Phonetic techniques of language games. What is sound writing: examples. Sound recording in literature
The Russian language is famous throughout the world for its beauty and richness. He earned fame thanks to the huge number of those included in the active reserve.
In this article we will answer the question: “What is sound recording?” This one is often found in the poetic works of Russian authors.
Sound recording is a phonetic speech device that gives a work special artistic expressiveness. It is based on the repetition of various phonetic combinations. This is a technique for enhancing the visual properties of the text. It helps to make the text more expressive and create auditory images. For example, it can convey the sound of rain, the clatter of hooves, or the sound of thunder.
The essence of sound writing comes down to the repetition of certain sounds or syllables in order to achieve the desired visual effect. There are only four varieties of this technique:
- The author uses combinations of the same sounds in different words to achieve speech imagery. Let's look at a clear example: “In the wilderness the reeds rustled.” Multiple repetitions of the sound “sh” are visible.
- The repetition of letters that are similar in their phonetic sound is used. For example: “The siskin is jumping on tiptoe.” Combination of sounds “ts”, “ch” and “zh”.
- The technique is based on the use of sounds that create contrast with their sound (such as “d” and “l”). Let's take a look at the example: “The wonderful day of summer in May is the best gift.”
- They resort to several types of sound organization, supplementing with intonation features.
We learned what sound writing is. And now let's move on to getting to know her techniques.
Alliteration and consonance
Alliteration is a technique of speech expressiveness, which is based on repetition. We encounter it in both Russian and foreign poetry. The successful use of alliteration shows how strongly the author has a developed sense of artistic tact.
In order to successfully use this technique, you must have a sense of proportion. You need to feel exactly how many repeating sounds can be included without overloading the text.
Alliteration is used by poets to create certain associations. For example, repeating the sound “r” can convey the sound of a motor, and “gr” can convey the sound of thunder.
In Russian, alliteration exists hand in hand with consonance (the repetition of a consonant that ends a word).
Sound writing: examples of alliteration
Many Russian poets are famous for their ability to successfully use the technique of alliteration. The most famous of them: A. S. Pushkin, N. A. Nekrasov, G. R. Derzhavin, V. V. Mayakovsky, F. I. Tyutchev.
Let's look at a few examples from their works to understand what sound writing looks like in the verses of talented and recognized poets:
- “In an hour from here, your flabby fat will flow out into a clean alley,” a line from V. V. Mayakovsky’s poem “Nate.” We see the repetition of the sounds “ch”, “s”.
- In “The Bronze Horseman” by A. S. Pushkin we also encounter an expressive and successful example of the repeated use of a dull sound: “The hissing of foamy glasses and punch, a blue flame.” The author uses a phonetic repetition of “sh”, which conjures up the image of sizzling champagne.
- The work of G. R. Derzhavin “Waterfall” presents us with a repetition of the sounds “gr”, which reproduce the sound of thunder: “The echo rumbles through the mountains, like thunder thundering over thunder.”
Assonance
Assonance is the repetition of an stressed vowel, or a combination of them, within one verse or phrase. This technique is used to make the work easier to understand by ear. And its sound is more melodic.
Assonance is much less common than alliteration. It is not so easy to notice in the text, but if you are careful, it is possible.
Assonance has been used by poets for centuries. For example, it is found in French and ancient folk songs.
Examples of assonance
Like alliteration, assonance is found in the works of many Russian poets. For this reason, their poems are distinguished by their special euphony and expressiveness. Let's look at examples of what sound writing looks like in literature:
- In A. Blok’s poem “Factory” there is a repetition of the stressed vowel “o”: “Thoughtful bolts creak, people approach the gate.”
- In the romantic poem by A. S. Pushkin one can find a detailed example of the use of assonance: “His young daughter went for a walk in a deserted field.” The stressed sound “o” is repeated in each independent part of speech.
- The work of B. L. Pasternak “Winter Night” also shows a successful example of the use of assonance: “Chalk, chalk all over the earth to all limits.” The repetition of the stressed sound “e” in each independent word is clearly visible; because of this technique, the line seems more melodious.
Dissonance and lipogram
Dissonance and lipogram are sound writing techniques that are rarely found in modern Russian literature.
A lipogram is an artistic technique, the essence of which is that the poet deliberately avoids using any sound. In the golden age of literature, the use of this remedy was considered an indicator high level poet's skill.
Among Russian writers, the most famous adherent of the lipogram is G. R. Derzhavin. Let's consider sound writing, examples of the use of which can be found in his poem “Freedom”:
Warm autumn breath,
Anointing the oaks,
Quiet whispering of sheets,
The verse consists of four stanzas of six lines each. In none of them will you find a word containing the letter “r”.
The technique is found in the works of experimental poets of the Silver Age. For example, V.V. Mayakovsky, I. Severyanin.
Let's consider an example from the poem by V.V. Mayakovsky “To the workers of Kursk who mined the first ore...”.
We walked through the fire,
through cannon muzzles.
Instead of mountains of delight -
woe is down.
Anaphora and epiphora
Sound recording in literature includes many techniques. They can be both generally accepted and proprietary. Let's look at a few more techniques.
Sound anaphora and epiphora are the repetition of one sound or consonances at the beginning or end of a word, respectively. The technique is widely used in poetic works.
Let's get acquainted with examples found in famous Russian poets:
- In K. Balmont’s poem you can find an epiphora: “They made noise, sparkled, and attracted to the distance, and drove away sorrows, and sang in the distance.” At the end of each verb we see a combination of “li” sounds, which gives the lines a special melody and melodiousness.
- An example of anaphora using the repetition of two sounds “d” and “m” is found in M. Tsvetaeva’s work “To You - in a Hundred Years”: “Friend! Don't look for me! Another fashion! Even the old people don’t remember me.” The repetition of phonetic combinations in this case helps the author to highlight the most significant words for him.
Pun rhymes
The means of speech expression have glorified the Russian language. Sound recording is one of the techniques that make our literature unusually melodious and expressive.
Pun rhymes are an artistic means based on a play on words and sound similarities. The poet rhymes lines using counting or homonymy.
This technique is often used to achieve comedy. Found in the works of V.V. Mayakovsky, A.S. Pushkin, Emil Krotky, D. Minaev. Let's look at a few examples:
1. In V. V. Mayakovsky’s “Ditties” you can easily find a punning rhyme:
There's no peace in the sky in October -
snow is falling from the sky.
Somehow our Denikin is flushed,
he became crooked.
2. A not entirely humorous use of punning rhyme can be seen in an ironic creation famous poetess M. Tsvetaeva “Flour and Flour”:
Will everything be crushed? Will it be flour?
No, better with flour!
Bottom line
From this article you learned what sound writing is. We examined its most common techniques and examples of its use in Russian poetry, and were convinced that extraordinary beauty and expressiveness is given to poetic works by the masterful use of verbal means of expression.
Now you can easily determine what sound technique the poet used and appreciate his talent.
