Stylistic means of expression. Stylistic devices and expressive means in English

Stylistic devices and expressive means Stylistic devices and expressive means

Epithet (epithet [?ep?θet])- definition at the word, expressing the author's perception:
silvery laugh
a thrilling tale
a sharp smile
An epithet always has an emotional connotation. He characterizes the object in a certain artistic way, reveals its features.
a wooden table (wooden table) - only a description, expressed in an indication of the material from which the table is made;
a penetrating look (penetrating look) - an epithet.

Comparison (simile [?s?m?li]) - a means of assimilation of one object to another on any basis in order to establish similarities or differences between them.
The boy seems to be clever as his mother. The boy seems to be as smart as his mother.

Irony (irony [?a?r?ni]) - a stylistic device where the content of the statement carries a meaning different from direct meaning this utterance. the main objective irony is to evoke a humorous attitude of the reader to the facts and phenomena described.
She turned with the sweet smile of an alligator. She turned with a sweet alligator smile.
But irony is not always funny, it can be cruel and offensive.
How clever you are! You're so clever! (The reverse meaning is implied - stupid.)

Hyperbole (hyperbole) - an exaggeration aimed at enhancing the meaning and emotionality of the statement.
I have told you it a thousand times. I told you this a thousand times.

Litota / Understatement (litotes [?la?t??ti?z] / understatement [??nd?(r)?ste?tm?nt]) - understatement of the size or value of an object. Litota is the opposite of hyperbole.
a cat-sized horse
Her face isn't a bad one. She has a good face (instead of "good" or "beautiful").

Periphrase / Paraphrase / Periphrase (periphrasis) - an indirect expression of one concept with the help of another, its mention by not direct naming, but description.
The big man upstairs hears your prayers. The big man upstairs hears your prayers (the "big man" means God).

Euphemism (euphemism [?ju?f??m?z?m]) - a neutral expressive means used to replace uncultured and rude words in speech with softer ones.
toilet → lavatory/loo

Oxymoron (oxymoron [??ksi?m??r?n]) - creating a contradiction by combining words that have opposite meanings. The suffering was sweet! Suffering was sweet!

Zeugma (zeugma [?zju??m?]) - omission of repeated words in the same type of syntactic constructions to achieve a humorous effect.
She lost her bag and mind. She lost her bag and her sanity.

Metaphor (metaphor [?met?f??(r)]) - transfer of the name and properties of one object to another according to the principle of their similarity.
floods of tears
a storm of indignation
a shadow of a smile
pancake/ball → the sun

Metonymy (metonymy) - renaming; replacing one word with another.
Note: Metonymy should be distinguished from metaphor. Metonymy is based on contiguity, on the association of objects. Metaphor is based on similarity.
Examples of metonymy:
The hall applauded. The hall welcomed (the "hall" does not mean the room, but the audience in the hall).
The bucket has spilled. The bucket splashed (not the bucket itself, but the water in it).

Synecdoche (synecdoche) - a special case of metonymy; naming the whole through its part and vice versa.
The buyer chooses the quality products. The buyer chooses quality goods (by "buyer" we mean all buyers in general).

Antonomasia (antonomasia [?ant?n??me?z??]) - a kind of metonymy. Instead of own name descriptive expression.
The Iron Lady
Casanova Casanova
Mr. All-Know Mr. omniscient

Inversion (inversion [?n?v??(r)?(?)n]) - a complete or partial change in the direct order of words in a sentence. Inversion imposes logical tension and creates emotional coloring.
Rude am I in my speech. I am rude in my speech.

Repetition [?rep??t??(?)n]) - expressive means used by the speaker in the state emotional stress, stress. It is expressed in the repetition of semantic words.
Stop! Don't tell me! I don't want to hear this! I don't want to hear what you've come for. Stop it! Do not tell me! I don't want to hear this! I don't want to hear what you came back for.

Anadiplosis (anadiplosis [?æn?d??pl??s?s]) - usage last words previous proposal as initial words next.
I was climbing the tower and the stairs were trembling. And the stairs were trembling under my feet. I climbed the tower, and the steps trembled. And the steps trembled under my feet.

Epiphora (epiphora [??p?f(?)r?]) - the use of the same word or group of words at the end of each of several sentences.
Strength is given to me by fate. Luck is given to me by fate. And failures are given by fate. Everything in this world is given by fate. Forces are given to me by fate. Luck is given to me by fate. And failure is given to me by fate. Everything in the world is determined by fate.

Anaphora / Monogamy (anaphora [??naf(?)r?]) - repetition of sounds, words or groups of words at the beginning of each speech passage.
What is the hammer? What is the chain? Whose was the hammer, whose chains,
In what furnace was your brain? To hold your dreams?
What is the anvil? What dread grasp
Dare its deadly terrors clasp? Got mortal fear?
("The Tiger" by William Blake ; Translation by Balmont)

Polysyndeton / Polyunion (polysyndeton [?p?li:?s?nd?t?n]) - an intentional increase in the number of unions in a sentence, usually between homogeneous members. This stylistic device emphasizes the significance of each word and enhances the expressiveness of speech.
I will either go to the party or study up or watch TV or sleep. I will either go to a party or study for an exam or watch TV or go to bed.

Antithesis / Contraposition (antithesis [æn?t?θ?s?s] / contraposition) - comparison of images and concepts that are opposite in meaning or opposite emotions, feelings and experiences of the hero or author.
Youth is lovely, age is lonely, youth is fiery, age is frosty. Youth is beautiful, old age is lonely, youth is fiery, old age is frosty.
Important: Antithesis and antithesis are two different concepts, but in English language are denoted by the same word antithesis [æn "t???s?s]. A thesis is a judgment put forward by a person, which he proves in any reasoning, and antithesis is a judgment opposite to the thesis.

Ellipsis - deliberate omission of words that do not affect the meaning of the statement.
Some people go to priests; others to poetry; I to my friends. Some people go to priests, others to poetry, I go to friends.

Rhetorical question - a question that does not require an answer, since it is already known in advance. A rhetorical question is used to enhance the meaning of the statement, to give it greater significance.
Have you just said something? Did you say something? (Like a question asked by a person who did not hear the words of another. This question it is asked not in order to find out whether a person said something at all or not, since this is already known, but in order to find out what exactly he said.

Pun/Wordplay (pun) - jokes and riddles containing a play on words.
What is the difference between a schoolmaster and an engine-driver?
(One trains the mind and the other minds the train.)
What is the difference between a teacher and a machinist?
(One leads our minds, the other knows how to drive a train).

Interjection (interjection [??nt?(r)?d?ek?(?)n]) - a word that serves to express feelings, sensations, mental states, etc., but does not name them.
Oh! Oh! Ah! O! Oh! Ouch! Oh!
Aha! (Aha!)
Pooh! Ugh! Phew! ugh!
gosh! Hell! Oh shit!
Hush! Quiet! Shh! Hush!
Fine! Good!
Yah! Yah?
Gracious Me! Gracious! Fathers!
Christ! Jesus! Jesus Christ! good gracious! Goodness Gracious! good heavens! Oh my god!

Cliche/Stamp (cliche [?kli??e?]) - an expression that has become banal and hackneyed.
Live and learn. Live and learn.

Proverbs and sayings [?pr?v??(r)bz ænd?se???z]) .
A shut mouth catches no flies. In a closed mouth, a fly will not fly.

