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  • 5 фев. 2009, 15:53 ч.

А английски няма ли да учим?

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# 705
  • Мнения: 158
Привет! Отдавнa съм се "абонирала " за темата,но няма нищо за напреднали! Хайде момичета да сложите някакви линкове или тестове за опресняване на граматиката и стила на писане !Аз уча в Англия вече последна година и това с опресняването на стилистичният стил и изказа ще са ми от полза! Hug

Webster Guide to Grammar and Writing - Английска граматика в оригинал. Учебник на английски език под формата на HTML Help, и е предназначена за напреднали студенти, които знаят езика.
http://www.native-english.ru/files/grammar
 

The American Heritage Book of English Usage-Учебник за съвременния английски език,  общ преглед на граматика, стил, произношение, образуване на думи и др. Под формата на HTML Help.
http://www.native-english.ru/files/usage


Meanings and Origins of Phrases, Sayings, Cliches and Quotes- ръководство за интересни фрази, цитати и разговорни клишета. Под формата на HTML Help.
http://www.native-english.ru/files/phrases

Като отворите първия линк, въведете кода от картинката, натиснете ОК, след което
в скачать файл: grammar.zip, натиснете grammar.zip, Save to disk =>OK, разархивирайте
с разархивраща програма. Аналогично се постъпва и с другите линкове. Enjoy!

Последна редакция: сб, 08 май 2010, 21:49 от Lana26

# 706
  • Мнения: 158
Alliteration is a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words: "The possessive instinct never stands still. Through florescence and feud, frosts and fires it follows the laws of progression." (Galsworthy) Alliteration, like most phonetic expressive means, does not bear any lexical or other meaning unless we agree that a sound meaning exists as such. But even so we may not be able to specify clearly the character of this meaning, and the term will merely suggest that a certain amount of information is contained in the repetition of sounds, as is the case with the repetition of lexical units. However, certain sounds, if repeated, may produce an effect that can be specified. Therefore alliteration is generally regarded as a musical accompaniment of the author's idea, supporting it with some vague emotional atmosphere which each reader interprets for himself. Thus the repetition of the sound Id] in the lines quoted from Poe's poem "The Raven" prompts the feeling of anxiety, fear, horror, anguish or all these feelings simultaneously. Alliteration in the English language is deeply rooted in the traditions of English folklore. The laws of phonetic arrangement in Anglo-Saxon poetry differed greatly from those of present-day English poetry. In Old English poetry alliteration was one of the basic principles of verse and considered, along with rhythm, to be its main characteristic. Each stressed meaningful word in a line had to begin with the same sound or combination of sounds. The traditions of folklore are exceptionally stable and alliteration as a structural device of Old English poems and songs has shown remarkable continuity. It is frequently used as a well-tested means not only in verse but in emotive prose, in newspaper headlines, in the titles of books, in proverbs-and sayings, as, for example, in the following: Tit for tat; blind as a bat, betwixt and between; It is neck or nothing; to rob Peter to pay Paul;

Antithesis In order to characterize a thing or phenomenon from a specific point of view, it may be necessary not to find points of resemblance or associa-tion between it and some other thing or phenomenon, but to find points of sharp contrast, that is, to set one against the other, for example: "A saint abroad, and a devil at home." (Bunyan) "Better to reign in hell than serve in heaven." (Milton) A line of demarcation must be drawn between logical opposition and stylistic opposition. Any opposition will be based on the contrasting features of two objects. These contrasting features are represented in pairs of words which we call antonyms, provided that all the properties of the two objects in question may be set one against another, as 'saint' —'devil', 'reign'—'serve', 'hell'—'heaven'. Many word-combinations are built up by means of contrasting pairs, as up and down, inside and out, from top to bottom and the like. Stylistic opposition, which is given a special name, the term antithesis, is of a different linguistic nature: it is based on relative opposition which arises out of the context through the expansion of the literary contrasting pairs, as in: "Youth is lovely, age is lonely, Youth is fiery, age is frosty;" (Longfellow) Here the objectively contrasted pair is 'youth' and 'age'. 'Lovely'and lonely' cannot be regarded as objectively opposite concepts, but being drawn into the scheme contrasting 'youth' and 'age', they display certain features which may be counted as antonymical. This is strength- ened also by the next line where not only 'youth' and 'age' but also 'fiery' and 'frosty' are objective antonyms. It is not only the semantic aspect which explains the linguistic nature of antithesis, the structural pattern also plays animportant role. Antithesis is generally moulded in parallel construction. The antagonistic features of the two objects or phenomena are more easily perceived when they stand out in similar structures. Antithesis has the following basic functions: rhythm-forming (because of the parallel arrangement on which it is founded); copulative; dissevering; comparative. These functions often go together and inter-mingle in their own peculiar manner. But as a rule antithesis displays one of the functions more clearly than the others. This particular function will then be the leading one in the given utterance.