First of all, it should be noted the special rhythm of the lullaby song, which in research has been defined as “monotonous”. But the “monotony” of a genre is determined not only by its poetics. Attempts at literary analysis of folklore texts of lullabies, attempts to find general signs for the genre in syllable size and rhyme, in our opinion, did not lead to significant results. Moreover, these attempts often led to some textual “deformation” of the text during publication. The desire to select poetically elegant texts outside of notation created a very biased picture of the genre from the point of view of its poetics. We must not forget that the lullaby is sung and exists in dozens of tunes. Chant can organize poetics. The “clumsiness” of a particular text can only be seen when the text is considered outside of its execution (or at least notation). Unfortunately, the lullaby singer, in contrast to the epic storyteller, storyteller, and “prisoner,” has been practically not studied. Techniques for “singing” the lullaby text have not been studied.
At the same time, we document the obvious unity of the rhythm of the text, its melody and motion sickness technology in the genre. The swing rhythmically organizes the text, just as the text organizes the swing rhythm. At the same time, let us note how the lullaby text transmits in time the most successful technique (tempo-rhythm) of euthanasia. An inexperienced nanny, through the poetics of the text, chooses the necessary and correct rhythm, proven by the result (dream). So, we can highlight the first poetic feature of a lullaby that provides “sleep”: correspondence between poetic meter and swing time. In most cases this tetrameter, providing four swing measures per line.
The technology of motion sickness observed by the author in field work and noted by ethnographers - with the foot in the “bud” (a rope sagging under the unsteady) in the indicated rhythmic unity of swinging and song - creates a striking effect of rapid sleepiness, which indicates empirical awareness of the most successful technology of sleepiness.
Let us consider, in the context of the function of soporific, the formula-marker of the genre: “Bai”, “Lyuli”, “Zybu”, “Kachi”, “Sleep-sleep” and others, including in numerous onomatopoeic formations, for example: bainki, bikes, baybainki , lyulenki, polyulenki, etc. In its traditional repeatability, repeatability in the “scenario” of one and every day lulling, the marker formula becomes not only a semantic, but also a sound command for sleep. To it, especially when the lullaby is performed by one author (one voice), a corresponding psychophysiological reaction of the child is formed - falling asleep.
In the full text of one real lulling we published, the sound repetition of the genre marker occupies a third of the text space (Golovin 1999, 16-18).
When rhymed with a marker in a paired rhyme (which is most common in lullabies), the word often repeats the sound of the marker, and thus creates a more holistic “soporific” sound situation of the song. A word that rhymes with a marker, regardless of its semantics, receives the connotation of a sound command to calm down, to which the addressee also reacts.
Let us note the following fact that all traditional performers, and even more so former professional nannies, in their repertoire (sometimes very limited, up to ten songs) used lullabies with different marker formulas ("Bai", "Bayushki", "Baenki", "Lyuli ", "Kachi"). In one lulling of Claudia Fominichna Petrova (b. 1925) from the village of Verkhneye Zaozerye, Lyubytinsky district, Novgorod region (formerly Tikhvin district), there are four marker formulas: “Bai” (in variations), “Ai”, “Lyuli”, “Kachuli” "(Golovin 1999, 16-18).
Consequently, the child responded adequately to each soporific formula marker. Quite interesting is the fact that in almost every individual lullaby the sound image is constantly repeated all markers of local tradition, and not just the sound of your initial marker. Accordingly, the addressee of the song “catches” and reacts (in functional terms) to all sound repetitions of marker formulas.
Let us give an example of a text that we have chosen because it was recorded from “singing” (an audio cassette was published - Russian traditional culture: Appendix 1997, No. 20):
"Bye-bye-bye,
U downloading, I'll lay it down
Yes, and go to sleep lju!
Sleep-ko, honey, go to sleep
Yes, whatever le it's time sti,
More growth sti,
Out of my mind si!
Lyuli-bye, Lyuli-bye,
You're a dog chk ah, no l ah,
Whitepaw, don't be sad whether,
We have Va lju don't wake me up!
Fairy tales,
Lyulyu-lyulyu-lyulyuki,
At le those whether G hoots,
hundred whether G uli G ule wow,
Valya began to fall asleep.
Sleep-ko, Valya, for now
Keep your head down.
When it's time,
We'll wake you up.
Lyulyu-lyulyu-lyulyu-li,
At le those whether crane whether.
Crane whether- hairy legs,
We didn't find a way.
They are whether at the gate,
And the gate - creak, creak!
Don’t wake up Valya with us,
Valya sleep T, sleep T, sleep T!"
So, in one text we have an audio quotation of 4 genre markers: Bai (bayushki) – lines 1, 8, 9, 12, 13, 14; Lyuli (lyuli) – 5, 8, 10, 11, 13, 14, 15, 21, 22, 25, 27 lines; Kachi – 2, 9 line, Sleep-sleep – 4, 5, 6, 17, 28. We could also highlight assonances on “a”, “i”, “u”, “u”, alliterations on “b”, "l", "s", as a partial quotation of sound commands. Thus, the phonetic structure of a lullaby primarily consists of scales that correspond in sound to the initial, formulaic markers of the genre, the content of which contains a “calming” reaction of the addressee. We repeat, we did not specifically select the text. Almost any unabridged text has this specificity to a greater or lesser extent. Let us cite two more texts to confirm this.
The first represents the first publication of a lullaby (1838) and it also highlights sound correspondences to the markers:
"Hush, Little Baby, Do not Say a Word,
Byu, WITH ash little, bye!
The cat ear and a cat
The cradle is good;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash little, bye!
My S ash Enki,
Better than him.
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash little, bye!
At the cat, at the cat
Perin ear ka soft;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash little, bye!
My S ash little ones
Softer than him
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash little, bye!
At the cat, at the cat
And under ear the tree is white;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash little, bye!
My S ash little ones
Better than him.
Hush, Little Baby, Do not Say a Word,
Bayu, WITH Ashe Nku, bye!
At the cat, at the cat
Odeya whether it's warm;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash little, bye!
My S ash little ones
Sobo whether new le lives;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH Ashe Nku, bye!
The cat ear ki, cat
Whip under under ear fringe le lives,
Hush, Little Baby, Do not Say a Word,
Bayu, Sasha, bye!
My S ash little ones
Hangs on the wall.
Hush, Little Baby, Do not Say a Word,
Bayu, Sasha, bye!
Sleep, sleep, calm down
Take you.
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash little, bye!"
(Sakharov 1838, 393)
The second text is an example of folklorization of A. Maikov’s literary lullaby, sung by the author in the Lyubytinsky district of the Novgorod region in 1995. Apparently, only the literary text (in italics) was not enough to implement the function of soporific, so it is framed by traditional formulas with active sound repetition of markers. The following correspondences are also highlighted:
"Hush, Little Baby, Do not Say a Word,
Kolot ear ek over ayu.
