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Journal articles on the topic 'Stylistic device'
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1
Uvarova, E. A. "Iconic Component of the Polycode Mediatext and Its Stylistic Potential." Prepodavatel XXI vek, no. 2, 2020 (2020): 380–92. http://dx.doi.org/10.31862/2073-9613-2020-2-380-392.
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The article considers various peculiarities of implementing stylistic devices (metaphor, gradation, personification, contrast) in the advertising poly-code media text that, in its turn, serves as the object of the research. The research proves that the realization of stylistic devices can be actualized not only on the basis of the close correlation of iconic and verbal components (integration or extension relationships), but also within the structure of the iconic component independently and without any verbal elements. The author searches out that the notion of the stylistic device can be expanded and go beyond the boundaries of text and discourse. This fact outlines and stresses the high stylistic potential of the iconic component in the structure of the advertising media text and gives reasons for the development of visual stylistics that can be considered to be a new branch of stylistics in general.
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Chubaryan, Astghik, and Stella Arakelyan. "Stylistic Devices in Marriage Vows." Armenian Folia Anglistika 5, no. 1-2 (6) (October 15, 2009): 78–83. http://dx.doi.org/10.46991/afa/2009.5.1-2.078.
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The article examines the recurrent stylistic devices in marriage vows. The investigation of the linguo-stylistic devices in marriage vows reveals that the use of a certain stylistic device pursues a definite communicative purpose, namely – the purpose of making the speech more emotional and evaluative, more expressive and stylistically colored. Many marriage vows contain elements of the creative thinking of the couple, their personal attitude and rich imagination which is expressed in such linguo-stylistic devices as metaphor, epithet, paraphrasis, inversion, parallel constructions and enumeration.
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Soga, L. V. "STYLISTIC DEVICES AS BASIC ELEMENTS OF ENRICHING ENGLISH LANGUAGE." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 8, 2021): 97–105. http://dx.doi.org/10.35433/philology.1(94).2021.97-105.
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The article deals with the study of stylistic techniques and means of expression characteristic of English speech expression, the study of means and methods of communication of independent sentences, as well as phrasal units, ways to combine them into fragments and whole speech texts. The paper identifies and generalizes scientific approaches to the study of stylistic syntax techniques, analyzes syntactic constructions that have expressive potential and pragmatic orientation. It is established that the subject of syntactic stylistics is also the study of the specifics of the functioning of expressive means and techniques in complex linguistic texts. It is found that the stylistic technique is realized, as a rule, in the context of phrasal units, paragraph and whole text, and the interaction of sentence models in these contexts gives emotional and expressive meaning to the segments of speech that they form. Thus, stylistic devices based on formal and semantic interactions of several syntactic constructions or sentences in a particular context, is one of the richest sources of speech expression. These stylistic devices serve as a means of poetic syntax, and are widely used in fiction, journalism and are found in scientific language. Despite the fact that each stylistic device individually contributes to the overall expressiveness of the text, a greater effect is achieved through their interaction, and with the help of these stylistic devices, contact with the addressee is established, the emotional background and emphaticity of the text are enhanced. Therefore, expressive means and stylistic techniques of syntax, which are created both with the use of stylistically marked constructions and without their participation, are one of the richest means of stylistics of the English language. The considered cases of violation of the usual logic of syntactic connection of parts of a complex sentence, semantic differences between their usual and occasional use bring subjective motives into the text and are used with certain stylistic purposes, which due to functioning together have a greater effect.
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Hertsovska, N. O., and K. Voznyak. "ANTHONOMASIA AS A STYLISTIC DEVICE OF CREATING PRAGMATIC EFFECT OF SPEECH." International scientific journal «Education and Science», no. 24(1) (2018): 103–6. http://dx.doi.org/10.31339/2617-0833-2018-24(1)-103-106.
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Alekseeva, Tat’yana E., and Larisa N. Fedoseeva. "The Image of Woman in English Proverbs: A Stylistic Analysis." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 5 (November 15, 2021): 24–32. http://dx.doi.org/10.37482/2687-1505-v127.
