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Презентация на тему Stylistics of the English Language 2. The types of stylistics

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OutlineThe types of stylisticsDecoding Stylistics and its Techniques
Stylistics of the  English Language 2     Koroteeva OutlineThe types of stylisticsDecoding Stylistics and its Techniques Types of stylisticsLiterary and linguistic stylisticsFunctional stylisticsComparative stylisticsDecoding stylistics Literary     and Literary and Linguistic Stylistics: ExampleJack.  [Nervously.]  Miss Fairfax, ever since I met The Importance of Being Earnest  by Oscar Wilde Literary Criticism Approach:Genre: The Importance of Being Earnest  by Oscar Wilde Linguistic Stylistics Approach:Phono-graphical: Functional Stylisticsinvestigates functional styles or sublanguages of the national language, such asbelles-lettres/emotive Functional Stylistics: ExampleWhen The New Yorker was founded, Tolstoy and Dostoyevsky had Functional Stylistics: ExampleThe extract above is a fragment of science prose:the use Comparative Stylisticsconnected with the contrastive study of more than one languagestudies the Comparative Stylistics: Example 2 Ка-а-ма, чики неλня мэтаλ тэλ пы’т, пы’т тохоλамэλ, кана Decoding Stylisticsdeveloped byR.Jacobson (1896-1982), Closing Statement: Linguistics and Poetics (1960)M. Riffaterre (1924-2006), Decoding Stylisticsdraws upon:Information TheoryPsychologyStatistical StudiesLinguisticsLiterary TheoryLiterary Criticism Decoding Stylistics  and the Theory of CommunicationClaude Shannon, Encodingtext analysis from the author’s point of view: epoch, the historical situation, Decodingtext analysis from the reader’s point of view: the composition of the Decoding Stylisticsis in fact the reader’s stylistics that is engaged in recreating Decoding Stylisticsdoes not consider the stylistic function of any stylistically important feature Decoding Stylistics –  Reader Response CriticismFrom the reader’s point of view Decoder=Reader=“Artist”What is reading but divining (perceive by intuition or insight), interpreting, unraveling Decoding Stylistics:  Foregrounding Techniques There are 5 major foregrounding techniques:1) coupling Foregrounding Techniques : Example We think sometimes there’s not a dragon left. Foregrounding Techniques: Example AnalysisCoupling – the text is viewed as Decoding Stylistics:  Foregrounding Techniques 3)convergence of expressive means - accumulation of stylistic Decoding Stylistics:  Foregrounding Techniques 4)defeated expectancy - an appearance of an
Слайды презентации

Слайд 2 Outline
The types of stylistics

Decoding Stylistics and its Techniques





OutlineThe types of stylisticsDecoding Stylistics and its Techniques

Слайд 3 Types of stylistics
Literary and linguistic stylistics
Functional stylistics
Comparative stylistics
Decoding

Types of stylisticsLiterary and linguistic stylisticsFunctional stylisticsComparative stylisticsDecoding stylistics

stylistics



Слайд 4 Literary and

Literary   and    Linguistic

Linguistic

Stylistics

Common ground:
The literary language
The idiolect of a writer
Different points of analysis:



Слайд 5 Literary and Linguistic Stylistics: Example


Jack.  [Nervously.]  Miss Fairfax,

Literary and Linguistic Stylistics: ExampleJack.  [Nervously.]  Miss Fairfax, ever since I

ever since I met you I have admired you

more than any girl . . . I have ever met since . . . I met you.
Gwendolen.  Yes, I am quite well aware of the fact.  And I often wish that in public, at any rate, you had been more demonstrative.  For me you have always had an irresistible fascination.  Even before I met you I was far from indifferent to you.  [Jack looks at her in amazement.]  We live, as I hope you know, Mr. Worthing, in an age of ideals.  The fact is constantly mentioned in the more expensive monthly magazines, and has reached the provincial pulpits, I am told; and my ideal has always been to love someone of the name of Ernest.  There is something in that name that inspires absolute confidence.  The moment Algernon first mentioned to me that he had a friend called Ernest, I knew I was destined to love you.

