Lexical stylistics studies the correlative lexical means of a language, assessing the use of a word in a specific speech situation and developing recommendations for normative word usage in various functional styles.
The word is the basis for understanding the text. The wrong choice of word distorts the meaning of the statement, giving rise not only to lexical, but also logical errors in speech:
- · anachronism (violation of chronological accuracy when using words associated with a certain historical era);
- · alogism (comparison of incomparable concepts);
Reasons for illogicality: substitution of the concept, unjustified expansion/narrowing of the concept, unclear distinction between concrete and abstract concepts, inconsistency between premise and action.
For the correct use of words in speech, it is also necessary to take into account the features of lexical compatibility. There are three types of compatibility: semantic, grammatical and lexical. Violation of lexical compatibility explained misuse polysemantic words (for example, deep winter, autumn, but not spring Summer; deep night, silence, but not morning, Not day, Not noise). Violation of lexical compatibility can be used as a stylistic device: to create a comic effect, to make the text more expressive, etc. But if this is not used as a stylistic device, it is a speech error. The reason for this may be contamination of seemingly similar phrases.
Oral speech is characterized by such a disorder as speech impairment. This is an accidental omission of words needed for exact expression thoughts ( The management must strive to overcome this indifference- missed get rid of). Due to speech impairment, grammatical and logical connections words in a sentence, the meaning is obscured. However, this error should be distinguished from ellipsis - a stylistic figure based on the deliberate omission of one or another member of the sentence ( I'm for a candle, a candle - in the stove!)
The author's stylistic helplessness in expressing thoughts often leads to speech redundancy , which in some cases borders on absurdity ( the corpse was dead and did not hide it). Stylists call such examples lyapalisiads. Speech redundancy can also take the form of pleonasm - the use in speech of words that are close in meaning and therefore unnecessary ( main essence, valuable treasures etc.). A type of pleonasm is tautology. However, they can also be a stylistic device, for example, to add expression to spoken language: bitter grief, all sorts of things etc. Tautology underlies many phraseological units ( Looks like we'll eat etc.), combinations with a tautological epithet allow you to draw attention to particularly important concepts, tautological repetition gives the statement an aphoristic quality, stringing together words with the same root is used in gradation - stylistic figure, based on a consistent increase/decrease in emotional-expressive significance; in a punning collision, the tautology is used to create a comic effect, etc.
Lexical synonymy is of particular importance for the stylist, representing an inexhaustible resource of expressiveness. Types of lexical synonyms:
- 1. Semantic
- 2. Stylistic
- 3. Semantic-stylistic
Stylistic functions of synonyms:
- · Hidden (means of the most accurate expression of thoughts)
- · Open (clarification, clarification, comparison, contrast, gradation).
Lexical antonymy. Stylistic functions of antonyms:
- 1. Lexical means of expressing antithesis
- 2. Increasing the emotionality of the statement
- 3. Showing the completeness of coverage of phenomena
- 4. Creating a satirical/comic effect, etc.
Polysemy and homonymy: stylistic functions: metaphorization, paradox, verbal play, comic effect, joke, pun, etc. There are individually authored homonyms, which are usually based on a language game.
Functions paronyms(words of the same root, similar in sound, but different in meaning) in speech: expressive (increasing action), clarifying thoughts, puns, language games, etc. The phenomenon of paronomasia is an even more expressive means (these words are similar in sound, but have completely different semantics), especially for poetry.
Unjustified use of the above expressive means leads to speech errors.
Words are stylistically unequal, their functions and semantic nuances are concentrated in stylistic characteristics (V. Vinogradov). Functional style- historically established and socially conscious system speech means, used in one or another sphere of human communication. Functional-style stratification of vocabulary:
- 1. Common vocabulary
- 2. Vocabulary fixed in functional and stylistic terms
- · Conversational
- · Book (scientific, official business, journalistic).
Words can be emotionally and expressively colored, and therefore stand out vocabulary neutral, low and high. Mixing styles can become a stylistic mistake (the use of colloquial and colloquial vocabulary in book styles, journalistic texts- passion for terms, in art - an abundance of bureaucratic language, etc.).
