Заглавная страница Избранные статьи Случайная статья Познавательные статьи Новые добавления Обратная связь FAQ Написать работу КАТЕГОРИИ: АрхеологияБиология Генетика География Информатика История Логика Маркетинг Математика Менеджмент Механика Педагогика Религия Социология Технологии Физика Философия Финансы Химия Экология ТОП 10 на сайте Приготовление дезинфицирующих растворов различной концентрацииТехника нижней прямой подачи мяча. Франко-прусская война (причины и последствия) Организация работы процедурного кабинета Смысловое и механическое запоминание, их место и роль в усвоении знаний Коммуникативные барьеры и пути их преодоления Обработка изделий медицинского назначения многократного применения Образцы текста публицистического стиля Четыре типа изменения баланса Задачи с ответами для Всероссийской олимпиады по праву Мы поможем в написании ваших работ! ЗНАЕТЕ ЛИ ВЫ?
Влияние общества на человека
Приготовление дезинфицирующих растворов различной концентрации Практические работы по географии для 6 класса Организация работы процедурного кабинета Изменения в неживой природе осенью Уборка процедурного кабинета Сольфеджио. Все правила по сольфеджио Балочные системы. Определение реакций опор и моментов защемления |
Have Resolved to Combine Our Efforts to Accomplish These Aims.↑ ⇐ ПредыдущаяСтр 9 из 9 Содержание книги
Поиск на нашем сайте
Accordingly, our respective Governments, through representatives assembled in the City of San Francisco, who have exhibited their full powers found to be in good and due form, have agreed to the present Charter of the United Nations and do hereby establish an international organization to be known as the United Nations."
As is seen, all the reasons which led to the decision of setting up an international organization are expressed in one sentence with parallel infinitive object clauses. Each infinitive object clause is framed as a separate paragraph thus enabling the reader to attach equal importance to each of the items mentioned. The separate sentences shaped as clauses are naturally divided not by full stops but either by commas or by semicolons. It is also an established custom to divide separate utterances by numbers, maintaining, however, the principle of dependence of all the statements on the main part of the utterance. Thus, in chapter I of the U. N. Charter the purposes and principles of the charter are given in a number of predicatives, all expressed in infinitive constructions and numbered:
"CHAPTER I
PURPOSES AND PRINCIPLES
The Purposes of the United Nations are: 1. TO MAINTAIN international peace and security, and to that end: to take effective collective measures for the prevention and removal of threats to the peace, and for the suppression of acts of aggression or other breaches of the peace, and to. Bring about by peaceful means, and in conformity with the principles of justice and international law, adjustment or settlement of international disputes or situations which might lead to a breach of the peace.
2. TO DEVELOP friendly relations' among nations based on respect for the principle of equal rights and self-determination of peoples, and to take other appropriate measures to strengthen universal peace. 3. TO ACHIEVE international cooperation on solving international problems of an economic, social, cultural, or humanitarian character and in promoting and encouraging respect for human rights and for fundamental freedoms for all without distinction as to race, sex, language, or religion; and 4. TO BE A CENTRE for harmonizing the actions of nations; in the attainment of these common ends." Here is another sample of an official document maintaining the same principles: United Nations Economic Distr. Limited and Social Council R/TAC/L. 89/Rev. 2 29 Nov. 1955. Original: English
Technical Assistance Committee. Expanded Programme of Technical Assistance Review of the Programme for 1956 Australia and Egypt: revised draft resolution.
The Technical Assistance Committee, RECALLING THAT according to Economic and Social Council resolution 542 (XVIII) the preparation and review of the Expanded Programme and all other necessary steps should be carried out in a way that TAC ought to be in a position to approve the over-all programme and authorize allocation to participating organizations by 30 November at the latest, CONSIDERING THAT a realistic programme such as the Expanded Programme cannot be planned and formulated without prior knowledge of the financial resources available for its implementation, CONSIDERING THAT TAC, with the assistance of such ad hoc subcommittees as it may find necessary to establish, will normally need about one week to carry out the task referred to in the resolution mentioned above, bearing in mind the necessary consultations with the representatives of the participating organizations, 1. ASKS the Secretary-General to seek to arrange each year that the Pledging Conference should be convened as early as possible taking due account of all factors involved; 2. DECIDES that the Secretary-General should in future work on the assumption that in carrying out the functions of approving the programme and authorizing allocations as required by Economic and Social Council resolution 542 (XVIII), the TAC will usually need to meet for oneweek; 3. REQUESTS further the Secretary-General to transmit this resolution to all States Members and non-members of the United Nations which participate in the Expanded Programme." In no other style of language will such an arrangement of utterance be found. In fact, the whole document is one sentence from the point ofview of its formal syntactical structure. The subject of the sentence 'The Technical Assistance Committee' is followed by a number of participial constructions—'Recalling'—, 'Considering'—, 'Considering'—, is cut off by a comma from them and from the homogeneous predicates— 'Asks', 'Decides', 'Requests'. Every predicate structure is numbered and begins with a capital letter just as the participial constructions. This structurally illogical way of combining different ideas has its sense. In the text just quoted the reason for such a structural pattern probably lies in the intention to show the equality of the items and similar dependence of the participial constructions on the predicate constructions. "In legal English," writes H. Whitehall, "...a significant judgement may depend on the exact relations between words....The language of the law is written not so much to be understood as not to be misunderstood." 1 As is seen from the different samples above, the over-all code of the official style falls into a system of subcodes, each characterized by its own terminological nomenclature, its own compositional form, its own variety of syntactical arrangements. But the integrating features of all these subcodes, emanating from the general aim of agreement between parties, remain the following: 1) conventionality of expression; 2) absence of any emotiveness; 3) the encoded character of language symbols (including abbreviations) and 4) a general syntactical mode of combining several pronouncements into one sentence. __________