Слайд 6 The Importance of Being Earnest by Oscar Wilde Literary

The Importance of Being Earnest by Oscar Wilde Literary Criticism Approach:Genre:

Criticism Approach:

Genre: drama, conversational style
Author’s attitude: witty and ironic

style of writing
Message: love confession of a nervous man to a light-headed girl
Composition*: development*



Слайд 7 The Importance of Being Earnest by Oscar Wilde Linguistic

The Importance of Being Earnest by Oscar Wilde Linguistic Stylistics Approach:Phono-graphical:

Stylistics Approach:
Phono-graphical: many dots - groping for words; brackets
Morphological:

the variety of tenses in Gwendolen’s speech indicates her composure and ability to narrate as well as analyze her life, particularly her own thoughts, at the moment;
Lexical: J’s scarcity of vocabulary is contrasted with G’s abundance of it; G’s choice of lexis brings out her romantic nature and superficial interest in Jack;
Syntactical: the sentences in G’s speech are mostly simple revealing the control of thoughts. The compound sentence used suggests that the character lives according to the rules mentioned in “the more expensive monthly magazines”. The final complex sentence with the subordinate clause of time represents the indirect love confession of the girl. The syntactical complexity grows towards the end;
Stylistic: the antimetabole used in J’s utterance points at his state of mind. The clash between the perfectly rounded phrase and empty content creates a humorous effect. In G’s speech we can see indirect expression of affection conveyed by the litotes (far from indifferent);


Слайд 8 Functional Stylistics
investigates functional styles or sublanguages of the

Functional Stylisticsinvestigates functional styles or sublanguages of the national language, such

national language, such as
belles-lettres/emotive prose
colloquial
business
publicist/media (discourse)
scientific
style of legal documents


Слайд 9 Functional Stylistics: Example
When The New Yorker was founded,

Functional Stylistics: ExampleWhen The New Yorker was founded, Tolstoy and Dostoyevsky

Tolstoy and Dostoyevsky had already been well-known among the

erudite readers, because no introduction of them has been traced in the magazine. Tolstoy is the only writer mentioned on a level with Shakespeare, four times at that, and is compared to God twice. It is a reflection of the fact that among the authors of Russian origin Tolstoy is the most revered. Dostoyevsky, in turn, is the most precedent writer in the group under scrutiny, since his name is the most resorted to during the period 1925-2015.
[Mikhaylov 2015: 89]

Слайд 10 Functional Stylistics: Example
The extract above is a fragment

Functional Stylistics: ExampleThe extract above is a fragment of science prose:the

of science prose:
the use of formal vocabulary (resorted to,

under scrutiny)
the use of quantitative/statistics method (four times at that; his name is the most resorted to during the period 1925-2015)
the use of a reference with pages ([Mikhaylov 2015: 89])

Слайд 11 Comparative Stylistics
connected with the contrastive study of more

Comparative Stylisticsconnected with the contrastive study of more than one languagestudies

than one language
studies the stylistic characteristics of one language in

comparison with those of another one
linked to the theory of translation

Example 1
English: Today is Thursday.
French: Nous sommes jeudi aujourd’hui (“We are Thursday today”). - Subjectivism


Слайд 12 Comparative Stylistics: Example 2
 Ка-а-ма, чики неλня мэтаλ тэλ

Comparative Stylistics: Example 2 Ка-а-ма, чики неλня мэтаλ тэλ пы’т, пы’т тохоλамэλ,

пы’т, пы’т тохоλамэλ, кана тохоλамэλ ниλха ηа’’.  Ниλин тянямтамэй

ηэλха. [from a conversation between two Nenets men]

Oh, this leading deer seems to have been taught by somebody other than you. Your Granddad seems to have tamed him.

Слайд 13 Decoding Stylistics
developed by
R.Jacobson (1896-1982), Closing Statement: Linguistics and

Decoding Stylisticsdeveloped byR.Jacobson (1896-1982), Closing Statement: Linguistics and Poetics (1960)M. Riffaterre

Poetics (1960)
M. Riffaterre (1924-2006), The Stylistic Function (1964)
Y.M. Lotman

(1922-1993), Структура художественного текста (1970)
I. V. Arnold (1908-2010), Стилистика.Современный английский язык. Стилистика декодирования (2007)

Слайд 14 Decoding Stylistics
draws upon:
Information Theory
Psychology
Statistical Studies
Linguistics
Literary Theory
Literary Criticism

Decoding Stylisticsdraws upon:Information TheoryPsychologyStatistical StudiesLinguisticsLiterary TheoryLiterary Criticism