Vocabulary that has a limited scope(dialectisms, professionalisms), in artistic speech can perform important functions: conveying local color, speech characteristics of characters, speech expression, etc. For expressiveness (creating an image, depicting a character’s speech, etc.) it is also used in literary artistic style jargon.
Stylistic functions outdated words(archaisms and historicisms) in artistic speech: recreation of the color of past times, the solemn sound of speech (Slavicisms, Old Russianisms), sometimes a parody-ironic function.
Due to global development, a huge number of new words appear in any language - neologisms. There are also author’s or individual stylistic neologisms, the invention of which is dictated by the lexical and stylistic needs of a particular text.
There is also a layer of borrowed vocabulary that exists and functions in the Russian language. Stylistic classification:
- 1. vocabulary that has an unlimited scope of use (lost features foreign language origin (painting), retaining some similar features ( veil), Europeanisms, internationalisms ( terror).
- 2. vocabulary limited use (book words (stagnation), archaic units of salon jargon ( rendezvous), exoticisms ( saklya), foreign language inclusions ( allegro), barbarisms ( sorry, sorry). Speech full of barbarisms is called macaronic. In literary and journalistic texts, this is a very powerful expressive tool, especially for creating character speech. The use of barbarisms in quotation marks is acceptable even in the author’s monologue.
The main objectives of this chapter are:
1. Establish a connection between stylistics and language features;
2. Define the concept of stylistic feature;
3. Find out what functions are used to express stylistic features in language;
Maxim Gorky wrote about language:
“Language is the primary element, the main material of literature, that is, vocabulary, syntax, the entire structure of speech is the primary element, the key to understanding the ideas and images of a work. But language is also an instrument of literature: “The struggle for purity, for semantic precision, for the sharpness of language is a struggle for an instrument of culture. The sharper this weapon, the more accurately directed, the more victorious it is” [Gorky M. Electronic resource].
From this we understand that language occupies an extremely important place in our lives. He can be an assistant for expressing some thoughts, understanding ideas and images, but it is also important to remember that he is equally is a tool, and everything depends on people, how skillfully they wield it, whether it will bring good or evil. And in order to master the necessary communication skills, we study the functions of language, ways and techniques of expressing thoughts, and, of course, styles, because different situations give us different settings for communication. And the science of stylistics deals with the study of styles.
Stylistics
Stylistics (the word “style” comes from the name of the needle or stiletto with which the ancient Greeks wrote on waxed tablets) is a branch of the science of language that studies the styles of literary language (functional styles of speech), patterns of language functioning in different areas of use, features of the use of linguistic means depending on the situation, content and purpose of the statement, the sphere and condition of communication. [Ozhegov S.I. Electronic resource].
Stylistics introduces the stylistic system of the literary language at all its levels and the stylistic organization (in compliance with the norms of the literary language), correct, accurate, logical and expressive speech. Stylistics teaches the conscious and purposeful use of the laws of language and the use of linguistic means in speech.
There are two directions in linguistic stylistics:
1) stylistics of the language;
2) stylistics of speech (functional stylistics).
Language stylistics examines the stylistic structure of language, describes the stylistic means of vocabulary, phraseology and grammar.
Functional style
Functional stylistics studies, first of all, different types of speech, their dependence on different purposes of utterance. M.N. Kozhina gives the following definition:
"Functional stylistics is linguistic science, which studies the features and patterns of language functioning in various types of speech corresponding to certain areas of human activity and communication, as well as speech structure the emerging functional styles and “norms” for the selection and combination of linguistic means in them” [Kozhina M.N. Electronic resource].
At its core, stylistics must be consistently functional. It should reveal the connection between different types of speech with the topic, the purpose of the statement, with the conditions of communication, the addressee of the speech, and the attitude of the author to the subject of speech.
Functional stylistics (linguostylistics) studies the elements of language from the point of view of their ability to express and evoke emotions, additional associations and evaluation.