1 Whitehall, H. Structural Essentials of English. N. Y., 1956, p. 64.
FINAL REMARKS
This brief outline of the most characteristic features of the five language styles and their variants will show that out of the number of features which are easily discernible in each of the styles, some should be considered primary and others secondary; some obligatory, others optional; some constant, others transitory. The necessary data can be obtained by means of an objective statistical count based on a large number of texts, but this task cannot be satisfactorily completed without the use of computers. Another problem facing the stylicist is whether or not there are separate styles within the spoken variety of the language, and the analysis of these styles if it can be proved that there are any. So far we are of the opinion that styles of language can only be singled out in the written variety. This can be explained by the fact that any style is the result of a deliberate, careful selection of language means which in their correlation constitute this style. This can scarcely be attained in the oral variety of language which by its very nature will not lend itself to careful selection. However, there is folklore, which originated as an oral form of communication, and which may perhaps be classed as a style of language with its own structural and semantic laws. * * * The survey of different functional styles will not be complete without at least a cursary look into what constitutes the very notion of text as a production of man's creative activity in the realm of language. The word 'text', which has imperceptibly crept into common use, has never been linguistically ascertained. It is so broad in its application that it can refer to a span of utterance consisting of two lines, on the one hand, and to a whole novel, on the other. Therefore the word needs specification in order to make clear what particular kind of language product has the right to be termed text. The student of functional styles will undoubtedly benefit by looking at the text from an angle different from what he has hitherto been used to. When analysing the linguistic nature of a text it is first of all necessary to keep in mind the concept of permanence as set against ephemerality. Text, being the result of language activity, enjoys permanence inasmuch as it belongs to the written variety of language. Text can be what it claims to be only if it possesses the quality of integrity, i.e. wholeness characterized by its gestalt (see p. 30). In other words, text must enjoy a kind of independent existence; it must be an entity in itself. The integrity of the text presupposes the subordination of certain parts to one particular part which reveals the main idea and the purport of the writer. It has already been stated that a text consists of units which we called supra-phrasal (see p. 194). These units are not equal in their significance: some of them bear reference to the main idea, others only back up the purport of the author. It follows then that supra-phrasal units can be classified as predicative and relative. The interrelation between these will show what kind of importance the author attaches to one or other part of the utterance. The theory of communication has brought about new concepts regarding the information imparted by different texts. It will be of use to distinguish between the following terms: meaning, signification and content. We shall reserve the term 'meaning' for the semantics of a morpheme, a word or of a word-combination. The term 'signification' is here suggested to refer only to the sentence and supraphrasal units. The term 'content' should be reserved for the information imparted by the whole of the text. It follows then that the information contained in a text is its content. However, the content is not a mechanical summing up of the significations of the sentences and the supra-phrasal units. Likewise, the signification of a sentence or of a supra-phrasal unit is not a mechanical summary of meanings of the constituents, i.e. of the words or word-combinations. The integrating power of the text greatly influences the signification of the sentences, depriving them of the independence they would enjoy in isolation. The same can be observed in the sentence, where the words to a greater or lesser degree lose their independence and are subjected to sometimes almost imperceptible semantic modifications. To phrase the issue differently, the content of a text modifies the significations of the sentences and the meanings of the words and phrases. The integrating power of the text is considerable and requires careful observation. The information conveyed by a text may be of different kinds; in particular, two kinds of information might be singled out, viz. content-conceptual and content-factual. Content-conceptual information is that which reveals the formation of notions, ideas or concepts. This kind of information is not confined to merely imparting intelligence, facts (real or imaginary), descriptions, events, proceedings, etc. It is much more complicated. Content-conceptual information is not always easily discernible. It is something that may not lie on the surface of its verbal exposition. It can only be grasped after a minute examination of the constituents of the text provided that the reader has acquired the skill of supralinear analysis. Moreover, it may have various interpretations and not infrequently reveals divergent views as to its purport. It follows then that content-conceptual information is mainly found in the belles-lettres language style. Here it reigns supreme although it may also be encountered in some other functional styles and particularly in diplomatic texts. Content-factual information is that contained in what we have al-