# 707
  • Мнения: 158
Archaic Words. The word-stock of a language is in an increasing state of change. Words change their meaning and sometimes drop out of the language altogether. New words spring, up and replace the old ones. Some words stay in the language a very long time and do not lose their faculty of gaining new meanings and becoming richer and richer polysemantically. Other words live but a short time and are like bubbles on the surface of water — they disappear leaving no trace of their existence. In registering these processes the role of dictionaries can hardly be over-estimated. Dictionaries serve to retain this or that word in a language either as a relic of ancient times, where it lived and circulated, or as a still living unit of the system, though it may have lost some of its meanings. They may also preserve certain nonce-creations which were never intended for general use. , In every period in the development of a literary language one can find words which will show more or less apparent changes in their meaning or usage, from full vigour, through a moribund state, to death, i. e. complete disappearance of the unit from the language. We shall distinguish three stages in the aging process of words: The beginning of the aging process when the word becomes rarely used. Such words are called obsolescent, i.e. they are in the stage of gradually passing out of general use. To this category first of all belong morphological forms belonging to the earlier stages in the development of the language. In the English language these are the pronouns thou and its forms thee, thy and thine, the corresponding verbal ending -est and the verb-forms art, wilt (thou makest, thou wilt), the ending -(e)th instead of -(e)s (he maketh) and the pronoun ye. To the category of obsolescent words belong many French borrowings which have been kept in the literary language as a means of preserving the spirit of earlier periods, e. g.'a pallet (=a straw mattress); a palfrey (=a small horse); garniture (^furniture); to pmplume (==to adorn with feathers or plumes).The second group of archaic words are those that have already gone completely out of use but are still recognized by the English-speaking community: e. g. methinks (=it seems to me); nay (==no). These words are called obsolete.The third group, which may be called archaic proper, are words which are no longer recognizable in modern English, words that were in use in Old English and which have either dropped out of the language entirely or have changed in their appearance so much that they have become unrecognizable, e. g. troth (=faith); a losel (==a worthless, lazy fellow).It will be noted that on the diagram (p. 71) the small circles denoting archaic and poetic words overlap and both extend beyond the large circle "special literary vocabulary". This indicates that some of the words in these layers do not belong to the present-day English vocabulary.The border lines between the groups are not distinct.- In fact they interpenetrate. It is specially diffioult to distinguish between obsolete and obsolescent words. But the difference is important when we come to deal with the stylistic aspect of an utterance in which the given word serves a certain stylistic purpose. Obsolete and obsolescent words have separate functions, as we shall point oirt later.There is still another class of words which is erroneously classed as archaic, viz. historical words. By-gone periods in the life of any society are marked by historical events, and by institutions, customs, material objects, etc. which are no longer in use, for example: -Thane, yeoman, .goblet, baldric, mace. Words of this typeriever disappear from the language. They are historical terms and remain as terms referring to definite stages in the development of society and cannot therefore be dispensed with,, though the things and phenomena to which they refer have long passed into oblivion. This, the main function ofarchaisms,,finds different interpretation in- different novels .by different writers. Some writers overdo things inthisrespect, theresult being that thereader finds all kinds of obstacles in his way. Others under-estimate the necessity of introducing obsolete or obsolescent elements into their narration and thus failtoconvey what is called "local colour".

# 708
  • Мнения: 158
Barbarisms. In the vocabulary of the English language there is a considerable layer of words called barbarisms. These are words of foreign origin which have not entirely been assimilated into the English language. They bear the appearance of a borrowing and are felt as something alien to the native tongue. The role foreign borrowings played in the development of the English literary language is well known, and the great majority of these borrowed words now form part of the rank and file of the English vocabulary. It is the science of linguistics, in particular its branch etymology, that reveals the foreign nature of this or that word. But most of what were formerly foreign borrowings are now, from a purely stylistic position, not regarded as foreign. But still there are some words which retain their foreign appearance to a greater or lesser degree. These words, which are called barbarisms, are, like archaisms, also considered to be on the outskirts of the literary language. Most of them have corresponding English synonyms; e. g. chic (=stylish); bon mot (==a clever witty saying); en passant (= in passing); ad infinitum (= to infinity) and many other words and phrases. It is very important for purely stylistic purposes to distinguish between barbarisms and foreign words proper. Barbarisms are words which have already become facts of the English language. They are, as it were, part and parcel of the English word-stock, though they remain on the outskirts of the literary vocabulary. Foreign words, though used for certain stylistic purposes, do not belong to the English vocabulary. They are not registered by English dictionaries, except in a kind of addenda which gives the meanings of the foreign words most frequently used in literary English. Barbarisms are generally given in the body of the dictionary. In printed works foreign words and phrases are generally italicized to indicate their alien nature or their stylistic value. Barbarisms, on the contrary, are not made conspicuous in the text unless they bear a special load of stylistic information. There are foreign words in the English vocabulary which fulfil a terminological function. It is evident that barbarisms are a historical category. Many foreign words and phrases which were once just foreign words used in literary English to express a concept non-existent in English reality, have little by little entered the class of words named barbarisms and many of these barbarisms have gradually lost their foreign peculiarities, become more or less naturalized and have merged with the native English stock of words. Conscious, retrograde, spurious and strenuous are words in Ben Jonson's play "The Poetaster" which were made fun of in the author's time as unnecessary borrowings from the French. With the passing of time they have become common English literary words. The function of the foreign words used in the context may be considered to provide local colour as a background to the narrative. In passages of other kinds units of speech may be used which will arouse only a vague conception in the mind of the reader. The significance of such units, however is not communicative — the author does not wish them to convey any clear-cut idea — but to serve in making the main idea . stand out more conspicuously. Another function of barbarisms and foreign words is, to build up the stylistic device of non-personal direct speech or represented speech. The use of a word, or a phrase, or a sentence in the reported speech of a local inhabitant helps to reproduce his actual words, manner of speech and the-environment as well.