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This article deals with the English proverbs containing the concept of woman. The aim of the research was to analyse the means of expression used to portray the woman in her various social roles, to describe her personal traits and to reveal the attitude towards women in the society. The novelty of this paper lies in systematizing the stylistic devices used in proverbs about women and discovering a device that has not been included in the existing classifications of expressive means. In the course of the research, the authors selected English proverbs with the lexeme woman and analysed them from the point of view of stylistics. The fact that such proverbs are highly numerous indicates the importance of gender relations in a society, while their subject matter demonstrates an arrogant and often dismissive attitude towards women in a world dominated by men. The stylistic analysis found metaphor, simile and epithet to be the most productive lexical devices in creating a negative image of women, while parallelism, antithesis and repetition seem to be the most frequent syntactic devices serving to emphasize the connotations of the proverbs. Irony and paradox render the sarcastic, condescending attitude towards women; this function is also performed by intentionally illogical sequences of homogeneous parts of the sentence, when women are placed on a par with animals, inanimate objects, and the elements (the stylistic device for the first time described by the authors). It should be noted that the characteristic features of proverbs as a genre of folk art, i.e. rhythmic, intonational, and phonetic, are inherent in English proverbs about women as well. The material obtained can be used in linguistics courses at universities.
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Askarova, G. S., and A. A. Boltabekova. "FEATURES OF USING STYLISTIC DEVICES IN PROSE." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 205–9. http://dx.doi.org/10.51889/2021-1.1728-7804.34.
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As the reading is an essential part of language learning process, stylistic and critical analysis of texts are well accepted methods among language learning readers. The following article defines a reading skill as essential as other skills in language learning and demonstrates the accurate usage and theory of literary or stylistic devices such as dialogue, repetition, symbolism, simile, metaphor, and personification which are applied on well-known proses “Shuga’s Sign” by Kazakh writer Beimbet Mailin and “Hills like White Elephants” by American author Ernest Hemingway. Thus, each device is carefully explained with a following illustration of analysis of examples from the proses. Therefore, comparison between the usage of stylistic devices in Kazakh and American proses is also provided in order to reveal the similarities and differences of both compositions.
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O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (May 2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
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A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
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Bodnarchuk, Anastasiia. "STYLISTIC DEVICES IN REVEALING CHARACTERS’ EMOTIONS AND WAYS OF THEIR TRANSLATION." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 833 (December 2021): 12–18. http://dx.doi.org/10.31861/gph2021.833.12-18.
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The present research focuses on the analysis of the most common stylistic devices that are used to depict characters’ emotions in two novels “Flowers for Algernon” (2006) and “The Minds of Billy Milligan” (1995) written by the American author Daniel Keyes. The patterns of translation of emotionally coloured extracts of the text where these stylistic devices have been used are analysed in this research. As stylistic devices are considered to be an integral part of the composition of works of fiction and they add emotional colouring and exert pragmatic influence on the readers, translators Viktor Shovkun and Olena Stusenko faced onerous work as their task was to find accurate equivalents and use translation transformations in order to avoid literal translation, achieve adequacy on all levels and preserve the stylistic colouring. Furthermore, it is worth mentioning that the translation should fully replace the original text and recipients should perceive the translated text as identical to the original even though stylistic devices and the emotional component of linguistic semantics are arduous to convey in translation. This research also concludes that translators most often resorted to lexical (concretization, generalization and modulation), lexico-grammatical (omission and addition) and grammatical (verbalization and nominalization) translation transformations to avoid literal translation. It has also been established and verified by a comparative method that more stylistic devices are used in the Ukrainian translation than in the original text. The most widely used stylistic devices are metaphors, epithets, comparisons and idioms. Key words: stylistic device, translation transformation, source text, target text, pragmatics, communicative intention, emotions.
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Trifonova, Svetlana A. "HYPERBOLIZATION AS A STYLISTIC DEVICE OF CREATING EUPHEMISMS." Bulletin of the Moscow State Regional University (Linguistics), no. 4 (2018): 68–76. http://dx.doi.org/10.18384/2310-712x-2018-4-68-76.
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Harrison, Chloe. "‘The truth is we’re watching each other’: Voiceover narration as ‘split self’ presentation in The Handmaid’s Tale TV series." Language and Literature: International Journal of Stylistics 29, no. 1 (February 2020): 22–38. http://dx.doi.org/10.1177/0963947020905756.
