Cоursе pаpеr “Stylistic use of foreign words and archaism” Writtеn by thе studеnt оf thе 408

CONCLUSION
By dint of above the represented information one is able to summarize that Archaisms are most frequently encountered in history, poetry, fantasy literature, law, philosophy, science, technology, geography and ritual writing and speech. Archaisms are kept alive by these ritual and literary uses and by the study of older literature. Should they remain recognised, they can potentially be revived.
Because they are things of continual discovery and re-invention, science and technology have historically generated forms of speech and writing which have dated and fallen into disuse relatively quickly. However, the emotional associations of certain words have kept them alive, for example: 'Wireless' rather than 'Radio' for a generation of British citizens who lived through the Second World War, even though the older word 'wireless' is an archaism, and in recent years the term has gained renewed popularity [22,290].
A similar desire to evoke a former age means that archaic place names are frequently used in circumstances where doing so conveys a political or emotional subtext, or when the official new name is not recognised by all (for example: 'Madras' rather than 'Chennai'). So, a restaurant seeking to conjure up historic associations might prefer to call itself Old Bombay or refer to Persian cuisine in preference to using the newer place name. A notable contemporary example is the name of the airline Cathay Pacific, which uses the archaic Cathay ("China").
Archaisms are frequently misunderstood, leading to changes in usage. One example is found in the phrase "the odd man out", which originally came from the phrase "to find the odd man out", where the verb "to find out" has been split by its object "the odd man", meaning the item which does not fit. The object + split verb has been reinterpreted as a noun + adjective, such that "out" describes the man rather than any verb. The pronominal adverbs found in the writing of lawyers (e.g. heretofore, hereunto, thereof) are examples of archaisms as a form of jargon. Some phraseologies, especially in religious contexts, retain archaic elements that are not used in ordinary speech in any other context: "With this ring I thee wed." Archaisms are also used in the dialogue of historical novels in order to evoke the flavour of the period. Some may count as inherently funny words and are used for humorous effect.
A type of archaism is the use of thou, the second-person singular pronoun that fell out of general use in the 17th century, while you or ye, formerly only used to address groups, and then also to respectfully address individuals, is now used to address both individuals and groups. Thou is the nominative form; the oblique/objective form is thee (functioning as both accusative and dative), and the possessive is thy or thine. The aspect of the literary layer is its markedly bookish character. It is the one that makes this layer more or less stable. The aspect of the colloquial layer is its lively spoken character. It is this that makes it unstable, fleeting. The aspect of the neutral layer is its universal character. This layer is the most stable of all, because it is unrestricted in use, it can be employed in all styles of language and in all spheres of human activity. Neutral words form the bulk of the English vocabulary, they are used in both literary and colloquial language. Unlike these two groups, the neutral group of words does not have any special stylistic coloring, whereas both literary and colloquial words have a definite stylistic coloring [23,43].
Colloquial words are always more emotionally colored than literary ones. The neutral layer of words has no degree of emotiveness, nor have they any distinctions in the sphere of usage. Both literary and colloquial words have their upper and lower ranges. The lower range of literary words (common literary) approaches the neutral layer and has an obvious tendency to pass into that layer. The same may be said of the upper range of the colloquial layer (common colloquial). The blurred lines of demarcation show the process of interpenetration of the stylistic layers.