# 709
  • Мнения: 158
A specific arrangement of sentence members is observed in detachment, a stylistic device based on singling out a secondary member of the sentence with the help of punctuation (intonation). The word-order here is not violated, but secondary members obtain their own stress and intonation because they are detached from the rest of the sentence by commas, dashes or even a full stop as in the following cases: "He had been nearly killed, ingloriously, in a jeep accident." (I. Sh.) "I have to beg you for money. Daily." (S. L.) Both "ingloriously" and "daily" remain adverbial modifiers, occupy their proper normative places, following the modified verbs, but-due to detachment and the ensuing additional pause and stress-are foregrounded into the focus of the reader's attention.
Dialectal words This group of words is obviously opposed to the other groups of the non-literary English vocabulary and therefore its stylistic functions can be more or less clearly defined. Dialectal words are those which in the process of integration of the English national language remained beyond its literary boundaries, and their use is generally confined to a definite locality. We exclude here what are called social dialects or even the still looser application of the term as in expressions like poetical dialect or styles as dialects. With reference to this group there is a confusion of terms, particularly between the terms dialectal, slang and vernacular. In order to ascertain the true value and the stylistic functions of dialectal words it is necessary to look into their nature."The history of a very large part of the vocabulary of the present-day English dialects is still very obscure, and it is doubtful whether much of it is of any antiquity. So far very little attempt has been made to sift the chaff from the grain in that very vast receptacle of the English Dialect Dictionary, and to decide which elements are really genuine 'corruptions' of words which the yokel has heard from educated speakers, or read, misheard, or misread, -and ignorantly altered, and adopted, often with a slightly twisted significance. Probably many hundreds of 'dialect' words are of this origin, and have no historical value whatever, except inasmuch as they illustrate a general principle in the modification of speech. Such words are not, as a rule, characteristic of any Regional Dialect, although they may be ascribed to one of, these, simply because some collector of dialect forms has happened .to hear them in a particular area. They belong rather to the category of 'mistakes' which any ignorant speaker may make, and which such persons do make, again and again, in every part of the country." We are not concerned here with the historical aspect of dialectal words. For our purpose it will suffice to note that there is a definite similarity of functions in the use of slang, cockney and any other form of non-literary English and that of dialectal words. Some dialectal words have become so familiar in good colloquial or standard colloquial English that they are universally accepted as recognized units of the standard colloquial English. To these words belong lass, meaning 'a girl or a beloved girl' and the corresponding lad, '& boy or a young man', daft from the Scottish and the northern dialect, meaning 'of unsound mind, silly'; fail also Scottish, with the meaning of 'trouble, cares'. Still they have not lost their dialectal associations and therefore are used in literary English with the above-mentioned stylistic function of characterization. Of quite a different nature are dialectal words which are easily recognized as corruptions of standard English words, although etymol^gical-ly they may have sprung from the peculiarities of certain dialects. The I, following words may serve as examples: hinny from honey: tittle appar-1 ently from sister, being a childish corruption of the word; cutty meaning a I' 'testy or naughty girl or woman'. I Most of the examples so far quoted come from the Scottish and the I northern dialects. This is explained by the fact that Scotland has strug-1 gled to retain the peculiarities of her language. Therefore many of the I words fixed in dictionaries as dialectal are of Scottish origin. I Among other dialects used for stylistic purposes in literature is the l:'southem dialect (in particular that of Somersetshire). This dialect has öà phonetic peculiarity that distinguishes it from other dialects, viz. lpnitial tsl and {f] are voiced, and are written in the direct speech of char-latters as lz] and tv], for example: 'volk' (folk), 'vound' (found), 'zee' l^ee), '^inking' (sinking). To show how the truly dialectal wotds are ^ intermingled with all kinds of improprieties of speech, it will be enough to I quote the following excerpt from Galsworthy's "A Bit of Love." Dialectal words are only to be found in the style of emotive prose, ^very rarely in other styles. And even here their use is confined to the ^function of characterizing personalities through their speech. Perhaps lit would not be a false supposition to suggest that if it were not for the I' use of the dialectal words in emotive prose they would have already l^sappeared entirely from the English language, the unifying tendency 1>',of the literary language is so strong that language elements used only lin dialect are doomed to vanish, except, perhaps, those which, because -"Of their vigour and beauty, have withstood the integrating power of " the written language. Writers who use dialectal words for the purpose of characterizing the speech of a person in a piece of emotive prose or drama, introduce them into the word texture in different ways.

# 710
  • Мнения: 158
Epithet is probably as well known to you as metaphor, because it is widely mentioned by the critics, scholars, teachers, and students discussing a literary work. Epithet expresses a characteristic of an object, both existing and imaginary. Its basic feature is its emotiveness and subjectivity: the characteristic attached to the object to qualify it is always chosen by the speaker himself. Our speech ontologically being always emotionally coloured, it is possible to say that in epithet it is the emotive meaning of the word that is foregrounded to suppress the denotational meaning of the latter. Epithet has remained over the centuries the most widely used SD, which is understandable-it offers ample opportunities of qualifying every object from the author's partial and subjective viewpoint, which is indispensable in creative prose, publicist style, and everyday speech. Through long and repeated use epithets become fixed. Many fixed epithets are closely connected with folklore and can be traced back to folk ballads (e.g. "true love", "merry Christmas", etc.).The structure and semantics of epithets are extremely variable which is explained by their long and wide use. Semantically, there should be differentiated two main groups, the biggest of them being affective (or emotive proper). These epithets serve to convey the emotional evaluation of the object by the speaker. Most of the qualifying words found in the dictionary can be and are used as affective epithets (e.g. "gorgeous", "nasty", "magnificent", "atrocious", etc.). The second group -figurative, or transferred, epithets-is formed of metaphors, metonymies and similes (which will be discussed later) expressed by adjectives. E.g. "the smiling sun", "the frowning cloud", "the sleepless pillow", "the tobacco-stained smile", "a ghost-like face", "a dreamlike experience. In the overwhelming majority of examples epithet is expressed by adjectives or qualitative adverbs (e.g. "his triumphant look" = he looked triumphantly).* Nouns come next. They are used either as exclamatory sentences (You, ostrich!) or as postpositive, attributes ("Alonzo the Clown", "Richard of the Lion Heart"). Epithets are used singly, in pairs, in chains, in two-step structures, and in inverted constructions, also as phrase-attributes. Pairs are represented by two epithets joined by a conjunction or asyndetically as in "wonderful and incomparable beauty" or "a tired old town". Two-step epithets are so called because the process of qualifying seemingly passes two stages: the qualification of the object and the qualification of the qualification itself, as in "an unnaturally mild day" (Hut.), or "a pompously majestic female". Phrase-epithets always produce an original impression. Cf.: "the sunshine-in-the-breakfast-room smell. Their originality proceeds from rare repetitions of the once coined phrase-epithet which, in its turn, is explained by the fact that into a phrase-epithet is turned a semantically self-sufficient word combination or even a whole sentence, which loses some of its independence and self-sufficiency, becoming a member of another sentence, and strives to return to normality. Inverted epithets. They are based on the contradiction between the logical and the syntactical: logically defining becomes syntactically defined and vice versa. E.g. instead of "this devilish woman", where "devilish" is both logically and syntactically defining, and "woman", also both logically and syntactically defined, W. Thackeray says "this devil of a woman". Here "of a woman" is syntactically an attribute, i.e. the defining, and "devil"-the defined, while the logical relations between the two remain the same as in the previous example-"a woman" is defined by "the devil".