Linguistics is also divided into levels:
1) lexical;
2) grammatical;
3) phonetic stylistics.
In this scientific work It is important to trace what effect the presence or absence of an article in sentences has and how the meaning and expressive coloring changes from this. Therefore you should stop at lexical level.
Lexical stylistics
Lexical stylistics studies the stylistic functions of vocabulary and examines the interaction of direct and figurative meanings. Lexical stylistics studies the different components of the contextual meanings of words, their expressive, emotional and evaluative potential and their attribution to different functional and stylistic layers, i.e. language is studied from the point of view of interaction with different contextual conditions. To determine what expressive coloring a particular way of using parts of speech gives, there are some means, and one of them is the stylistic function.
Stylistic function is the role that a linguistic device plays in transmitting expressive information:
Creation of artistic expression;
Creating pathos;
Creating a comic effect;
Hyperbola;
Can be descriptive;
For creating speech characteristics hero.
And the main thing to remember is that the stylistic function belongs to the text, and studies the features within it, and the functional-stylistic coloring belongs to the language.
Conclusions on Chapter 2
In the daily bustle, a person is faced with various situations in which he must be able to correctly stage his speech and choose a communication style. For comfortable communication in society, everyone needs basic knowledge stylistics.
Like any branch of the science of language, stylistics has a kind of classification, which is divided into the stylistics of language and the stylistics of speech.
In this work, we place emphasis on functional stylistics, since it studies the elements of language that help give our speech an emotional coloring and make communication more expressive.
Introduction
In the system of linguistic means, the word plays a vital role. Russian writers, admiring the beauty, strength, and richness of the Russian language, first of all noted the diversity of its vocabulary, which contains inexhaustible possibilities for conveying the most different meanings. S.Ya. Marshak wrote: “Man found words for everything that he discovered in the universe. But this is not enough. He named every action and state. He defined in words the properties and qualities of everything that surrounded him.
The dictionary reflects all the changes taking place in the world. He captured the experience and wisdom of centuries and, keeping pace, accompanies life, the development of technology, science, and art. He can name any thing and has the means to express the most abstract and generalizing ideas and concepts.”
The leading role of a word in the system of linguistic means determines its place in the stylistics of a language: the word is the main stylistic unit. Lexical stylistics studies the correlative lexical means of the language, assessing the use of words in a specific speech situation and developing recommendations for normative word usage in various functional styles.
Using the achievements of modern semasiology, lexical stylistics studies the word in all the variety of systemic connections that exist in the language. This approach brings to the fore the study of synonyms, antonyms, ambiguous words, paronyms, which serve as a means of the most accurate transmission of information. At the same time, stylistics pays attention to such phenomena as homonymy and paronomasia, which sometimes interfere with the correct perception of speech. The focus of lexical stylistics is the stylistic stratification of vocabulary, the assessment of archaisms and neologisms, words of limited use, the analysis of patterns of use of stylistically significant lexical means in various fields communication.
The stylistic aspect of vocabulary learning requires a thoughtful assessment of the word from the point of view of its motivation in the context. Stylistics opposes both the use of unnecessary words and the unjustified omission of words, considering various manifestations of speech redundancy and speech insufficiency.
The word is studied in stylistics not only in its nominative, but also in its aesthetic function. The subject of special interest of lexical stylistics is lexical figurative means language - paths.
Problems of lexical stylistics are closely related to problems of speech culture. By characterizing the use of certain lexical means of language in speech, stylistics guards the correct use of words. The normative-stylistic approach to the study of vocabulary involves the analysis of frequently used speech errors: the use of a word without taking into account its semantics; violations of lexical compatibility; wrong choice synonyms; incorrect use of antonyms, polysemantic words, homonyms; mixing paronyms; unmotivated combination of stylistically incompatible lexical means, etc. Eliminating lexico-stylistic errors in speech and choosing the optimal way to express thoughts become of utmost importance in literary editing of texts.
The validity of abbreviated words is also to some extent based on a conscious change in the usual form, as is the case in slang formations.
