Til aspektlari

Expressive phonetic means - (found in the author’s discourse). This part of stylistics deals with prosody& interaction of speech sounds in sequence. Phonetic expressive means deal with the sound instrumenting (звуковая инструментовка) of the utterance and are mainly found in poetry.

Phonetic expressive means and devices are used for several purposes:

• to produce a certain acoustic effect;

• to give emphasis to the utterance;

• to arouse emotions in the reader or the listener.

9. General notions of stylistics

The subject of stylistics is the study of texts for the purpose of finding certain evidence concerning language as a system. Stylistics deals with two main tasks: 1) the investigation of the inventory of special language media which provide the desirable effect of the utterance ; 2) the investigation of certain types of texts which due to the choice and arrangement of language means are distinguished by the pragmatic aspect of communication. The 1 st field of investigation touches upon such general problems as asthetic functions of language, synonymous ways of rendering one and the same idea, emotional colouring of the language, the interrelation between language and thought. The 2 nd field of investigation discusses such general linguistic items as oral or written varieties of language, the notion of standard language, the generative aspect of literary texts, etc.
Stylistics as a branch of linguistics is related to other branches of linguistics. Thus, stylistics can be studied in connection with Phonetics, Lexicology, Grammar, Semasiology, etc. Phonetics studies sounds, articulation, rhythmics and intonation. Stylistics concentrates on expressive sound combinations, intonational and rhythmic patterns. Lexicology describes words, their origin, development, semantic and structural features. Stylistics also deals with words, but only those which are expressive in language or in speech. Grammar describes regularities of building words, wordcombinations, sentences and texts. Stylistics restricts itself to those grammar regularities, which make language units expressive. As a result of this connection there appeared such interdisciplinary sciences as stylistic phonetics, stylistic lexicology, stylistic morphology, stylistic syntax, stylistic semasiology and others
10. polysemy, zeugma and pun
Derivative logical meanings have a peculiar property, they always retain some semantic ties with the primary meaning and are strongly associated with it. Most of the derivative logical meanings, when fixed in dictionaries, are usually shown with the words they are connected with and are therefore frequently referred to as bound logical meanings. The primary and derivative meanings are sometimes called free and bound meanings respectively, though some of the derivative meanings are not bound in present-day English.
Polysemy is a generic term the use of which must be confined to lexicology as an aspect of the science of language. In actual speech polysemy vanishes unless it is deliberately retained for certain stylistic purposes. A context that does not seek to produce any particular stylistic effect generally materialized one definite meaning. That is why we state that polysemy vanishes in speech, or language-in­action.
Let us analyse the following examples where the key-words are intentionally made to reveal two or more meanings:
"Then hate me if thou wilt, if ever now." (Shakespeare)
The verb 'hate' here materializes several meanings. This becomes apparent when one reads sonnet 90 to the end and compares the meaning of this word with other verbs used synonymously. The principal meanings of this word are: 'dislike', 'stop loving', 'become indifferent to', 'feel aversion for', etc.
There are special stylistic devices which make a word materialize two distinct dictionary meanings. They are zeugma and the pun.
Zeugma is the use of a word in the same grammatical but different semantic relations to two adjacent words in the context, the semantic relations being on the one hand literal, and on the other, transferred.
"Dora, plunging at once into privileged intimacy and into the middle of the room ". (B. Shaw)
This stylistic device is particularly favoured in English emotive prose and in poetry.