BELLES-LETTRES STYLE (художественный стиль)

BELLES-LETTRES STYLE (художественный стиль)

It’s a func style. FS of language is a system of interrelated language means which serves a definite aim in communication. In Eng literary standard we distinguish the following major FS: 1) lang of belles-lettres; 2) lang of publicistic literature; 3) lang of newspapers; 4) lang of scientific prose; 5) lang of official documents.

Each FS is subdivided into a number of substyles. The belles-lettres FS has the following substyles: a) the lang style of poetry; Its first differentiating property is its orderly form, which is based mainly on the rhythmic and phonetic arrangement of the utterances. b) the lang style of emotive prose; Apart from metre and rhyfne, what most of all distinguishes emotive prose from the poetic style is the combination of the literary variant or the language, both in words and syntax, with the colloquial, variant. c) the lang style of drama;. The first thing to be said about the parameters of this variety of belles-lettres is that, unlike poetry, which, except for bal­lads, in essence excludes direct speech and therefore dialogue, and unlike emotive prose, which is a combination of monologue (the author's speech) and dialogue (the speech of the characters), the language of plays is entirely dialogue. belles-lettres style embraces numerous and many-sided genres of imaginative writing. The purpose of the belles-lettres style is not to prove but only to suggest a possible interpretation of the phenomena of life by forcing the reader to see the viewpoint of the writer. This is the cognitive function of the belles-lettres style.

Only three FS are recognized in stylistics. As to the newspaper style, it is often regarded as part of the publicist domain and is not always treated individually. But the biggest controversy is flaming around the belles-lettres style. The unlimited possibilities of creative writing, which covers the whole of the universe and makes use of all language resources, led some scholars to the conviction that because of the liability of its contours, it can be hardly qualified as a functional style. Still others claim that, regardless of its versatility (непостоянство), the belles-lettres style, in each of its concrete representations, fulfils the aesthetic function, which fact singles this style out of others and gives grounds to recognize its systematic uniqueness.

 

 

PHONOSTYLISTIC DEVICES OF THE PARADIGMATIC LEVEL (ONOMATOPOEIA)

Onomatopoeia is a combination of speech-sounds which aims at imitating sounds produced in nature (wind, sea, thunder, etc), by things (machines or taols, etc), by people (sighing, laughter, patter of feet, etc) and by animals. There are two varieties of onomatopoeia: direct and indirect. Direct onomatopoeia is contained in words that imitate natural sounds, as ding-dong, bang, mew, etc. These words have different degrees of imitative quality. Some of them immediately bring to mind whatever it is that produces the sound. Others require the exercise of a certain amount of imagination to identify it. Indirect onomatopoeia is a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense: 'And the silken, sad, uncertain rustling of each purple cur­tain' (E. A. Poe) where the repetition of the sound [s] actually produces the sound of the rustling of the curtain. Indirect onomatopoeia is sometimes very effectively used by re­peating words which themselves are not onomatopoetic, as in Poe's poem "The Bells" where the words tinkle and bells are distributed in the following manner:

"Silver bells... how they tinkle, tinkle, tinkle". A skilful example of onomatopoetic effect is shown by Robert Sou-they in his poem "How the Water Comes down at Ladore." The title of the poem reveals the purpose of the writer. By artful combination of words ending in -ing and by the gradual increase of the number of words in successive lines, the poet achieves the desired sound effect. "And nearing and clearing,

And falling and crawling and sprawling,

And gleaming and streaming and steaming and beaming,

And in this way the water comes down at Ladore".

 

 

PUBLICISTIC STYLE: ORATORY AND SPEECHES

The publicistic style of language became discernible as a sepa­rate style in the middle of the 18th century. It also falls into three va­rieties, each having its own distinctive features. Unlike other styles, the publicistic style has a spoken variety, namely, the oratorical substyle. The development of radio and television has brought into being another new spoken variety, namely, the radio and TV соmmеntary. The other two substyles are the essay (moral, philosophical, lit­erary) and journalistic articles (political, social, economic) in newspapers, journals and magazines. The general aim of publicistic style, which makes it stand out as a separate style, is to exert a constant and deep influence on public opin­ion, to convince the reader or the listener that the interpretation given by the writer or the speaker is the only correct one and to cause him to accept the point of view expressed in the speech, essay or article not merely through logical argumentation but through emotional appeal as well.

The oratorical style of language is the oral subdivision of the publicistic style. Direct contact with the listeners permits a combination of the syn­tactical, lexical and phonetic peculiarities of both the written and spoken varieties of language. In its leading features, however, oratorical style belongs to the written variety of language, though it is modified by the oral form of the utterance and the use of gestures. This style is evident in speeches on political and social problems of the day. The stylistic devices employed in oratorical style are determined by the conditions of communication. If the desire of the speaker is to rouse the audience and to keep it in suspense, he will use various traditional stylistic devices. Repetition can be regarded as the most typical stylistic device of English oratorical style. The desire of the speaker to convince and to rouse his audience re­sults in the use of simile and metaphor, but these are generally traditio­nal ones, as fresh and genuine stylistic devices may divert the attention of the listeners away from the main point of the speech.

