Phonetic techniques of the language game. What is sound writing: examples. Sound writing in literature
The Russian language is famous all over the world for its beauty and richness. He earned fame thanks to the huge number of members of the active reserve.
In this article we will answer the question: "What is sound writing?". This one is often found in the poetic works of Russian authors.
Sound writing is a phonetic speech tool that gives a work a 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, to create auditory images. For example, it can convey the sound of rain, the clatter of hooves, thunder.
The essence of sound painting is reduced 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. Consider an understandable example: "Reeds rustled in the wilderness." A repeated repetition of the sound "sh" is visible.
- The repetition of letters similar in their phonetic sound is used. For example: "A siskin jumps on tiptoe." A combination of the sounds "c", "ch" and "zh".
- The reception is based on the use of sounds that create contrast with their sound (such as "d" and "l"). Let's get acquainted with an example: "May's wonderful day of summer is the best gift."
- They resort to several types of sound organization, supplementing with intonational 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 both in Russian and in foreign poetry. The successful use of alliteration shows how strongly the author has a sense of artistic tact.
In order to successfully use this technique, you must be the owner of a sense of proportion. You need to feel exactly how many repeated sounds you can enter without overloading the text.
Alliteration is used by poets to create certain associations. For example, repeating the sound "p" can convey the sound of a motor, and "gr" - 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 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 in order to understand how 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 lane over a person,” a line from V. V. Mayakovsky’s poem “Nate”. We see the repetition of the sounds "h", "s".
- In "The Bronze Horseman" by A. S. Pushkin, we also come across an expressive and successful example of the repeated use of a deaf sound: "The hiss of foamy glasses and punch a blue flame." The author uses the phonetic repetition "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 over the mountains, like thunder rumbling over thunders.”
Assonance
Assonance is the repetition of a stressed vowel or a combination of both within the same verse or phrase. This technique is used to make the piece easier to hear. And his sound is more melodic.
Assonance is much rarer than alliteration. It is not so easy to notice it 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 old folk songs.
Assonance examples
Like alliteration, assonance is found in the works of many Russian poets. For this reason, their poems are distinguished by a special euphony and expressiveness. Consider 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 good example of the use of assonance: “It is snowy, snowy 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 the use of any sound. In the golden age of literature, the use of this tool was considered an indicator high level poet's skill.
Among Russian writers, the most famous adherent of the lipogram is G. R. Derzhavin. Consider sound writing, examples of which can be found in his poem "Freedom":
Warm autumn breath
anointing oaks,
Quiet whispering sheets
The verse consists of four stanzas of six lines each. In none of them you will 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.
Consider an example from a poem by V. V. Mayakovsky "To the workers of Kursk, who mined the first ore ...".
Passed through the fire
through cannon muzzles.
Instead of mountains of delight -
woe down.
Anaphora and epiphora
Sound writing in literature includes many techniques. They can be both generally accepted and copyrighted. Let's look at a few more tricks.
Sound anaphora and epiphora are the repetition of one sound or consonances at the beginning or at the 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, one can find an epiphora: "They made a noise, sparkled and attracted to the distance, and drove 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 an anaphora using the repetition of two sounds “d” and “m” is found in the work of M. Tsvetaeva “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 to highlight the most significant words for the author.
pun rhymes
The means of speech expressiveness glorified the Russian language. Sound writing is one of the techniques that make our literature unusually melodious and expressive.
Punning rhymes are an artistic tool based on a play on words and sound similarities. The poet rhymes lines at the expense or homonymy.
Often this technique is used to achieve comedy. It is 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 Chastushkas, one can easily find a punning rhyme:
In October, do not fluff from heaven -
snow is falling from the sky.
Something our Denikin is swollen,
he became curvy.
2. Not exactly humorous use of punning rhyme can be seen in an ironic creation famous poetess M. Tsvetaeva "Flour and flour":
Will everything move? Will it be flour?
No, flour is better!
Outcome
In this article, you learned what sound recording is. We examined its most common techniques and examples of use in Russian poetry, made sure that the extraordinary beauty and expressiveness of poetic works is given by the masterful use of speech means of expression.
Now you can easily determine which sound technique the poet used, and evaluate his talent as he deserves.
First of all, it should be noted the special rhythm of the lullaby, which in the studies was defined as "monotonous". But the "monotonity" of a genre is determined not only by its poetics. Attempts of literary analysis of folklore texts of lullabies, attempts to find common features for the genre in syllable meter, rhyme, in our opinion, did not lead to significant results. Moreover, these attempts often led to some textological "deformation" of the text during publication. The desire to choose poetically elegant texts outside the notation created a very biased picture of the genre from the point of view of its poetics. We must not forget that a lullaby is sung, exists in dozens of tunes. The chant can organize the poetics. The "clumsiness" of this or that text can be seen only when the text is considered outside of its execution (or at least notation). Unfortunately, the lullaby singer, unlike the epic narrator, storyteller, "prisoner", has practically not been studied. The methods of "singing out" the lullaby text have not been studied.