Kolot ear ek twenty five
The light will be stronger sleep.
Sveta, Light ear ka, go to sleep
Sweet dreams beckon to you.
I took you as a nanny
Wind, sun and eagle.
The eagle flew home
The sun disappeared behind the mountain.
Vetra asks her mother:
"Where did you deign to disappear?
Ali you drove the waves,
Did the stars fight?"
- I did not drive the waves of the sea
I didn’t touch the golden stars,
Rocked the cradle
He protected the entire child.
Bye-bye, bye-bye,
Sleep, baby , go to sleep."
The next technique of putting to sleep, reflected in the phonetics of the lullaby, is also associated with scales. Everyday (“non-lullaby”) communication between a nurse and a baby has its own specifics. When communicating with a baby, stable, traditional (used from generation to generation) sound commands for various functions are selected. Some sound commands set the baby up to be excited, others to perform a physiological action (for example, eating), and others to calm down. Calming commands are characterized by a long hissing sound. A lullaby constantly conveys such scales in its text, sometimes with astonishing frequency: " Sh And w b, you chickens, // No w remember"; " Sh la na w a Drema", "P w ani w nenkikh - ur and ani w nenkikh", "Ko w ki-pomo w ki, // They arrived w ki".
This sound command comes from the imperative “quiet”. It should be noted that in meaning, in meaning, this word is connected with the words “meek”, “safe”, “gracious”, “satisfied”. It is also necessary to note its closeness to the word “amuse” (Chernykh 1994, 243-246).
A “soporific” hissing sound very often appears already in the initial formula - in the marker, thus creating a “soporific” sound mood of the entire text (“Sleep, sleep”; “Sleep, fall asleep”; “Bayu-bayu shki- Bye" or "Bay-bye-bye shki", etc.). If the suffix “yushk” completes the initial line, then this “obliges” the text in the paired rhyme system (the predominant rhyme of a lullaby, at least in the initial lines) to continue the soporific sound tone. The soporific suffix becomes a kind of epiphora of the text:
"Bay-bayu-ba yushk And,
There lived a man on the edge eshk And."
"Bay-bayu-ba yushk And,
Don't lie on the edge yushk e."
"Bay-bayu-ba yushk And,
In the garden behind yushk And."
"Bay-bayu-ba yushk And,
Mom's not at home ear And
"Bay-bayu-ba yushk And,
I'll bake a pancake ear And."
"Bay-bayu-ba yushk And,
Let's roll up the Lida shaft eshk And."
The first two formulas are well known, the rest are used quite often. Let us deliberately give two more well-known examples (lullabies that everyone knows and sings) to show how accurately a lullaby preserves its soothing sound structure:
"Bay-bye-bye w ki,
There lived a man on the edge w ki.
He is neither poor nor rich,
Him With family of guys,
Him With family of guys
IN With e on lava w where they sit.
IN With e on lava w where they sit,
Ka w ku s ma With They eat with their faces.
Ka w ka ma With Lenaya,
Lo and ka kra w enaya.
Lo and ka oppressors,
The nose is shaking,
Du w and the people make you happy."
(TFA, No. 12)
"Bay-bye-bye w ki,
Don't lie on the edge w ke,
Get off the edge w yes,
Hit the shadow w Yes.
Hit the shadow w yes,
And annoy w Yes.
will come With little little top
You'll have enough for a barrel.
Enough for you by the barrel,
And sweat sch it in le With OK.
And sweat sch it in le With OK,
Under the broom ku With current.
There the wolves howl,
You With they don’t let you sleep. "
(TFA, No. 91)
Calmness is also “supported” by internal rhyme with a marker, for example: “Bayu-ba yushki-bai// Kolot ears above ayu"; "Bayu-ba yushki-bai// Yes, here's checkmate ear m oh".
On hissing and whistling rhymes are often organized even outside markers, in stable formulas, in very “popular” texts, for example: get off w sya - hit w yes; fall w b-ras w Ibe w b; shift w ka - bread w ka; By w in the rain - in the rain w b; ku w aite – serve w aite; feathers w ko – lakes w co; sweat w y – pove w y; hem w e – pain w e etc.
We deliberately focused on alliteration in the rhyming syllable, since it has a special functional meaning. The rhyming syllable is accented tonically, thereby forming a parallel rhythmic structure of the lullaby. Hissing in an accented, “highlighted” syllable enhances the soporific effect.
Alliteration with a hissing and whistling base is present in the frequency formulas (often motive-forming) of the lullaby: “Vyra With those w b pain w oh"; "Nanny w ki and mom w ki rock the child"; "Mom w cam and nanny w cam updates (updated With glasses) to give"; "By w the cat ate in the forest With ok"; "By With korea in With tavai (vyra With tai)"; " WITH pi kame w com, // V With feathers w com"; " WITH pi at night, // Ra With tee time With am"; "Leave wь on the street // Razgulyae w b With I"; "By With Korea With neither";" WITH pi With waves w com, // Zhitny grains w com"; "Virgin Mary in the eye w ko // Wings w com waved" and many others. The given formulas, which implement different functions, due to their sound component, also support the function of putting to sleep.
In the lullaby, functional synthesis is especially felt. Significant words of formulaic motifs often use the sound “sh” (grandmother, porridge, cat, beater, pillow). For example, in many lullabies there is an accent (listing, calling) of family members. This is a multifunctional act of the genre, associated with a protective and epistemological function. But, in the context of the linguistic specifics of the lullaby, hissing suffixes predominate in the designation of family members, which also enhances the function of soporific:
"Bay-bye, bye-bye w ki,
Mom is not at home w ki.
Soon mom w when I come,
And I'll come to the crib..."
(TFA, No. 20)
"By-bye, bye-bye, bye
Father's w ate fish
Grandfather w where to chop wood
Matu w Let's cook the fish soup."
(TFA, No. 30)
Thus, the lullaby song in its sound structure constantly repeats ordinary sound commands for calming, which, naturally, enhances the effect of soporific.
If we are talking about the soporific function of a lullaby, then we must say that all elements of the structure of the genre, and not just phonetics and poetics, carry out this function. So far we have not considered the content aspect of the lullaby in the context of the function of soporific. At the same time, in addition to rhythmic and phonetic techniques, we should note another characteristic feature in the genre associated with the function of soporific. Both in the consciousness of the addressee and in the consciousness of the performer, as a result of the performance of a lullaby, a feeling of extraordinary semantic, situational, spatial “comfort” is created, which also supports the function of soporific. Let us consider this phenomenon on the basis of the motivic and formulaic fund of the lullaby.