ready named matter-of-fact styles, i.e. in newspaper style, in the texts of official documents and in some others. The classification of information into content-conceptual and content-factual should not lead to the conclusion that texts of a scientific nature, for example, are deprived of concepts. The word 'conceptual' has multi-dimensional parametres, i.e. it can be applied to different phenomena. Scientific treatises and monographs are undoubtedly characterized by original concepts, i. e. theories, hypotheses, propositions. But these concepts are explicitly formulated and need no special stylistic inventory to decode them. Whereas the concepts contained in works of art (to which the functional style of belles-lettres belongs) are to be derived from the gestalt of the work. Taken by itself, such a division of information may appear unconvincing, inasmuch as too many interpretations of the word 'conceptual' can be suggested. But its aim, be it repeated, is to emphasize the crucial difference between what is more or less clearly stated in verbal chains and what is only suggested and therefore needs mental effort to get at what is said by the unsaid. In conclusion we suggest the following procedures in stylistic analysis which will facilitate the process of disclosing the kind of information contained in the given text. The first procedure is to ascertain the kind of text being dealt with. This procedure may be called the taxonomic stage of analysis. Taxonomy is the science of classification. It states the principles according to which objects are classified. There is an immediate need to get a clear idea as to what functional style this or that text belongs. Furthermore, the taxonomical analysis will bring to mind a definite model of a text in the given style. Sometimes it is not enough to state that the text belongs to, let us say, the style of official documents. It is necessary to specify what kind of a document is being analysed. Thus, it is very important to find out whether the text is a memorandum, or a note, or a protest, or a pact, etc. If the text is one that belongs to the belles-lettres style, it is necessary to point out what kind of a text it is, viz. a poem (what type), a story, a novel and further, within it, a description, a portrait, a conversation (dialogue), the author's narrative, his speculations, etc. The second procedure, which may be called the content-grasping stage, aims at an approximate understanding of the content of the given text. It does not claim to be a complete and exhaustive penetration into the hidden purport of the author. The conceptual information will be disclosed at later stages in the analysis. However, this superficial grasping of the general content is an important stage, it should stand out against a deeper understanding of the information the text contains in the broad meaning of the term. The third procedure, which might be called semantic, has as its purpose the close observation of the meanings of separate words and word combinations as well as of the significations of the various sentences and supra-phrasal units. This stage of the analysis predetermines the lines of further analysis which will reveal the deeper information. In maintaining this procedure it is vitally important not to lose sight of the fact that, as has been pointed out before, the meanings of words and the sig- nifications of the sentences and SPUs are liable to modifications under the integrating power of the whole of the text, its gestalt. It is advisable at this stage of analysis to consult dictionaries inasmuch as dictionaries will show the polysemy of the words, thus enabling the student to distinguish a simultaneous realization of two or more meanings of aword in the sentence. The fourth procedure, which should be called the stylistic stage, aims at finding out what additional information might be imparted by the author's use of various stylistic devices, by the juxtaposition of sentences within a larger frame of utterance, that is, in the SPU, and also by the interdependence of predicative and relative SPUs. The fifth procedure, which conventionally might be called the functional stage of analysis, brings us back to the second one, i.e. the content-grasping stage. This analysis sets the task of investigating the conceptual information contained in the whole of the text. In maintaining this stage of analysis the student should assemble the previously acquired data and make a kind of synthesis of all the procedures. There is no hierarchy in maintaining analysis procedures but the 'suggested sequence has proved to be the most efficient in getting a deeper insight into what constitutes the notion text.