Idiom / Set phrase (idiom [??di?m] / set phrase ) - a phrase, the meaning of which is not determined by the meaning of the words included in it taken separately. Due to the fact that the idiom cannot be translated literally (meaning is lost), translation and understanding difficulties often arise. On the other hand, such phraseological units give the language a bright emotional coloring.
No matter
cloud up frown

Ministry of Education and Science of the Russian Federation

Federal State Autonomous Educational

institution of higher vocational education

"KAZAN (VOLGA) FEDERAL UNIVERSITY"

INSTITUTE OF INTERNATIONAL RELATIONS, HISTORY AND ORIENTAL STUDIES

DEPARTMENT OF TRANSLATION AND WORLD CULTURAL HERITAGE

CHAIR OF THEORY AND PRACTICE OF TRANSLATION

Direction: 037500.62 - Linguistics

COURSE WORK

FEATURES OF THE TRANSFER OF THE STYLISTIC MEANS OF "ALICE IN WONDERLAND" INTO THE RUSSIAN LANGUAGE BY V. V. NABOKOV

Job completed:

3rd year student

Group 04.4-202

"___" _____________ 2014 N.T. Manyurova

The work is approved for protection:

scientific adviser

Senior Lecturer"___"______2014 ________ G.M. Nurtdinova

Department head

Doc. philol. Sciences, Associate Professor"___"______2014 ________ S.S. Takhtarova

Kazan - 2014

Chapter I. …………………………………………...... 6

1.1 …………………………………….. 6

1.2 ……………………………........ 12
conclusions

Chapter II. ……………………………....... eighteen

2.1 ……………………………………………………………… 18

2.2 ………21
conclusions

Conclusion……………………………………………………………..... 34

Literature……………………………………………….. 36

Introduction

July 4, 1862 is a significant day in the history of world literature. On this day, during a boat trip on the Thames, Oxford teacher Charles Dodgson told his young companions, sisters Lorine, Alice and Edith Liddell, a fascinating story that later became one of the most read fairy tales in the world. The story of a little girl's journey into the world of her own fantasy was published in 1865 under the title Alice's Adventures in Wonderland, and its author became famous under a new name - Lewis Carroll. Lewis Carroll's fairy tale "Alice's Adventures in Wonderland" (traditionally referred to as "Alice in Wonderland" in Russian translation) is undoubtedly a masterpiece of world literature. The story, composed literally “on the go”, sold an impressive circulation during the author’s lifetime, became the subject of hundreds of studies and essays, was illustrated by many artists (including Arthur Rackham and Salvador Dali) and became one of the most frequently translated works. Today there are more than a hundred translations of "Alice", about twenty Russian versions (the very first known is dated 1879). The creative resources of a fairy tale are inexhaustible.

Alice in Wonderland eliminates the possibility of a traditional approach to literary translation. The abundance of the paradoxical and inexplicable in the work makes the translator remember: the usual logic is valid only in a world where everything happens one way and nothing else. But what happens when the world with its laws and regulations turned upside down? Boris Zakhoder, whose retelling of Alice was published in 1971, admitted to readers in the preface that for a long time he considered the translation of Carroll’s book impossible: “perhaps it will be easier ... to transport England !"

The first Russian translation, made by an anonymous translator, was printed in the printing house of A.I. Mamontov in Moscow in 1879 and was called "Sonya in the Kingdom of the Diva".

In 1923, in Berlin, the Russian translation of "Alice" was made by Vladimir Vladimirovich Nabokov (pseudonym V. Sirin). The translation was called "Anya in Wonderland" and was published by the Gamayun publishing house. In the USSR, the translation of V.V. Nabokov was first published in 1989 by the publishing house "Children's Literature" with illustrations by the artist A.B. Gennadiev. In 1967, a new translation of fairy tales made by H.M. Demurova. In recent decades, "Alisa" was published with the brand of the central and many peripheral publishing houses of the country in translations by B.V. Zakhoder, A.A. Shcherbakov and V.E. Orel. Of the "Alice" of the last decade, the translations of Yuri Nesterenko, Nikolai Starilov and Andrey Kononenko have received the widest distribution.
The book "Alice's Adventures in Wonderland" by L. Carroll has been one of the most beloved in the whole world for many years. In the countries of the English language, "Alice" occupies one of the first places in terms of the number of mentions, quotations and references, but at the same time, this tale continues to raise many questions.

Of course, there are quite a few translations of Alice in Wonderland into Russian, but we will consider the most famous ones, as well as those of particular interest in the analysis.

Relevance of the work: lies in the study of the author's stylistic means of Nabokov, who chose the strategy of domestication.

Object of study: Translation of the work "Alice in Wonderland" by Lewis Carroll in the version of Vladimir Nabokov.

Subject of study: Stylistic changes brought by Vladimir Nabokov to his translation of Alice in Wonderland.

Purpose of this work: The purpose This work is an analysis of the translation of "Alice in Wonderland" by Vladimir Nabokov and the identification of the features of the transfer of stylistic means of the work into Russian.

To achieve this goal, it is necessary to solve the following tasks:

1) Describe the most commonly used stylistic means in works of art;

2) Compare V. Nabokov's translation with another classic translation of "Alice in Wonderland";

3) To identify the features of the transfer of stylistic means of "Alice in Wonderland" in the translation of V. Nabokov;

The theoretical basis of this course work was works of domestic and foreign literary critics in the field of translation.
NAMES OF SCIENTISTS

Research methods used in the work: comparative reading of the original and various translations of the work, analysis of various versions of the translation from English into Russian, as well as analysis of dictionary definitions.
This course work consists of an introduction, two chapters, a conclusion and a list of references.
Approbation: ARTICLE, what's where.


Chapter 1 " Stylistic means and problems of their translation into Russian”
Write why works of art are created and why writers use stylistic figures, that is, tropes.
In a work of art, the word not only carries certain information, but also serves to aesthetically influence the reader with the help of artistic images. The brighter and more truthful the image, the stronger it affects the reader.

The emotionality of the artistic style differs significantly from the emotionality of the colloquial and journalistic styles. It performs an aesthetic function. Artistic style involves a preliminary selection of language means; all language means are used to create images. Distinctive feature Artistic style of speech can be called the use of special figures of speech, giving the narrative colorfulness, the power of depicting reality.

Funds artistic expressiveness varied and numerous. These are tropes: comparisons, personifications, allegory, metaphor, metonymy, synecdoche, etc. And stylistic figures: epithet, hyperbole, litote, anaphora, epiphora, gradation, parallelism, rhetorical question, silence, etc.

Figure of speech- a term of rhetoric and stylistics, denoting various turns of speech that give it stylistic significance, imagery and expressiveness, change its emotional coloring. Figures of speech serve to convey mood or enhance the effect of a phrase, which is commonly used for artistic purposes in both poetry and prose.

Figures of speech are divided into tropes and figures in the narrow sense of the word. If tropes are understood as the use of words or phrases in an improper, figurative meaning, allegory, then the figures are methods of combining words, syntactic (syntagmatic) organization of speech. At the same time, the distinction is not always unambiguous, with respect to some figures of speech (such as epithet, comparison, paraphrase, hyperbole, litotes) there are doubts: to attribute them to figures in the narrow sense of the word or to paths. M. L. Gasparov considers trails as a kind of figures - “figures of rethinking”.
Trope is a word or expression used figuratively to create artistic image and achieve greater expressiveness. Pathways include techniques such as epithet, comparison, personification, metaphor, metonymy, sometimes referred to as hyperbolas and litotes. No work of art is complete without tropes. The artistic word is polysemantic; the writer creates images, playing with the meanings and combinations of words, using the environment of the word in the text and its sound - all this makes up the artistic possibilities of the word, which is the only tool of the writer or poet.

stylistic means.