At the same time, we fix the unity of the rhythm of the text, its melody and motion sickness technology, which is obvious in the genre. The swing rhythmically organizes the text, just as the text organizes the rhythm of the swing. At the same time, we note how the lullaby text broadcasts in time the most successful technique (tempo-rhythm) of lulling to sleep. An inexperienced nanny, through the poetics of the text, chooses the necessary and correct rhythm, verified by the result (dream). So, we can single out the first poetic feature of the lullaby, which provides "sleep": correspondence of poetic size and swing beat. In most cases this four-foot time signature, providing four swing beats per line.
The technology of motion sickness observed by the author in the field work and noted by ethnographers - with a foot in a "bud" (a rope sagging under a sway) in the indicated rhythmic unity of rocking and song - creates a striking effect of rapid sedation, which indicates an empirical awareness of the most successful technology of sedation.
Consider, in the context of the lulling function, the formula-marker of the genre: "Bai", "Lyuli", "Zybu", "Kachi", "Sleep-sleep" and others, including in numerous onomatopoeic formations, for example: bainki, tales, baibainki , cradles, cradles, etc. In its traditional repetition, repetition in the "scenario" of one and daily lulling, the marker formula becomes not only a semantic, but also a sound command for sleep. It is formed, especially in the conditions of the performance of a lullaby by one author (one voice), the corresponding psychophysiological reaction of the child - falling asleep.
In the full text of one real lulling that we have published, the sound repetition of the genre marker occupies a third of the space of the text (Golovin 1999, 16-18).
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 coherent "sleep" sound situation of the song. A word rhymed with a marker, regardless of its semantics, receives the connotation of a sound command to calm down, to which the addressee also reacts.
We 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", "Luli ", "Kachi"). In one lulling of Claudia Fominichna Petrova (b. 1925) from the village of Upper Zaozerye, Lyubytinsky District, Novgorod Region (formerly Tikhvinsky Uyezd), four marker formulas are found: "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 lullaby taken separately, a 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 "captures" and reacts (in functional terms) to all sound repetitions of marker formulas.
Let us give as an example the text that we have chosen, since it was recorded from "singing" (an audio cassette was published - Russian traditional culture: Supplement 1997, No. 20):
"Bye-Bye-Bye,
At I shake, lay
Yes and sleep pova lu!
sleep-ko, honey, sleep
yes pobo le it's time sti,
More expression sti,
Mind you si!
Luli-bye, luli-bye,
You are soba chk a, not l ah,
White-lap, don't miss whether,
We have Va lu don't wake up!
Tales-bayushki,
Love-love-love,
At le those whether G ulyushki,
Sta whether G uli G ule wat,
Valya began to fall asleep.
sleep-ko, Valya, for the time being
Don't raise your head.
When it's time
We will wake you up.
Lulu-lulu-lulu-li,
At le those whether crane whether.
Crane whether- something mohnnogi,
Didn't find a way.
They are whether at the gate
And the gate creak, creak!
Do not wake Valya with us,
Valya sleep t, sleep t, sleep t!"
So, in one text we have a sound citation of 4 markers of the genre: Bai (tales-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 lines, Sleep-sleep - 4, 5, 6, 17, 28. We could highlight more assonances for "a", "i", "y", "u", alliterations for "b", "l", "s", as a partial quotation of sound commands. Thus, the phonetic structure of a lullaby mainly consists of scales corresponding in sound to the initial, formulaic markers of the genre, the content of which contains the “soothing” reaction of the addressee. We repeat, we did not specifically choose the text. Almost any untruncated text has this specificity to a greater or lesser extent. Here are two more texts to confirm.
The first is the first publication of a lullaby (1838) and it also highlights the sound correspondences to the markers:
"Hush, Little Baby, Do not Say a Word,
Bayu, With ash enka, bye!
Have a cat eyelet and a cat
The cradle is good;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash enka, bye!
My S ash enki,
Better than him.
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash enka, bye!
At the cat, at the cat
perine ush how soft;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash enka, bye!
My S ash enki
Softer than him
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash enka, bye!
At the cat, at the cat
And under ush the egg is white;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash enka, bye!
My S ash enki
Better than him.
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ashe nku, bye!
At the cat, at the cat
Clothes whether tso warm;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ash enka, bye!
My S ash enki
sobo whether noe le lives;
Hush, Little Baby, Do not Say a Word,
Bayu, WITH ashe nku, bye!
Have a cat ush ki, cat
Whip under under ush echkoy le lives,
Hush, Little Baby, Do not Say a Word,
Bayu, Sasha, bye!
My S ash enki
Hanging 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 enka, bye!"
(Sakharov 1838, 393)
The second text is an example of the folklorization of A. Maikov's literary lullaby, sung to the author in the Lyubytinsky district of the Novgorod region in 1995. Apparently only the literary text (highlighted in italics) was not enough to implement the sleep function, so it is framed by traditional formulas with active sound repetition of markers. The following matches are also highlighted:
"Hush, Little Baby, Do not Say a Word,
stab ush ek over ayu.
stab ush ec twenty five
Light will be stronger sleep.
Light, Light ush ka, sleep
Sweet dream mani.
I took you as a babysitter
Wind, sun and eagle.
The eagle flew home
The sun disappeared behind the mountain.
Vetra asks his mother
"Where did you want to disappear.