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Cognitive stylistics offers a renewed focus on readerly or audience interpretation, but while cognitive stylistic tools have been applied in the investigation of literary texts, their application to TV, film and screen has been more limited. This article examines the cognitive stylistic features of the voiceover narration in the first TV series adaptation of The Handmaid’s Tale to explore the representation of June/Offred’s ‘split selves’ and how these are mediated through a prominent ‘filmic composition device’. Through analysis of voiceovers and corresponding production choices in series 1, this study explores, first, how the different modes of communication – both choices of visual production (such as shallow-focus shots) and linguistic features (such as ‘you’ address and container metaphors) – combine to show Offred’s split perspective; and second, how these stylistic elements work to foreground the key themes of the series, such as imprisonment, objectification and surveillance.
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Ghani, Lecturer Ali Abdul Ilah. "A Cognitive Stylistic study of poetic discourse." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 218, no. 1 (November 9, 2018): 17–34. http://dx.doi.org/10.36473/ujhss.v218i1.525.
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The study is concerned with the investigation of cognitive stylistic in the selected poem written by Emily Dickinson in order to show the effect of different cognitive stylistic devices especially the use of mental spaces on the interpretation of meaning. These mental spaces can help construct grammars that conceptualize the poet's world view. They are interacted and used not only in creation conceptual integration but also used to model dynamic mapping in the thought and language.
The analysis has shown that cognitive stylistics is used as a device to provide a systematic and scientific approach to discourse authors and readers understanding of the world and explain how these interpretations are reflected in discourse organization. It tries to explain the way the cognitive processes are involved in meaning constructions. Furthermore, mental spaces can help construct grammars that conceptualize the poet's world view. Dickinson use of self-anaphor has created a world of possibilities, a world in which things can happen and be made to happen through the agencies of the self. Finally, metaphor is used as a scheme by which people conceptualize their experience to transfer, modify or blend mental constructs especially in the way by which one mental representation is mapped onto another when we read a text.
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Lokaichuk, Svitlana. "Stylistic Devices in Yevhen Sverstiuk’s Essay “Cathedral in Scaffoldingˮ." Ukrainian Linguistics, no. 50 (2020): 146–58. http://dx.doi.org/10.17721/um/50(2020).146-158.
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The article considers stylistic devices in the essay of Ye. Sverstyuk “Cathedral in Scaffolding” as important linguistic means of expressiveness and logic organization of the publicistic text. Studying the category of expressiveness, which is provided by language means, is especially relevant for the study of the journalistic style genres, which perform two main interrelated functions – informing and affecting the reader. The purpose of the research is to analyze stylistic devices in Yevhen Sverstiuk’s essay “Cathedral in Scaffoldingˮ as important linguistic means of the logical and emotionally-expressive organization of the text. The emphasis is laid on the analysis of the figures of speech, most inherent in the intellectual and polemic style of the author’s narrative, namely, antithesis, parcelling, rhetorical questions, inversion, and stylistic devices of repetition (anaphora, epiphora), composite links. Stylistic devices make the text logical and expressive. The logical function of a stylistic device provides information correctness of the text, promotes its division into semantic segments/ fragments. The expressiveness is achieved by mental operations of convergence or opposition of concepts due to skillful changes of the author’s language tactics and results in the enhanced influence on the reader. Ye. Sverstyuk uses stylistic figures to draw the attention of the addressee (by highlighting keywords), to emphasize his point of view and provide the coherence of the discourse.
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Maryanchik, Victoria. "Implicit Meanings of the Discourse of Fiction: Linguistic-And-Stylistic Analysis of the Story by I.A. Bunin “The Murderess”." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 3 (August 2021): 109–19. http://dx.doi.org/10.15688/jvolsu2.2021.3.10.
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The theme of the work is the mechanisms of implicit meanings verbalization infiction. The aim is to analyze stylistic convergence in the story of I.A. Bunin "The murderess" as an explication of subtext. The main methods are the following: denotative, chronotopic, stylistic, narrative, conceptual analysis. The main results identify stylistic mechanisms that provide an appropriate interpretation of the literary text. It is revealed that the stylistic convergence includes colorative gradation, parcelling, semantic-syntactic verbalization of perceptual concept, semantic-stylistic actualization of the "golden section", conceptual antonymy, semantic sound images. Implicit meanings are identified in the narrative development: stylistic techniques and mechanisms of implicit artistic meanings verbalization are distinguished in each macrosituation. The term "method" traditionally refers to the conscious using of stylistic means by the author; the term "mechanism" is understood as a synergistic process of organizing the text space as a result of interpretative operations. The described techniques and mechanisms add to the repertoire of artistic stylistics. The means of fiction temporality are nominated; the vertical chronotope in macrosituations is modelled. The special feature of Bunin's story composition is "the effect of eversion": it transfers the semantic emphasis from the criminal action to the assessment of this action. The analysis confirms ecphrasticityand visualization of the image of an icon of the phenomenon within the analyzed story. The main oppositions power / people is distinguished in the conceptual field. The role of stylistic device in the synergetic organization of the text is shown. The main conclusion is drawn that the implicitness, ambiguity and "multi-focus" of the author's assessment as a feature of Bunin's idiostyle is realized through the mechanism of stylistic convergence.