Various researchers have created a classification of Art. means, ... Scientist Galperin divides stylistic means as follows:

1. Phonetic expressive means.

2. Lexical expressive means

3. Syntactic expressive means

Phonetic means of expression include:

1. Onomatopoeia - Creating, with the help of sounds and words, a more specific idea of ​​what is said in this text;
(selection of sounds [w] and the convergence of two sliding aspirated [X] noise reproduced:
Slightly audible, silent rustling reeds...
(K.Balmont))

2. Phonetic anaphora - repetition of initial sounds;
(Glory! Shine, our sunny commune! (V. Mayakovsky));

3. Phonetic epiphora - repetition of final sounds;
(I am a free wind, I always blow,
I wave the waves, I caress the willows...
In the branches I sigh, sighing, dumb,
I cherish the grass, I cherish the fields (K. Balmont)).

4. Alliteration - repetition of consonants;
(Thunder rumbles, rumbles)

5. Assonance - repetition of vowels;

(We are bored listening to the autumn blizzard... (A. Nekrasov))

6. Intonation - a rhythmic-melodic structure of speech, depending on the rise and fall of tone during pronunciation. Intonation is: interrogative, exclamatory, narrative.

Lexical means of expression include:

1. Metaphor - the use of a word in a figurative sense based on the similarity in any respect of two objects or phenomena:

- in shape (onion head, garlic clove, ring of gardens);

- by quality (silk eyelashes, subtle hearing, black thoughts);

· - by location (Our car is at the tail of the train);

- by the similarity of the function performed - functional transfer (car wipers, a pen with a golden nib);

2. Antonomasia - a trope, expressed in the replacement of a name or name by indicating some essential feature of an object or its relation to something;

3. Personification - the assignment of a sign or action of a living being (person) to objects, natural phenomena, abstract concepts;
(The wind is angry; the sea laughed and cried)

4. Metonymy - the use of the name of one object instead of the name of another on the basis of an external or internal connection between them:

between the object and the material from which the object is made (Crystal is already on the table);

between content and containing (Well, eat another plate!);

· between the action and its result, place or object (She received "five" for the dictation; Morning mail has already been brought);

between the action and the instrument of this action (the Trumpet called for a campaign);

between a social event, an event and its participants (the Congress decided ...);

Between the place and the people in this place (the audience was noisy; The whole house poured out into the street);

Between the emotional state and its cause (My joy is still at school).

5. Figurative comparison - an open detailed comparison of one fact of reality with another (denoted and denoting) according to one or more named or unnamed features, carrying Additional information and helping the most complete disclosure of the author's thoughts, creating a new look at the old, known. Comparison parts are linked with:

· - comparative unions (like, exactly, as if, as if, than, etc.): Immorality, like radiation, constantly kills society (A. Tuleev);

- specialized words (similar, similar, reminiscent, etc.): A gypsy girl passed by, looking like a broom (Yu. Olesha);

· - forms of the instrumental case denoting the word: Smoke curled over him;

· - forms of degrees of comparison of adjectives and adverbs: Who in the world is sweeter than all, all blush and whiter? (A. Pushkin).

6. Hyperbole - exaggeration of size, strength, value, strengthening of a sign, property to such sizes that are usually not characteristic of an object, phenomenon;
(I have already told you a hundred times; A rare bird will fly to the middle of the Dnieper (N. Gogol).)

7. Epithet - an artistic, figurative definition, created on the basis of the transfer of meaning by similarity, arising in combination with the word being defined;
(Mirror surface of water; Poisonous look)

8. Oxymoron - a combination of words denoting two contradictory, mutually exclusive concepts, but complementing each other, in order to reflect the complexity and inconsistency of a phenomenon that seems, at first glance, simple, unambiguous, to reveal its dialectical essence, resulting in semantic complication and updating the impression;
(... Painfully happy (A. Pushkin); She is happy to be sad (A. Akhmatova))

9. Zeugma - a figure of speech, which consists in the fact that a word that forms syntactic combinations of the same type with other words in a sentence is used only in one of these combinations, while others are omitted;
(The nobleman is honored behind the bars of his tower, the merchant is in his shop (Pushkin, “Scenes from Knightly Times”) - the word honored is used here only once, the second time it is implied).

10. Pun (play on words) - a figure built on the incompatibility of concepts denoted by identically sounding words, or on "an intentional combination in one context of two meanings of the same word." A pun is built on a break in the connection between words: on a collision of homonyms, paronyms, different meanings of a polysemantic word;
(And they will laugh all around. - True, - the people say. - Since the tram does not want to carry, / it’s already clear, it’s not lucky (B. Zakhoder))

11. Allusion - a reference to some mythological, cultural, historical, literary fact without a direct indication of the source, a kind of hidden citation, which is based on the cultural and historical experience of the speaker and the addressee;
(glory to Herostratus).

12. Speaking names are a kind of trope, to some extent equivalent to metaphor and comparison, and used for stylistic purposes to characterize a character;
(“Undergrowth” by Fonvizin - a satirical play could not do without speaking names and surnames. The name of the protagonist is Mitrofan, which in Greek means “mother’s manifestation.” The name can also be translated as “similar to his mother”).

Syntactic expressions include:

1. Antithesis - a figure of speech, consisting in a sharp opposition of compared concepts, thoughts, images, built on antonymy and syntactic parallelism, which serves to enhance the expressiveness of speech;
(Learning is light, and ignorance is darkness; A smart one will teach, a fool will get bored)

2. Parallelism - a figure of speech, consisting in the identity of the syntactic structure of two or more adjacent segments of the text;
(In what year - count, / In what land - guess. (A. Nekrasov))

3. Gradation - (increase) a figure consisting of two or more significant units, placed in increasing intensity;
(I beg you, I beg you, I beg you)

4. Repetition - (repetition, doubling) full or partial repetition of the root, stem or whole word, descriptive forms, phraseological units. A special stylistic device, for example, to emphasize any details in the description, creating expressive coloring;
(A beautiful, clean, courteous cab driver drove him past the beautiful, courteous, clean policemen along the beautiful, clean, washed pavement, past the beautiful, clean houses ... (L. Tolstoy))

5. Inversion - a rearrangement of words - components of a sentence, violating their usual order, allowing you to focus on this component, leading to semantic or emotional highlighting of words.
(But our open bivouac was quiet ... (M. Lermontov))

6. Irony - “a trope consisting in the use of a word or expression in the opposite sense of the literal, with the aim of ridicule.
(Back off, clever Are you delirious, head? (Krylov) (in reference to the donkey))

7. Rhetorical figures - syntactic constructions that enhance not only expressiveness, but also the logical meaning of speech. These include:

· The rhetorical appeal lies in the fact that the statement is addressed to an inanimate object, an abstract concept, an absent person: Wind, wind, you are powerful, you drive flocks of clouds ... (A. Pushkin); Dreams Dreams! Where is your sweetness? (A. Pushkin).

· A rhetorical question is a figure of speech containing an affirmation or a negation in an interrogative form of a statement to which a direct answer is not expected (not expected) (Whom does beauty not affect?).

Rhetorical exclamation - an expression of the author's emerging emotional state with the help of intonation, which actively affects the addressee even without special lexical, syntactic means and gives liveliness, ease to the statement, for example, when narrating: Today (Hurrah!) I'm going to go to the open air.

· Rhetorical response - a stylistic figure that consists in the fact that the author asks himself questions and answers them himself: So, what are we going to do now? Let's solve this simple problem, shall we? No, first we will eat, rest, and then - to work

8. Paraphrase - an expression that is a descriptive transfer of the meaning of another expression or word, the replacement of a one-word name of a person, object, phenomenon with a description of its essential features, an indication of characteristic features;
(King of beasts (instead of "lion"), creator of Macbeth (Shakespeare))

9. Silence - a deliberately incomplete statement, the omission of something significant and ambiguous (significant omission), with the help of which the unsaid acquires greater significance than if it were expressed openly;
(I'll pass my exams and...)