Verbs with postpositives are expressive and often have a conversational stylistic overtones, but are not emotional. Person nouns formed from them by conversion have evaluative connotations: a pin-up, a pick-up.
§ 5. Semantic structure of the word and
interaction of direct and figurative meanings as a style factor
Let us now move on to the interaction of word variants in the text, i.e. to the stylistic function of polysemy.
For this purpose, let us turn to the concept semantic structure of the word. IN§ 1 It has already been indicated that the semantic structure of a word in a language is the totality of its lexical-semantic variants. It is important to emphasize that discreteness of options is allowed, each of which has its own connotational and distributional features. We have the right to call this totality a structure, since it is a set in which certain relations are defined. The general property of the elements of this set is that all its elements, i.e. lexical-semantic variants of a word, have some common semes and are expressed by the same combination of morphemes, although they are found in different conditions distribution.
However, some restrictions are imposed on the conditions of distribution, since all lexical-semantic variants of a word must belong to the same part of speech. The relations defined on the semantic structure of the word are relations of semantic derivation, since each of the variants has common semantic components of denotative meaning with the others.
Polysemy does not hinder understanding, since in context a word is realized, as a rule, only in one of its possible meanings, which is called contextual meaning. But all other meanings are not completely eliminated, but exist as a kind of associative background. Sometimes authors, especially poets, consciously create the possibility of realizing two meanings - contextual and reflected.
In a sonnet VIII Shakespeare advises his friend to get married and at the same time compares him to music, and music to harmony in the family. These two figurative planes merge together in an expanded metaphor and comparison, and many words are realized simultaneously in two meanings - matrimonial and musical. So, the reader will perceive the word concord and how consonance And How agreement, union as harmony And How marriage, especially since this word is syntactically related to married, which in this context means connected, but cannot lose its basic meaning. Here is this sonnet:
Music to hear, why hear"st thou music sadly? Sweets with sweets war not, joy delights in joy. Why lovest thou that which thou receivest not gladly, Or else receivest with pleasure thine annoy? If the true concord of well-tuned sounds. By unions married, do offend thine ear, They do but sweetly chide thee, who confounds In singleness the parts that thou shouldst bear. Mark how one string, sweet husband to another, Strikes each in each by mutual ordering, Resembling sire and child and happy mother Who all in one, one pleasing note do sing: Whose speechless song, being many, seeming one. Sings this to thee: “thou single wilt prove none.”
The cases of simultaneous realization of two meanings listed above do not exhaust all such living metaphors in this sonnet, but they are quite representative. Let's just note the ending: here strong position The coincidence of two meanings in the word single is emphasized: idle And separate(about a note; single = single note).
For figurative system and the main idea of the work, such use of polysemy turns out to be very important.
Let's turn to the literature of the 20th century.
In the poem by T.S. Eliot " Love Song Alfred Prufrock's evening is compared to a patient on the operating table:
When the evening is spread out against the sky Like a patient etherized upon a table.
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The first association that arises in the reader is an association with illness, the evening is seriously ill, but the word etherize has two meanings: etherize And etherize, and the word ether is a poetic synonym for the word sky. This is how the subtext arises, the line receives additional meaning: the sky and the table are something more durable than the evening and the patient; somewhere in the depths the theme of death arises, which runs in the subtext of the entire poem, starting with the epigraph from Dante’s “Hell” and further, when it talks about the resurrection of Lazarus, about the severed head of John the Baptist, about the “Eternal Lackey”, symbolizing death, and ending last words- “we are drowning.”
In D. Thomas's "Childhood Memories" there is a clash of two different variants of the word front, namely front, advanced positions And hallway, allows the reader to penetrate deeper into the child's perception of the world.
