USE OF STYLISTIC RECEPTIONS

Lazareva N.A.

Belgorod State National Research University

Faculty of History and Philology, Department of Russian Language and Russian Literature

USE OF STYLISTIC RECEPTIONS 

Summary

The article discusses stylistic techniques that help convey the movement of thoughts, shades of feelings, this contributes to the settling of the author’s speech and a more accurate impact on the reader.

Keywords: receptions, style, speech, means, comparison, artistry, enhance, emotionality, imagery

The term «stylistics» has been used in philology for a long time.  But as a scientific discipline, style is formed from the 20-30s of the XX century.  One of the points in the study of the stylistics of language is the study of means of verbal imagery.  The words «figurativeness», «figurative» are used in the broad sense of the word — as liveliness, clarity, colorful image.  They are an essential feature of all art.

In the language of fiction, «imagery», receives the most complete manifestation.  The means of verbal imagery as the stylistic resources of speech include: metaphor, metonymy, figurative comparison, epithet, paraphrase, rhetorical question, ellipsis, etc.

The most commonly used means of verbal imagery is metaphor.  Under the metaphor understand the word or turn of speech, used in a figurative sense, i.e. the name of a single object transferred to another on the basis of their similarity.  Even Aristotle remarked that «to compose good metaphors is to notice similarities».

The artist of the word is able to find common features in a variety of subjects.  And the surprise of such comparisons gives the metaphor a special expressiveness: golden autumn, silver gray, hot time, heat of meeting.  As we can see, the metaphor can be based on the similarity of the most diverse attributes of objects: color, shape, volume, purpose, etc. However, the frequent use of certain metaphors turns them into a standard.  Such a phenomenon is often observed in newspaper speech, which deprives the metaphor of novelty and figurativeness.  Such metaphors become a pattern: high frontier, green light, blue screen, black gold.

In order to make speech more colorful and expressive epithets are used.

Epithets are words that artistically define an object or action.  These are most often definitions expressed by adjectives: sweet smile, deep feelings, ridiculous excuses.

Melanie needed a doctor.  She was not frightened by her white weakness.  (M. Mitchell. Gone With the Wind).  Melanie needed a doctor.  She never recovered, and Scarlet was frightened by her deadly pallor and weakness.

 But there are also epithets that figuratively describe actions, air clean and fresh.  Epithets are examined from different positions, offering various modifications.  Epithets are divided into three groups:

  1. amplifying epithets that indicate a sign enclosed in a word.
  2. clarifying epithets, marking the distinctive features of the subject.
  3. contrasting epithets, forming with nouns, with which combinations of words of opposite meaning are used [1].

Epithets are also divided into:

  1. Inventive — which visually draw objects and actions such as the author saw them.
  2. Emotional — they convey the feelings and moods of the author.
  3. Metaphorical — they are expressed in words that have a figurative meaning [1].

When comparing one object with another, a stylistic device called Comparison is used.

— As the last straw breaks the laden camel’s back, this piece of underground information crushed the sinking spirits of Mr.Dombey. — (Dickens — «Dombey and Son»).

Thanks to the comparison, an artistic description of the subject, a wide variety of its attributes, qualities, actions takes place.  The comparison is the simplest form of figurative speech: leaves yellow as gold; blanket soft as down; this man is as strong as the beast. But at the same time comparison is considered one of the most powerful means of visualization. Comparisons differ in structural diversity.  They can be in the form of a comparative turnover, joined with the help of unions: how, exactly, like, etc.

Often, comparisons have the form of a noun in the authoritative case or a form of a comparative degree of adverb that characterizes the actions of the subject.

The stylistic figure relating to the means of verbal imagery as a rhetorical question is also one of the forms of comparison.  A rhetorical question is a question that does not require an answer.  It is intended to increase the significance of the response, which is already known.

  • Is there not blood enough upon your penal code, that more must be poured forth to ascend to haven and testify against you? — Byron.
  • Who is here so vile that will not love his country? — (W. Shakespeare.)
  • Have I not had to wrestle with my lot? Have I not suffered thongs to be forgiven? — (Byron.)

Comparison often perform an explanatory function.  This expands the scope of their application.  Often, scientists turn to comparisons.