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Isti'anah, Arina. "Stylistic Analysis of Maya Angelou’s Equality." Lingua Cultura 11, no. 2 (November 30, 2017): 85. http://dx.doi.org/10.21512/lc.v11i2.1602.
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This research presented the stylistic analysis of a poem by Maya Angelou, Equality. The poem was chosen as it became Angelou’s one of well-known poems. The Stylistic analysis aimed at comprehending the meanings of either literary or non-literary text by means of observing the language device used in the texts. In this article, the stylistic analysis was conducted to analyze Maya Angelou’s Equality. To achieve the goal of stylistic analysis, there were some language levels to observe; they were phonological, graphological, grammatical, and semantic levels. In the phonological level, the repetition of rhyme in some stanzas, assonance, consonance, and alliteration were used to voice Angelou’s dream about freedom for black people. In the graphological level, the use of prominent punctuation in stanzas 3, 6, and 9 stressed equality as the requirement for the freedom she expected. In the grammatical level, Angelou used pronoun I and you as the dominant words in the poem, revealed different class the poet experienced in the country. The use of metaphors in the poem brought the same meaning as freedom, voice, effort, and racism that black people experienced in America. This research concludes that stylistics applies to analyze literary work so that thorough appreciation to it can be achieved.
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Muradyan, Gayane. "Literality of Metaphor in Science Fiction." Armenian Folia Anglistika 7, no. 1 (8) (April 15, 2011): 54–57. http://dx.doi.org/10.46991/afa/2011.7.1.054.
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Science fiction is the unity of a real and imaginary narration. The basis of the imaginary is made up of the problems of the contemporary man and society which have found their expression in various uses of the metaphor and in stylistic devices of its literality. The literality of metaphor is a unique stylistic device which can never be found in any other genre of literature, and one would not be mistaken to state that it is the most typical indicator of science fiction.
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Dhayef, Qassim Abbas, and Wafaa Abid-Ali Mahdi. "A Stylistic Study of the T. S. Eliot's Poem of 'The Love Song of J. Alfred Prufrock'." International Journal of Linguistics, Literature and Translation 5, no. 2 (February 28, 2022): 153–58. http://dx.doi.org/10.32996/ijllt.2022.5.2.19.
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This study highlights Parallelism as a stylistic device in T. S. Elliot's poem "The Love Song of J. Alfred Prufrock (1915)". This study tries to show the importance of Parallelism in poetry and how it is dominated in the twentieth century. Specifically, it aims to explore the operationality of parallelism as a stylistic device in twentieth-century poetry, identifying the most dominant type of parallelism in twentieth-century poetry and showing how parallelism is useful as a stylistic device for the reader. The study results revealed that Parallelism is manifest, of great use in the interpretation of the poem. The twentieth-century poets in general and T. S. Eliot' depend on parallelism in aestheticizing or beautifying their poems as it represents a set of regularities of form.
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Barannikova, Tatyana B., and Fatimat N. Suleymanova. "Stylistic Contrast in the Organization of Literary Texts in the Aspect of Translation (Based on the Material of the Lezghin and Russian Languages)." Polylinguality and Transcultural Practices 18, no. 4 (December 14, 2021): 451–59. http://dx.doi.org/10.22363/2618-897x-2021-18-4-451-459.
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The topicality and novelty of this article, devoted to the device of stylistic contrast, are predetermined by its rather poor study, as well as by the approach to its investigation from the angle of translation theory and comparative linguistics. The material of the research includes the examples of stylistic contrast selected from literary texts in the Lezghin language and their translations into Russian, Russian-language literary texts and their translations into the Lezghin language. The work is based on the semantico-stylistic and comparative methods, the method of linguistic description of a literary text, elements of linguoculturological and conceptual analysis, as well as the specific methods of translation studies (comparison of the translation and the original, comparison of various translations, questionnaire of informants, educational translation, an experiment). The results of the research consist in clarifying the proceeding interpretation of stylistic contrast, as well as in identifying the difficulties that translators face when transmitting it in a literary text, and indicating the algorithm for overcoming them. They can be used in the courses of Stylistics, Text Linguistics, Translation Theory and Practice, etc., as well as in the development of the translation direction in the Dagestani linguistics, which needs practical developments and theoretical generalizations.