I was born in a large Welsh industrial town at the beginning of the Great War. [...] This sea town was my world; outside, a strange Wales, coal-pitted, mountained, river run, full, so far as I knew, of choirs and sheep and story-book tall hats, moved about its business which was none of mine; beyond that unknown Wales lay England, which was London, and a country called “The Front” from which many of our neighbors never came back. At the beginning, the only “front” I knew was the little lobby before our front door; I could not understand how so many people never returned from the re: but later I grew to know more, though still without understanding, and carried a wooden rifle into Cumdonkin Park and shot down the invisible, unknown enemy like a flock of wild birds.
The collision of two different variants of a word forms a technique defamiliarization, thanks to which the cruel absurdity of war, perceived through the prism of children's understanding, is felt especially acutely. The fact that this is precisely the function of using polysemy here is confirmed by the powerful convergence of techniques that reveal the spontaneity of children’s perception of the homeland.
The phenomenon of polysemy has been described in the literature many times, and there are many terms that name different types of meanings. The main oppositions that we will need in the future are the opposition between direct and figurative (metaphorical or metonymic), general and specialized, usual and occasional.
Regional, general linguistic and terminological, neutral and stylistically colored, modern and outdated meanings. A detailed description of the types of meaning is available in the relevant lexicological literature, and the reader is already familiar with them 1 . We will limit ourselves here to only a few remarks that are important for stylistic analysis and related to the opposition of direct and figurative meanings.
Direct, or nominative, meaning words are realized or, more precisely, can be realized in the absence of context. Direct values are usually both basic and most frequent, but this issue has not yet been examined statistically. If the title consists of one word (and an article) (CP. Snow - The Search, Homecomings; J. Conrad - Chance, The Typhoon, Victory; W.B. Yeats- Meditations, The Statues, A Vision), then this word is used in its literal meaning. It is no coincidence, however, that most literary works in English have titles consisting of at least two words, since polysemy English vocabulary makes one-word titles insufficiently clear.
In addition, in the context of the entire work, a one-word title easily receives figurative meaning. The Search means spiritual quest, not real, physical; Victory stands for moral victory, but death and defeat in the actual struggle; Justice(J. Galsworthy) - the name is ironic, i.e. the reader again finds himself faced with a combination of meanings.
There is a special stylistic device (minus reception) deliberate simplicity of description through words used only in direct meanings, called autology.
Many parts of E. Hemingway's works are characterized by realistic accuracy and simplicity of vocabulary. At the beginning of the story In Another Country we read:
In the fall the war was always there, but we did not go to it any more. It was cold in the fall in Milan and the dark came very early. Then the electric lights came on, and it was pleasant along the streets looking in the windows... It was a cold fall and the wind came down from the mountains.
The use of everyday words in their direct meanings creates an idea of the restraint of the narrator - a wounded young man.
1 See: eg: Arnold I. The English World. - M., 1986.
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LEXICAL STYLISTICS
Dogo is an American, the usual courageous hero for E. Hemingway.
A meaning is called figurative or figurative when it not only names, but also describes or characterizes an object through its similarity or connection with another object. In this case, the contextual meaning is compared with the direct meaning, which emphasizes in it those features on which the transfer is based. M. Dickens describes a very energetic nurse, comparing her to a dynamo: She was a dynamo of activity. She was here, there and everywhere - admonishing the doctor, slanging the nurses, telling you to do something and then snatching it away to do it herself... (M. Dickens. One Pair of Feet).
The technical term “dynamo” here receives an occasional metaphorical meaning source of human energy. There is no direct meaning in the text. The metaphor not only makes the portrait-characteristic given in the sentence following it more vivid, but also reflects the author’s cheerful and slightly ironic attitude (the story is told in the first person) towards the character. Let us note in passing that functional-stylistic connotation can also have a characterological function, since it evokes associations associated with the sphere of use of this word.
Of course, not every figurative meaning is stylistically relevant: the language has many worn-out metaphors that do not have non-figurative synonyms and are the only name of the referent: the mouth of the river, the leg of the table (however, these metaphors, if there are many of them, turn out to be expressive ). Such cases should be distinguished from usual metaphors, which are the second name of the referent, cf.: the heart of the matter: : the essence of the matter.