Galperin I.R. Stylistics. 1997
Galperin I.R. Essays on style, 1998
II.2.3. I. R. Galperin's classification of expressive means and stylistic devices
Russian language. Encyclopedia, 1979: 107):
(Rosenthal D.E., Telenkova M.A., 1976: 271);


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Stylistic devices and expressive means

Stylistic devices and expressive means


In linguistics, the following terms are often used: expressive means of language, expressive means of language, stylistic means, stylistic devices. These terms are often used synonymously, but sometimes they have different meanings.

It is not easy to draw a clear line between the expressive (expressive) means of the language and the stylistic devices of the language, although there are still differences between them.

Under expressive means of language we will understand such morphological, syntactic and derivational forms of language that serve to emotionally or logically reinforce speech. These forms of language have been worked out by social practice, understood from the point of view of their functional purpose and recorded in grammars and dictionaries. Their use is gradually normalizing. Rules for the use of such expressive means of the language are developed.

What is meant by stylistic device? Before answering this question, let's try to define the characteristic features of this concept. Stylistic device is distinguished and thus opposed to the expressive means by the conscious literary processing of the linguistic fact. This conscious literary processing of the facts of language, including those that we have called the expressive means of language, has its own history. Even A. A. Potebnya wrote: “Starting from the ancient Greeks and Romans and with a few exceptions up to our time, the definition of a verbal figure in general (without distinction between a path and a figure) (that is, what is included in the concept of stylistic devices ) does not do without opposing simple speech, used in one's own, natural, original meaning, and speech decorated, figurative. one

The conscious processing of the facts of a language was often understood as a deviation from the generally accepted norms of linguistic communication. So A. Ben writes: "The figure of speech is the deviation from the usual way of expressing, in order to enhance the impression." 2

In this regard, it is interesting to cite the following statement by Vandries: “Artistic style is always a reaction against a common language; to a certain extent, it is slang, literary slang, which can have various varieties ... "

A similar thought is expressed by Sainsbury: "The true secret of style lies in the violation or neglect of the rules by which phrases, sentences and paragraphs are built." (Our translation. I. G)

It goes without saying that the essence of a stylistic device cannot lie in a deviation from commonly used norms, since in this case the stylistic device would actually be opposed to language norm. In fact, stylistic devices use the norm of the language, but in the process of using it they take the most characteristic features of this norm, they condense it, generalize and typify it. Therefore, a stylistic device is a generalized,

1 Potebnya A. A. From notes on the theory of literature. Kharkov, 1905, p. 201.

2 Ben A. Stylistics and theory of oral and written speech M., 1886, p. 8

typed reproduction of neutral and expressive facts of the language in various literary styles speech. Let's explain this with examples.

There is a stylistic device known as maxims. The essence of this technique is to reproduce the characteristic, typical features folk proverb, in particular its structural and semantic characteristics. Statement - maxim has a rhythm, rhyme, sometimes alliteration; maxim - figurative and epigrammatic, i.e., in a concise form expresses any generalized thought.

Thus, the maxim and the proverb are correlated with each other as general and individual. This individual is based on the general, takes the most characteristic that is characteristic of this general, and on this basis a certain stylistic device is created.

The stylistic device, being a generalization, typification, and condensation of means objectively existing in the language, is not a naturalistic reproduction of these means, but qualitatively transforms them. So, for example, improperly direct speech (see below) as a stylistic device is a generalization and typification of the characteristic features of inner speech. However, this technique qualitatively transforms inner speech. This latter, as is well known, has no communicative function; improperly direct (depicted) speech has this function.

It is necessary to distinguish between the use of the facts of the language (both neutral and expressive) for stylistic purposes and the already crystallized stylistic device. Not all stylistic use language means creates a stylistic device. So, for example, in the above examples from Norris's novel, the author repeats the words I and you in order to create the desired effect. But this repetition, possible in the mouths of the heroes of the novel, only reproduces them. emotional condition.

In other words, in emotionally excited speech, the repetition of words, expressing a certain mental state of the speaker, is not designed for any effect. The repetition of words in the author's speech is not a consequence of such a mental state of the speaker and aims at a certain stylistic effect. It is a stylistic means of emotional

Stylistics deals with some special concepts, which have nothing to do with the purely linguistic interpretation of linguistic categories.
Expressive means are phonetic means, grammatical forms, morphological forms, word-formation means, lexical, phraseological and syntactic forms that function in the language for the emotional intensification of the utterance.
Expressive means are used to enhance the expressiveness of the statement, they are not associated with the figurative meanings of the word.
Expressive means = repetitions, parallelisms, antitheses, phonetic devices, use of archaisms, neologisms, etc.
A stylistic device is a purposeful use linguistic phenomena including expressive means.
Expressive means have a greater degree of predictability than stylistic devices.
Stylistics is concerned with expressive means and stylistic devices, their nature, functions, classification and possible interpretation.

Classification of expressive means (Urve Lehtsaalu):

lexical group ( poetic words, archaisms, dialectisms, neologisms)
phonetic group (rhythm, euphony (euphony)
grammatical group (inversion, elliptical sentences, repetition, exclamation)

epithet- definition at the word, expressing the author's perception:
silvery laugh
a thrilling tale
a sharp smile
An epithet always has an emotional connotation. He characterizes the object in a certain artistic way, reveals its features.
a wooden table (wooden table) - only a description, expressed in an indication of the material from which the table is made;
a penetrating look (penetrating look) - an epithet.

Comparison- a means of assimilation of one object to another on any basis in order to establish similarities or differences between them.
The boy seems to be clever as his mother. The boy seems to be as smart as his mother.

irony- a stylistic device where the content of the statement carries a meaning different from the direct meaning of this statement. The main purpose of irony is to evoke a humorous attitude of the reader to the described facts and phenomena.
She turned with the sweet smile of an alligator. She turned with a sweet alligator smile.
But irony is not always funny, it can be cruel and offensive.
How clever you are! You're so clever! (The reverse meaning is implied - stupid.)

Hyperbole (hyperbole)- an exaggeration aimed at enhancing the meaning and emotionality of the statement.
I have told you it a thousand times. I told you this a thousand times.

Litota/Understatement (litotes/ understatement) - understatement of the size or value of an object. Litota is the opposite of hyperbole.
a cat-sized horse
Her face isn't a bad one. She has a good face (instead of "good" or "beautiful").

Periphrasis / Paraphrase / Periphrasis (periphrasis)- an indirect expression of one concept with the help of another, its mention by not direct naming, but description.
The big man upstairs hears your prayers. The big man upstairs hears your prayers (the "big man" means God).

Euphemism- a neutral expressive means used to replace uncultured and rude words in speech with softer ones.
toilet → lavatory/loo

Oxymoron (oxymoron)- creating a contradiction by combining words that have opposite meanings. The suffering was sweet! Suffering was sweet!

Zeugma (zeugma)- omission of repeated words in the same type of syntactic constructions to achieve a humorous effect.
She lost her bag and mind. She lost her bag and her sanity.

Metaphor- transfer of the name and properties of one object to another according to the principle of their similarity.
floods of tears
a storm of indignation
a shadow of a smile
pancake/ball → the sun

Metonymy- renaming; replacing one word with another.
Note: Metonymy should be distinguished from metaphor. Metonymy is based on contiguity, on the association of objects. Metaphor is based on similarity.
Examples of metonymy:
The hall applauded. The hall welcomed (the "hall" does not mean the room, but the audience in the hall).
The bucket has spilled. The bucket splashed (not the bucket itself, but the water in it).

Synecdoche (synecdoche)- a special case of metonymy; naming the whole through its part and vice versa.
The buyer chooses the quality products. The buyer chooses quality goods (by "buyer" we mean all buyers in general).