 

 

LEXICAL EMs AND SDs BASED ON THE INTERACTION OF PRIMARY AND CONTEXTUALLY OPPOSED MEANINGS (IRONY, TYPES OF IRONY)

Irony is a stylistic device also based on the simultaneous reali­zation of two logical meanings—dictionary and contextual, but the two meanings stand in opposition to each other. For example: "It must be delightful to find oneself in a foreign country without a penny in one's pocket." Word “delightful” acquires a meaning quite the opposite to its primary dictionary meaning, that is, 'unpleasant', 'not delightful'. The word containing the irony is strongly marked by intonation. Irony must not be confused with humour, although they have very much in common. Humour always causes laughter. What is funny must come as a sudden clash of the positive and the negative. In this respect irony can be likened to humour. But the function of irony is not confined to producing a humorous effect. In a sentence like "How clever of you!" where, due to the intonation pattern, the word 'clever' conveys a sense opposite to its literal signification, the irony does not cause a ludicrous effect. It rather expresses a feeling of irritation, displeasure, pity or regret. A word used ironically may sometimes express very subtle, almost im­perceptible nuances of meaning.

 

 

BELLES-LETTRES STYLE (художественный стиль)

It’s a func style. FS of language is a system of interrelated language means which serves a definite aim in communication. In Eng literary standard we distinguish the following major FS: 1) lang of belles-lettres; 2) lang of publicistic literature; 3) lang of newspapers; 4) lang of scientific prose; 5) lang of official documents.

Each FS is subdivided into a number of substyles. The belles-lettres FS has the following substyles: a) the lang style of poetry; Its first differentiating property is its orderly form, which is based mainly on the rhythmic and phonetic arrangement of the utterances. b) the lang style of emotive prose; Apart from metre and rhyfne, what most of all distinguishes emotive prose from the poetic style is the combination of the literary variant or the language, both in words and syntax, with the colloquial, variant. c) the lang style of drama;. The first thing to be said about the parameters of this variety of belles-lettres is that, unlike poetry, which, except for bal­lads, in essence excludes direct speech and therefore dialogue, and unlike emotive prose, which is a combination of monologue (the author's speech) and dialogue (the speech of the characters), the language of plays is entirely dialogue. belles-lettres style embraces numerous and many-sided genres of imaginative writing. The purpose of the belles-lettres style is not to prove but only to suggest a possible interpretation of the phenomena of life by forcing the reader to see the viewpoint of the writer. This is the cognitive function of the belles-lettres style.

Only three FS are recognized in stylistics. As to the newspaper style, it is often regarded as part of the publicist domain and is not always treated individually. But the biggest controversy is flaming around the belles-lettres style. The unlimited possibilities of creative writing, which covers the whole of the universe and makes use of all language resources, led some scholars to the conviction that because of the liability of its contours, it can be hardly qualified as a functional style. Still others claim that, regardless of its versatility (непостоянство), the belles-lettres style, in each of its concrete representations, fulfils the aesthetic function, which fact singles this style out of others and gives grounds to recognize its systematic uniqueness.

 

 

PHONOSTYLISTIC DEVICES OF THE PARADIGMATIC LEVEL (ONOMATOPOEIA)

Onomatopoeia is a combination of speech-sounds which aims at imitating sounds produced in nature (wind, sea, thunder, etc), by things (machines or taols, etc), by people (sighing, laughter, patter of feet, etc) and by animals. There are two varieties of onomatopoeia: direct and indirect. Direct onomatopoeia is contained in words that imitate natural sounds, as ding-dong, bang, mew, etc. These words have different degrees of imitative quality. Some of them immediately bring to mind whatever it is that produces the sound. Others require the exercise of a certain amount of imagination to identify it. Indirect onomatopoeia is a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense: 'And the silken, sad, uncertain rustling of each purple cur­tain' (E. A. Poe) where the repetition of the sound [s] actually produces the sound of the rustling of the curtain. Indirect onomatopoeia is sometimes very effectively used by re­peating words which themselves are not onomatopoetic, as in Poe's poem "The Bells" where the words tinkle and bells are distributed in the following manner:

"Silver bells... how they tinkle, tinkle, tinkle". A skilful example of onomatopoetic effect is shown by Robert Sou-they in his poem "How the Water Comes down at Ladore." The title of the poem reveals the purpose of the writer. By artful combination of words ending in -ing and by the gradual increase of the number of words in successive lines, the poet achieves the desired sound effect. "And nearing and clearing,

And falling and crawling and sprawling,

And gleaming and streaming and steaming and beaming,

And in this way the water comes down at Ladore".