LIST OF AUTHORS REFERRED TO Abrahams, P. Addison, Joseph Aldington, Richard Aldridge, James Ascham, Roger Allot, Kenneth Austin, Jane
Beaumont, Francis Brown, Carter Bunyan, John Burns, Robert Byron, George Gordon
Carlyle, Thomas Carroll, Lewis Coleridge, Samuel Taylor Cronin, Archibald J. Cummings, Edward
Defoe, Daniel Dickens, Charles Dreiser, Theodore
Elyot, Thomas Empson, William
Fielding, Henry Ford, Leslie Frost, Robert
Galsworthy, John Goldsmith, Oliver Green, Graham
Henry, O. Hemingway, Ernest Heym, Stefan Hood, Thomas
James, Henry Jerome K. Jerome Jones, James
Kipling, Rudyard
Lessing, Doris London, Jack Longfellow, Henry Lyly, John
Marlowe, Christopher Mark Twain Maugham, Somerset
O'Hara, John
Рое, Edgar Allan Pope, Alexander Prichard, Katherine
Salinger, J. D. Scott, Walter Shakespeare, William Shaw, Bernard Shelley, Percy Bysshe Southey, Robert Sterne, Laurence Stevenson, R. L. Swift, Jonathan Swinburne, Algernon Charles
Thackeray, William Makepeace
Whitman, Walt Wilde, Oscar Wilson, Mitchel Wordsworth, William INDEX OF WORDS A abbreviation 102, 301, 313 advertisements 296, 297, 301 affixes 73, 93, 97, 98 allegory (allegoric) 276 alliteration 125—127, 209 allusion 187—189, 290, 307 amplification 233 anadiplpsis 212 anaphora 56, 212 anti- 98 anticlimax 85, 221 antithesis 209, 222—225. antonomasia 164—166 antonyms 222 aphorism 294 aposiopesis See break-in-the-narrative archaic words 83—87 argumentative sentence patterns 309 articles 287, 297 aspect 72 assimilation 94 asyndeton 226 В balance 208 ballad 159, 259 barbarisms 72, 87—92 bathos 136-138 belles-lettres style 15, 250 blends 100 borrowings 93 breaking-up of set expressions 304, 307 break-in-the-narrative 233—235 brief news items 297—301 business letters 314—315 С caesura 211 cant 104-105, 108—109 catch-phrases 182 catch-words 122 centrifugal 162 centripetal 163 chain-repetition 213 chiasmus 206, 209, 211 lexical chiasmus 210 circumlocution 169 cliché 177—180, 298 climax 210, 219, 221 cockney 116 colloquial coinages 72, 93, 119—122 layer 72 words 119—122 colloquialism 108—109 commercial correspondence 315 common colloquial words 73, 113 common literary words 73, 108 communiqué 34 concept 59, 60, 63, 104 connotation 68 contraction 102 contrast 223 conversion 96 coordination 225 D decomposition 189—190 denotation 68 detached constructions 205 de-terminization 308 dialectal words 72, 116—118 dialogue 271, 281—285 dichotomy 24 diplomatic document 13 direct speech 211, 236 -dom 98 drama 117, 250, 281, 287 dramatic poetry 282 E editorial 305—307 -ее 98 ellipsis 231-233 elliptical sentences 231 embellishment 21 emotional 161 colouring 267 constructions 153 emotive prose 115, 117, 250, 270 emphatic constructions 205 enjambment 256, 282 stanza enjambment 257 entropy 163 enumeration 133, 216 heterogeneous enumeration 217 epigram 210, 294 epiphora 212 epithet 154, 157 associated 158 compound 159 fixed 159 language 159 phrase 159 reversed 160 simple 159 speech 159 string of 161 transferred 161 unassociated 158 -ese 98 essay 13, 287, 293—295 euphemism 173—176 political 175 euphuism 272 euphuistic style 272 exact sciences 34, 310 exclamatory words 153, 154—157 expressive means (EM) 9, 10, 17, 25—35, 211, 213 F five-w-and-h 300 folk songs 159 foreign words 72, 87—92 formulative sentence patterns 309 framing 212 G gap-sentence link 227—229 graphical means 226—237 H heroic couplet 185, 258 historical words 84 humanitarian sciences 34, 310 hyperbole 176—177 hypermetric line 256 hypometric line 256 I image 142 — 144, 265 abstract 264 concrete 264 imagery 64, 264 implication 234 indirect speech 236—237 individual manner 9, 13 individual style 13, 14—16 intensifier 27, 101 interjection 67, 119, 154—157, 209 derivative 155 primary 155 intonation 154, 159, 235—237, 239 invariant 182—183 inversion 203, 210 irony 139, 146—148 -iz e 97 J jargon 72, 104—105, 108—110 jargonism 109—113 juncture 257 L language-in-action 24 jlanguage-as-a-system 24 lead 300 learned words 72 legal documents" 34 linking 212, 225 literary coinages 72, 92—104, 