Stylistic (author’s) neologisms – nonce words:
Процедура лингвостилистического анализа художественного текста в жанре «короткий рассказ».
Тема. Краткое содержание текста ( Summary )
Useful tips: Summarising the text must be done in accordance with certain
rules. First of all, you should select all important facts and events omitting
unnecessary details, then order them chronologically (or logically, depending on
the type and genre of the text) using appropriate connectors and linking expressions.
It should be remembered that no matter what register and style the original
text belongs to, the summary should be written in the neutral style. Wherever
possible, paraphrasing should be preferred to quoting.
The following clichés might be helpful:
The story centres on (revolves around)…; the setting of the story is …; the story is set in…; as the story (episode, drama) unfolds…; the story ends with the main character doing…; the main character ends up doing….
2. Идея текста (The Message: the story carries a profound social (humane, human, antiwar, philosophical, psychological) message; the author seeks to convey / to get across to the Reader / to bring home to the Reader / to reveal to the Reader / to give an insight into…/ to expose / to denounce / to deride / to ridicule smth; the author’s premise is …).
The title, its implication.
3. Тип повествователя, если это важно. (The type of the narrator if special : the story is told in the first / third person; a first / third person story; a shift to another narrator + See p. 3).
Копозиционное построение текста, если это важно ( Narrative Structure if special ).
The plot may have a simple linear structure or the writer may tell the story out of order to engage the reader's interest (and to create suspense). The story may begin with a dramatic moment and, once the Reader is curious, flashback to the history necessary to understand it. Or it may be told as a story-within-a-story, with the narrator in the frame story telling the story to answer the curiosity of his listeners, or by warning them that the story began in an ordinary seeming way, but they must follow it to understand later actions. A famous early example of this technique was used in the One Thousand and One Nights, also known as the Arabian Nights, in which the frame story consists of Sheherazade telling stories to King Shahriyar; she must keep him 'hooked' to each of the stories, in order to prevent him from executing her the next morning
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The prose systems in the text: narration, description, reasoning (commentary), dialogue/monologue, represented speech (inner, uttered).
5. Тональность текста (the General Tone / Atmosphere).
Useful tips: The general tone, mood or atmosphere of the text may be serious, light, elevated, solemn, ironic, derisive ( насмешливый ), humorous, joyful, cheerful, lyrical, melancholy, depressing, sad, gloomy, sinister ( зловещий ), woeful ( скорбный , горестный ), dismal ( унылый ), matter-of-fact ( обыденный , ничем не примечательный ), calm, serene ( безмятежный ), etc.
The atmosphere is emotionally charged from the very beginning.
A highly charged atmosphere prevails in the story (dominates the story.)
The episode is imbued with (насыщен , пронизан ) an atmosphere of happiness and joy, which later on (in the second part of the text) gives way to an atmosphere of deep gloom when the character learns…
To create this special atmosphere the author introduces words of the semantic field of…; words which group around the concept of “battle”, the concept of “fear”, the concept of “joy”; the author manipulates word connotations.
6. Персонажи (the Characters).
Your impression of the characters:
The author describes X as a straightforward, honourable, etc. man.
The author portrays X as a man admired by all. The author draws the portrait of a … .
Y. produces the impression of a shallow woman. The words the author puts into her mouthsuggest that she is both narrow-minded and cruel.
The author’s techniques used to create this effect :
- Средства художественной выразительности в тексте ( Expressive means ).
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The stylistic devices the author uses (makes use of, resorts to, applies, employs) and the purpose they serve.
Useful tips: The stylistic devices may serve to suggest to the Reader smth (about the setting of the story, the author’s reasoning)
to describe smth. (smb's feelings, attitude, relations, atmosphere)
to emphasize smth (the effect of smth, a humourous, ironic, sarcastic effect)
to produce/ to create the effect of, the impression of, an atmosphere of
to characterize smb as
to portray smb as
to reveal the characters' state of mind, inner feelings, relationahip with smb
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- Композиционно - речевые формы повествования в тексте (Verbal Composition: the author’s speech, the characters’ speech). Лексические характеристики авторской речи, чужой речи ( Special Choice of Vocabulary ). Специальная лексика (terms, historical words, barbarisms, foreign words, nonce words (авторские неологизмы)). Коннотации (Connotations). Семантические поля (Semantic fields). Разговорная лексика (Colloquialisms). Отклонения от литературной нормы (Illiterate speech).
The type of the narrator.
The narrator’s speech : narration, description, reasoning (повествование , описание , рассуждение ).
The narration moves the plot and can be presented from different points of view: the third person, the first person. The story can be presented from the perspective of one of the characters actively involved in the events depicted. There can also be the narrator-observer (observing the characters' actions but not penetrating in their thoughts and feelings, not passing judgment on them), as opposed to the omniscient narrator (всезнающий) (knowing all about the characters' inner life, their past and sometimes even the future), passing judgment on them.