# 711
  • Мнения: 158
Euphemism, as is known, is a word or phrase used to replace an unpleasant word or expression by a conventionally more acceptable one, for example, the word 'to die' has bred the following euphemisms: to pass away, to expire, to be no more, to depart, to join the majority, to be gone, and the more facetious ones: to kick the bucket, to give up the ghost. So euphemisms are synonyms which aim at producing a deliberately mild effect. Euphemism is sometimes figuratively called "a whitewashing device". The linguistic peculiarity of euphemism lies in the fact that every euphemism must call up a definite synonym in the mind of the reader or listener. Euphemisms may be divided into several groups according to their spheres of application. The most recognized are the following: 1) religious, 2) moral, 3) medical and 4) parliamentary. The life of euphemisms is short. They very soon become closely associated with the referent (the object named) and give way to a newly coined word or combination of words, which, being the sign of a sign, throws another veil over an unpleasant or indelicate concept.
Hyperbole. Another SD which also has the function of intensifying one certain property of the object described is h y p e r b o I e. It can be defined as a deliberate overstatement or exaggeration of a feature essential (unlike periphrasis) to the object or phenomenon. In its extreme form this exagge-' ration is carried to an illogical degree, sometimes ad absurdum. Like many stylistic devices, hyperbole may lose its quality as a sty- listic device through frequent repetition and become a unit of the language-as-a-system, reproduced in speech in its unaltered form. Here are some examples of language hyperbole: 'A thousand pardons'; 'scared to death', 'immensely obliged;' ' give the world to see him.' Hyperbole differs from mere exaggeration in that it is intended to be understood as an exaggeration. In this collection the following quotations deserve, a passing note: "Hyperbole is the result of a kind of intoxication by emotion, which prevents a person from seeing things in their-true dimensions... If the reader (listener) is not-carried away by the emotion of the writer (speaker), hyperbole becomes a mere lie." Hyperbole is a device which sharpens the reader's ability to make a logical assessment of the utterance. This is achieved, as is the case with other devices, by awakening the dichotomy of thought and feeling where thought takes the upper hand though not to the detriment of feeling.
Inversion which was briefly mentioned in the definition of chiasmus is very often used as an independent SD in which the direct word order is changed either completely so that the predicate (predicative) precedes the subject, or partially so that the object precedes the subject-predicate pair. Correspondingly, we differentiate between a partial and a complete inversion. The stylistic device of inversion should not be confused with. grammatical inversion which is a norm in interrogative constructions. Stylistic inversion deals with. the rearrangement of the normative word order. Questions may also be rearranged: "Your mother is at home?" asks one of the characters of J. Baldwin's novel. The inverted 'question presupposes the answer with. more certainty than the normative one. It is the assuredness of the speaker of the positive answer that constitutes additional information which is brought into the question by the inverted word order. Interrogative constructions with. the direct word order may be viewed as cases of two-step (double) inversion: direct w / o ---> grammatical inversion ---> direct w / o.
IRONY The essence of irony consists in the foregrounding not of the logical but of the evaluative meaning. The context is arranged so that the qualifying word in irony reverses the direction of the evaluation, and the word positively charged is understood as a negative qualification and (much-much rarer) vice versa. Irony thus is a stylistic device in which the contextual evaluative meaning of a word is directly opposite to its dictionary meaning. So, like alt other SDs irony does not exist outside the context, which varies from the minimal-a word combination, as in J. Steinbeck's "She turned with the sweet smile of an alligator,"-to the context of a whole book, as in Ch. Dickens, where one of the remarks of Mr. Micawber, known for his complex, highly bookish and elaborate style of speaking about the most trivial things, is introduced by the author's words "...Mr. Micawber said in his usual plain manner". In both examples the words "sweet" and "plain" reverse their positive meaning into the negative one due to the context, micro- in the first, macro- in the second case. In the stylistic device of irony it is always possible to indicate the exact word whose contextual meaning diametrically opposes its dictionary meaning. This is why this type of irony is called verbal irony. There are very many cases, though, which we regard as irony, intuitively feeling the reversal of the evaluation, but unable to put our finger on the exact word in whose meaning we can trace the contradiction between the said and the implied. The effect of irony in such cases is created by a number of statements, by the whole of the text. This type of irony is called sustained, and it is formed by the contradiction of the speaker's (writer's) considerations and the generally accepted moral and ethical codes. Many examples of sustained irony are supplied by D. Defoe, J. Swift, by such contemporary writers as S. Lewis, K. Vonnegut, E. Waugh and others. "It must be delightful to find oneself in a foreign country without a penny in one's pocket."