Ali you drove the waves
Ali fought the stars?"
- I did not drive the waves of the sea
The stars did not touch the gold ones,
rocked the cradle,
Protected the whole child.
Bayu-bayushki, bye-bye,
sleep baby , fall asleep."
The next method of putting to sleep, reflected in the phonetics of the lullaby, is also associated with the scales. Ordinary ("non-lullaby") communication between the nurse and the baby has its own specifics. In communication with the baby, stable, traditional (used from generation to generation) sound commands of various functions are selected. Some sound commands set the baby up for excitement, others for physiological actions (for example, eating), and others for calming. Calming commands are characterized by a lingering hissing sound. The lullaby constantly broadcasts such scales in its text, sometimes with astonishing frequency: " W and w uh, you chickens, // don't w mind"; " W la on w a Sandman", "P w ani w little ones - ur well ani w little ones", "Co w ki pomo w ki, // Mo arrived w ki".
This sound command comes from the imperative "quieter". It should be noted that in meaning, in meaning, this word is associated with the words "meek", "safe", "good", "satisfied". It is also necessary to note its proximity to the word "amuse" (Chernykh 1994, 243-246).
The "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 "bye-bye-bye shki", etc.). If the suffix "yushk" ends the initial line, then this "obliges" the text in the system of paired rhyming (the predominant rhyme of the lullaby, at least in the initial lines) to continue the soporific sound tone. The soporific suffix becomes a kind of epiphora of the text:
"Bayu-bayu-ba yushk and,
There lived a man on the edge eshk and."
"Bayu-bayu-ba yushk and,
Don't lie down on the edge yushk e."
"Bayu-bayu-ba yushk and,
In the garden for yushk and."
"Bayu-bayu-ba yushk and,
Mom is not at home eyelet and
"Bayu-bayu-ba yushk and,
baked fritters eyelet and."
"Bayu-bayu-ba yushk and,
We roll up the Lida shaft eshk and."
The first two formulas are well known, the rest are used quite often. We deliberately give two more well-known examples (lullabies that everyone knows and sings) to show how accurately the lullaby preserves the sound soothing structure:
"Bay-bye-bye w ki,
A man lived on the edge w ki.
He is neither poor nor rich
Him with family of guys
Him with family of guys
AT with e on lava w kam are sitting.
AT with e on lava w kam sit,
Ka w ku with ma with they eat with their faces.
Ka w ka ma with lazy,
Lo well ka kra w enai.
Lo well ka gnomes,
Nose shaking
Doo w but happy people."
(TFA, No. 12)
"Bay-bye-bye w ki,
Don't lie on the edge w ke,
Get off the edge w esya,
Hit the zen w sya.
Hit the zen w esya,
And annoy w sya.
will come with little top
Enough for a barrel.
Enough of you for the barrel
And sweat sch it in le with OK.
And sweat sch it in le with OK,
Under the willow ku with current.
There the wolves howl
You with do not give a bed. "
(TFA, No. 91)
Calming is "supported" and by internal rhyme with a marker, for example: "Bayu-ba yushki-byu// Stab ears above ayu"; "Bayu-ba yushki-byu// Yes, checkmate eyelet m oyu".
On hissing and whistling, rhyme is often organized outside of markers, in stable formulas, in very "popular" texts, for example: svali w sya - hit w sya; drop w b-race w ibe w b; shift w ka - bread w ka; on w lesh - rain w b; ku w aite - slu w ite; feathers w ko - lakes w to; sweat w u - pove w y; hem w e - pain w e, etc.
We have deliberately settled on alliteration in the rhyming syllable, since it has a special functional meaning. The rhyming syllable is accentuated tonically, thus forming a parallel rhythmic structure of the lullaby. Hissing in an accent, "highlighted" syllable enhances the effect of sleep.
Alliteration with a basis for hissing and whistling is present in the frequency formulas (often motif-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 da babysitter w cam updates (update with points) to give"; "According to w ate the cat in the forest with ok"; "By with Korea in with tawai (vyra with tai)"; " With pee kame w com, // In with tawai feathers w com"; " With pi at night, // Ra with you by cha with am"; "Come out w to the street // Razgulaye w b with I"; "By with Korea with neither"; " With pi with waves w com, // Zhitnym grains w com"; "Virgin in the eye w ko // Wings w com waved" and many others. The above formulas, which implement various functions, due to their sound component, also support the sleep function.
In the lullaby, a functional synthesis is especially felt. The symbolic words of formula motifs often use the sound "sh" (grandmother, porridge, cat, mallet, pillow). For example, in many lullabies there is an accent (enumeration, call) of family members. This is a multifunctional act of the genre, associated with a protective and epistemological function. But, in the context of the language specifics of the lullaby, hissing suffixes predominate in the designation of family members, which also enhances the function of lulling to sleep:
"Bay-bye, bye w ki,
Mom is not at home w ki.
Mom soon w when you come
And come to the bed...
(TFA, No. 20)
"Bayu-bayu, shaking
father by w ate for fish
grandfather w how to cut wood
Mato w to cook the ear."
(TFA, No. 30)
Thus, the lullaby in its sound structure constantly repeats the usual sound commands for calming down, which, naturally, enhances the effect of lulling to sleep.