120 literary genre 15, 23 literary language 41—57 literary layer 72, 121 litotes 246—248 local colour 88 M macro-unit 260 -manship 16 meaning 25, 57—69 contextual 58, 66, 122, 138, 144 derivative 142, 148 emotive 64, 66, 153 lexical 25, 58, 59 logical 59, 64, 153, 164 nominal 64, 68—69, 164 primary 64, 148 referential.25, 59, 64 secondary 65 transferred 139 measure 253 metaphor 139—144 contributory 142, 143 genuine 141—143 principal 142 sustained 142—143 trite 141—143 memoir 294 metonymy 139—146 metre 130, 131, 252, 282 monometer 254 dimeter 254 trimeter 254 tetrameter 254 pentameter 254 hexameter 254 octameter 254 monologue 285 multiplicity of style 280 N neologism 299 terminological 92 stylistic 93 neutral words 71, 72, 308 newspaper articles 143, 295, 297 headlines 298, 302—304 language 295—298 style 295—298 nomenclature 78—79, 312 nonce-words 72, 120—122 non-literary English 116, 117 non-neutral 15—16 norm 18—19, 35—48, 275, 278, 281, 286 neutral layer 70—71 О obsolescent 83, 162 obsolete 83 octave 259 official documents, style of 312—318 onomatopoeia 124—126 direct 124 indirect 125 oratorical style 287 oratory 288—292 ottava rima 259 oxymoron 162—164 P paradox 294 paragraph 198, 212 parallel constructions 133, 208—211 complete 208 partial 208 parenthesis 207 period 218 periodical sentence 218 periphrasis 169—173 pleonasm 215 poetic words 72, 79—82 poetical style 124 poetry 15, 252 polysemy 72, 148 polysyndeton 226—227 postulatory sentence patterns. 309 predictability 86, 182 professionalisms 109, 113—115, 118 professional words 72 proverb 127, 181—183 publicistic style 287—288 pun 148, 151 punctuation 207 purism 12, 47 purport 195, 197 pyrrhic 255 Q quatrain 259 question-in-the-narrative 235—236 quotation 13, 309 R redundancy of information 284 reduplication 212 reference 309 referent 175 repetition 209—215 represented speech 236—243 unuttered (inner) 236 uttered 238 review 294 rhetoric 191 rhetorical question 209, 244—246 rhyme 128—129 internal 129 rhythm 17, 129—135, 209, 215 rhythmical inversion 132 root-repetition 215 run-on line 256, 282 S scientific prose style 307—312 language 307 semantic structure 64, 113, 119 word-building 96 semi-prefix 48 sestette 259 set phrases (expressions) 1.59, 177 -ship 98 signals of attention 284 signification 68 simile 143, 167—169 slang 104—109, 116, 122 sonnet 259 spoken language 35—41 spondee 255 stable word-combination 158 standard English vocabulary 72, 115, 118 stanza 209, 258—260 Spencerian stanza 258 style of language 32—35, 249 stylistic device (SD) 25—35 subordination 210, 225 suprasegmental 137 supralinear 62, 137, 213 supra-phrasal unit 194—198 suspense 218 synonym repetition 215 synonyms 72—73 dictionary 169 euphemistic 173 figurative 172 logical 172 periphrastic 169, 172 traditional 169 syntagm 256 T tautology 215 technique of expression 22 tell-tale names 165 tercet 259 terms 76—79, 92, 113, 114 theory of information 9 -thon 99 token names 165 topic sentence 200 transferred meaning 139 treatise 130, 294 U utterance 195 V variant 12 verse 131, 133, 135 accented 261 blank 282 classical 253 free 253, 261 syllabo-tonic 253 vulgarism 118, 119, 122 vulgar words 72, 118, 119, 122 W written language 9, 35—41 Z zeugma 148—151 BIBLIOGRAPHY Адмони В. Г. Типология предложения.— В об.: Исследования по общей теории грамматики. М., 1968. Азнаурова Э. С. "Очерки по стилистике слова. Ташкент, 1973. Арнольд И. В. Стилистика современного английского языка. Л., 1973. Арутюнова Н. Д. О синтаксических типах художественной прозы.