Слайд 15 Decoding Stylistics and the Theory of Communication
Claude Shannon,

"The Mathematic Theory of Communication" (1949), the chain of

communication:
objective reality > transmitter/encoder > message/text > receiver/ decoder > objective reality (surrounding the adressee)
The chain of communication in literature:
social reality (surrounding the writer) > writer (encoder) > literary work > reader (decoder) > social reality (surrounding the reader)


Слайд 16 Encoding
text analysis from the author’s point of view:

Encodingtext analysis from the author’s point of view: epoch, the historical

epoch, the historical situation, the political, social and aesthetic

views of the author (processing and delivering)
the process of internalizing of the outside information and translating it into the imagery


Слайд 17 Decoding
text analysis from the reader’s point of view:

Decodingtext analysis from the reader’s point of view: the composition of

the composition of the text, the vocabulary used, sentence

arrangement, projecting the ideas from the text onto the reality of the reader, etc.
the process of interpreting the text in question



Слайд 18 Decoding Stylistics
is in fact the reader’s stylistics that

Decoding Stylisticsis in fact the reader’s stylistics that is engaged in

is engaged in recreating the author’s vision of the

world with the help of concrete text elements and their interaction throughout the text

Слайд 19 Decoding Stylistics
does not consider the stylistic function of

Decoding Stylisticsdoes not consider the stylistic function of any stylistically important

any stylistically important feature separately but only as a

part of the whole text

Слайд 20 Decoding Stylistics – Reader Response Criticism
From the reader’s

Decoding Stylistics – Reader Response CriticismFrom the reader’s point of view

point of view the important thing is not what

the author wanted to say but what he managed to convey in the text of his work.

Слайд 21 Decoder=Reader=“Artist”
What is reading but divining (perceive by intuition

Decoder=Reader=“Artist”What is reading but divining (perceive by intuition or insight), interpreting,

or insight), interpreting, unraveling the mystery, wrapped in between

the lines, beyond the words. So if the reader has no imagination, no book stands a chance.

[M. Tsvetaeva, «Poets on Critics»]

Слайд 22 Decoding Stylistics: Foregrounding Techniques
There are 5 major

Decoding Stylistics: Foregrounding Techniques There are 5 major foregrounding techniques:1) coupling

foregrounding techniques:
1) coupling - deals with the arrangement of

textual elements that provide the unity and cohesion of the whole structure
2) semantic field - identifies lexical elements in text segments and the whole work that provide its thematic and compositional cohesion

Слайд 23 Foregrounding Techniques : Example
We think sometimes there’s

Foregrounding Techniques : Example We think sometimes there’s not a dragon

not a dragon left. Not one brave knight, not

a single princess gliding through secret forests, enchanting deer and butterflies with her smile.
What a pleasure to be wrong. Princesses, knights, enchantments and dragons, mystery and adventure… not only are they here-and-now, they are all that ever lived on earth.
Our century they’ve changed clothes, of course. Dragons wear government-costumes, today, and failure-suits and disaster-outfits. Society’s demons screech (to utter a shrill), whirl down on us should we lift our eyes from the ground, dare we turn right at corners we’ve been told to turn left. So crafty (skilled in deception) have appearances become that princesses and knights can be hidden from each other, can be hidden from themselves.
[Richard Bach, The Bridge Across Forever, p.13]

Слайд 24 Foregrounding Techniques: Example Analysis
Coupling – the text

Foregrounding Techniques: Example AnalysisCoupling – the text is viewed as

is viewed as one whole due to the repetition

on the lexical level:
1st paragraph – dragon, a brave knight, a single princess, enchanting
2nd paragraph - princesses, knights, enchantments and dragons
3d paragraph – dragons, princesses and knights
Semantic Field of “Fairytale”:
lexis denoting fairytale entities – dragon, a brave knight, princess, secret forest, enchanting deer and butterflies, enchantment, mystery, demons, crafty appearances
metaphorical references to the same lexis (ex. they’ve changed clothes)

Слайд 25 Decoding Stylistics: Foregrounding Techniques
3)convergence of expressive means -

Decoding Stylistics: Foregrounding Techniques 3)convergence of expressive means - accumulation of stylistic

accumulation of stylistic devices promoting the same idea, emotion,

or motive: “But today she passed the baker’s by, climbed the stairs, went into the little dark room – her room like a cupboard – and sat down on the red eiderdown. She sat there for a long time. The box that the fur came out of was on the bed. She unclasped the necklet quickly; quickly, without looking, laid it inside. But when she put the lid on she thought she heard something crying.” [Mansfield, Miss Brill]

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