If we are talking about the soporific function of a lullaby, then we must say that all elements of the genre structure, and not just phonetics and poetics, perform this function. So far, we have not considered the content aspect of a lullaby in the context of the sleep function. At the same time, in addition to rhythmic and phonetic devices, we must note another characteristic feature in the genre, associated with the function of lulling to sleep. Both in the minds of the addressee and in the minds 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 lulling to sleep. Let us consider this phenomenon on the basis of the motive and formula fund of a lullaby.
First, it should be noted motif of summoning the appeaser, which is quite varied in a lullaby. A variety of characters are called to calmers (Divine and mythological, people and animals). Sedators carry out their function due to different methods of lulling to sleep:
1. The "mythological" bringing of a "reified" dream or "drowsiness" ("a lot", "a bag" - usually a Dream, a Dream, cats, a duck);
2. "Order" of sleep ("Sleep says: // "I'll put to sleep, I'll put to sleep." // Sandman says: "I'll doze off, I'll doze off.");
3. "Pulling" on the eyes ("Sleep and Sandman // Fall on the eyes."), striving unsteadily towards the lulled one ("Just like Dream-from in the head // And Dream-from to the legs");
4. Sound-calming ("The ghouls began to coo, // Our Kolya began to fall asleep"; "And the gates creak-creak // Our Tanya sleeps-sleeps");
5. Rocking ("The ghouls began to coo // Rock our Olenka"; "Mommies, nannies // Rock the child. // Red girls - lull them to sleep").
Thus, everyone rushes to calm down and at the same time the name of the person being put to sleep is specified. Moreover, different methods of euthanasia are used. There are formulas for censuring and punishing the calmer for calming others, in such cases he is again turned to the addressee, for example:
"Like a cat has a cat,
There was a dashing stepmother.
She beat the cat
Across the belly.
Don't go, cat
In other people's yards.
Don't rock the cat
Little kids.
Come sleep over kitty
Come swing Shurik"
(Russian Geographical Society, f.24, op.1, item 65, l.12. Novg.,
Novgorodsky, Slutka. Sokolova N. 21 Zap. E.P. Privalov. 1928.)
Secondly, this sleep affirmation motif. In the content of plots emanating from this motif, there are a large number of sustainable formulas that tune in to sleep:
1. Specific formulas for affirming sleep (often initial ones), in terms of content setting the addressee of the genre to sleep: "Sleep, sleep // Do not raise your head"; "Sleep, sleep, // Sleep soon"; "Sleep without babbling, // Yes, without babbling"; "Sleep do not break, // Do not rise from the cradle"; "Sleep, child, until the evening, // You have nothing to do."; "Sleep, my baby // Yes, for the whole long day"; "I put to sleep // I persuade"; "I order you to sleep, // I put you to sleep"; "Bye-bye // Hurry up and fall asleep"; "Bai yes lulu // 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 of transformation in a dream (for example: "Sleep at night, // Grow by the clock"; "Sleep like a pebble // Get up like a feather"; "Sleep like a sun, // Like a grain of grain"; "Sleep longer // Gain more mind "; "Sleep soon // And how to sleep"; "Sleep at night // Get up at dawn"; "Sleep well, // Get up merrily"; "Katya will get enough sleep // Do not swagger") also have a command to sleep. Thus, we fix an unusually rich formula fund, directly related to the lulling of an infant.
Sometimes in the text they are also put to sleep in parts of the body: "Sleep, warmer, come on, // Heads from the pillow, // And barrels from the edges."
2. Formulas for closing the eyes of a child:
"Close your eyes,
Don't open until morning."
"You, Zoinka, calm down.
Close your angelic eyes
"Sleep, calm down,
Close your angelic eyes
"Calm down take you
Close your eyes like an angel"
"Close your eyes,
Ugogo take you"
"Sleep, the Lord is above you,
Close your gray eyes."
"You can't sleep,
Just close your eyes."
"Sleep do not write
Just close your eyes"
"Sleep, Vanya, fall asleep,
Close your eyes tightly"
Such a formula has many options, for example: "Sleep, peephole, // Sleep, sleep, another. // I'll close one peephole with a leaf, // I'll close up with another rot."; "Sleep, little eye, // Sleep, darling, // Under the sable eyelash."
3. Formulas of a kind, affectionate attitude towards a child: "Bayu-bayushki, bayu, // 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 the child: “Don’t shout the cockerel”, “Don’t moo the cow”, “Oh, you’re a ghoul, don’t hoot”, “You, horn, don’t hoot”, “Oh, you, dumbass, don’t creak "," Shout, don't go, kitty. The following examples are especially common:
"Bye-bye-bye-bye,
Doggy, don't bark.
Whitepaw don't rattle
Don't wake our Kolya." (TFA, 179).
5. Formulas of the motive "Everyone sleeps and you sleep":
"The cats are sleeping,
And the kittens are sleeping
And the boys are sleeping
And they tell our girl to sleep..." (TFA, 133)
6. Special meaning have rocking formulas in lullabies because they duplicate sleep technology on a verbal level. They often act as initial formulas-markers (Swing, swing, swing, swing), they are diverse in content ("I'm rolling-rolling-rolling, // On an oak eye"; "Mommies, nannies // Rock the child";) . Rocking formulas can command to sleep ("I rocked by the ray // I ordered to sleep on the side"), soothe ("Oh swing, swing, swing // Sweet baby don't cry"), magnify ("I rock-magnify").