Antonomasia (antonomasia)- a kind of metonymy. Instead of a proper name, a descriptive expression is put.
The Iron Lady
Casanova Casanova
Mr. All-Know Mr. omniscient

Inversion- a complete or partial change in the direct order of words in a sentence. Inversion imposes logical tension and creates emotional coloring.
Rude am I in my speech. I am rude in my speech.

Repetition- expressive means used by the speaker in a state of emotional tension, stress. It is expressed in the repetition of semantic words.
Stop! Don't tell me! I don't want to hear this! I don't want to hear what you've come for. Stop it! Do not tell me! I don't want to hear this! I don't want to hear what you came back for.

Anadiplosis (anadiplosis)- using the last words of the previous sentence as the beginning words of the next one.
I was climbing the tower and the stairs were trembling. And the stairs were trembling under my feet. I climbed the tower, and the steps trembled. And the steps trembled under my feet.

Epiphora (epiphora)- the use of the same word or group of words at the end of each of several sentences.
Strength is given to me by fate. Luck is given to me by fate. And failures are given by fate. Everything in this world is given by fate. Forces are given to me by fate. Luck is given to me by fate. And failure is given to me by fate. Everything in the world is determined by fate.

Anaphora / Monogamy (anaphora)- repetition of sounds, words or groups of words at the beginning of each speech passage.
What is the hammer? What is the chain? Whose was the hammer, whose chains,
In what furnace was your brain? To hold your dreams?
What is the anvil? What dread grasp
Dare its deadly terrors clasp? Got mortal fear?
("The Tiger" by William Blake ; Translation by Balmont)

Polysyndeton / Polyunion (polysyndeton)- an intentional increase in the number of unions in a sentence, usually between homogeneous members. This stylistic device emphasizes the significance of each word and enhances the expressiveness of speech.
I will either go to the party or study up or watch TV or sleep. I will either go to a party or study for an exam or watch TV or go to bed.

Antithesis/Contraposition (antithesis/contraposition)- comparison of images and concepts that are opposite in meaning or opposite emotions, feelings and experiences of the hero or author.
Youth is lovely, age is lonely, youth is fiery, age is frosty. Youth is beautiful, old age is lonely, youth is fiery, old age is frosty.
Important: Antithesis and antithesis are two different concepts, but in English they are denoted by the same word antithesis [æn "t???s?s]. A thesis is a judgment put forward by a person, which he proves in some reasoning, and antithesis - a proposition opposite to the thesis.

Ellipsis- deliberate omission of words that do not affect the meaning of the statement.
Some people go to priests; others to poetry; I to my friends. Some people go to priests, others to poetry, I go to friends.

Aposiopesis (aposiopesis])- a sudden stop in speech, making it unfinished; breaking one sentence and starting a new one.
I if only could I ... But now is not the time to tell it. If only I could, I... But now is not the time to talk about this (instead of an ellipsis, a dash can be used in English. For more information about punctuation, see the material "Punctuation Marks").

Rhetorical question (rhetoric / rhetorical questions)- a question that does not require an answer, since it is already known in advance. A rhetorical question is used to enhance the meaning of the statement, to give it greater significance.
Have you just said something? Did you say something? (Like a question asked by a person who did not hear the words of another. This question is not asked to find out whether the person said something at all or not, since this is already known, but in order to find out exactly what he said.

Pun/Wordplay (pun)- jokes and riddles containing a play on words.
What is the difference between a schoolmaster and an engine-driver?
(One trains the mind and the other minds the train.)
What is the difference between a teacher and a machinist?
(One leads our minds, the other knows how to drive a train).

Interjection- a word that serves to express feelings, sensations, mental states, etc., but does not name them.
Oh! Oh! Ah! O! Oh! Ouch! Oh!
Aha! (Aha!)
Pooh! Ugh! Phew! ugh!
gosh! Hell! Oh shit!
Hush! Quiet! Shh! Hush!
Fine! Good!
Yah! Yah?
Gracious Me! Gracious! Fathers!
Christ! Jesus! Jesus Christ! good gracious! Goodness Gracious! good heavens! Oh my god!

Cliche/Stamp (cliche)- an expression that has become banal and hackneyed.
Live and learn. Live and learn.

Proverbsandsayings(proverbs and sayings).
A shut mouth catches no flies. In a closed mouth, a fly will not fly.

Idiom / set phrase (idiom / set phrase)- a phrase, the meaning of which is not determined by the meaning of the words included in it taken separately. Due to the fact that the idiom cannot be translated literally (meaning is lost), translation and understanding difficulties often arise. On the other hand, such phraseological units give the language a bright emotional coloring.
No matter
cloud up frown

Introduction

Russian language, like everyone else modern language, which has a long cultural tradition, provides speakers with the richest expressive possibilities, including stylistic ones. However, mastering these language resources requires knowledge, a developed linguo-stylistic sense and skills in using language units.

The stylistic means of the language and the methods of their use are formed gradually, representing a historically changing phenomenon. Accordingly, therefore, they continue to be studied by researchers, scientists, writers and cultural figures from ancient times.

Among the figures of speech since antiquity, tropes (the use of words in a figurative sense) and figures in the narrow sense of the word (methods of combining words) have been distinguished - although the problem of clearly defining and distinguishing between both has always remained open.

Stylistic figures have been known in linguistics since ancient times as the most important ways to increase the expressiveness of speech, and such great researchers as Aristotle, Cicero, M.V. Lomonosov, D.E. Rosenthal and others.

The relevance of the research problem of the provided topic is due to the need to study the use of stylistic figures in the Russian language, since they are indicators of the richness of speech.

The object of this study is stylistic figures.

The subject is stylistic figures as a means of richness of speech.

The purpose of this work is to give a comprehensive description of the system of stylistic figures that are actively used by poets and writers, as well as to identify the features of their functioning in the everyday communication of the Russian-speaking population. To achieve our goals, we need to complete the following tasks:

to study the functioning of stylistic figures in the Russian language.

to study their formation, structure and ability to master and enrich speech with the help of stylistic means of expression, as well as to identify the specifics of their functioning in the poetic texts of Russian poets.

Research methods: analysis, classification, generalization.

Work structure

The course work consists of an introduction, two chapters, a conclusion and a list of references. Also, the work used the works of famous scientists, philologists and linguists in the field of studying the modern Russian literary language.

Stylistic means of expression

The concept of a figure of speech

Stylistics is a branch of linguistics devoted to the study of the expressive means of language, thus occupying a special place among other disciplines of linguistics. Stylistics is the study of the use of units and categories of language to convey thoughts. She explores the problems of "linguistic use", which is the subject of her attention. This is its meaning and essence as an independent science among other branches of linguistics.

Stylistic figures are special turns that go beyond the practically necessary norms and enhance the expressiveness of the text. Since the figures are formed by a combination of words, they use certain stylistic possibilities of syntax.

One of the richest means of expressiveness of speech is the means of verbal figurativeness, primarily stylistic figures of speech - pictorial turns of speech that serve to convey words and expressions in a figurative sense, giving them expressiveness, figurativeness, as well as emotional coloring. Figures of speech are used to convey mood or enhance the effect of a phrase. At the same time, they are used in works of art, taking place both in lyrics and in prose.

Ancient rhetoricians considered rhetorical figures as some deviations of speech from the natural norm, “ordinary and simple form”, some kind of artificial decoration. Modern look, on the contrary, proceeds rather from the fact that figures play an important role in human speech.

The modern Russian language consists of 5 styles: colloquial, scientific, official business, journalistic and fiction style.

Each functional style is a complex system that includes all levels of the language: morphological means, syntactic constructions, pronunciation of words, lexical and phraseological structure of speech.

Each of these styles has its own characteristics that distinguish it from other styles, for example, standardization is typical for the official business style, the inclusion of abbreviations and abbreviations in the text, and for the scientific style it is rich in terminology.