Such metaphors perform a stylistic function. Thus, cow, when applied to a woman, can be stylistically relevant in its crude expressiveness. Particularly important with stylistic point vision are unexpected metaphors that give the effect of double vision, i.e. figurative, concrete and sensual, attracting the reader’s attention. It should be remembered that a stylistic metaphor is a hidden comparison: on the basis of a feature common to both compared members, the name of one object is applied to another, revealing some important feature of the second (for example,
measures the energy of the nurse). The metaphor is based on association by similarity 1.
The figurative meaning in poetic metonymy or metaphor is created for a given case and is understandable from the structure of the context. We have already dwelled in detail above on the essence and nature of the image and tropes. Here it is necessary to recall that tropes are a technique for comparing the signified with the image chosen for it.
§ 6. Using polysemy of a word in combination with repetition
The interaction of direct and figurative meanings of a word in the implementation of any stylistic function can be paradigmatic And syntagmatic. The direct meaning of the words spit and weep is not presented in the description of rain in the story of D. Thomas, which we quoted on p. 115. But these meanings are known to the reader, and therefore, reading about the “spitting” rain and “crying” hats, he restores for himself a picture of the Dublin weather. These words turn out to be stylistically relevant due to their polysemy, which acts in paradigmatic plan.
But the effect of similarity and difference in the meanings of variants of a polysemantic word can also be realized syntagmatically. To do this, the options must be located in the same speech chain, and, moreover, close enough. Polysemy turns out to be stylistically effective in combination with repeat.
We will talk about the functions and types of repetition more than once, but here we will only note that lexical repetition is the repetition of a word or phrase within one sentence, paragraph or entire text. The distance between repeating units and the number of repetitions
1 Nosek 1. Internal Structure of lEnglish Colloquial Mctaphor - In: Brno Studies in English. - V. 8. - 1969.
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They may be different, but they must be such that the reader can notice the repetition.
Repetition may not be combined with the use of ambiguity, then its function can be intensifying or emotional, or intensifying-emotional, as is the case in the first two lines of the poem below by D. Lawrence:
Fight your little fight, my boy, Fight and be a man.
The use of multiple meanings of a word in combination with repetition can, in its stylistic function, approach a play on words, as is what happens in the poem Don"ts in relation to the adjective little, which is used here in different ways, with different connotations, and in some cases the connotations greatly suppress the denotative component of the meaning, so that the concept of size turns out to be completely irrelevant. But let's look at the text:
Fight your little fight, my boy.
Fight and be a man.
Don't be a good little, good little boy
being as good as you can
and agreeing with all the mealy-mouthed, mealy-mouthed
truths that the sly trot out
to protect themselves and their greedy-mouthed, greedy-mouthed
cowardice, every old lout.
Don't live up to the dear little girl who costs
You your manhood, and makes you pay.
Nor the dear old mother who so proudly boasts
that you"ll make your way.
Don't earn golden opinions, golden opinions,
or at least worth treasure notes
from all sorts of men, don't be held
to the herd inside the pen.
Don"t long to have dear little, dear little boys whom you"ll have to educate
to earn their living; nor yet girls, sweet joys
who will find it so hard to mate.
Nor a dear little home, with its cost, its cost
that you have to pay
earning your living while your life is lost
and dull death comes in a day.
Don"t be sucked in by the su-superior,
don't swallow the culture bait,
don"t drink, don"t drink and get beerier and beerier,
do learn to discriminate.
Do hold yourself together, and fight with a hit-hit here and a, hit-hit there, and a comfortable feeling at night that you"ve let in a little air.
A little fresh air in the money sty,
knocked a little hole in the holy prison,
done your own little bit, made your own little bit try
that the risen Christ should be risen.
The theme of protest against petty-bourgeois morality, petty-bourgeois ideals and petty-bourgeois hypocrisy is revealed in a peculiar usage of words that parodies the word usage of adults in conversations with children. The author anticipates the false instructions that the young man will hear from the lisping (mealy-mouthed reinforced by repetition) elders, demanding that the boy try his best to be good (be a good little, good little boy being as good as you can), and strongly recommends don’t listen to this advice, don’t be the submissive good boy that the bigots want him to be, but fight and be a man. The contrast between the significance of the topic and the parodic infantilism of the vocabulary creates a sharp satirical effect.