Thus, this motif is realized in a vast fund of "soporific" formulas.
Of particular importance in the calming function is the descriptive cradle motif, baby 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 hook, // Yes, on a thin chain. // Rings, punch // Silver. // In a shield-brane canopy.") will be discussed in detail in the next paragraph.
The motif can also develop in formulas that characterize the quality of bed and food in the sense of comfort (“In the head of a kuni, // In the legs of a sable // A blanket of a black beaver ..."; "I put pillows in my head, // Ripochek under a barrel // Yes tukachok straws."; "On grassy pads"), thus, we observe the arrangement of space within the framework of the formula series. Other, more detailed examples:
"Bye-bye-bye-bye!
Sleep, granddaughter, come on.
I will sing a song
I'll put you in bed.
And the bed is tessellated,
And the feather bed
And in it every feather bed
Yes, one and a half arshins.
Like a downy bed.
And a diaper.
Like a silk pillow
My baby is smart.
fur coat blanket,
Our child is smart."
(Martynova 1997, no. 509)
"Oh lyalki-lyalki-lyalki,
At the head of the pretzels
Apples in the hands
Gingerbread in the legs
Candies on the side
Branches of grapes."
(Martynova 1997, no. 261)
In the structure of the motif, there are also very popular formulas for comparing the cradle (cat) and the cradle of the child in favor of the latter, for example: "A cat, a cat, // The cradle is high. // Vanya's motto is // Above that."
Other motifs of the lullaby also create this feeling of comfort, conducive to calming and lulling. The motive of future well-being and the motive of giving provides the joy of the state of mind, the motive of the family and the motive of feeding-treats creates a feeling of care and satiety, the motive of the call-arrival of the guardian - a sense of security of one's space and, accordingly, oneself.
Let's add to this a wide range of epithets (among them there are many stable ones) that the nursery uses in relation to the baby (sugrevushka, golden, pearl, snot, pigeon, falcon, and many others), the prevailing diminutive suffix, the possessive pronoun "my" , which also create special condition the addressee, which implements its euthanasia.
Thus, the lullaby has a powerful sound and content potential, realizing the function of calming. The genre is a concentration of sleep sounds and a concentration of meaningful "commands" (direct and indirect, allusive and associative) to sleep. The special "satisfaction" of the addressee (the "consequence" of the descriptive motive of the cradle, the motive of the family, the motive of the call-arrival of the guardian, the motive of a prosperous future, the motive of giving, the motive of feeding-treats, etc.) creates a specific psychophysical state - "comfort" - quickly turning into sleep .
In other motifs of the lullaby, the function of calming can also appear. First of all, this concerns the motives for expelling the pest, scaring-warning, punishment, that is, the motives for scaring.
The motive of frightening is also multifunctional (the images of "frightening" will be discussed in more detail in the corresponding paragraph). The mythological image of frightening - "alien" (Buka, Babay, Basalai, Bahahai, Ugomon, spinning top, dog, thief-man) seeks to steal or eat the baby. Fright can "intensify" - the mother, the nanny change their voice, creak their feet. In combination with prosaic frights, an acute, dramatic situation is created. At first glance, there appears to be a contradiction. The functional aspiration of the lullaby for restful sleep is destroyed. But on the other hand, the baby before going to bed can be in completely different mental states, and the luller subconsciously chooses one or another lulling text, which depends on the state of the child. A calm child does not need a frightening lullaby. But in order to "knock down" hysteria, crying, extreme excitement, a frightening text is sometimes needed. Frightened, silent - fall asleep. This is confirmed by the examples given in the link. But on the other hand, the question arises - does such a text injure the child's psyche? That is, it is necessary to consider all aspects of the frightening lullaby, despite the fact that we are exploring only the soporific side of such a text.
Fear, fear in a child negative trait character, it is a stage of experience. Fear is the degree of maturity. Fear is an inevitable situation in life. And such a frightening lullaby is a test for fear, which is experienced in conditions of maximum security.
Firstly, the voice of "Buka" is still sung by a mother or a 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 unsteadiness.
The plot of such frightening songs is also softened by an expressive (diminutive) suffix in the clause. The last thing we talked about corresponds to the swing accent point, which reinforces its meaning. Take the well-known story about the spinning top. Not frightening (wolf, forest, etc.), which would correspond to the logic of the plot, but on the contrary, 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 "scared and not scary at the same time" or "scary, but without mental trauma." In the study of frightening songs, it is necessary to pay attention to the state of the mother, or the one who sings the lullaby. The "frightening" lullaby has another feature that is directed towards the mother. A sleepless child is a reason to annoy a mother or a nanny. A terrible lullaby is adequate to the state of the performer. But the text gives rise to fear on the face of a child, it begins to evoke pity, therefore, the mother's irritation does not go into the next, more negative stage, but changes into pity. Thus, the text, through the child's fright and reaction to it, calms the mother and does not allow her irritation to develop. Very 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 gray top,
You will be grabbed by the barrel.
old duck
Because of the bush;
Ali old man
Wanders from the alley.