The expressiveness of speech refers to such features of its structure that maintain the attention and interest of the listener (reader). The main source of enhancing expressiveness is the lexical composition, which provides a number of stylistic means.

Unlike colloquial, all book styles are used mainly in writing that basically unites them. Book styles are characterized by strict observance of norms at all language levels.

The colloquial style, on the other hand, has a bright originality to a greater extent and can be strong evidence that the colloquial stylistic norm is fundamentally different from the literary one.

At the same time, in the style of fiction, linguistic means are used that, along with logical meaning, also have an expressive-emotional connotation. Since the birth of literature, there have been a variety of classifications and definitions of various stylistic figures, and their number in the works of some researchers exceeded a hundred.

The lexical system of the language is complex and multifaceted. Therefore, a complete typology of lexical means has not been developed, since it would have to recreate the entire diverse range of human feelings. However, there are three main groups by which expressive means can be classified: phonetic, lexical and syntactic. The lexical means of a language that enhance its expressiveness are called tropes in linguistics (from the Greek tropos - a word or expression used in a figurative sense). Most often, the paths are used by the authors of works of art when describing nature, the appearance of heroes.

Trope (from the Greek. tropos - turn, turn of speech) - a pictorial technique, which consists in using a word or expression in a figurative sense. The trope is largely based on the same semantic mechanisms that form the figurative meaning of the word. In addition, the purpose of the path is not only to create a new meaning, but to decorate, enrich speech, make it more expressive. Tropes include simile, metaphor, hyperbole, personification, epithet, and paraphrase.

A figure of speech is a special syntactic construction that serves to enhance the expressiveness of speech. The figures of speech include antithesis, gradation, oxymoron, rhetorical question, rhetorical exclamation, rhetorical appeal, lexical repetition, syntactic parallelism and ellipsis.

The expressiveness of speech refers to such features of its structure that maintain the attention and interest of the listener (reader). A complete typology of expressiveness has not been developed by linguistics, since it would have to reflect the entire diverse range of human feelings and their shades.

The main source of enhancing expressiveness is vocabulary, which gives a number of special means: epithets, metaphors, comparisons, metonymy, synecdoches, hyperbole, litotes, personifications, paraphrases, allegory, irony. Significant opportunities to enhance the expressiveness of speech have syntactic means, the so-called stylistic figures of speech: antithesis, anaphora, union, gradation, inversion (reverse word order), oxymoron, polyunion, parallelism, rhetorical question, rhetorical appeal, epiphora, silence, ellipsis. In addition, the design of the statement as a narrative, interrogative or incentive, in accordance with the tasks of communication in a particular situation, has a certain stylistic and expressive meaning.

D.E. Rosenthal argued: “First of all, when characterizing language means, it is important to remember the opposition of book and colloquial speech. It is practically permissible to talk about bookish-written styles (scientific, professional-technical, official-business, public-journalistic) and oral-colloquial styles (literary-colloquial, everyday, colloquial), taking into account that book speech can take the form both written and oral, Speaking associated not only with oral form, but also with writing, etc., as for the styles of fiction, then, due to the originality of the linguistic means used in it, one should approach their stylistic characteristics in a differentiated way. For practical stylistics, it is not important whether there is a special artistic-fictional style, but that it uses elements of both bookish, colloquial, and non-literary (colloquial, dialect, etc.) ”

Classification of stylistic means

Stylistically, the figures are diverse and often arbitrary, because the figures are divided on the basis of assessments - as "pleasant to the ear", "captivating the senses", etc.

There are three fundamental groups by which expressive means can be classified: phonetic, lexical and syntactic.

Phonetic means:

Alliteration is the repetition of consonants. It is a technique for highlighting and fastening words in a line. Increases the harmony of the verse.

We grow up to a hundred years without old age.

Year by year our courage grows.

Praise, hammer and verse, the land of youth. (V.V. Mayakovsky. Good!)

Assonance is the repetition of vowel sounds.

Our ears are on top!

A little morning lit up the guns

And forests blue tops -

The French are right here. (M. Yu. Lermontov)

Lexical means:

Antonyms are words that belong to the same part of speech but are opposite in meaning. The opposition of antonyms in speech is a vivid source of speech expression, which establishes the emotionality of speech: he was weak in body, but strong in spirit.

Hyperbole is a figurative expression that exaggerates any action, object, phenomenon, properties to an unusual size for an object. Used to enhance the artistic impression: I've said it a hundred times already. Haven't seen each other for a hundred years.

Litota is an artistic understatement, a weakening of the properties of a feature to sizes that do not exist in reality. Used to enhance the artistic impression: A boy with a finger, two steps away.

Individual-author's neologisms - due to their novelty, they allow you to create certain artistic effects to express the author's point of view on a topic or problem. The use of literary images helps the author to better explain any position, phenomenon, or other image.

Metaphor is a hidden comparison, which is based on the comparison of some objects with others that have a common feature, a similarity between distant objects and phenomena. AT artistic speech the author uses metaphors to enhance the expressiveness of speech to create a picture and convey the inner world of the characters. The author describes the image of the hero with the help of a metaphor, and the reader has to understand and catch the semantic connection on which the similarity between the figurative and direct meaning of the word is based.

Poets and writers often form interesting, deep images with the help of metaphors. The most beautiful and multifaceted images become when the metaphor unfolds, when the whole fragment of the text is built on continuous figurative meanings. Sometimes, with the help of a detailed metaphor, not only a sentence is built, but also a significant part of the text or even the entire text. For example, the following poem by M.A. Kuzmin is completely built on a metaphor:

With a dry hand he will indicate a flask,

I'll drink, lie down on the bed,

She will sit right next to

And sing

And embrace

Rustle gray outfit.

With friends became now divorced,

And I don't live free.

I don't know how to get out of the circle:

Everyone is driven away

Into the dead of night

My jealous friend.

I'm lying, I'm lying... my soul is empty.

Hand in hand will stiffen.

The sadness itself will hardly go away ...

And day by day

We live, we live

Like prisoners in a blind cellar.

At the same time, it should be remembered that not every metaphor is capable of building an image. There are many so-called obliterated metaphors in the language that are not used as a pictorial device. Their task is simply to name an object, phenomenon or action, for example: a horse meaning “sports equipment”, a dog meaning “a trigger in a hunting rifle”, a peephole meaning “a small round hole in something (usually for supervision, observation )", mouse in the value of "a device for controlling the cursor on a computer monitor", the clock is running in the value of "working".

Metonymy is the use of the name of one object instead of the name of another on the basis of an external or internal connection between them, on the basis of adjacency:

Between the object and the material from which it is made: Crystal is already on the table.

Between content and containing: Eat another plate. I've already drunk two cups

Between an action and its result, place or object: Received five for dictation.

Between the action and the instrument of this action: The trumpet called for a campaign.

Between a social event and its participants: the Congress decided.

Between the place and the people in that place: The audience listened intently.

Between the state and its cause: My joy is still at school.

Synecdoche is a lexical device by which the whole is expressed through its part (something less included in something more). It is a kind of metonymy: My feet will not be here

Personification is a lexical term that consists in transferring the sign of the living to the inanimate. In personification, the depicted object is outwardly likened to a person. Also, inanimate objects are attributed actions that are permissible only to people.

Evaluative vocabulary - the use of a direct author's assessment of events, phenomena, objects.

Paraphrase - the use of a description instead of a proper name or title; descriptive expression, turn of speech, replacement word. Used to decorate speech, replace repetition.

Proverbs and sayings are special stable lexical constructions that give speech figurativeness, accuracy, expressiveness.

