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Auxiliary words: 1.3.1. Conjunction “and”.

"They buried the old man on a hill and said some words over him, and unloaded the car and had something to eat, because there was food in the kitchen; and they did nothing for three days but fix the house and look at the land and lie in the good beds, and then look at one another in surprise that all this was happening this way, and their stomachs were full and there was even a cigar for him to smoke in the evenings" (R. Bradbury. The Scythe).

Prepositions, prepositional and spatial adverbs.

"I went quickly down the two steps, through the yard into the garden" (W. Golding. The Pyramid).

2. Autosemantic lexis. 2.1. Emotional and evaluative meaning of the lexis:“A pale, worried pencil of a man” (J. O'Hara); “mean, modern and pretentious suburbs” (J. Joyce).

Metaphor.

“Their thick lips were walls" (Sh. Anderson);

Metonymy (synecdoche).

"The car eased into the road";

2.2. Sociolinguistic meaning of the lexis (ethnical meaning, ideological meaning, the notion of lacuna).

Freedom, democracy, human rights, propaganda, etc.

"Look here, boy" (A. Hailey).

Stylistic meaning.

2.3.1. Immeasurable potential of the context (1 + 1 >2.). Contextual meaning (the changeable meaning of a word against certain lexical backgrounds).

"She popped the basket on the table" (= dumped) (S. Chaplin);

Zeugma: "She wore her hair and her clothes and her bit of lipstick in such a way..." (M. Spark).

2.3.2. Key words and thematic words (words repeated in a work of fiction).Such words denote main notions, which contribute to the plot and subject revelation of the text.

The word “fog” is repeated 18 times in Galsworthy’s description of London and grows to a symbol of unhappiness.

2.3.3. Individual artistic meaning of lexis:is defined asa generalization of a number of contextually actualized meanings, their implementation being determined by ideal, thematic and compositional development of a work of fiction.

2.3.4. Grammatical meaning of lexis (expressed via categories of tense, voice, transitiveness, gender).

Procedural verbs: the continuous tense delimits the state, the process and the event.

"The doctor, he writes me that you are feeling much better.' 'Oh, yes,' she was agreeing, in social brightness" (R. P. Warren);

Indefinite-Perfect Opposition: "Не thought: were we happy tonight because we were happy or because once, a long time back, we had been happy? Was our happiness tonight like the light of the moon which does not come from the moon for the moon is cold and has no light of its own, but is reflected light from far away?" (R. P. Warren).

Noun.Actualization of language units via the categories of gender and number: "… and fell into one of those unbelievably deep sleeps that don't leave you feeling rested" (D. Uhnak. Investigation).

 

Actualized linguistic units in a work of fiction. Syntactical level of actualization.

 

Study of the syntax begins with the study of the length and the structure of a sentence.. Unable to specify the upper limit of sentence length we definitely know its lower mark to be one word. One-word sentences possess a very strong emphatic impact, for their only word obtains both the word-and the sentence-stress. The word constituting a sentence also obtains its own sentence-intonation which, too, helps to foreground the content.

Abrupt changes from short sentences to long ones and then back again, create a very strong effect of tension and suspense for they serve to arrange a nervous, uneven, ragged rhythm of the utterance.

There is no direct or immediate correlation between the length and the structure of a sentence: short sentences may be structurally complicated, while the long ones, on the contrary, may have only one subject-predicate pair.

The complication of a structure with participles changes the intonation and rhythm of the sentence. They not only give an additional information, but unite all the subjects of different actions and put them into hierarchical relations.

The structure of the sentence plays a great role in creating the whole tone of the narration.

The main function of the stylistic devices is foregrounding with help of the specific location. The word or phrase receive an additional semantic and emotional meaningfulness. The communicative function of the sentence implies the presence of an intonation.

The concrete punctuation marks can actualize, transferred the intonation, logical stress, modality with the help of additional information of a logical and emotional character. A dash actualize the next word and emphasize it.

 

An exclamation mark tells us about the emotions and foregrounds an additional information. The suspension points signalize about an uncompleteness of a situation. A comma reflects the intonation and logical movement of phrase.

Themain parameters of syntactical actualization are as follows: sentence length; sentence structure (structure complication, simplification); intonation (via punctuation and word order).

Sentence length.

Sentences are divided into short (10 words max); average (30 words max), long (60 words max); and super long ones.

Short sentences. "Jesus Christ! Look at her face!" — Surprise.

"Her eyes is closed!" — Astonishment.

"She likes it!" — Amazement.

"Them goddam white folks!" — Fascinated fear (R. Wright. The Long Dream).

Long sentences.

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