And bye, bye, bye
Bye, bye bye.
How do you grow big
You will walk in silver
You will wear gold.
You sleep at night
You grow by the clock;
A-bye-bye-bye
Bye-bye-bye.
Sleep now,
Don't open your eyes.
Sleep with the angels
with the archangels.
Cherubim, seraphim
Curl, curl over you
Above your head
A-bye-bye-bye
Bye-bye, bye."
(Russian Geographical Society, fund 24, op. 1. item 39, sheet 243. Tikhvin. Zap. Nevinsky. 1852.)
As you can see, first, fear (enhanced by the enumeration of pests), then two predictive formulaic motifs in the imperative mood (“Oh, you sleep at night // You grow by the clock”; “Grow up big”), a dream formula and a reminiscence from a traditional amulet. The text was transformed from frightening into a talisman. Sometimes the immediate threat (and the achieved goal - calming) turns into an affectionate ending:
"Hush, Little Baby, Do not Say a Word,
I give you mallets.
Beaters twenty five
To Julia to sleep soundly.
Our friends are ghouls,
Ghouls sat on the bed
They started yelling loudly.
They began to rumble loudly
Yulenka began to swing.
(TFA, 163)
"bayu-bayushki,
Don't lie on the edge.
A gray wolf will come
And grab the barrel.
You little top, don't go
Don't take Marina."
"By-bye, bye-bye.
Babai would not come.
And we will not give the Light,
Let's 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 tricks
Phonetic techniques - the use of sounds to create a certain acoustic effect and add expressiveness to the 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, an attitude to an object. Many proverbs and sayings (“Meli, Emelya, your week”) and tongue twisters (“Buy a pile of peaks”) are built on alliteration. And also alliteration is 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 assimilation to non-speech sound complexes. Most often, onomatopoeic vocabulary is directly related to creatures or objects - sources of sound: for example, verbs such as "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 defined positionally (at the end of the verse). There are two kinds of rhyme: male - stress on the last syllable - (rAZ - kvAS - bass) and female - stress on the penultimate syllable - (PLANS - Wounds).
Lexical stylistic devices
Lexical stylistic devices - words and expressions used in a figurative sense, when the sign of one object is transferred to another, in order to achieve artistic expressiveness in speech; At the heart of any lexical device is a comparison of objects and phenomena.
Metaphor- a technique based on the interaction of logical and contextual meanings, 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, which is indicated by the replaced word. The replacement word is used in figurative meaning. Metonymy is based on the replacement of the word “by adjacency” (a part instead of a whole or vice versa, a cause instead of a result or vice versa, a representative instead of a class or vice versa, a container instead of content or vice versa, etc.).
Irony- a technique in which the true meaning is hidden or contradicts the explicit meaning; the use of words in a negative sense, directly opposite to the literal ("Well, you are a brave man", "Smart-smart" - a negative subtext of a positive statement).
Antonomasia- a technique expressed in replacing the name or name with an indication of some essential feature of the 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 a whole expression, which, due to its structure and special function in the text, acquires some new meaning or semantic connotation. It is expressed mainly by an adjective, but also by an adverb (“to love passionately”), a noun (“fun noise”), a numeral (“first friend”), a verb (“desire to forget”).
Oxymoron- a combination of words with the opposite meaning (combination of incongruous).
Comparison- a technique in which there is an assimilation of one object or phenomenon to another according to some common feature for them.
paraphrase- a technique that descriptively expresses one concept with the help of several, an indirect mention of an object by not naming, but describing (the night luminary is the moon). In paraphrases, the names of objects and people are replaced by indications of their attributes ( who writes these lines instead of I). There are logical paraphrases ( Author of "Dead Souls") and figurative paraphrases ( 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 that are considered indecent or inappropriate ( in interesting position instead of pregnant, bathroom instead of toilet etc.).
Hyperbola- a technique of explicit and deliberate exaggeration, in order to enhance expressiveness and emphasize the thought said ( I've said it a thousand times" or "we have enough food for six months).
Litotes- turnover, which contains an artistic understatement of the magnitude, strength of the meaning of the depicted object or phenomenon. ( a horse the size of a cat, a man's life is an instant).
allusion- a technique containing an explicit indication or a clear hint of some literary, historical, mythological or political fact, fixed 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 a text.
Inversion- violation of the usual order of words in a sentence. In analytic languages (English) with strictly fixed word order, inversion is relatively uncommon; in inflectional (Russian) with a fairly free word order - very significantly.
Isolation- selection minor member sentences and words dependent on it to communicate to it an independent communicative significance and syntactic independence.
Ellipsis- deliberate omission of words in a sentence without distorting its meaning or to enhance the effect.
Default- an intentional break in the utterance, conveying the excitement of speech. Widely used in the manipulation of consciousness, but carried out covertly.
Injection- intentionally delay the end of the sentence; insignificant information is entered first, and only at the end important facts. Separation of predicate and subject.
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 an interrogative form. It is used to enhance the expressiveness of a phrase. A characteristic feature is convention, that is, the use grammatical form and intonation of the question in cases that, in essence, do not require it.