— В сб.: Общее и романское языкознание. М., Изд. МГУ, 1972. Арутюнова Н. Д. Некоторые типы диалогических реакций и «почему» - реплики в русском языке. «Филологические науки», 1970, № 3. Арутюнова Н. Д. Предложение и его смысл. М., 1976. Ахманова О. С. О стилистической дифференциации слов. «Сборник статей по языкознанию». М., Изд. МГУ, 1958. Ахманова О. С. Словарь лингвистических терминов. М., 1966. Ашурова Д. У. Лингвистическая природа художественного сравнения. АКД. М., 1970. Билли- Ш. Французская стилистика. М., 1961. Будагов Р. А. В защиту понятия «стиль художественной литературы». «Вестник МГУ», 1962, № 4. Будагов Р. Л. В. И. Ленин о научном стиле языка. «Филологические науки», 1970, № 1. Будагов Р. А. Литературные языки и языковые стили. М., «Высшая школа», 1967. Виноградов В. В. О теории художественной речи. М., 1971. Виноградов В. В. О языке художественной литературы. М., Госполитиздат, 1959. Виноградов В. В. Стиль Пушкина. М., Госполитиздат, 1941. Виноградов В. В. Стилистика, теория поэтической речи, поэтика. М., 1963. Виноградов В. В. Язык художественных произведений. «Вопросы языкознания» 1954, № 5. Винокур Г. О. Маяковский — новатор языка. М., 1943. Винокур Г. О. О задачах истории языка. «Ученые записки МГПИ», кафедра русского языка, вып. 1, т. 5, 1941. Вопросы стилистики. Сборник статей №8, Саратов, 1974. Гальперин И. Р. О термине «слэнг». «Вопросы языкознания», 1956, № 6. Гальперин И. Р. О понятиях «стиль» и «стилистика». «Вопросы языкознания», 1973, №3. Гальперин И. Р. Информативность единиц языка. М., «Высшая школа», 1974. Гальперин И. Р. Очерки по стилистике английского языка. М., 1958. ________
АДД — автореферат докторской диссертации. АКД — автореферат кандидатской диссертации. Гальперин И. Р. Перевод и стилистика.— В сб.: Теория и методика учебного перевода, М., Изд-во АПН, 1960. Гальперин И. Р. Речевые стили и стилистические средства языка. «Вопросы языкознания», 1954, № 4. Гальперин И. Р. К проблеме дифференциации стилей речи.— В сб.: Проблемы современной филологии. М., 1965. Гаузенблас К- К уточнению понятия «стиль» и к вопросу об объеме стилистического исследования.. «Вопросы языкознания», 1967, № 5. Гиндин С, И. Внутренняя организация текста. АКД, М., 1972. Долежел Л. Вероятностный подход к теории художественного стиля. «Вопросы языкознания», 1964, № 2. Ефимов А. И. Об изучении языка художественных произведений. М., «Учпедгиз», 1952. Ефимов А. И. Стилистика художественной речи. Изд. МГУ, изд. 2-е, 1961. Жирмунский В. М. О стихе Маяковского.— В сб.: Поэтика, т. 2. Варшава, 1966. Жирмунский В. М. Введение в метрику. Теория стиха. Л., 1925. Жирмунский В. М. О национальных формах ямбического стиха.— В сб.: Теория стиха, Л., 1968. Жирмунский В. М. Национальный язык и социальные диалекты. Л., Госполитиздат, 1936. Жирмунский В. М. Опыт стилистической интерпретации стихотворения Гёте.—В сб.: Вопросы германской филологии, изд. ЛГУ, 1969. Жирмунский В. М. Стихотворение Гёте «Ты знаешь край». «Проблемы международных литературных связей». Л., 1962. Жовтис Аю О границах свободного стиха. «Вопросы литературы», 1966, №5. Звегинцев В. А. Семасиология. М., 1957. Иванов В. В. Метр и ритм в «Поэме конца» М. Цветаевой.— В сб.: Теория стиха, Л., 1968. Иванов В. В. Ритмическое строение «Баллады о цирке» Межирова.— В сб.: Поэтика, Варшава, 1966. Кожина М. Н. К основаниям функциональной стилистики. Пермь, 1968. Кожинов В. Проблема содержательности и выразительности художественной формы. «Вопросы языкознания», 1967, №3. Контекст. 1973. Сб. статей. М., «Наука», 1974. Костомаров В. Г. Некоторые особенности языка печати как средства массовой коммуникации. АДД, М., 1969. Костомаров В. Г. Русский язык на газетной полосе. Изд. МГУ, 1971. Кунип А. В. Английская фразеология. М., 1970. Кухаренко В. А. Язык Э. Хемингуэя. АДД, М., 1972. Лотман Ю..М. Структура художественного текста. М., «Искусство», 1970, Мейлах Б. С. О метафоре как элементе художественного мышления.— В сб.: Труды отдела новой русской литературы, М -Л., 1948. Моль А. Теория информации и эстетическое восприятие. М., «Мир», 1966. Общие проблемы стилистики. Сборник научных трудов, вып. 73, изд. МГПИИЯ, 1973. Пиотровский Р. Г. О некоторых стилистических категориях. «Вопросы языкознания», 1954, № 1. Пешковский А. М. Сборник статей. Методика родного языка, лингвистика, стилистика и поэтика. М.-Л., 1925. Пешковский А. М. Принципы и приемы стилистического анализа и оценки художественной прозы. М., 1927. Поспелов Н. С. Сложное синтаксическое целое и основные особенности его структуры.— В сб.: Доклады и сообщения Ин-та русского языка, вып. 2, М.