  • His window was open for the beloved janitress spring had turned on a little warmth though the waking negisters of the earth. — (Henry.)
  • He turned over, holding his nose and golden light danced and shattered just over his face. — (W. Golding.)

Both metaphors and epithets are also used in scientific articles.  These means of imagery are one of the ways to improve logical thinking in scientific speech.  They are also used in newspaper essays, in the speeches of speakers, in the live story of the interlocutor.  And only in the field — business speech, which is inherent in formality, accuracy, unemotional use of metaphors, epithets, comparisons is contraindicated.  Characteristic of artistic speech are other means of verbal imagery.

Metonymy is a transfer of the name of one object to another, based on their external and internal communication.

—  It is the Elysee which exercises control over the interministrial committee for Europe.  (The Times.) — Control over the inter-ministerial committee on European affairs is exercised by the president.

Metonymy phrases should not be taken literally: «gray hairs» instead of «old age».  Of course, in these cases we are talking about living people, and the stylistic device, metonymy, is used to enhance the expressiveness of speech.

A synecdoche is also a figurative meaning from one phenomenon to another, but on the basis of a quantitative one, the plural is replaced by a single one.  «Europe is going to go home».  Here the word Europe replaces the plural number of nations.

 Perifrase is such a stylistic tool when a descriptive expression replaces one word.

— I understand you are poor, and wish to earn money by nursing the little boy, my son who has been so prematurely deprived of what can never be replaced. — (Charles Dickens — «Dombey and Son».)

Periphrases can be shaped and non-shaped.  Figurative — based on the use of words, in a figurative sense.  «A melanchole time!  So charming to the eye!»- replaces the word autumn.

Non-specific — they are only a renaming of objects, qualities, actions.  «Petrol revolution — replaces the name of Maxim Gorky».  Periphrases are individually author’s character.  They perform an aesthetic function in speech.

In addition, the paraphrases are linguistic, that is, incongruous.  The free appearance of perifraz acquires a stable character and carries a semantic function.  They can be used in order to avoid the repetition of the name of the writer in speech, in a work of art.

 «Creator of the first Russian grammar» — here we are talking about M.V.  Lomonosov.

Perifrases are also used in publicistic speech: king of beasts (lion).

In the stylistic resources of speech, an important role is played by two opposite figurative expressions: hyperbole and litotes.

Hyperbole — when exaggerated size, strength, beauty.  «I beg a thousand pardons, immensely obliged, tremendously anger.»

Lithota — when there is an understatement.  It is also called reverse hyperbole.

And when Glyde was introduced to her, she beamed upon him in a melting and sensuous way which troubled him not a little. (Dreiser)

Soames, with his set lips and his squared chin was not unlike a bulldog. (Galsworthy)

Hyperbola, as well as litos, have a common basis, which indicates deviations in one direction or another about the objective quantification of the subject.  They as well as paraphrases can be individually authoring or common language.  And they serve as a means for raising the emotional and expressiveness in the artistry of speech.

In order to embellish, soften the coarse meaning of a word in literature, there is a concept — the euphemism of speech, and the corresponding words and expressions are called Euphemisms.  «Pregnant» — you can replace «expecting a baby»; «Stupid» is a replacement for «not clever».  But in the speeches of political figures the use of euphemisms is unacceptable.

Irony — when you have to say something with humor, or allegorically about any situation, use irony.

Never mind, «cutting the address very short,» said enough — no more;  smart chap that cabman — handled his fives well;  jemmy — damn me — punch his head — ‘cod I would — pig’s whisper — pieman too, — no gammon».  «This coherent speech was interrupted by the Rochester coachman, to announce that …» (Charles Dickens).

In irony, the negative attitude to the subject prevails, in contrast to the real humor, where, on the contrary, they show a serious under the mask of the funny and a positive attitude to the subject prevails.

Ellipsis is the omission in the speech of some easily implied word:

 «So Justice Oberwaltez- solemnly and didactically from his high seat to the jury.»  — (Theodore Dreiser).

Passing words in this case does not affect the meaning of the sentence, such a pass decorates speech, makes it more correct, competent.

Each of the considered stylistic techniques has its own specificity and individuality.  But all of them serve in order to give a certain color, expressiveness to one or another artistic image, topic of conversation, article.  However, these techniques must be used correctly, without abusing.  Each reception must be stylistically justified in order not to create impressions of bombast and irrelevance.

References

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