Firstly, it should be noted motive for calling the pacifier, which is quite varied in lullaby. A variety of characters (Divine and mythological, people and animals) are called upon to act as pacifiers. Sedatives perform their function through various methods of euthanasia:
1. The “mythological” bringing of “materialized” sleep or “drowsiness” (“a lot”, “bag” - usually Sleep, Slumber, cats, duck);
2. “Order” for euthanasia (“Dream says: // “I’ll put you to sleep, I’ll put you to sleep.” // Dream says: “I’ll put you to sleep, I’ll put you to sleep.”);
3. “Piling” on the eyes (“Sleep and Drowsiness // Pounded on the eyes.”), rushing unsteadily towards the person being put to sleep (“It’s like Sleeping on the head // And Dreaming on the legs”);
4. Sound calming (“The ghouls began to coo, // Our Kolya began to fall asleep”; “And the gate creaked, creaked // Our Tanya slept and slept”);
5. Rocking (“The ghouls began to coo // Rock our Olenka”; “Mommies, nannies // Rock the child. // Beautiful girls - lull”).
Thus, everyone rushes to calm down and at the same time the name of the person being put to sleep is specified. Moreover, different euthanasia techniques are used. There are formulas for censure and punishment of the pacifier for calming others; in such cases he is again addressed to the addressee, for example:
"Like a cat's,
The stepmother was dashing.
She beat the cat
Across the stomach.
Don't go, cat
In other people's yards.
Don't rock the cat
Little kids.
Come spend the night kitty
Come and download Shurik"
(RGO, f. 24, op. 1, storage unit 65, l. 12. Novg.,
Novgorodsky, Slutka. Sokolova N. 21 Zap. E.P. Privalova. 1928.)
Secondly, this dream statement motive. The content of the plots emanating from this motive includes a large number of stable formulas that induce sleep:
1. Specific formulas for affirming a dream (often initial), the content of which sets the recipient of the genre to sleep: “Sleep, sleep // Don’t lift your head”; “Sleep, sleep, // Fall asleep quickly”; “Sleep without babbling, // Yes, without babbling”; “Sleep, don’t break down, // Don’t get up from the ripples”; “Sleep, child, until evening, // You have nothing to do.”; “Sleep now, my baby // Yes, for the whole long day”; “Putting me to bed // Persuading”; “I tell you to sleep, // I put you to bed”; "Bye-bye // Hurry up and fall asleep"; “Bai and Lyulya // I’ll put you to sleep as soon as possible”; “Bai da Lyuli // Hurry up and fall asleep”; “Lu-lu-lu-lu! // I’ll put my girlfriend to sleep.” Note that the formulas for transformation in a dream (for example: “Sleep at night, // Grow by the hour”; “Sleep like a pebble // Rise like a feather”; “Sleep like the sun, // A grain of grain”; “Sleep longer // You’ll gain more intelligence) "; "He'll get enough sleep soon // How will he get enough sleep"; "Sleep at night // Get up at dawn"; "Sleep well, // Get up cheerfully"; "Katya will get enough sleep // Don't play around") also have a command to sleep. Thus, we document an unusually rich formula fund directly related to the euthanasia of an infant.
Sometimes in the text they euthanize body parts: “Sleep, sugrevushka, come on, // Heads from the pillow, // And barrels from the edges.”
2. Formulas for closing a child’s eyes:
"Close your eyes,
Don't open it until the morning."
“You, Zoinka, calm down.
Close your angelic eyes"
"Sleep, calm down,
Close your angelic eyes"
"Take you away
Close your angel eyes"
"Close your eyes,
Take you away"
"Sleep, the Lord is above you,
Close your little gray eyes."
"You can't sleep,
Just close your eyes."
"Don't write to sleep
Just close your eyes"
"Go to sleep, Vanya, go to sleep,
Close your eyes tightly"
This formula has many variants, for example: “Sleep, sleep, little eye, // Sleep, sleep, another one. // I’ll close one little eye with a leaf, // I’ll cover the other with a rotten piece.”; “Sleep, little eye, // Sleep, darling, // Under the sable eyelash.”
3. Formulas for a kind, affectionate attitude towards a child: “I bay, bay, bay, // I don’t scold, I don’t scold.”; “There’s nothing to scold for, yes // There’s nothing to scold for.” Such and similar formulas create a special “calm” situational context.
4. Formulas for creating absolute silence to calm a child: “Don’t crow the cockerel,” “Don’t moo the cow,” “Oh, you’re a rogue, don’t honk,” “You, honker, don’t honk,” “You, hooter, don’t squeak.” ", "Scram, don't go, cat." The following examples are particularly common:
"By-bye-bye-bye,
You, little dog, don't bark.
Whitepaw don't rattle,
Don't wake up our Kolya." (TFA,179).
5. Formulas of the motive “Everyone is sleeping and you sleep”:
"Cats are sleeping,
And the kittens are sleeping,
And the guys are sleeping
And our girl is ordered to sleep..." (TFA, 133)
6. Special meaning have swing formulas in lullabies, since they duplicate the soporific technology at the verbal level. They often act as initial marker formulas (Rock, rock, rock, rock), they are varied in content ("I rock, rock, rock, // On the oak ochepu"; "Mothers, nannies // Rock the child";) . Rocking formulas can command sleep (“I rocked by the bow // I told you to sleep on your side”), soothe (“Oh rock, rock, rock // Dear baby, don’t cry”), magnify (“I rock and magnify”).
Thus, this motive is implemented in an extensive fund of “soporific” formulas.
Of particular importance in the reassurance function is descriptive cradle motif, child's space. A cozy picture is created, a certain image of a “nest of grace”. Descriptions of the cradle itself (for example: "... Like Katya's cradle // In a high chamber, // On a high one on a hook, // Yes, on a thin fence. // Rings, a punch // Silver. // In an embroidered brane flat.") will be discussed in detail in the next paragraph.
The motif can also develop in formulas characterizing the quality of bed and food in the sense of comfort (“In the heads of cunnilingus, // In the legs of sable // A blanket of black beaver...”; “I put pillows in the head, // Ripochek under the side // Yes straws tukachok."; "On grass pads"), thus we observe the arrangement of space within the framework of a formulaic series. Other, more detailed examples:
"By-bye-bye-bye!
Sleep, grandson, come on.
I'll sing a song
I'll put you to bed.
And the crib is made of planks,
And the bed is feathered,
And every feather bed in it
Yes, one and a half arshins.
Like a downy bed.
And the diaper is dirty.
Like a pillow of silk,
My baby is smart.
Fur blanket,
Our child is smart."
(Martynova 1997, No. 509)
"Oh lyalka-lyalka-lyalka,
There are pretzels at the head,
Apples in hands
There are gingerbread cookies in the legs,
On the sides there are candies,
Twigs for grapes."
(Martynova 1997, No. 261)
In the structure of the motif, there are also very popular formulas for comparing the cradle (of a cat) and the cradle of a child in favor of the latter, for example: “The cat, the cat, // The cradle is high. // Vanyushenka’s cradle is // Higher than that.”