# 712
  • Мнения: 158
L i t o t e s is a stylistic device consisting of a peculiar use of negative constructions.. Litotes is a deliberate understatement used to produce a stylistic effect. It is not a pure negation, but a negation that includes affirmation. So the negation in litotes must not be regarded as a mere denial of the quality mentioned. The structural aspect of the negative combination backs up the semantic aspect: the negatives no and not are more emphatically pronounced than in ordinary negative sentences, thus bringing to mind the corresponding antonym.The stylistic effect of litotes depends mainly on intonation. If we compare two intonation patterns, one which suggests a mere denial (It is not bad as a contrary to It is bad) with the other which suggests the assertion of a positive quality of the object (It is not bad==it is good), the difference will become apparent. The degree to which litotes carries the positive quality in itself can be estimated by analysing the semantic structure of the word which is negated. Litotes is used in different styles of speech, excluding those which may be called the matter-of-fact styles, like official style and scientific prose. In poetry it is sometimes used to suggest that language fails to adequately convey the poet's feelings and therefore he uses negations to express the inexpressible. Shakespeare's Sonnet No. 130 is to some extent illustrative in this respect. Here all the hackneyed phrases used by the poet to depict his beloved are negated with the purpose of showing the superiority of the earthly qualities of "My mistress." The first line of this sonnet 'My mistress' eyes are nothing like the sun' is a clear-cut litotes although the object to which the eyes are compared is generally perceived as having only positive qualities.
Metaphor The term 'metaphor', as the etymology of the word reveals, means transference of some quality from one object to another. From the times. of ancient Greek and Roman rhetoric, the term has been known to denote the transference of meaning from one word to another. It is still widely used to designate the process in which a word acquires a derivative meaning. A metaphor becomes a stylistic device when two different phenomena (things, events, ideas, actions) are simultaneously brought to mind by the imposition of some or all of the inherent properties of one object on the other which by nature is deprived of these properties. Such an imposition generally results when the creator of the metaphor finds in the two corresponding objects certain features which to his eye have something in common. "Dear Nature is the kindest Mother still" (Byron) the notion Mother arouses in the mind the actions of nursing, weaning, caring for, etc., whereas the notion Nature does not. There is no true similarity, but there is a kind of identification. Therefore it is better to define metaphor as the power of realizing two lexical meanings simultaneously. Due to this power metaphor is one of the most potent means of creating images. An image is a sensory perception of an abstract notion already existing in the mind. Consequently, to create an image means to bring a phenomenon from the highly abstract to the essentially concrete. Thus the example given above where the two concepts Mother and Nature are brought together in the interplay of their meanings, brings up the image of Nature materialized into but not likened to the image of Mother. Metaphors, like all stylistic devices, can be classified according to their degree of unexpectedness. Thus metaphors which are absolutely unexpected, i.e. are quite unpredictable, are called genuine metaphors. Those which are -commonly used in speech and therefore are sometimes even fixed in dictionaries as expressive means of language are trite metaphors, or dead metaphors. Their predictability therefore is apparent. Genuine' metaphors are regarded as belonging to language-in-action, i. e. speech- metaphors; trite metaphors belong to the language-as-a-systero, i.e. language proper, and are usually fixed in dictionaries as units of the language
Metonymy is based on a different type of relation between the dictionary and contextual meanings, arelation based not on identification, but on some kind of association connecting the two concepts which these meanings represent. Thus, the word crown may stand for 'king or queen', cap or glass for 'the drink it contains', woolsack for 'the Chancellor of the Exchequer who sits on it, or the position and dignity of the Lord Chancellor', e.g., "Here the noble lord inclined his knee to the Woolsack." Here also the interrelation between the dictionary and contextual meanings should stand out clearly and conspicuously. Only then can we state that a stylistic device is used. Otherwise we must turn our mind to lexicological problems, i.e. to the ways and means by which new words and meanings are coined. The examples of metonymy given above are traditional. In fact they are derivative logical meanings and therefore fixed in dictionaries. However, when such meanings are included in dictionaries, there is usually a label fig ('figurative use'). This shows that the new meaning has not replaced the primary one, but, as it were, co-exists with it. Metonymy used in language-in-action, i.e. context è a I metonymy, is genuine metonymy and reveals a quite unexpected substitution of one word for another, of one concept for another, on the .ground of some strong impression produced by a chance feature of the thing, for example:, "Miss Tox's hand trembled as she slipped it through Mr. Dombey's arm, and felt herself escorted up the steps, preceded by a cocked hat and a Babylonian collar." (Dickens)