Comparison is a lexical means that consists in comparing objects or phenomena. Comparison helps the author to evaluate, express his point of view, create whole artistic pictures, give a description of objects by comparing one object with another. Comparison is usually joined by unions: as, as if, as if, exactly, etc., but serves to figuratively describe various features of objects, the nature of actions and deeds.

The comparison can be expressed in various ways. The most common are the following:

1. Sentences with comparative conjunctions like, as if, as if, as if, exactly; These conjunctions are used as part of comparative turnovers, as well as in complex sentences with a comparative clause, for example:

And life is already tormenting us, like a smooth path without a goal, like a feast at a strange holiday (M. Lermontov); The ice is not strong on the icy river, as if like melting sugar, lies (N. Nekrasov) (comparative turns);

2. Comparative or superlative forms of adjectives and adverbs: My light, little mirror! tell me Yes, tell the whole truth: Am I the sweetest in the world, All blush and whiter? (A. Pushkin)

3. Instrumental case with the meaning of comparison: to sing like a rooster (= like a rooster), to flood like a nightingale (= like a nightingale), It is sad in the soul - even howl like a wolf (= howl like a wolf).

Phraseologisms are stable turns of speech used by writers as ready-made figurative definitions, comparisons, as emotional and pictorial characteristics of heroes, the surrounding reality: a black crow. Phraseological turns make speech more vivid, figurative, expressive: to beat the buckets (to mess around).

Epithet - artistic definition, highlighting in an object or phenomenon any of its properties, qualities or signs. Any meaningful word can serve as an epithet, if it acts as an artistic, figurative definition for another:

1) noun;

2) adjective;

3) adverb and participle: eagerly peers; listens frozen.

Reminiscence - features in a work of art, suggestive of a memory of another work.

Syntactic means:

Of the total mass of stylistic figures, 13 main ones are:

inversion

gradation

antithesis

oxymoron

parallelism

default

ellipsis

rhetorical question

rhetorical appeal (exclamation)

asyndeton

polyunion

Anaphora (unity) is the repetition of individual words or phrases at the beginning of a sentence. Used to enhance the expressed thought, image, phenomenon: How to talk about the beauty of the sky? How to tell about the feelings that overwhelm the soul at this moment?

Epiphora - the same ending of several sentences, reinforcing the meaning of this image, concept, etc.

Syntactic parallelism - the same construction of several adjacent sentences. With its help, the author seeks to highlight, emphasize the expressed idea.

Antithesis - a turn, which consists in a sharp opposition of concepts, characters, images, creating the effect of a sharp contrast. It helps to better convey, depict contradictions, contrast phenomena. It serves as a way of expressing the author's view of the described phenomena, images, etc.

Softly spreads, but hard to sleep;

The smart one will teach, the fool will get bored;

And we hate, and we love by chance,

Sacrificing nothing to either malice or love (M. Lermontov)

An auxiliary means of creating an antithesis is syntactic parallelism, since the identical or similar construction of structures sets off words that are opposite in meaning. Antithesis can also be built on speech antonyms, for example:

They agreed.

Wave and stone

Poetry and prose, ice and fire

Not so different from each other (A. Pushkin)

Sometimes the antithesis can be expressed by stylistic synonyms. In these cases, semantic and stylistic differences between synonyms come to the fore, for example:

She had not eyes, but eyes;

He does not sleep, namely, he is sleeping!

Oxymoron (Greek Oxymoron - witty-silly) is a bright stylistic device for speech formation, consisting in creating a new concept with a combination of words that are contrasting in purpose in order to shade their logically incompatible meanings and create a complex and vivid image, for example: cheerful sadness; smart fool; black whiteness.. This figure, like an antithesis, is a "meeting place" of antonyms. The combination of antonyms in a “pure form” in an oxymoron is rare (Beginning of the end - title), “Bad good man” - name. Film.

In most cases, words that have the opposite meaning are combined as defining and defining ["Large little things", "Dear cheapness" - headings] (adjective - noun), so they cannot be considered one hundred percent antonyms, since the latter must belong to one part of speech. Bright oxymorons were created by Russian poets: I love the lush nature of wilting. (A.S. Pushkin);

And now the wordless one enters,

Self-confident, embarrassed

Desirable, always lovely

And, perhaps, a little in love ... (I. Severyanin).

An oxymoron is often found in the titles of works of art: the novel "Hot Snow" by Y. Bondarev. Also, this figure is used in a journalistic style (often in headlines to attract attention): “Cold - hot season” “Retreat forward”

Gradation is a stylistic figure that consists in the consequent injection or, conversely, the weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech. In addition, the emotional and expressive emphasis of words is enhanced when these words are repeated in one or more adjacent sentences. The repetition of the same word in a complex sentence is often carried out for logical reasons - to clarify the expressed thought or to establish a more distinct semantic connection between the members of the sentence. For example: (And I also understood this, but I realized that I was drowning ... ”; “And on the canvas there is no longer a specific Uncle Vanya, but a right man, living freely and cheerfully in his land. Living a healthy and strong life, that life, about which the intellectual, dropping snot, dreams ... ".

But very often in artistic speech a word or several words are repeated not only in a complex, but even in one simple sentence. They are repeated in order to cause their emotionally expressive pronunciation. This syntactic technique is called verbal repetition.

Verbal repetition is especially expressive when the same word is at the beginning of two or more adjacent phrases. Such a syntactic device is called an anaphora, or monophony. For example: “At least something is on the horizon. At least an asterisk. If only the whistle of a policeman would be heard. Nothing"

The stringing of synonyms often gives rise to gradation, when each next synonym strengthens (weakens) the meaning of the previous one. For example: “This is no longer just Semiraev, but something great, powerful, formidable ...”

Inversion is the reverse order of words in a sentence. In direct word order, the subject usually comes before the predicate, the agreed definition - before the word being defined, the inconsistent definition - after it, the addition after the control word, the circumstance of the mode of action - before the verb. And when using inversion, the words have a different sequence that does not correspond to grammatical rules. In addition, it is a rather strong expressive means, usually used in emotional, excited speech.

Ellipsis (Greek Elleipsis - lack, omission) - a syntactic means of expression, consisting in the omission of one of the main members of the sentence, or even both. Refers to destructive figures, that is, it destroys syntactic links. This figure suggests the "disappearance" of entire fragments of statements, while it is believed that the fragments can be restored according to the meaning of the whole. The usual norm for word gaps is one or two words, but in principle larger syntactic blocks can remain outside the sentence (especially if the ellipsis is accompanied by parallelism).

It should be noted that the construction itself requires the closest context, otherwise the reader may not adequately understand it or not understand it at all. Therefore, the ellipsis is such a means of expression, which consists in the omission of a certain implied member of the sentence: We sat down - in ashes, hailstones - in dust, swords - sickles and plows. (Zhukovsky)

The use of this figure gives the utterance dynamism, the intonation of lively speech, and increases artistic expressiveness. Most often, the predicate is omitted to create an ellipsis: World - to people In writing, this figure is reproduced with a dash (-). As a stylistic device, ellipsis has become widespread in slogans.

Silence is a syntactic device consisting in the conscious use by the author of an incompletely expressed thought, leaving the reader to supplement it himself. In writing, silence is expressed by an ellipsis (...), behind which is hidden an “unexpected” pause, reflecting the speaker’s excitement. As a stylistic device, default is often used in colloquial style: This fable could be explained more -

Yes, so as not to tease the geese ... (I.A. Krylov "Geese")

Rhetorical appeal (rhetorical exclamation) - a specific appeal to someone (something). Rhetorical appeal serves not only to name the addressee of the speech, but also to express the attitude towards the object, to characterize it: Flowers, love, village, idleness , field! I am devoted to you in soul. (Pushkin)

Rhetorical questions and rhetorical exclamations are a pictorial technique that consists in creating an expression of the author's position, in making a statement in the form of a question: “But didn't I have the right to express my attitude? And I spoke."