Other lullaby motifs also create this feeling of coziness, which helps to calm and soothe. The motive of future well-being and the motive of giving provide a joyful state of mind, the motive of the family and the motive of feeding and treating creates a feeling of care and satiety, the motive of the call and arrival of the guardian creates a feeling of safety of one’s space and, accordingly, oneself.
Let's add to this a wide range of epithets (among them many stable ones), which the nurse uses in relation to the baby (sugrevushka, golden, pearl, snot, blue, falcon, and many others), the predominant diminutive suffix, the possessive pronoun "my" , which also create special condition the addressee, implementing his euthanasia.
Thus, the lullaby has a powerful sound and content potential, realizing the function of calming. The genre represents a concentration of soporific sounds and a concentration of meaningful “commands” (direct and indirect, allusive and associative) to sleep. The special “satisfaction” of the recipient (the “consequence” of the descriptive motive of the cradle, the family motive, the motive of calling and coming of a guardian, the motive of a prosperous future, the motive of donation, the motive of feeding and treating, etc.) creates a specific psychophysical state - “coziness” - which quickly turns into sleep .
Other lullaby motifs may also exhibit a calming function. First of all, this concerns the motives of expelling the pest, intimidation-warning, punishment, that is, the motives of intimidation.
The motif of frightening is also multifunctional (images of “frightening” will be discussed in more detail in the corresponding paragraph). The mythological image of frightening is a “stranger” (Buka, Babai, Basalai, Bakhahay, Ugomon, a top, a dog, a man-thief) who seeks to steal or eat a baby. The frightening may “intensify” - the mother and nanny change their voice, creak their legs. In combination with prosaic scares, an acute, dramatic situation is created. At first glance, a contradiction appears. The lullaby's functional aspiration for restful sleep is destroyed. But on the other hand, the baby may be in completely different states before going to bed. mental states, and the lulling woman subconsciously chooses one or another lulling text, which depends on the child’s condition. A calm baby does not need a frightening lullaby. But in order to “bring down” hysterics, crying, extreme excitement, sometimes a frightening text is needed. He gets scared, shuts up and falls asleep. This is confirmed by the examples given in the link. But on the other hand, the question arises: does such a text traumatize the child’s psyche? That is, it is necessary to consider all aspects of a frightening lullaby, despite the fact that we are examining only the soporific side of such a text.
Fear and phobia in a child are not negative trait character is a stage of experience. Fear is a degree of maturation. Fear is an inevitable situation in life. And such a frightening lullaby is a test of fear, which is experienced in conditions of maximum security.
Firstly, the voice of “Buki” is still sung by a mother or nanny, who is a protector and will never give offense. Secondly, the mother also imitates fear and is nearby, thus creating a situation of collective fear, and the latter is experienced much easier than individual fear. Moreover, the child begins to understand that fear is not only an inherent feeling. Thirdly, the child is in “his own” and protective space – in a precarious state.
The plot of such frightening songs is also softened by an expressive (diminutive) suffix in the clause. The last one we talked about corresponds to the swing accent point, which enhances its meaning. Let's take the famous story about the top. Not a frightening one (a wolf, a forest, etc.), which would correspond to the logic of the plot, but, on the contrary, the words acquire a softening emotional coloring, and we have a barrel, a top, a forest, a bush, etc. All components of a frightening lullaby “work” to create a situation that is “scary and not scary at the same time” or “scary, but without mental trauma.” When studying frightening songs, it is necessary to pay attention to the state of the mother or the one performing the lullaby. The “frightening” lullaby song has another feature, which is directed towards the mother. A non-sleeping child is a reason for irritation of the mother or nanny. The terrible lullaby is adequate to the state of the performer. But the text gives rise to fear on the face of the child, it begins to evoke pity, therefore, the mother’s irritation does not go to the next, more negative stage, but changes to pity. Thus, the text, through the child’s fear and reaction to it, calms the mother and does not allow her irritation to develop. Quite often the text itself (as an improvisation) reacts to such a change in the mother’s mood:
"A-bye-bye-bye
Bye-bye, bye.
Don't lie on the edge
The mouse will eat you.
Ali the little gray top,
They'll grab you by the side.
old duck
Because of a bush;
Ali is an old man
He wanders out of the alley.
And bye, bye, bye,
Bye, bye bye.
How will you grow up big?
You will begin to walk in silver,
You will start wearing gold.
You can sleep at night,
You grow by the hour;
A-bye-bye-bye,
Bye-bye-bye.
Go to sleep and rest,
Don't open your eyes.
Sleep with the Angels
With the Archangels.
Cherubim, seraphim
They hover, they hover over you,
Over your head.
A-bye-bye-bye,
Bye-bye, bye."
(RGO, f. 24, op. 1. item 39, sheet 243. Tikhvin. Zap. Nevinsky. 1852.)
As we see, first there is frightening (reinforced by the enumeration of pests), then two predictive formulaic motives in the imperative mood (“Sleep at night // You will grow by the hour”; “You will grow big”), a dream formula and a reminiscence from a traditional amulet. The text has transformed from fear into amulet. Sometimes the immediate threat (and the achieved goal - reassurance) turns into a gentle ending:
"Hush, Little Baby, Do not Say a Word,
I'll give you the beaters.
Twenty-five beaters
So that Yulia can sleep soundly.
Our ghoul friends are here,
The ghouls sat down on the bed,
They began to coo loudly.
They began to boom loudly,
They started pumping Yulenka."
(TFA, 163)
"Bay-bayushki,
Don't lie on the edge.
The little gray top will come
And he grabs the barrel.
You little top, don't go
And don’t take Marina."
"Bay-bye, bye-bye.
Babai would not have come.
But we will not give the Light,
We'd better sell the cat."
(TFA, 109)
(TFA, 100)
Thus, even the motives of fright support the soporific function, which once again proves the unusually rich “soporific” potential of the genre.
Phonetic techniques
Phonetic techniques are the use of sounds to create a certain acoustic effect and add expressiveness to a statement.
Alliteration- repetition of a consonant sound at the beginning of subsequent words or at the beginning of stressed syllables. Alliteration is often used to convey an emotional state and attitude towards a subject. Many proverbs and sayings (“Shallow, Emelya, your week”) and tongue twisters (“Buy a pile of peaks”) are based on Alliteration. Alliteration is also widely used in titles and headings.
Assonance- repetition of vowels, often used in monosyllabic words. (“Across the blue sky // A roar of thunder passed.”)
Onomatopoeia- a word that is an onomatopoeia that arose on the basis of phonetic similarity to non-speech sound complexes. Most often, onomatopoeic vocabulary is directly related to creatures or objects - sources of sound: for example, verbs like “croak”, “meow”, “crow”, “rumble” and nouns derived from them. Onomatopoeic vocabulary differs in different languages.
Rhyme- consonance at the end of two or more words. Unlike alliteration and assonance (which can occur anywhere in the text), rhyme is determined positionally (at the end of the verse). There are two types of rhyme: masculine - stress on the last syllable - (rAZ - kvass - bAS) and feminine - stress on the penultimate syllable - (PLANS - RANY).