# 713
  • Мнения: 158
Neologisms. There is a term in linguistics which by its very nature is ambiguous and that is the term neologism. In dictionaries it is generally defined as ' a new word or a new meaning for an established word.' Everything in this definition is vague. How long should words or their meanings be. regarded as new? Which words of those that appear as new in the language, say during the life-time of one generation., can be regarded as established? It is suggestive that the latest editions of certain dictionaries avoul the use of the stylistic notation "neologism" apparently because of its ambiguous character. If a word is fixed in a dictionary and provided that the dictionary is reliable, it ceases to be a neologism. If a new meaning is recognized as an element in the semantic structure of a lexical unit, it ceases to be new.. However, if we wish to divide the word-stock of a language into chronological periods, we can conventionally mark off a period which might be called new. Every period in 'the development of a language produces an enormous number of new words, or new meanings of established words. Most of them do not live long. They are not 'meant to live long. They are, as . it were, coined for use at the moment of speech, and therefore possess a peculiar property —that of temporariness. The given word or meaning holds only in the given context and is meant only to "serve the occasion." However, such is the power of the written language that a word or a meaning used only to serve the occasion, when once fixed in writing, may become part and parcel of. the general vocabulary irrespective of the quality of the word. In this connection it might be noted that such words as субъект, объект and their derivatives as well as тип, прэгресс, пролетариат and, others introduced into the literary Russian language by V. G. Belinsky have become legitimate Russian words firmly established in the word-stock of the Russian language and are no longer felt to be alien to the literary language as they were in the nineteenth century. Literary critics, men-of-letters and linguists have manifested different attitudes towards new -coinages both literary and colloquial. Ever since the 16th century, literature has shown example after example of the losing battle of the purists whose strongest objection to the new words was on the score of their obscurity. A. A. Baugh points out-that the great exponent of this view was Thomas Wilson. His "Arte of Rhetorique" (1533) was several times reprinted and was used by Shakespeare.
Onomatopoeia - the use of words whose sounds imitate those of the signified object or action, such as "hiss", "bowwow", "murmur", "bump", "grumble", "sizzle" and many more. Imitating the sounds of nature, man, inanimate objects, the acoustic form of the word foregrounds the latter, inevitably emphasizing its meaning too. Thus the phonemic structure of the word proves to be important for the creation of expressive and emotive connotations. A message, containing an onomatopoeic word is not limited to transmitting the logical information only, but also supplies the vivid portrayal of the situation described. Poetry abounds in some specific types of sound-instrumenting, the leading role belonging to alliteration - the repetition of consonants, usually in the beginning of words, and assonance - tbe repetition of similar vowels, usually in stressed syllables. They both may produce the effect of euphony (a sense of ease and comfort in pronouncing or hearing) or cacophony (a sense of strain and discomfort in pronouncing or hearing). As an example of the first may serve the famous lines of E. A. Poe: ...silken sad uncertain rustling of each purple curtain...
Poetic and Highly Literary Words. Poetic words form a rather insignificant layer of the special literary vocabulary. They are mostly archaic or very rarely used highly literary words which aim at producing an elevated effect. They have a marked tendency to detach themselves from the common literary word-stock and gradually assume the quality of terms denoting certain definite notions and calling forth poetic diction. Poetic words and expressions are called upon to sustain the special elevated atmosphere of poetry. This may be said to be the main function of poetic words. V. V. Vinogradov gives the following properties of poetic words: "...the cobweb of poetic words and images veils the reality, stylizing it according to the established literary norms and canons. A word is torn away from its referent. Being drawn into the system of literary styles, the words are selected and arranged in groups of definite images, in phraseological series, which grow standardized and stale and are becoming conventional symbols of definite phenomena or characters or of definite ideas or impressions.'' Poetical tradition has kept alive such archaic words and forms as yclept (p. p. of the old verb clipian—to call, name); quoth (p. t. of ñî)åä-an — to speak); eftsoons (eftsona,— again, soon after), which are used even by modern ballad-mongers. The use of poetic words does not as a rule create the atmosphere of poetry in the true sense; it is a substitute for real art. Poetic words are not freely built in contrast to neutral, colloquial and common literary words, or terms. The commonest means is by compounding, e. g. 'young-eyed', 'rosy-fingered'. Some writers make abundant use of this word-building means. Thus Arthur Hailey in his novel "In High Places" has 'serious-faced', 'high-ceilinged', 'beige-carpeted', 'tall-backed', 'hom-rimmed' in almost close proximity. There is, however, one means of creating new poetic words still recognized as productive even in present-day English, viz. the use of a contracted form of a word instead of the full one, e. g. 'drear' instead of dreary, 'scant' (=scanty). Sometimes'the reverse process leads to the birth of a poeticism, e. g. 'vasty' (vast. 'Thevasfy deep' ,i. e. the ocean); 'steepy' (steep), 'paly' (pale). These two conventional devices are called forth by the requirements 'of the metre of the poem, to add or remove a syllable, and are generally avoided by modern English poets. Poetical words and set expressions make the utterance understandable only to a limited number of readers. It is mainly due to poeticisms that poetical language is sometimes called poetical jargon.
Professionalisms, as the term itself signifies, are the words used in a definite trade, profession: or calling by people connected by common interests both at work and at home. The main feature of a professionalism is its techtricality. Professionalisms are special worth in the non-literary layer of the English vocabulary, whereas terms are ÿ specialized group belonging to the Literary layer- of words. Professionalisms generally remain in circulation within a definite community, as they are linked to a common occupation. and common social interests. blocks of big buildings); piper (a specialist who decorates pastry with the use of a cream-pipe); a midder case (a midwifery case); outer (a knockout blow). Some professionalisms, however, like certain terms, become popular and gradually lose their professional flavour. Thus the word crane which Byron used in his "Don Juan" ... was a verb meaning 'to stretch out the neck like a crane before a dangerous leap' (in hunting, in order to look before you leap'). Professionalisms should not be mixed up with jargonisms. Like slang words, professionalisms do not aim at secrecy. They fulfil a socially useful function in communication, facilitating a quick and adequate grasp of the message. As is seen, each financial professionalism is explained by the author and the words themselves are in inverted commas to stress their peculiar idiomatic sense and also to indicate that the words do not belong to the standard English vocabulary in the meanings they are used. There are certain fields of human activity which enjoy nation-wide interest and popularity. This, for example, is the case in Great Britain where sports and games are concerned. English pugilistic terminology, for example, has gained particularly wide recognition and therefore is frequently used in a transferred meaning, thus adding to the general image-building function of emotive prose. Here is an example of the use of such professionalisms in fiction.