D. E. Rosenthal on this occasion speaks as follows: "... interrogative-rhetorical sentences do not require an answer and are used as a means of expressiveness." . For example: “Why is life so short? As soon as you train yourself for her - you have to leave ... "

Polyunion is a rhetorical figure consisting in the intentional repetition coordinating conjunctions for logical and emotional selection of enumerated concepts.

Unionlessness is a stylistic figure consisting in the intentional omission of connecting unions between members of a sentence or between sentences: the absence of unions gives the expression swiftness, richness of impressions within overall picture: Swede, Russian - stabs, cuts, cuts, drumming, clicks, rattle, thunder of cannons, stomping, neighing, groaning ... (A.S. Pushkin.)

These figurative and expressive means are of the author's nature and determine the originality of the writer or poet, help him to acquire the individuality of style.

Identification of the specifics of the literary translation of stylistic means from English into Russian

graduate work

1.2 STYLISTIC MEANS OF ARTISTIC SPEECH

translation artistic text stylistic

In a work of fiction, the functions of the word are not limited to the transmission of certain information. Often the word is used for an aesthetic impact on the reader, which becomes possible thanks to artistic images. The brighter and more truthful the image, the stronger its impact on the reader Vvedenskaya L.A., Pavlova L.G. "Business Rhetoric". Publishing center "March", 2002.

Often, in their works, writers refer not only to the vocabulary of the literary language, but also to obsolete dialect words, as well as to vernacular.

It should be noted that the emotionality of artistic narration is very different from the emotionality of colloquial and journalistic styles. In a literary text, it performs an aesthetic function. This style involves a careful and reasonable selection of language means. hallmark artistic text is the use of special figures of speech that add brightness and imagery to the narrative.

Artistic and expressive means are very diverse and numerous. These include tropes: comparisons, personifications, allegories, metaphors, metonymies, synecdoches, and the like. Also, the means of artistic expression include stylistic figures: epithets, hyperbolas, litotes, anaphoras, epiphora, gradations, parallelisms, rhetorical questions, defaults, and the like.

The artistic style is characterized by the use of a large number of tropes (turns of speech in which a word or expression is used in a figurative sense). Ibid

The path is based on the transfer of signs of one object, phenomenon to another. The transfer of signs in the paths is due to various reasons, according to which the paths are divided into simple ones - epithets, comparisons; and complex - metaphors, allegories, ironies, hyperbole and others.

An epithet (from other Greek - “attached”) is a definition of a word that affects its expressiveness. It is expressed mainly by an adjective, but also by an adverb (“to love passionately”), a noun (“fun noise”), a numeral (“second life”). Nikitina S. E., Vasilyeva N. V. Experimental system dictionary stylistic terms. M., 1996.

The epithet is also defined as a figurative or poetic definition, thereby emphasizing its opposite. logical definition subject, whose task is also to concretize the idea of ​​the subject.

Comparison (Latin “comparatio”) is a verbal expression in which the representation of the depicted object is specified by comparing it with another object, such that it contains the features necessary for concretizing the representation in a more concentrated manifestation. For example, “Like the core to the leg, the globe is chained to the foot” (M. Voloshin), in which a sign of shape and heaviness the globe figuratively revealed in a "concentrated" form. Comparison has a trinomial structure: what is compared, or the “object” of comparison (lat. comparandum), what is compared with, the “image” (lat. comparatum), then, on the basis of which they are compared with each other, a sign, according to to which the comparison takes place (lat. tertіum comparatіonіs).

A group of complex tropes is formed by metaphor, metonymy, as well as irony and sarcasm with their components.

A metaphor (from the Greek “transfer”) is a word whose meaning is transferred to the name of another object associated with the object that this word usually points to by similarities. This is a figurative expression in which the signs of one object or action are transferred to others.

Personification (personification, prosopopoeia) takes place when there is a comparison of certain objects with a little man or living beings and their properties.

Allegory or allegory (Greek allegoria,) - a way of two-level artistic image, which is based on the concealment of real persons, phenomena and objects under specific artistic images with the corresponding associations with the characteristic features of the hidden. For example: “The word says - it will give a ruble” (folklore).

An oxymoron or oxymoron is a kind of metaphor that consists in combining words of opposite meaning, similar to a negative comparison. Ibid

In general, different forms of grammatical expression of metaphor are possible. Most often, it is expressed by a verb and its forms or by an adjective (a metaphorical epithet), as a result of which, in particular, a metaphor expressed by a noun is perceived better. Losev A.F. The problem of artistic style. Kyiv. 1994

Metonymy is the second large group of complex tropes, which includes figurative expressions in which an object or phenomenon is described by replacing the name of another object or phenomenon associated with the first external or internal connection. For example, such an expression as "the whole theater applauded" contains the metonymy expressed by the word "theater". This word is used here not in a direct, but in a figurative sense, since, speaking in this way, we do not mean that the theater applauded, but the audience who were in it. At the same time, the concepts of "theatre" and "spectators" are in close relationship, acting as close by their very nature, real, and not conditional, as is the case in the metaphor. Metonymy is often identified with metaphor, or considered as a variation of it. However, they must still be distinguished. In this case, the metonymy of place, time, space and belonging can be used.

Synecdoche, paraphrase, hyperbole, and litotes act as varieties of metonymy itself.

Synecdoche - one of the most common types of metonymy - a figurative expression based on a quantitative comparison of objects, phenomena; on the replacement of a part of the whole, one object - their totality.

Paraphrase (Greek “description, retelling”) is a figurative expression in which the name of an object or phenomenon is replaced by a description of its features. For example: instead of A. Pushkin, you can say - the author of the poem "Eugene Onegin."

Hyperbole (Greek "exaggeration") is a figurative expression that represents an artistic exaggeration of the size, strength, meaning of an object, phenomenon. Many examples of hyperbole catchphrases: “have not seen each other for a hundred years”, “fast as lightning”, etc.

Unlike hyperbole, litotes, on the contrary, provide for an artistic reduction in signs, for example. Hyperbole and litotes are always based on an element of a certain absurdity, a sharp opposition to common sense.

Irony as a trope is a figurative expression in which a word or group of words takes on the opposite meaning of the main one. And sarcasm is an evil, bitter irony.

Ironic or sarcastic intonation reveals itself in the context, more or less close proximity to other statements of the author, the general tone of which makes it possible to catch in each individual case an ironic intonation that is not directly revealed. Sometimes antiphrasis (opposition), for example, "this Croesus" (regarding the poor). Less often there are expressions that have the form of so-called asteism, i.e. approval in the form of condemnation. Nikitina S. E., Vasilyeva N. V. Experimental systemic explanatory dictionary of stylistic terms. M., 1996.

Figurativeness and expressiveness of artistic narration, along with paths, are also provided by various stylistic figures. These means are turns of speech and syntactic constructions used to enhance the expressiveness of an utterance.

So, such a technique as inversion (lat. “rearrangement”, “turning over”) is the arrangement of the members of the sentence in a special order that violates the traditional (direct) word order in the sentence in order to strengthen and emphasize the expressiveness of speech.

Parceling occurs when a sentence is divided, in which the content of the statement is realized not in one, but in two or more intonation-semantic speech units following one after the other.

Unionlessness is a stylistic figure representing the unionless connection of homogeneous members simple sentence or parts complex sentence, while a multi-union is the opposite, a deliberate increase in the number of unions in a sentence, usually to link homogeneous members.

Syntactic parallelism as a stylistic figure is characterized by the same construction of neighboring sentences or segments of speech.

It is also worth noting such stylistic figures as alliteration and assonance. Their function is to repeat consonants and vowels respectively.

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