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Reasoning: the author's (often evaluative) remarks, various forms of direct address to the Reader breaking the narrative and containing some personal reflections concerning the story, its theme, problems, setting or characters. These points of view are important in the process of conveying the author's attitudes and ideas to the reader, creating a certain tone or atmosphere in the story.
Description usually has emotional-evaluative implications depending on the choice of vocabulary and imagery.
Choice of Vocabulary: neutral, literary (common literary, high-flown words, terms, archaic words, historical words, barbarisms, foreign words, neologisms), colloquial (if the story is told in the 1st person (common colloquial words, dialectal words, slang, jargonisms, vulgarisms).
Literary words may be interlaced with colloquial words.
The characters’ speech exists in emotive prose in the form of direct speech, indirect speech, represented speech (inner, uttered). Indirect speech may be interlaced with represented speech or direct speech.
Choice of Vocabulary: neutral, colloquial (common colloquial words, dialectal words, slang, jargonisms, vulgarisms), literary (common literary, high-flown words, terms, archaic words, historical words, barbarisms, foreign words, neologisms).
Literary words may be interlaced with colloquial words.
Illiterate speech. Illiterate forms of the language:a double negative (I donno nothing – I don’t know nothing); incorrect grammatical forms (ain’t instead of isn’t, aren’t; the use of adjectives instead of adverbs: “She is awful particular about the fence.”,“Life here is real good.”) or phonetic forms (the dropping of consonants, e.g. the sound [h] in a number of words: ‘ere instead of here, ‘e instead of he, etc; ’t’ in What? – Wha’?; the replacementof ing with in: workin’).
Stylistic devices
METAPHOR Lucy was a violet on a mossy stone.
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PERSONIFICATION She (the river) was a kind mother to the girl.
METONYMY The pen is stronger than the sword.
IRONY How nice of you to have lost my key!
ANTONOMASIA I suspect that the Noes and Don’t-Knows
would far outnumber the Yesses. (in an election)
EPITHET spidery fingers
OXYMORON sharp dullness, deafening silence
HYPERBOLE Here is the smell of blood still.
All the perfumes of Arabia will not sweeten this little hand.
SIMILE as quick as a lightning
PERIPHRASIS love's first snowdrop (a kiss)
ZEUGMA He took his sorrow and his books to Paris.
PUN The Importance of Being Earnest
USE OF PHRASEOLOGY (SPLIT IDIOMS, PROVERBS, SAYINGS)
They pulled his long and bony leg so long that he understood that they were fooling him.
ALLUSION The spirit of Child Harold prevailed in the company.
EPIGRAM Men must be taught
As if they were not
And things unknown
Proposed as things forgot.
INVERSION Never before had she spoken to him like that.
Detached construction Pale and trembling, Mary opened the door.
Rhetorical question: How long must we suffer? Where is the end? (Norris)
Question-in-the-narrative: Scrooge knew he was dead? Of course he knew. How could it be otherwise?
ELLIPSIS Becky entered the ball-room, her face radiant, her dress perfection.
LITOTES Mary was not a little surprised.
REPRESENTED SPEECH A maid came in, could she do anything for Miss P.?
No, she could go.
REPRESENTED UTTERED SP; REPRESENTED INNER SP.
PARALLEL CONSTRUCTION She loved Dick dearly.
He loved her passionately.
The relatives hated Dick heartily.
The neighbours admired him enthusiastically.
REVERSE PARALLELISM (CHIASMUS) Down dropped the breeze,
The sails dropped down.
CLIMAX (GRADATION) Your cousin is ill. He is desperately ill. I think he is beyond hope.
ANTITHESIS In intellect they are angels,
In their lust they are serpents.
CUMULATION ( gap-sentence link) He adored his mother and it was his first trip.
REPETITION
ANAPHORA, EPIPHORA, FRAMING
No wonder his father wanted to know what Bosinney
meant, no wonder.
ALLITERATION Ha was secret and self-contained as an oyster.
ONOMATOPOEA Ding-dong bells.
Aposiopesis (A break-in-the-narrative) (a device that consists in an emotional halt in the middle or towards the end of an utterance, which indicates a desire not to mention smth. or to stall for time [too excited or too overwhelmed with emotions], - this attracts the Reader’s attention and lends the narrative a certain psychological tension.):
Good intentions but – ;
You just come home or I’ll…
Some examples of expressive means which are not stylistic devices:
Stylistic (author’s) neologisms – nonce words:
I walked past Mrs Shumway, who jerked her head around in a startled woodpeckerish way. (Erdrich)
A gaunt and Halloweenish grin was plastered to her face. (Erdrich)
Colloquial speech: Devil if I know what to make of those people down there! (Christie)
It was Robert Ackley, this guy, that roomed right next to me. (Salinger)
Women kill me. They are always leaving their goddam bags out in the middle of the aisle. (Salinger)
“It’s good, that, to see you again, Mr Philip,” said Jim (Caldwell)
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Illiterate speech: I don’t think no worse of you for it, no, darned if I do. (Lawrence)
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