Последна редакция: сб, 08 май 2010, 22:28 от Lana26

# 714
  • Мнения: 158
The publicis'ti'c style of language became discernible as a separate style in the middle, of the 18th century. It also falls into three varieties, each having its own distinctive features. Unlike other styles, the publicistic style has a spoken variety, namely, the oratorical substyle. The development of radio and television has brought into being another new spoken variety, namely, -the radio and TV. The other two substyles are the essay (moral, philosophical, literary) and journalistic articles (political, social, economic) in newspapers, journals and magazines. Book reviews in journals, newspapers and magazines and also pamphlets are generally included among essays. The general aim of publicistic style, which makes it stand out as a separate style, is to exert a constant and deep influence on public opin- ion, to convince the reader or the listener that the interpretation given by the writer or the speaker is the only correct one and to cause him to 'accept the point of view expressed in the speech, essay or article not merely through logical argumentation but through emotional- appeal as well. This brain-washing function is most effective in oratory, for here the most powerful instrument of persuasion, the human voice, is brought into play.Due to its characteristic combination of logical argumentation and emotional appeal, publicistic style has features in common with the style of scientific prose, on the one hand, and that of ertiotive prose, on the other. Its coherent and logical syntactical structure, with an expanded system of connectives and its careful paragraphing, makes it similar to scientific prose. Its emotional appeal is generally achieved by the use of words with emotive meaning, the use of imagery and other stylistic devices as in emotive prose; but the stylistic devices used in publicistic style are not fresh or genuine. The individual element essential to the belles-lettres style is, as a rule, little in evidence here. This is in keeping with the general character of the style. The manner of presenting ideas, however, brings this style closer to that of belles-lettres, in this case to emotive prose, as it is to a certain extent individual. Naturally, of course, essays and speeches have greater individuality than newspaper or magazine articles where the individual element is generally toned down and limited by the requirements of the style.
The pun IS another stylistic device based on the interaction of two well-known meanings of a word or phrase. It is difficult do draw a hard and fast distinction between zeugma and the pun. The only reliable distinguishing feature is a structural one: zeugma is the realization of two meanings with the help of a verb which is made to refer to different subjects or objects (direct or indirect). The pun is more independent. There need not necessarily be a word in the sentence to which the pun-word refers. This does not mean, however, that the pun is entirely free. Like any other stylistic device, it must depend on a context. But the context may be of a more expanded character, sometimes even as large as a whole work of emotive prose. Thus the title of one of Oscar Wilde's plays, "The Importance of Being Earnest" has a pun in it, inasmuch as the name of the hero and the adjective meaning 'seriously-minded' are both present in our mind. Here is another example of a pun where a larger context for its realization is used: "'Bow to the board," said Bumble. Oliver brushed away two or three tears that were lingering in his eyes; and seeing'-no board but the table, fortunately bowed to that'. (Dickens) In fact, the humorous effect is caused by the interplay not of two meanings of one word, but of two words. 'Board' as a group of officials with functions of administration and management and 'board' as a piece of furniture (a table) have become two distinct words. Puns are often used in riddles and jokes, for example, in this riddle: What is the difference between a schoolmaster and an engine-driver? (One trains the mind and the other minds the train.) Devices of simultaneously realizing the various meanings of words, which are of a more subtle character than those embodied in puns and zeugma, are to be found in poetry and poetical descriptions and in spe- , culations in emotive prose. Men-of-letters are especially sensitive to the nuances of meaning embodied in almost every common word, and to make these words live with their multifarious semantic aspects is the task of a good writer. Those who can do it easily are said to have talent. In this respect it is worth subjecting to stylistic analysis words ordinarily perceived in their primary meaning but which in poetic diction begin to acquire some additional, contextual meaning. This latter meaning sometimes overshadows the primary meaning and it may, in the course of time, cease to denote the primary meaning, the derived mean-ing establishing itself as t:he most recognizable one. But to deal with
Punctuation also specifies the communicative type of the sentence. So, as you well know a point of interrogation marks a question and a full stop signals a statement. There arc cases though when a statement is crowned with a question mark. Often this punctuation-change is combined with the change of word-order, the latter following the pattern of question. This peculiar interrogative construction which semantically remains a statement is called a rhetorical question. Unlike an ordinary question the rhetorical question does not demand any information but serves to express the emotions of the speaker and also to call the attention of listeners. Rhetorical questions make an indispensable part of oratoric speech for they very successfully emphasize the orator's ideas. In fact the speaker knows the answer himself and gives it immediately after the question is asked. The interrogative intonation and/or punctuation draw the attention of listeners (readers) to the focus of the utterance. Rhetorical questions are also often asked in "unanswerable" cases, as when in distress or anger we resort to phrases like "What have I done to deserve..." or "What shall I do when...". The artificiality of question-form of such constructions is further stressed by exclamation marks which,. alongside points of interrogation, end rhetorical questions.

# 715
  • Мнения: 158
Slang, contrary to jargon, needs no translation. It is not a secret code. It is easily understood by the English-speaking community and is only regarded as something not quite regular. It must also be remembered that both jargon and slang differ from ordinary language mainly in their vocabularies. The structure of the sentences and the morphology of the language remain practically unchanged. But such is the power of words, which are the basic and most conspicuous element in the language, that we begin unwittingly to speak of a separate language. Many words formerly labeled as slang have now become legitimate units of standard English. Thus the word kid (child), which was considered low slang in the nineteenth century, is now a legitimate colloquial unit of the English literary language. It never grows stale. If a slang word or phrase does become stale, it is replaced by a new slangism. It is claimed that this satisfies the natural desire for fresh, newly created words and expressions, which give to an utterance emotional colouring and a subjective evaluation. The term 'slang', which is widely used in English linguistic science, should be clearly specified if it is to be used as a term, i. e. it should refer to some definite notion and should be definable in explicit, simple terms. It is suggested here that the term 'slang' should be used for those forms of the English vocabulary which are either mispronounced or distorted in some way phonetically, morphologically or lexically. The term 'slang' should also be used to specify some elements which may be called over-colloquial. As for the other groups of words hitherto classified as slang, they should be specified according to the universally accepted classification of the vocabulary of a language. Slang is nothing but a deviation from the established norm at the level of the vocabulary of the language." Sometimes slang is used to escape the dull familiarity of standard words, to suggest an escape from the established routine of everyday life. When slang is used, our life seems a little fresher and a little more personal. Also, as at all levels of speech, slang is sometimes used for the pure joy of making sounds, or even for a need to attract attention by making noise. Examples of words that are considered slang: to take stock in—'to be interested in, attach importance, give credence to' bread-basket—'the stomach' (a jocular use) to do a flit—'to quit one's flat or lodgings at night without paying
The term vulgarism, as used to single out a definite group of words of non-standard English, is rather misleading. The ambiguity of the term apparently proceeds from the etymology of the word. Vulgar, as explained by the Shorter Oxford Dictionary, means a) words or names employed in ordinary speech; b) common, familiar; c) commonly current or prevalent, generally or widely disseminated. So vulgarisms are: 1) expletives and swear words which are of an abusive character, like 'damn', 'bloody', 'to hell', 'goddam' and, as some dictionaries state, used now as general exclamations; 2) obscene words. These are known as four-letter words the use of which is banned in any form of intercourse as being indecent. Vulgarisms are often used in conversation out of habit, without any thought of what they mean, or in imitation of those who use them in order not to seem old-fashioned or prudish. Unfortunately in modern fiction these words have gained legitimacy. The most vulgar of them are now to be found even in good novels. This lifting of the taboo has given rise to the almost unrestrained employment of words which soil the literary language. However,, they will never acquire the status of standard English vocabulary and will always remain on the outskirts. The function of expletives is almost the same as that of interjections, that is to express strong emotions, mainly annoyance, anger, vexation and the like. They are not to be found in any functional style of language except emotive prose, and here only in the direct speech of the characters. The language of the underworld is rich in coarse words and expressions. But not every expression which may be considered coarse should be regarded as a vulgarism. Coarseness of expression may result from improper grammar, non-standard pronunciation, from the misuse of certain literary words and expressions, from a deliberate distortion of words. These are improprieties of speech but not vulgarisms. Needless to say the label coarse is very frequently used merely to designate an expression which lacks refinement. But vulgarisms, besides being coarse properly, are also rude and emotionally strongly charged and, like any manifestation of excess of feelings, are not very discernible as to their logical meaning.
Zeugma is the use of a word in the same grammatical but different semantic relations to two adjacent words in the context, the semantic relations being, on the one hand, literal, and, on the other, transferred. "Dora, plunging at once into privileged intimacy and into the middle of the room". (B. Shaw) 'To plunge' (into the middle of a room) materializes the meaning 'to rush into' or 'enter impetuously'. Here it is used in its concrete, primary, literal meaning; in 'to plunge into privileged intimacy' the word 'plunge' is used in its derivative meaning. The same can be said of the use of the verbs 'stain' and lose' in the following lines from Pope's "The Rape of the Lock": "...Whether the Nymph Shall stain her Honour or her new Brocade Or lose her Heart or necklace at a Ball." This stylistic device is particularly favoured in English emotive prose and in poetry. The revival of the original meanings of words must be regarded as an essential quality of any work in the belles-lettres style. A good writer always keeps the chief meanings of words from fading away, provided the meanings are worth being kept fresh and vigorous. Zeugma is' a strong and effective device to maintain the purity of the primary meaning when the two meanings clash. By making the two meanings conspicuous in this particular way, each of them stands out clearly. The structure of zeugma may present variations from the patterns given above. Thus in the sentence:. "...And May's mother always stood on her gentility, and Dot's mother never stood on anything but her active little feet" (Dickens) The word 'stood' is used twice. This structural variant of zeugma, though producing some slight difference in meaning, does not violate the principle of the stylistic device. It still makes the reader realize that the two meanings of the word 'stand' are simultaneously expressed, one primary and the other derivative.
 