Repeat- a technique used to enhance the meaning of certain words, to draw the special attention of the reader.
Chiasmus- cruciform change in the sequence of elements in two parallel rows of words ( Know how to love art in yourself, not yourself in art).
Antithesis- a sharp opposition of concepts, positions, images, states, interconnected by a common structure or internal meaning.
gradation- the arrangement of parts of the statement related to one subject, so that each subsequent part is richer, more expressive or impressive than the previous one.
Asyndeton- construction of speech, in which conjunctions connecting words are omitted. Gives the statement swiftness, dynamism, helps to convey a quick change of pictures, impressions, actions.
polyunion- an intentional increase in the number of unions in a sentence, usually to connect homogeneous members. Polyunion emphasizes the role of each word, creating a unity of enumeration and enhancing the expressiveness of speech.
Accumulation - a combination of sentences that are grammatically and semantically independent.
Improper direct speech- part of direct speech, not distinguished either punctuation or syntactically.
Conclusions to Chapter 1
This paper discusses the features of the speech of the characters in a dramatic work. The language of dramatic works has its own peculiarities. 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. All existing styles can be used in songs. Most contemporary plays may be based on parody or irony. There are 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 the expressive function and the characterological function, 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 the gender characteristics of the characters (the speech of men is more restrained and harsh, the speech of women is more emotional).
The translation of stylistic devices (SP) that carry the figurative charge of an 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 device, and not the device itself.
When transmitting stylistic figures of speech - comparisons, epithets, metaphors, proverbs, etc. – the translator needs to decide each time: it is expedient to keep the underlying image or to replace it with another one in the translation. The reason for the replacement may be the peculiarities of Russian word usage, the compatibility of words, etc. The sound image of the advertising text is an important component of its success with the recipient. At the phonetic level, the creators of advertising texts most often use various repetitions, both sound and lexical. Alliteration is the repetition of identical or homogeneous consonants. It is rather difficult to preserve alliteration, which is more characteristic of the English language, in translation.
"It helps the hurt stop hurting (Bectine commercial)" - "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 repetitions can be used instead in various combinations.
Tour to Turkey!!! - "Win a TOUR to TURKEY!!!"
"Rahmet" tea, meet the guests!
Anaphora is a stylistic device associated with the repetition of related sounds, words or groups of words at the beginning of each parallel row. 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 anaphora further contributes to 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 frequently in advertising headlines compared to anaphora. For example,
“Funny when this time comes around, the kids want to stay around” (IBM).
phonemic repetition. This technique is based on the repetition of the phonemes of one of the words of the advertising slogan. Phonemic repetition gives the slogan an emotional coloring, makes it bright. For example,
"It gives you wiiings!!! " (Red Bull) - "Red Bull is inspiring!!! »
The transfer of anaphora, epiphora or phonetic repetition does not cause great difficulties. Most often, these devices are transmitted by equivalent or variant correspondences, since the main task of translating such stylistic means is to preserve the positional relationship of units. Of particular interest is the rhyme. If the entire RT is built on rhyme, the translator is faced with the problem of how to translate such a text. In any case, losses cannot be avoided. The ideal option translating rhyming text is to create a new rhyming text while retaining the meaning and style. The translation of lexical means (metaphor, epithet, allusion, antithesis, etc.), which add brightness and expressiveness to the advertising text, require special attention from the translator. In many cases, translators manage to convey the language 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 slogan) - "No battery lasts longer" .
“Why half the kingdom for a horse!” - "Asty? yes? y ata? dy alty ai 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 in the translation of metaphors, differentiation and concretization stand out; generalization of values; semantic (or logical) development; holistic transformation; compensation. Often the translator uses the methods of semantic development and holistic transformation as the most creative of all types of transformations, which allows you to save the function of the image of the FL in translation.
« Hair comes alive in our hands" (Wella hair products) - "The Art of Awakening the Beauty of Hair".
Translators of English 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 communication 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 Liberty Mutual insurance company) – « We believe that 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. Because one of critical 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 the keywords of the advertising text and pay special attention to them. Advertising is full of words: “more”, “cheaper”, “better”, “more profitable”, “most”, “only”, “unique”, “super”, “super”. All of these words are signals that the advertised brand is being explicitly or implicitly compared to other brands in 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 dignity 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 wide variety of properties of the advertised product - shape, size, cost quality, sensations that this product evokes. The most common adjectives in English advertising are: natural, sensual, innocent, passionate, romantic, mysterious, etc. In Russian - new, novelty, first, revolutionary, difficult, unusual, unlike ordinary ones, etc. As well as 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
Means variation
1) omission of sounds; 1) emphatic
2) reduction of stressed 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. Basically it's a substandard pronunciation . Superstandard pronunciation - oratorical, poetic style - is an extremely rare phenomenon. In writing, phonetic variation techniques are conveyed by deviations from standard spelling. Within this group of techniques, subspecies are distinguished:
Variation and reduction of vowels:
Have not - haven't; is not - isn't; you - ye - the minimum degree of depression, 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 - a characteristic of careless, hasty speech.
Variation, omission and substitution 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 - sum.