Lexical stylistic devices
Lexical stylistic devices - words and expressions used in a figurative sense, when the attribute of one object is transferred to another, in order to achieve artistic expressiveness in speech; The basis of any lexical device is the comparison of objects and phenomena.
Metaphor- a technique based on the interaction of logical and contextual meaning, comparison by “similarity”. Metaphors are lexical and individual; simple and common.
Metonymy- a phrase in which one word is replaced by another, denoting an object that is in one or another (spatial, temporal, etc.) connection with the object that is denoted by the replaced word. The replacement word is used in figurative meaning. Metonymy is based on replacing the word “by contiguity” (part instead of the whole or vice versa, cause instead of result or vice versa, representative instead of class or vice versa, container instead of content or vice versa, etc.).
Irony- a technique in which the true meaning is hidden or contradicts the obvious meaning; the use of words in a negative sense, exactly the opposite of the literal one (“Well, you are brave,” “Smart, smart” is a negative connotation of a positive statement).
Antonomasia- a technique expressed in replacing a title or name with an indication of some significant feature of an object or its relationship to something (the name of a person instead of his achievements, the name of a place instead of an event, the name of an object instead of the name of the inventor, etc.).
Epithet- a word or an entire expression that, due to its structure and special function in the text, acquires some new meaning or semantic connotation. It is expressed primarily by an adjective, but also by an adverb (“to love passionately”), a noun (“the noise of fun”), a numeral (“first friend”), and a verb (“the desire to forget”).
Oxymoron- a combination of words with the opposite meaning (combination of the incongruous).
Comparison- a technique in which one object or phenomenon is compared to another according to some characteristic common to them.
Periphrase- a technique that descriptively expresses one concept with the help of several, an indirect mention of an object by not naming, but describing it (the night luminary - the moon). In paraphrases, the names of objects and people are replaced by indications of their characteristics ( writing these lines instead of I). There are logical periphrases ( author of "Dead Souls") and figurative periphrases ( the sun of Russian poetry).
Euphemism- a word or descriptive expression that is neutral in meaning and emotional “load”, usually used in texts and public statements to replace other words and expressions considered indecent or inappropriate ( V interesting position instead of pregnant, bathroom instead of toilet and so on.).
Hyperbola- a technique of obvious and deliberate exaggeration, in order to enhance expressiveness and emphasize the said thought ( I’ve said this a thousand times” or “we have enough food for six months).
Litotes- a phrase that contains an artistic understatement of the magnitude, strength of meaning of the depicted object or phenomenon. ( a horse is the size of a cat, a man's life is one moment).
Allusion- a device containing a clear indication or a distinct hint of a certain literary, historical, mythological or political fact, enshrined in textual culture or in colloquial speech.
Syntactic stylistic devices
Syntactic techniques are techniques based on the order of words in a sentence, the sequence of sentences in the text.
Inversion- violation of the usual word order in a sentence. In analytical languages (English) with strictly fixed word order, inversion is relatively rare; in inflectional (Russian) with a fairly free word order - very significantly.
Separation- selection minor member sentences and words dependent on it to impart to it independent communicative significance and syntactic independence.
Ellipsis- intentional omission of words in a sentence without distorting its meaning or to enhance the effect.
Default- a deliberate interruption of a statement, conveying the emotion of speech. It is widely used in the manipulation of consciousness, but is carried out covertly.
Pumping- deliberately delaying the end of the sentence; First, unimportant information is entered, and only at the end important facts. Separation of predicate and subject.
A rhetorical question- a question the answer to which is not required or expected due to its extreme obviousness; in fact, it is a statement expressed in interrogative form. Used to enhance the expressiveness of a particular phrase. A characteristic feature is convention, that is, the use grammatical form and the intonation of the question in cases that, essentially, do not require it.
Repeat- a technique used to enhance the meaning of certain words to attract special attention from the reader.
Chiasmus- a cross-shaped change in the sequence of elements in two parallel rows of words ( Learn to love the art in yourself, not yourself in the art).
Antithesis- a sharp opposition of concepts, positions, images, states, interconnected by a common design or internal meaning.
Gradation- the arrangement of parts of a statement related to one subject, so that each subsequent part turns out to be richer, more expressive or impressive than the previous one.
Asyndeton- construction of speech in which conjunctions connecting words are omitted. Gives the statement speed and dynamism, helps convey the rapid change of pictures, impressions, and actions.
Multi-Union- a deliberate increase in the number of conjunctions in a sentence, usually to connect homogeneous members. Polyunion emphasizes the role of each word, creating unity of enumeration and enhancing the expressiveness of speech.
Accumulation - a combination of sentences that are grammatically and semantically independent.
Improperly direct speech- part of direct speech, not highlighted either punctuationally or syntactically.
Conclusions to Chapter 1
This paper examines the features of the speech of characters in a dramatic work. The language of dramatic works has its own characteristics. First of all, it should be noted that the language used in the speech of the characters plays a huge role, sometimes even more than some of their actions. The plays can use all existing styles. Most modern plays may have parody or irony at their core. There are also other stylistic devices that can be divided into five groups: phonetic, graphic, lexical, phraseological, syntactic. The main functions of introducing stylistic devices into the text are expressive and characterological, sometimes indicating social and gender factors. Language means convey the emotions of the characters, their assessment of reality; describe them social status and position in society; and also give a gender description of the characters (the speech of men is more restrained and harsh, the speech of women is more emotional).
Translation of stylistic devices (ST), which carry a figurative charge of advertising text, often causes difficulties for translators due to the national characteristics of the stylistic systems of different languages. All linguists emphasize the need to preserve the image of the original in translation, rightly believing that, first of all, the translator should strive to reproduce the function of the technique, and not the technique itself.
When conveying stylistic figures of speech - comparisons, epithets, metaphors, proverbs, etc. – the translator needs to decide each time whether it is advisable to preserve the underlying image or whether it should be replaced by another in the translation. The reason for the replacement may be the peculiarities of Russian word usage, compatibility of words, etc. The sound appearance of an advertising text is an important component of its success among the recipient. At the phonetic level, creators of advertising texts most often use various repetitions, both sound and lexical. Alliteration is the repetition of identical or homogeneous consonants. Preserving alliteration, which is more typical of the English language, is quite difficult in translation.
“It helps the hurt stop hurting (advertising for Bectine antiseptic)” - “It helps prevent pain”. But still, if the entire text of an English-language advertisement is built precisely on this technique, and it carries a certain stylistic load, then it makes sense to convey this feature. If sound-to-sound transmission is not possible, unusual rhythm, word order, rhymes and repetition can be used instead in various combinations.
“Tour to Turkey!!!” - “Win a TOUR to TURKEY!!!”
“Rakhmet” tea, welcome your guests!