# 716
  • Мнения: 3 066
Благодарско Лана26!Направо ми стана гот -толкова много задачки!Мерси отново!

Последна редакция: нд, 09 май 2010, 13:00 от tanyatais

# 717
  • Мнения: 158
A Book of Practice in Stylistics

•  FOREWORD
•  PRELIMINARY REMARKS
•  CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL Sound Instrumenting. Craphon. Graphical Morphemic Repetition. Extension of Morphemic
•  CHAPTER II. LEXICAL LEVEL
•  Word and its Semantic Structure
•  Connotational Meanings
•  The Role of the Context in the Actualization of Meaning
•  Stylistic Differentiation of the Vocabulary
•  Literary Stratum of Words. Colloquial Words
•  Lexical Stylistic Devices
•  Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet. Hyperbole. Understatement. Oxymoron.
•  CHAPTER III. SYNTACTICAL LEVEL
•  Main Characteristics of the Sentence. Syntactical SDs. Sentence Length One-Word Sentences. Sentence Structure. Punctuation. Arrangement of Sentence Members. Rhetorical Question. Types of Repetition. Parallel Constructions. Chiasmus. Inversion. Suspense, Detachment. Completeness of Sentence Structure. Ellipsis. One-Member Sentences. Apokoinu Constructions. Break.
•  Types of Connection.
•  Polysyndeton. Asyndeton. Attachment
•  Lexico-Syntactical Stylistic Devices.
•  Antithesis. Climax. Anticlimax. Simile. Litotes. Periphrasis.
•  CHAPTER IV. TYPES OF NARRATION
•  Author's Narrative. Dialogue. Interior Speech. Represented Speech. Compositional Forms.
•  CHAPTER V. FUNCTIONAL STYLES
•  Colloquial vs. Literary Type of Communication. Oral vs Written Form of Communication.
•  SUPPLEMENT 1
•  Samples of Stylistic Analysis.
•  SUPPLEMENT2
•  Extracts for Comprehensive Stylistic Analysis
•  LIST OF AUTHORS WHOSE TEXTS
•  WERE USED IN EXERCISES

http://www.durov.com/study/Kukharenko_A_book_of_Practice_in_Styl … stics-108-145.zip

# 718
  • Мнения: 158
«Stylistic Classification of the English Vocabulary»


1. General considerations of stylistic classification of the English vocabulary

2. Main part
2.1 Neutral, common literary and Сommon colloquial vocabulary
2.2 Special literary vocabulary
2.2.1 Terms
2.3 Poetic and highly literary words
2.4 Archaic, Obsolescent and Obsolete Words
2.5 Special colloquial vocabulary
2.5.1 Slang
2.5.2 Jargonisms
2.5.3 Professionalisms
2.5.4 Dialectal words

Conclusion

http://revolution.allbest.ru/dl/09/00093689.zip

# 719
  • Мнения: 158
Advanced Grammar in Use.   Martin Hewings
A self-study reference and practice book for advanced students of English. With Answers.




First edition;
Format: pdf / zip   
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http://dwl.alleng.ru/d_ar/engl_en/eng012.zip




Second edition: (only a book)
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Size: 51,3 Mb
http://narod.ru/disk/1304947000/eng012_1.zip.html
On the next page, enter 6 figures from the image and press the green button. On the next page delete a tick from the square "Установить Яндекс Бар" and click on the link. Downloading will begin.

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