Lecture Stylistics as a science. Problems of stylistic research. Plan

Demonstrative pronouns may greatly enhance the expressive colouring of the utterance.
That wonderful girl! That beauty/ That world of wealth and social position she lived in! (London)
These lawyers! Don't you know they don't eat often? (Dreiser)
In these examples the demonstrative pronouns do not point at anything but the excitement of the speaker.
Pronouns are a powerful means to convey the atmosphere of informal or familiar communication or an attempt to achieve it.
It was Robert Ackly, this guy, that roomed right next to me. (Salinger)
Claws in, you cat. (Shaw)
Through the figurative use of the personal pronouns the author may achieve metaphorical images and even create sustained compositional metaphors.
Thus using the personal pronoun she instead of the word «sea» in one of his best works The Old Man and the Sea Ernest Hemingway imparts to this word the category of feminine gender that enables him to bring the feeling of the old man to the sea to a different, more dramatic arid more human level.
He always thought of the sea as 'la mar' which is what people call her in Spanish when they love her. Sometimes those who love her say bad things about her but they are always said as though she were a woman. (Hemingway)
He is a great fish and I must convince him, he thought, f must never let _y him Team his strength. (Hemingway)
Such recurrent use of these pronouns throughout the novel is charged with the message of the old man's animating the elemental forces of the sea and its inhabitants and the vision of himself as a part of nature. It this case the use of the pronouns becomes a compositional device.
All in all we can see that pronouns possess a strong stylistic potential that is realized due to the violation of the normal links with their object of reference.
d. The adjective and its stylistic functions
The only grammatical category of the English adjective today is that of comparison. Comparison is only the property of qualitative and (quantitative adjectives, but not of the relative ones.
When adjectives that are not normally used in a comparative degree are used with this category they are charged with a strong expressive power.
Mrs. Thompson, Old Man Fellow's housekeeper had found him deader than a doornail... (Mangum)
This is a vivid example of a grammatical transposition of the second type built on the incongruity of the lexical and grammatical meanings.
In the following example the unexpected superlative adjective degree forms lend the sentence a certain rhythm and make it even more expressive:
...fifteen millions of workers, understood to be the strangest, the cunningest, the willingest our Earth ever had. (Skrebnev)
The commercial functional style makes a wide use of the violation of grammatical norms to captivate the reader's attention:
The orangemostest drink in the world.
The transposition of other parts of speech into the adjective creates stylistically marked pieces of description as in the following sentence:
A camouflage of general suffuse and dirty-jeaned drabness covers everybody and merge into the background. (Marshall)
The use of comparative or superlative forms with other parts of speech may also convey a humorous colouring:
He was the most married man I've ever met. (Arnold)
Another stylistic aspect of the adjective comes to the fore when an adjective gets substantivized and acquires the qualities of a noun such as «solid, firm, tangible, hard» etc.
All Europe was in arms, and England would join. The impossible had happened. (Aldington)
The stylistic function of the adjective is achieved through the deviant use of the degrees of comparison that results mostly in grammatical metaphors of the second type (lexical and grammatical incongruity). The same effect is also caused by the substantivized use of the $ectives.