The functions of stylistic devices of this type in fiction are different. Standard contracted forms signal the colloquial nature of speech. Other deviations can serve as a means of a character's speech characteristics - indicate his social status, level of education, characterize him as a carrier of a dialect, convey individual pronunciation features (children's speech, burr, lisp, etc.). In addition, phonetic variation techniques can convey emotional condition character, mannered pronunciation, lisping with children, sing-song speech, etc.
Below in the section "Patterns of stylistic analysis" several possible ways of analyzing and interpreting these stylistic phenomena are given.
In the course of 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 corruption 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 contracted forms) can be rightfully defined as graphones.
prosodic phonetic means, including stress (emphatic and additional), intonation, rhythm, rhyme and specific intonational contours are used to convey emotions and for the purpose of amplification (emphasis). These techniques are used mainly in spoken speech, and in writing they are transmitted graphically using font selections and punctuation:
cursive (she was simply beautiful),
bold type (Muriel, I don't know!),
capitalization (He was SLAIN in North Africa),
multiplication of letters (“Allll aboarrrrd!”),
dissected spelling through a hyphen (re-fuse).
Author's expressive phonetic means are used to create harmony through the choice of sound matter or by appropriate arrangement of words, etc. In the linguistic literature, to designate this group of techniques, there is a special term "sound instrumentation".
Alliteration(alliteration) – one of the varieties of sound instrumentation, consisting of repeated consonants at the beginning of closely spaced stressed words:
B close b urya in b ereg b oats
H each h aram h black h eln (Balmont)
Alliteration is a fairly common method of phonetic organization in English artistic 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 the 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” (Ch. 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 emphase: He swallowed the hint with a gulp, and a gasp, and a grin.
Onomatopoeia(onomatopoeia) – this is an image of extralinguistic sounding with the help of speech sounds similar to it. Onomatopoeia can be direct or indirect.
Direct onomatopoeia underlie onomatopoeic words (to hiss, to crow, to grunt, to murmur, bang, splash, etc.). This phenomenon cannot be an object of stylistic analysis and is considered within the framework of lexicology. Onomatopoeia as a stylistic means is understood as the selection of words in a sentence or utterance, which, by their very sound, can cause a corresponding acoustic impression. Most often this takes place 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 example above, the repetition of the sounds f, s and b reproduces the sound of waves running up from the sides of a moving ship.
Indirect onomatopoeia may overlap with alliteration, as happened in the above example, and thus the question arises of possible ways to distinguish between these methods of sound instrumentation. It is believed that if the sentence contains a reference to the sound source, then the reception is defined as an onomatopoeia.
Assonance(assonance) is a type of sound instrumentation through the repetition of the same or similar vowels in a certain segment of speech (usually in stressed syllables): “The walls are whitewashed, the mother abbess ordered ...” (Bagritsky).
This technique is also called vocal alliteration, although repeated vowels are rarely located at the beginning of a 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 called inaccurate rhyme, in which only stressed vowels are consonant (such as same - cane, slumber - blunder etc.).
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. S.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 explore?
2. Give basic definitions on 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 the actual graphical tools?
7. What speech characteristics can be created by phonetic means?
8. Can alliteration be an onomatopoeia at the same time?
THEME H
STYLISTIC MORPHOLOGY
One of essential funds creating expressiveness in a language are transpositions. Transpositions are understood as the use of linguistic units (words, word forms, phrases and sentences) in a meaning and in a function that is not originally inherent in them. Transpositions are widespread in vocabulary when words are used in a figurative sense. (peach - a beautiful girl), in syntax, where 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, as well as functional-stylistic connotations.
In morphology, transpositions are understood as the use of a grammatical form in a context that is not characteristic of it. As a result of transposition, one form or another loses its traditional grammatical meaning and acquires a new one - 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 a relationship of cold formality, indulgence, 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-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 well-known example of pronoun transposition we- the plural of majesty: We, Charles the Second.
The generalized personal pronoun you can be used by the author artwork to achieve a more trusting tone of communication with the reader ( you know), and the pronoun they, their in order to emphasize what an abyss lies between the speaker and the world around him (her).
Transpositions can be subjected not only to pronouns, 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 waves a deeper blue leaves a browner hue" etc.
Uncountable nouns can be used in the plural form to indicate the intensity of the property, volume, quality: “The snow is still whitening in the fields, and water they make noise in the spring. "Everywhere fatal passions and from fate 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 the number, personification is also used.
Transposition of adjectives turns them into nouns, thereby contributing to the achievement of greater expressiveness of the statement or giving it greater tangibility: "The Red and the Black", Isolde the Slender.
The only grammatical category inherent in English adjectives is the degree of comparison. It conveys the degree of intensity of the sign expressed by the word and, therefore, is very close to the category of expressiveness. In accordance with grammatical norm, only qualitative adjectives (with the exception of those that denote absolute qualities - married, dead) have degrees of comparison. Violation of this norm, as a result of which adjectives are used in a comparative or superlative degree, to which this form is not characteristic, is always stylistically significant:
· You cannot be deader than the dead (Hemingway).
· “Curiouser and curiouser!”, cried Alice … (L. Carrol)
Similar information.