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Meaning from a stylistic point of view.
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Some linguists think that meaning is extralinguistic term. Jacobson- semantic invariant. The term is rather ambiguous. Interrelation between meaning and concept, sign and referent. No communication will be possible if the meaning is stable. Meaning should be stable at a given period of time. For stylistics contextual meaning is important. Lexical meaning refers to some phenomena,
grammatical- structure. There’re different classifications of meanings: morphological, semantic,
stylistic, logical. The M is a kind of metonymy. polysematicism. Lexical meaning is conventional.
Logical meaning-direct and referential naming of some concept.
Emotive –refers to feelings and emotions of the speaker
Nominal- indicates the particular object out of the class.
Vygotsky describes meaning as the unity of generalization, communication and thinking.
Phonographical 123-135 Galperin- notes
Kukharenko- 10-22
Poem
The cataract at Lodore (Robert Southey)
Dividing and gliding and sliding,
And falling and brawling and sprawling,
And diving and riving and striving,
And sprinkling and twinkling and wrinkling,
And sounding and bounding and rounding,
And bubbling and troubling and doubling,
And grumbling and rumbling and tumbling,
And clattering and battering and shattering,
Retreating and beating and meeting and sheeting,
Delaying and straying and playing and spraying,
Advancing and prancing and glancing and dancing,
Recoiling, turmoiling and toiling and boiling,
And gleaming and streaming and steaming and beaming,
And rushing and flushing and brushing and gushing,
And flapping and rapping and clapping and slapping,
And curling and whirling and purling and twirling,
And thumping and plumping and bumping and jumping
And dashing and flashing and slashing and clashing,
And so-never ending, but always descending
Sound and motions forever and ever are blending
All at once and over, with a mighty uproar
And this way the water comes down at Lodore.
Metonymical repetition.
A peculiar device where words are used in their direct meaning but they apply ideas which are not expressed directly. A writer selects some limited number of words and goes on repeating them. (E.Heminghuway –the short happy life of Fracis Mccombat- the writer selects several words- to smile, to say, to look in some paragraph- he smiled at her now and she looked away from his face. Heres to the line Rob Wills said. He smiled at her again, and not smiling he looked curiously at her husband “ let’s not talk about the line”-she said. Willson looked over at her without smiling and now she smiled at him.) Reading such a fragment the reader begins to understand what these verbs stand for and what feelings are meant. These words are peculiar substitutes for the names of the real feelings. That’s why it’s a sort of metonymical description.
Parallel constructions.
They’re specifically arranged utterances which are also based on the principal of the repetition but in this case it’s a repetition of the syntactical pattern. E.g.” I wake up and I’m alone and I walk round the place and I’m alone, I talk with people and I’m alone and I look at his face when I’m at home and it’s dead”. In this utterance we observe the repetition of the following structure I+verb, I’m alone. So this repetition of the pattern is combined with lexical repetition, it’s very effective as it gives intensification and emphasis to some parts of the fragment. It brings emotiveness and expressiveness to its end. PC may be partial and complete, complete parallel arrangements also called balance. It’s very typical of poetry while in prose we have partial repetition. E.g. the day is cold and dark and dreary. It rains and the wind is really dreary. … dark and weary.
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Partial repetition has modification in the syntactical pattern, not a very sudden modification, but mild through which we recognize the basic pattern. E.g. “Fr Mcc was very tall, very well built, dark his hair cropped rather thin and was considered handsome. He was dressed in the same sort of safari clothes that Wilson wore. Except that his were new. He was 35 years old, kept himself very fit, was good at court games, had a number of big game fishing records and had just shown himself very publicly to be a coward”
the fragment is any example of another stylistic device which is called cumuliation.
C looks like this: a paragraph is arranged on the principal of syntactical parallelism, actually the author selects one or two syntactical pattern. The fragment is semantically connected and develops one and the same topic, more and more details are added and then all of a sudden at the end the last sentence falls out of the topic. Semantically it’s alien and it produces a shock. Cumuliation is a sticking example of the principle of defeated expectancy.
Chiasm.
Combines parallel structures and inversion. The second construction is the inverted structure of the first sentence. Wilde O.- the importance of being earnest- miss fearfax, ever since I met you I have admired you more than any girl… I have met… since I met you.
Climax (Gradation)
Another syntactical figure of speech, which makes use of the design of parallel constructions. In a Climax each next word is logically more important, emotionally stronger and the most forceful component comes the last. E.g. better to borrow, better to beg, better to die. Several types of gradation:
Logical G- is based on the relative importance of its parts. Each next part being more forceful from the point of view of the speaker. E.g. Is it a shark- said Broady, the possibility that he at last was going to confront the fish, the beast, the monster, the nighmare maid Broadies heart bump.
U r beautiful, magical, lyrical
Old mcdonald had a farm
Vera polozkova
Лооооось! У нас с тобой что-то не срослооооось
Рыыыыысь! У нас с тобой все было за…
Если вас трамвай задавит
вы конечно вскрикните
Раз задавит, два задавит
1 1 the notion of expressive means and std
2reported speech as a std
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2 1lexical std based on a peculiar use of phraseology
2antithesis as a std
3 1the notion of the norm and the literary language
2graphical means in the printed text in fiction
4 archaisms and historical words and their stylistic function
Ellipsis as a std
5 different points of view in the nature of stds
Metonymical stds
6 direct and indirect speech as literary devices of rendering human speech
Metaphor as a std
7 the notion of the functional style (the newspaper style, the scientific style)
Question-in-the narrative as a std
8 stylistic differentiation of the voc
Hyperbole and understatement as stds
9 ways of expressing human speech in fiction
Phonetic expressive means and stds
10 the written language, its lexical and syntactical properties
Inversion as a std, types of inversion
11 special bookish voc (terms, poetic diction)
Antonomasia and synecdoche as stds
12 special bookish voc (neologisms, archaic words)
Oxymoron and zeugma stds
13 special bookish voc (barbarisms, foreign words)
Climax & anticlimax as stds
14 non-literary voc (slang & professional words)
Types of repetition
15 the semantic structure of a word & types of connotation
Periphrasis & euphemism as stds
16 lexical stds based on interaction of two meanings of a word
Rhetorical question and litotes as stds
17 lexical stds based on the intensification of a certain feature of an object
Inversion and detachment as stds
18 syntactical stds based on the structural transformation of the utterance
Pun and semantically false chain as stds
19 syntactical stds based on a specific arrangement of the units of the utterance
Irony as a std
20 the notion of the functional style, the problem of the belle-lettres and the colloquial styles
Repetition through the text and metonymical repetition as stds
www.e-lingvo.net
w.h. auden
he was my North, my South, my east and west
my working week, my Sunday rest
let bygones be bygones
a good mixer
last straw
to stick together
serve right
realization of metaphor
metonymy- insignificance of the subject
we know nothing about the subject
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