Anaphora is a stylistic device associated with the repetition of related sounds, words or groups of words at the beginning of each parallel series. Anaphora in all its varieties is actively used in advertising headlines. The reason for this is that the first parts of the title are remembered better, and the use of anaphors further promotes this process.
Epiphora - this stylistic device is formed on the basis of the repetition of the same letters, the same parts of a word, the same words or phrases at the end of a sentence. Epiphora is used less often in advertising headlines compared to anaphora. For example,
“Funny when this time comes around, the kids want to stay around” (IBM) – “It’s strange, but when it’s around, the kids want to stay around too” (epiphora).
Phonemic repetition. This technique is based on the repetition of phonemes of one of the words of the advertising slogan. Phonemic repetition gives the slogan an emotional coloring and makes it bright. For example,
“It gives you wiiings!!! "(Red Bull) - "Red Bull is inspiring!!! »
Transmitting anaphora, epiphora or phonetic repetition does not cause much difficulty. Most often, these techniques are conveyed by equivalent or variant correspondences, since the main task of translating such stylistic devices is to preserve the positional relationship of units. Of particular interest is rhyme. If the entire RT is built on rhyme, the translator faces the problem of how to translate such a text. In any case, losses cannot be avoided. Ideal option Translation of rhymed text is the creation of a new rhymed text, preserving the meaning and style. Translation of lexical means (metaphor, epithet, allusion, antithesis, etc.), which give the advertising text brightness and expressiveness, requires special attention from the translator. In many cases, translators manage to convey the linguistic basis and function of these means by equivalent or variant correspondence:
“Smart money knows where to go” (CITIBANK) - “Smart money knows where to go”.
“Put a tiger in your tank” (Exxon fuel) - “Put a tiger in your tank”.
“No battery is stronger longer” (Duracell company slogan) - “No battery lasts longer” .
“Why half the kingdom for a horse!” - “Asty?da?y aty?dy alty ay izdeme!”
Sometimes it is not possible to find a similar equivalent in the system of another language and the translator has to resort to the use of transformations to convey the metaphor. Among the lexical transformations that are often encountered when translating metaphors, differentiation and specification stand out; generalization of meanings; semantic (or logical) development; holistic transformation; compensation. Often the translator uses the techniques of semantic development and holistic transformation as the most creative of all types of transformations, which allows preserving the function of the image of the foreign language in translation.
« Hair comes alive in our hands” (Wella hair care products) – “The art of awakening the beauty of hair”.
Translators of English-language advertising pay attention to the special nature of the use of personal and possessive pronouns in advertising texts. The convincing tone of an advertising message (which is also typical for Russian advertising texts) is often based on the consistent use of the following communicative model: “We, our” - to designate the advertiser, “you, your” - to address a potential buyer and “they, their” to refer to possible competitors, for example:
“We believe the more you do to protect your home, the more you should save” (slogan of the insurance company Liberty Mutual) – « We believe the more you do to protect your home, the more you save.".
Attributive phrases play an important role in the syntagmatic pattern of both Russian and English advertising texts. Since one of essential components advertising text is a description of the advertised product or service; attributive combinations, which include adverbs and adjectives, carry a large functional load. Some researchers even call adverbs and adjectives key words in advertising text and pay special attention to them. Advertising is replete with words: “more”, “cheaper”, “better”, “more profitable”, “most”, “only”, “unique”, “super”, “super”. All these words are signals that the advertised brand is explicitly or implicitly presented in comparison with other brands of the same product category. According to Yu.K. Pirogova: “this means that the comparison is incorrect in a strict logical sense.” At the same time, it is adjectives and adverbs that help create that unique tone of the advertising message, which allows you to convey the qualities and advantages of the advertised item. When translating into another language, this circumstance must be taken into account. In the process of translating advertising texts, adjectives and adverbs are used to describe a variety of properties of the advertised product - shape, size, quality of cost, sensations that this product evokes. The most common adjectives in English advertising include: natural, sensual, innocent, passionate, romantic, mysterious, etc. In Russian - new, novelty, first, revolutionary, difficult, unusual, unlike ordinary ones, etc. Just like in Russian advertising, the most used adjectives in English advertising include: good, better, best, free, fresh, delicious, full sure, clean, wonderful, special, fine, big, great, real, easy, bright, extra, rich, gold.
expressive characteristics
Facilities
1) Alliteration
2) Onomatopoeia
3) Assonance
Phonetic Prosodic
Varying the remedy
1) omission of sounds; 1) emphatic
2) reduction of stress sounds;
3) replacement of phonemes. 2) intonation;
5) pause.
Let us consider in more detail the linguistic essence and stylistic functions of these phenomena.
Phoneme variation reflects individual and social (regional) deviations from the pronunciation norm. Mostly substandard pronunciation . Superstandard pronunciation - oratorical, poetic style - is an extremely rare phenomenon. In writing, the techniques of phonetic variation are conveyed by deviations from standard spelling. Within this group of techniques, subtypes are distinguished:
Variation and reduction of vowels:
· Have not – haven’t; is not – isn’t; you – ye – the minimum degree of reduction, characteristic of colloquial speech, regardless of the level of education and status of the speakers;
· Fellow – fella; kind of – kinda; going to – gonna; would you – wudja; give me a cup of (tea) – gimme a cuppa - characteristic of careless, hasty speech.
Variation, deletion and replacement of consonants:
· Could have been – could ‘of been; old – ole; and – an’; say – sy (Cockney); Henry - ‘Enry (Cockney); Mith (instead of Miss) – lisp.
Variation of vowels and consonants:
· Darling – dulin’; everything – eve’thin; somewhat - summut.
The functions of stylistic devices of this type in literary prose are different. Standard contracted forms signal the colloquial nature of speech. Other deviations can serve as a means of characterizing a character’s speech - indicating his social status, level of education, characterizing him as a native speaker of a dialect, conveying individual characteristics of pronunciation (childish speech, burr, lisp, etc.). In addition, methods of phonetic variation can convey emotional condition character, mannered pronunciation, baby talk with children, sing-song speech, etc.
Below in the section “Samples of Stylistic Analysis” there are several possible ways to analyze and interpret these stylistic phenomena.
During stylistic analysis, it is necessary to distinguish between phonetic and graphic stylistic means. The latter includes the so-called “graphon”. Graphon (graphon) is a spelling distortion of a word or phrase used to convey illiterate speech: sellybrated (=celebrated), illigitmit (=illigitimit), etc. Most of the above examples of phonetic variation (with the exception of standard contractual forms) can be legitimately defined as graphons.
Prosodic phonetic means, including stress (emphatic and complementary), intonation, rhythm, rhyme and specific intonation contours are used to convey emotions and for the purpose of emphasis (emphasis). These techniques are used mainly in spoken speech, and in writing they are conveyed graphically using font selections and punctuation:
· italics (she was simply beautiful),
· bold font (Muriel, I don't know!),
· capitalization (He was SLAIN in North Africa),
multiplication of letters (“Allll aboarrrrd!”),
· dissected spelling with a hyphen (re-fuse).