Repetitions, along with the parodic use of a familiar conversational style and especially baby-talk, are the key stylistic device with which it is convenient to begin the analysis. They are varied in character. Along with the simple repetition of two or more completely identical elements: mealy-mouthed, mealy-mouthed, greedy-mouthed, greedy-mouthed, repetition with some variation is introduced. Ta-
Chapter II
Kim turns out to be, for example, greedy-mouthed in relation to mealy-mouthed. The similarity between them forces them to be immediately compared, and the difference complements the characteristic of the “cunning” “old parasites” (the sly, every old lout). Partial repetition (earning your living while your life is lost) is very effective, where the morphological proximity only emphasizes more sharply the fact that living and life are not the same thing.
For the topic of this paragraph, semantic variations in repetition are interesting, i.e. the use of different lexical-semantic variants included in the semantic structure of the same word, emphasizing, thanks to its parallel use in the same context, differences in connotations.
The word little is used in this poem in two different lexical and semantic variants with directly opposite connotations. In the phrases “good little, good little boy”, “dear little girl”, “dear little home” little has one meaning; in the phrases “little fight”, “let in a little air”, “a little fresh air”, “a little hole in the holy prison”, “your own little bit”, “your own little try” - others.
The use of the word little here is quite tricky; Let us first turn to what is generally observed in language. Literally, little means size and is synonymous with the neutral small. In the colloquial style of speech, this subject-logical meaning is strongly suppressed by the emotional one, so that little expresses sympathy, tenderness, sympathy, compassion and is equivalent to the diminutive suffixes of the Russian language. It is this meaning that forms the basis of the stylistic connotation of the first group of examples.
It is significant that colloquial speech, especially speech used in conversations with children, is characterized by the compatibility of little in this meaning with the adjectives dear and nice: a dear little cottage, a dear little boy, a dear little kitten, a nice little wife, etc. .d.
The frequent use of little sounds like an affectation, just as in colloquial speech the abuse diminutive suffixes creates the impression of insincere lisp.
The very stereotype of these combinations, used in improperly direct speech, shows their pretense and deceit, insincerity; the poet imitates those who would seduce the young man with dreams of bourgeois prosperity, and ridicules them.
LEXICAL STYLISTICS
Note that little can be used ironically: one оf my little ideas and even with a touch of sarcasm: so that's your little plan, is it!
Further, since in semantic structure the words little also includes a variant synonymous with the adjectives unimportant, mean, paltry, this assessment is introduced into the subtext of the poem and, together with the absurd repetition and exaggeration of the same words, makes it grotesque and destroys the sweet tenderness of the promises of family happiness and comfort that await the good boy.
The second group of cases is let in a little air, fight your little fight, etc. - belongs to the poet’s direct speech, there is no, or almost no, irony here, the direct meaning of the size is preserved, the repetition highlights the idea that even the modest results of everyone’s struggle to make it easier to breathe in the “removed prison” are valuable and necessary for common cause. The poem thus receives an acute social orientation, and the contrast lexical meanings two lexical-semantic variants of the same word plays a significant role in this.
In the case considered, the comparison of two variants of the same word occurs syntagmatically, i.e. the text contains both: little, synonymous with the affectionate diminutive suffix, and little with the meaning of dimension and opposition to zero (= at least a little).
Another type of comparison of direct and figurative meanings occurs in metaphors such as don't be held to the herd inside the pen - a metaphor in which only one member of the comparison is presented in the text, i.e. only figurative meaning, where people, obedient to the order of things that exists in the world surrounding Lawrence, they are called “a herd in a pen”: money sty and holy prison, where this order of things is called a “stable” and “prison”. Among other diverse artistic means, these metaphors clearly express the author’s attitude towards him. the reality being described. The specificity of the images helps convey this attitude to the reader.