-Л., 1948. Потебня А. А. Из записок по теории словесности. Харьков, 1905. Пражский лингвистический кружок. Сборник статей. М., «Прогресс», 1967. Пропп В. Я- Морфология сказки. М., «Наука», 1969. Прохорова В. П., Сошальская Е. Г. Хрестоматия английской лингвистической литературы по стилистике. Изд. МГПИИЯ, 1971. Прохорова В. И. и Сошальская Е. Г. Сборник упражнений по стилистике, М., 1970. Развитие функциональных стилей современного русского языка. Сборник статей. М., «Наука», 1968. Разинкина Н. М. Стилистика английской научной речи. М., «Наука», 1972. Ритм, пространство и время в литературе и искусстве. Л., «Наука», 1974. Сильман Т. И. Проблемы синтаксической стилистики. Л.,.1967. Сошальская Е. Г. Стилистическое использование конвертированных глаголов в произведениях В. Шекспира. «Ученые записки I МГПИИЯ», т. XXIII, 1960, Станкевич Е. Взаимоотношение поэтического и непоэтического языка.— В сб.: Поэтика, Варшава, 1961. Степанов Г. В. О стиле художественной литературы. «Вопросы языкознания», 1952, № 5. Степанов Г. В. О художественном и научном стилях речи. «Вопросы языкознания», 1954, № 4. Степанов Ю. С. Французская стилистика. М., «Высшая школа», 1965. Стриженко А. А. Взаимодействие авторской речи и речи персонажей в современной драматургии. АКД, М., 1972. ТарлинскаяМ. Г. Акцентные особенности английского силлаботонического стиха. «Вопросы языкознания», 1967, № 2. Тарлинская М. Г. Структура и эволюция английского стиха. АДД, М., 1975. Теория стиха. Сборник статей. Л., «Наука», 1968. Тимофеев Л. И. Ритм стиха и ритм прозы. «На литературном посту». М., 1928, № 19. Тимофеев Л. И. Основы теории литературы. М., 1963. Томашевский Б. В. Стилистика и стихосложение. Л., 1959. Томашевский Б. В: Стих и язык. М.-Л., 1959. Томашевский Б. В. Язык и стиль. Л., 1952. Тураева 3. Я- Время грамматическое и время художественное. АДД, Л., 1974. Турмачева Н. А. О типах формальных и логических связей в сверхфразовом единстве. АКД, М., 1973. Турсунова Л. А. Структурные типы и стилистические функции эпитета в языке английской художественной литературы XX века. АКД, М., 1974. Тынянов Ю. и Якобсон Р. Проблемы изучения литературы и языка. «Новый Леф», 1928, № 12. Тынянов Ю. Проблема стихотворного языка. М., 1965. Уфимцева А. А. Слово в лексико-семантической системе языка. М., 1968. Фаворин В. К- О взаимодействии авторской речи и речи персонажей в языке трилогии Гончарова. «Известия АН СССР, ОЛЯ», т. IX, вып. 5, 1950. Федоров А.В. Язык и стиль художественного произведения. ГИХЛ, М.-Л., 1963. Холщевников В. Е. Основы стиховедения. Изд. ЛГУ, 1972. Чернышева И. И. Фразеология современного немецкого языка. М., 1970. Чичерин А. В. Идеи и стиль. М., «Советский писатель», 1968. Шведова П. Ю. К вопросу об общенародном и индивидуальном в языке писателя. «Вопросы языкознания», 1952, № 2. Шведова Н. Ю. К изучению русской диалогической речи. Реплики-повторы. «Вопросы языкознания», 1962, № 3. Шендельс Е. Я. Многозначность и синонимия в грамматике. М., 1970. Шендельс Е. И. О грамматической полисемии. «Вопросы языкознания», 1962, № 3. Шкловский В. Художественная проза. М., «Советский писатель», 1961. Шкловский В. О теории прозы. М.-Л., 1925. Щерба Л. В. Избранные работы по русскому языку. М., «Учпедгиз», 1957. Щерба Л. В. Опыты лингвистического толкования стихотворений.— В сб.: Советское языкознание, Л., т. 2, 1936. Щерба Л. В. Современный русский литературный язык. «Русский язык в школе», т. 4, 1939. Якобсон Р. О. Грамматика поэзии и поэзия грамматики.— В сб.: Поэтика, Варшава, 1961. Якубинский Л. П. О звуках стихотворного языка. «Сборники по теории поэтического языка», М., 1916, № 1. Якубинский Л. П. О диалогической речи.— В сб.: Русская речь, Пг., 1923. Ярцева В. П. Шекспир и историческая стилистика. «Филологические науки», 1964, № 1. Ярцева В. Н. О грамматических синонимах.