Author's expressive phonetic means used to create euphony through the choice of sound matter or by appropriate arrangement of words, etc. In the linguistic literature, there is a special term “sound instrumentation” to denote this group of techniques.
Alliteration(alliteration) – one of the varieties of sound instrumentation, consisting of the repetition of consonants at the beginning of closely spaced stressed words:
B close b cheers in b ereg b there is
H uzhdy h aram h black h eln (Balmont)
Alliteration is a fairly common method of phonetic organization in English literary speech. It is known that Old English poetry did not know rhyme and used only alliteration. We find many examples of alliteration in the works of Shakespeare: Our d readful m arches to d elightful m easures (here repetitions of two different consonants in one poetic line echo).
In English, alliteration is often found in stable (phraseological) combinations: busy as a bee, cool as a cucumber, hungry as a hunter, spick and span, forget and forgive. It is also used in the titles of many famous works of fiction: “Pride and Prejudice” (Jane Austen), “The Posthumous Papers of the Pickwick Club” (C. Dickens), “The Last Leaf” (O'Henry), “Live with Lightning” ” (M. Wilson).
The function of alliteration in speech is to draw attention to the content through form, creating a rhythmic pattern or emphasis: He swallowed the hint with a gulp, and a gasp, and a grin.
Onomatopoeia(onomatopoeia) – This is an image of extra-linguistic sound using speech sounds similar to it. Onomatopoeia can be direct or indirect.
Direct onomatopoeia are the basis of onomatopoeic words (to hiss, to crow, to grunt, to murmur, bang, splash, etc.). This phenomenon cannot be the object of stylistic analysis and is considered within the framework of lexicology. Onomatopoeia as a stylistic device is understood as a selection of words in a sentence or statement that, by their very sound, are capable of causing a corresponding acoustic impression. Most often this occurs in the case of indirect onomatopoeia, which is of particular interest for stylistics.
Under indirect onomatopoeia understand the selection of sounds in adjacent words in order to create a sound image. This technique is used to create a mood that corresponds to the meaning or intention of the author, as well as to build a sensual image, convey the sounds of nature, music, etc.
The fair breeze blew,
The white foam flew,
The furrow followed free (Coleridge).
In the above example, the repetition of the sounds f, s and b reproduces the sound of waves scattering from the sides of a moving ship.
Indirect onomatopoeia can overlap with alliteration, as happened in the example above, and thus raises the question of possible ways to distinguish between these techniques of sound instrumentation. It is believed that if a sentence contains a reference to a sound source, then the device is defined as onomatopoeia.
Assonance(assonance) is a type of sound instrumentation through the repetition of the same or similar vowels (usually in stressed syllables) in a certain segment of speech: “The walls are whitewashed white, the mother abbess ordered...” (Bagritsky).
This technique is also called vocal alliteration, although the repeated vowels are rarely located at the beginning of the word:
“I sh a ll clasp the s ai nted m ai den whom the ang e ls call L e nora…” (Pope).
Sometimes assonance is an imprecise rhyme in which only stressed vowels are consonant (such as same – cane, slumber – blunder and so on.).
Literature on the topic “Stylistic phonetics”:
1. Galperin I.R. Stylistics. – Moscow, 1981. P.118-131.
2. Arnold I.V. Stylistics of the English language. – L., 1973. P.208-241.
3. Kukharenko V.A. Seminars in Style. - M., 1971. P.106-112.
4. Skrebnev Y.M. Fundamentals of English Stylistics. – Moscow 1994. P. 39-49; 133-145.
Questions for self-control
1. What does stylistic phonetics study?
2. Give basic definitions for the list of questions to prepare for the exam.
3. Name the main types of phoneme variation.
4. What is a “graphon”?
5. What graphic means are used to convey the phonetic features of speech?
6. How do they differ from graphic tools themselves?
7. What speech characteristics can be created phonetically?
8. Can alliteration be at the same time onomatopoeia?
TOPIC 3
STYLISTIC MORPHOLOGY
One of essential means creating expressiveness in language are transpositions. Transpositions mean the use of linguistic units (words, word forms, phrases and sentences) in a meaning and function that is not originally inherent to them. Transpositions are widespread in vocabulary, when words are used in a figurative meaning (peach - a beautiful girl), in syntax, where the so-called rhetorical questions are stylistically significant (Don't you know? Can't you see?).
Research shows that transposition can create both expressive, emotional or evaluative, and functional-stylistic connotations.
In morphology, transpositions mean the use of a grammatical form in a context that is not typical for it. As a result of transposition, one or another form loses its traditional grammatical meaning and acquires something new - stylistic (connotative expressive).
Widely used for stylistic purposes transpositions of pronouns.
Demonstrative pronouns (this, that, these, those) can be used to convey a wide range of emotional attitudes, from admiration to contempt: That beautiful sister of yours! These lawyers! Oh, this Nastya!
Personal pronouns can convey attitudes of cold formality, condescension, arrogance, sympathy, for example: We are exceedingly charming this evening! In this example, the first person pronoun “we” is used instead of the second person pronoun “you” to express the speaker’s condescending and approving attitude towards the young girl who is the object of speech.
In scientific publications, “we” is regularly used instead of “I” (this is the so-called plural of modesty - a characteristic feature of this style). Another famous example of pronoun transposition we- the plural of majesty: We, Charles the Second.
The generalized personal pronoun you can be used by the author work of art to achieve a more confidential tone of communication with the reader ( You know), and the pronoun they, their in order to emphasize what a gulf lies between the speaker and the world around him (her).
Not only pronouns can undergo transpositions, but also nouns Thus, singular nouns are used to denote plural for the purpose of emphasis: "And proud grandson Slavs, and Finn..." or "How rejoiced Frenchman" "And on the wave a deeper blue, And on the leaf a browner hue" etc.
Uncountable nouns can be used in plural form to denote the intensity of a property, volume, quality: “The snow is still white in the fields, and water they make noise in the spring.” “Everywhere there are fatal passions and destinies there is no protection. “When sorrows come they come not single spies but in battalions. In the last example, along with the stylistically significant transposition of number, personification is also used.
Transposition of adjectives turns them into nouns, thereby helping to achieve greater expressiveness of the statement or giving it greater tangibility: "The Red and the Black", Isolde the Slender.
The only grammatical category inherent in adjectives in English is degrees of comparison. It conveys the degree of intensity of the attribute expressed by a word and, therefore, is very close to the category of expressiveness. In accordance with grammatical norm, only qualitative adjectives (with the exception of those denoting absolute qualities - married, dead) have degrees of comparison. Violation of this norm, as a result of which adjectives are used in the comparative or superlative degree, to which this form is not characteristic, is always stylistically significant:
· You cannot be deader than the dead (Hemingway).
· “Curious and curious!”, cried Alice... (L. Carrol)
Related information.