The sarcastic use of little can be illustrated by a similar example from the conversations of the old artist Jim-son with a boy whom he calls “nosy”:
If you want to be a great man and leave two thousand pounds a year and a nice clean wife... and a kid with real eyes that open and close, you"ll have to work in your dinner time...
Lexical stylistics
Chapter practical style , in which the correlative lexical means of the language are studied, the use of the word in a specific speech situation is assessed and recommendations are developed for normative word usage in various functional styles. L.S. studies the word in all the variety of systemic connections that exist in the language. This approach highlights the study of synonyms, antonyms, polysemantics, paronyms 1 . In the spotlight l. With. there are stylistic stratification of vocabulary, assessment archaisms And neologisms, words of limited use, analysis of patterns of use stylistically significant funds in various areas of communication. L.S. opposes both the use of unnecessary words and the unjustified omission of words, considering various manifestations speech redundancy And speech impairment. The word is studied in l. With. not only in the nominative, but also in the aesthetic function, therefore the object of special interest is the lexical figurative means of language - trails. Problems l. With. closely related to problems orthologies And speech culture. The normative-stylistic approach to the study of vocabulary involves the analysis of frequently used speech lexico-stylistic errors.
Educational dictionary stylistic terms. - Novosibirsk: Novosibirsk State University. O. N. Laguta. 1999.
See what “lexical stylistics” is in other dictionaries:
Lexical stylistics- – see Stylistic resources of vocabulary, or lexical stylistics ...
lexical stylistics- The doctrine of the stylistic properties and capabilities of various layers of vocabulary, the functional stylistic and emotionally expressive coloring of words, the appropriate use of lexical means of language... Dictionary of linguistic terms
Stylistic resources of vocabulary, or lexical stylistics- – 1) section linguistic stylistics, focused on describing the stylistic resources of modern times. rus. lit. language at the lexical level language structure(see works by L.V. Shcherba, G.O. Vinokur, A.N. Gvozdev, A.M. Efimov, D.I. Rozental, D.N.... ... Stylistic encyclopedic Dictionary Russian language
Stylistics- This term has other meanings, see Stylistics (meanings). ... Wikipedia
Stylistics- (linguistic, linguistic stylistics, general linguistics) – a branch of linguistics that studies the expressive means and capabilities of language and the patterns of functioning (use) of the latter in various fields social activities and situations... ... Stylistic encyclopedic dictionary of the Russian language
Stylistics of resources- (structural, language structure, stylistic means language, analytical, practical, traditional) - a direction of stylistics that studies the stylistic resources of language. This is the most traditional area of stylistics, the object of which is the composition... ... Stylistic encyclopedic dictionary of the Russian language
Lexical semantics- is part of semantics, which deals with the meanings (dividing them into denotation and connotation) of individual lexical elements of words, morphemes and lexemes, thus differing from the semantics of sentences. ... Wikipedia
Linguistic stylistics- 1. Definition of the concept. The determination of the volume and content of a text is one of the most controversial issues that have not received final resolution. One of the most common definitions of S. is its definition as the doctrine of presence in the language... ... Literary encyclopedia
Stylistics (linguistics)- This term has other meanings, see Stylistics (meanings). Linguistics ... Wikipedia
STYLISTICS- @Word choice XXXV. Choice of words § 139. Semantic and stylistic selection of lexical means § 140. Elimination of clericalisms and cliches § 141. Pleonasms and tautologies § 142. Euphony of speech § 143 ... A reference book on spelling and style
Books
- , I. B. Golub. The classic textbook by Irina Borisovna Golub covers all sections of the course Stylistics of the Russian language: lexical stylistics, phonics, stylistics of word formation, stylistics of parts of speech,... Buy for 2003 UAH (Ukraine only)
- Stylistics of the Russian language. Textbook for academic undergraduate studies, Golub I.B.. The classic textbook by Irina Borisovna Golub covers all sections of the course “Russian Language Stylistics”: lexical stylistics, phonics, stylistics of word formation, stylistics of parts of speech,…