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Khalikova, N. V. "The role of a stylistic device in creating the image of the author." Literature at School, no. 4, 2020 (2020): 81–91. http://dx.doi.org/10.31862/0130-3414-2020-4-81-91.
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The purpose of the article is to compare the definitions of a stylistic device with modern philological ideas about the text and the image of the author as the main subject of cognition of reality in a feature. The methods of structural poetics make it possible to separate the stylistic means and methods as functionally different units of the artistic speech and the language of the writer. There is a steady connection between the worldview of the writer, their “image of the author” and their style. Autological and metalogical stylistic means are equally important for creating both an artistic and a non-artistic image (journalistic, scientific, everyday). Artistic means and techniques perform fundamentally different functions. Artistic means of image expressiveness contribute to the aesthetization of speech. Stylistic techniques organize the processes of meaning generation, preservation and transmission of meanings. The text records and reproduces artistic thinking, typical for this very writer, a set of ideas about a human, landscape, interior, ways of action and other classes of images. The artistic style is the same as the style of thinking, a level speech style of reflecting the perception of reality. The style can be adopted, it can be imitated and, thus, one can understand how the author thinks, what their manner of the aesthetic transformation of reality, forms of perception, is. The stylistic forms of the same author are reproduced from work to work, regardless of the plot and ideological content. To explain how the technique works is to identify the ways of the artistic thinking about the world (images). The stylistic device is closely connected with the intellectual book culture of society.
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Khudair, Raghda Naeem. "The Stylistic Device of Repetition in D H Lawrence's Short Story "The Rocking Horse Winner"." International Journal of Psychosocial Rehabilitation 24, no. 3 (March 30, 2020): 2734–39. http://dx.doi.org/10.37200/ijpr/v24i3/pr2020309.
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Dykstra, Alan. "Critical reading of online news commentary headlines: Stylistic and pragmatic aspects." Topics in Linguistics 20, no. 2 (December 1, 2019): 90–105. http://dx.doi.org/10.2478/topling-2019-0011.
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Abstract In doing a critical reading of news commentary headlines drawn from a corpus, this study uses critical stylistics as an initial tool for delineating the headlines’ textual, ideational and interpersonal features and also for categorizing them according to the main type of triggering located in their respective textual-conceptual functions. Presuppositions are found to be a key device in constructing the headlines’ ideational “text-worlds”, which can strategically activate readers’ “belief systems knowledge” and rapidly validate or shape their attitudes regarding social reality, even when a headline is being scanned and read autonomously on a mobile device platform. To better understand the contextual and representational role of these news commentary headlines in contemporary journalistic knowledge production and reception, this research examines their stylistic and syntactic design, identifying accompanying characteristics such as embedded ideological perspectives and propositional interpretive frameworks, while noting the headlines’ specialized positioning as cohesive interpolating texts in the digital news ecosystem.
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Suryanti Tambunan, Anna Riana, Fauziah Khairani Lubis, Widya Andayani, Elisa Betty Manullang, and Sisila Fitriany Damanik. "Figurative Language in Two Translated Chapters from Nietzsche's novel Zarathustra: A Stylistic Approach." International Journal of Language and Literary Studies 2, no. 2 (June 8, 2020): 168–77. http://dx.doi.org/10.36892/ijlls.v2i2.233.
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This study aims to examine the figurative language used in two translated chapters taken from Friedrich Nietzsche's novel, Zarathustra. The two chapters chosen are namely Kebajikan yang Mengecilkan and Tiga Hal yang Jahat. This is a qualitative research which involves the stylistic approach in order to bring out the stylistic devices used in the chosen chapters; simile and personification. The data of this study were collected from the two translated chapters of the novel. In this study, it is found that a total of nine figures of speech were investigated: seven figures of simile and two other figures of personification respectively. The results of this study revealed that the simile device focused on illustrating the author's visual reality for the readers about the protagonist's situations, life-story, and imagination. On the other hand, the personification device illustrated the protagonist's visual aspects, ideas, and imagination which are very analogous to the author's perspective.
