the nursling of the Sky; I pass through the pores of the ocean and shores; I change, but I cannot die (R. Frost) n internal rhymes I am the daughter of Earth and Water, And the nursling of the Sky; I pass through the pores of the ocean and shores; I change, but I cannot die. (P. B. Shelley)

Phonetic Stylistic Devices - special combinations and alterations of sounds in their syntagmatic succession, which in combination with other language means create different stylistic effects. O. M. Morokhovsky

Sounds arrangements for stylistic purposes alliteration q assonance q onomatopoeia q

ALLITERATION n The term denotes recurrence of the same consonant (esp. initial) in two or more words which either follow one another, or appear close enough to be noticeable.

ASSONANCE n is a repetition of identical (or acoustically similar) vowels in close succession which is aimed at organization and semantic meaning of utterance.

CACOPHONY n Is a grouping of harsh, discordant sounds, the sense of strain and discomfort in pronouncing and hearing.

EUPHONY n Includes different ways of the sound flow organization – rhythm, rhyme, epiphora, anaphora, alliteration, assonance, cacophony and other kinds of sound repetition which produce a sense of ease and comfort in pronouncing and hearing.

Sounds arrangements for stylistic purposes n Alliteration: Sense and Sensibility, last but not the least, good as gold, blind as a bat n Assonance: My shoes show signs of wear and tear. Tenderly bury the fair young dead [e] Euphony n Cacophony n Onomatopoeia: hiss (snakes); quack n (ducks); splash, tinkle

Onomatopoeia in Advertising Rice Krispies (US and UK) which make a "snap, crackle, pop" when one pours on milk; - road safety advertisements: "clunk click, every trip" (click the seatbelt on after clunking the car door closed; UK campaign); - "click, clack, front and back" (click, clack of connecting the seatbelts; AU campaign); - You can get almost everything with a little purrsuasion

Morphological Expressive Means: 1) diminutive suffixes e. g. girlie, piggy, doggy

Morphological Expressive Means: 2) analytical forms with the emphatic verb ‘do’ e. g. He came – He did come

Morphological Expressive Means: 3) synonymous imperative forms e. g. Come! – Do come!

Contextual Transposition is the divergence between the traditional usage of a neutral word and its situational (stylistic) usage. n Transposition is the change of grammatical function into the stylistic function. n

Contextual Transposition n ‘Mrs. Redhair was all smiles’ ‘She has hates, pities, wants, likes, and dislikes’ ‘I’m a Marlow by birth, and we are a hot-blooded family. ’ (Follet) ‘The orangemostest drink in the world’ n ‘He was the most married man I’ve ever met’ n n n