— В сб.: Романо-германская филология, М., 1957. Ярцева В. Н. Развитие национального литературного английского языка. М., 1957. Akhmanova О. Linguostylistics. Theory and Method. MGU, M., 1972. Bailey, Richard W. Current Trends in the Analysis of Style. "Style", vol. 1, No. 1, 1967. Bernett, James R. Prose Style. San Francisco, 1971. Chapman, R. Linguistics and Literature. Edinburgh, 1973. Chatman S., Levin S. Essays on the Language of Literature. Harcourt, N. Y., 1962. Chatman, Seymour. Stylistics: Quantitative and Qualitative. "Style", vol. 1, No. 1, 1967. Crystal D. and Davy D. Investigating English Style. Longmans, Ldn, 1969. Darbyshire, A. E. A Grammar of Style. Ldn, 1971. De Groot, A. Willem. The Description of a Poem.— In: Proceedings of the Ninth International Congress of Linguists. The Hague, 1964. - Enkvist, N. E. Linguistic S'tylistics. Mouton, the Hague, 1973. Enkvist N. E., Spencer J., and Gregory M. Linguistics and Style. Ldn, 1964. Essays on the Language of Literature, ed. by Chatman S. and Levin S. R. Boston, 1967. Essays on Style and Language, ed. by Fowler R. Ldn, 1967. Galperin I. R. An Essay in Stylistic Analysis. M., 1968. Glaser, Rosemarie. Euphemismen in der englischen und amerikanischen Publizistik,—"Zeitschrift fur Anglistik und Amerikanistik", 1966, Heft 3. Gordon, Ian A. The Movement of English Prose. Ldn, 1966. Guiraud, P. La stylistique. Paris, 1954. Gunter, Richard. Structure and Style in Poems. "Style", vol. 1, No. 2, 1967. Holliday M. A. K- The Linguistic Study of Literary Text.— In: Proceedings of the Ninth International Congress of Linguists. The Hague, 1964. Hamm, V. M. Meter and Meaning.— In: Publications of the Modern Language Association of America, LXIX, 1954. Hill, Archibald A. Essays in Literary Analysis. Austin, Texas, 1966. Hill, Archibald A. Analogies. Icons and Images in Relation to Semantic Content of Discourses. "Style", vol. 2, No. 3, 1968. Hill, Archibald A. Poetry and Stylistics.— In: Essays on the Language of Literature, Boston, 1967.
Hill, Archibald A. Some Further Thoughts on Grammaticality and Poetic Language. "Style", vol. 1. No. 2, 1967. Jakobson, R. Linguistics and Poetics.— In: Style in Language, The M. I. T. Press, 1966. Jakobson, R. The Metaphoric and Metonymic Poles.— In: Fundamentals of Language, Qravenhoge, 1956. Kaskenniemi, Inna. Studies in the Vocabulary of English Drama 1550-1600. Turku, 1962. Kukharenko V. A. Seminars in Style. M., 1971. Kurylowicz, I. Accent and Quantity as Elements of Rhythm.—In: Poetics, Warsaw, 1966. Levin, Samuel R. Poetry and Grammaticalness.— In: Proceedings of the Ninth International Congress of Linguists, The Hague, 1964. Literary Style: A Symposium, Ldn, N. Y., 1971. Mistrik, Josef. Slovenska Stylistika. Bratislava, 1965. Murry, J. Middleton. The Problem of Style. Ldn, 1961. Nosek, Juri. Metaphor in Modern Colloquial English. Philologica 5, Prague, 1967. Nowottny, Winifred. The Language Poets Use. Ldn, 1962.. Ohmann, R. M. Prolegomena to the Analysis of Prose Style.— In: Style in Prose Fiction, N. Y. 1959. Patterns of Literary Style. Ldn, 1971. Quirk, Randolph. The Use of English. Ldn, 1962. Read, Herbert. English Prose Style. Ldn, 1963. Richards, J. A. Practical Criticism: A Study of Literary Judgement. Ldn, 1948. Riffaterre, M. The Stylistic Function.— In: Proceedings of the Ninth International Congress of Linguists, The Hague, 1964. Riffaterre, M. Criteria for Style Analysis. "Word", 1959, No. 2. - Riffaterre, M. Stylistic Context. "Word", 1960, vol. 16, No. 2. Riesel E., Schendels E. Deutsche Stilistik. M., 1975. Stankiewicz, Edw. Linguistics and the Study of Poetic Language.— In: Style in Language. Cambridge, Mass. & N. Y., 1966. Style in Language. Ed. by Sebeok Th. A. N. Y.-L., 1960. Ullmann, S. Language and Style. N. Y., 1964. Wellek R. and Warren A. Theory of Literature. 3rd ed., N. Y., 1962. Zirmunsky V. M. On Rhythmic Prose.— In: To Honor Roman Jakobson, The Hague, 1967.
|
||||
Последнее изменение этой страницы: 2016-04-19; просмотров: 353; Нарушение авторского права страницы; Мы поможем в написании вашей работы! infopedia.su Все материалы представленные на сайте исключительно с целью ознакомления читателями и не преследуют коммерческих целей или нарушение авторских прав. Обратная связь - 3.137.219.221 (0.026 с.) |