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Azevedo, Milton M. "Foreigner Talk as a Stylistic Device in Erico Veríssimo's Fiction." Hispania 75, no. 5 (December 1992): 1154. http://dx.doi.org/10.2307/344346.
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Rahman, Tariq. "Linguistic Deviation as a Stylistic Device in Pakistani English Fiction." Journal of Commonwealth Literature 25, no. 1 (March 1990): 1–11. http://dx.doi.org/10.1177/002198949002500102.
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Baro, Hayelom, and Pawan Dwivedi. "STYLISTICS ANALYSIS OF SOUND DEVICE USING PARALLELISM ON THE SELECTED TIGRINA POEMS." Humanities & Social Sciences Reviews 8, no. 2 (March 11, 2020): 61–68. http://dx.doi.org/10.18510/hssr.2020.828.
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Purpose of the study: The purpose of the article is to identify parallelism as the kind of sound device utilized and to examine the role these sound devices play in encoding or reinforcing meaning within the lines and the whole poem in the selected poems of Tigrigna written by Giemay Gebru.
Methodology: The research is theoretical, methodical and descriptive in nature and draws on library materials. Therefore, linguistics and stylistics approach i.e. phonological is used to analyze the data. Parallelism is one of the most important sound devices which is one of many stylistic approaches is used in this study as a descriptive method. As a model, the study adopts the revised method proposed by (Leech 1969) in his book “A Linguistic Guide to English Poetry, and (Mick Short's 1996) “Exploring the Language of Poems, play, and prose”. Furthermore, the chart that shows the phonemes of Tigrigna and writing systems that are summarized by Yohanes Zewedie is used as one method of analysis. In addition to that, the poems are translated into the English language and written in their phonetic transcription.
Results: The main result of the findings shows that parallelism as sound devices is observed in the selected poems. As revealed in the study, the poet, Girmay Gebru utilizing parallelism devices for the purpose of highlighting the issue and need to be emphasized and strongly express his tone of an idea what he needs to portray.
Application of this study: The study undertaken in the present study is justifiable and valuable since it attempts a new-fangled area. Therefore, this study will be of considerable importance to all those who are fascinated by the literature of Tigrigna.
Novelty/Originality of this study: In this research, the model of the stylistic aspect of translation and phonetic transcription-translation of the selected poems are presented in a full and complete manner.
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Gevorgyan, Gourgen. "Metaphor in the Bible." Armenian Folia Anglistika 2, no. 1-2 (2) (October 16, 2006): 31–35. http://dx.doi.org/10.46991/afa/2006.2.1-2.031.
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Metaphor as a stylistic device is widely used in fiction. Writers can usually be easily identified due to the metaphors they use in their works. Metaphor is one of the basic devices of imagery. The Bible abounds in metaphors and the system of imagery in the Holy Book is heavily dependent on this device. Here, metaphors appear not only in the form of words, but of sentences, as well. Symbols, which are specific to the Bible, communicate a special meaning to the events and phenomena described.
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Kalimi, Isaac. "Literary-Stylistic Metathesis in the Hebrew Bible." Vetus Testamentum 70, no. 4-5 (January 21, 2020): 603–19. http://dx.doi.org/10.1163/15685330-00001401.
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Abstract Biblical scholarship has concentrated almost exclusively on cases of unintentional metathesis, particularly as a tool of textual criticism. But metathesis is not only a result of accidents and mistakes; it can also be deliberately employed as a literary-stylistic device. Accordingly, this study addresses all three of these categories of metathesis in the biblical literature, but focuses particularly on Literary-stylistic metathesis that is an intentional form of metathesis, in which an author or editor has deliberately chosen to use two or more words that share the same characters in inverse order.
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Baek, Kyunghee. "A Study on the Stylistic Device of S. Dovlatov’s Prose Compromise." Institute for Russian and Altaic Studies Chungbuk University, no. 18 (February 28, 2019): 241–72. http://dx.doi.org/10.24958/rh.2019.18.241.
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Razinkina, N. M. "Teaching materials for fiction texts analysis: allegory as a stylistic device." Lingvistika i metodika prepodavanija inostrannyh jazykov 12, no. 1 (2020): 275–307. http://dx.doi.org/10.37892/2218-1393-2020-12-1-275-307.
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Neretina, Svetlana S. "Repetition as a Stylistic Device in the Work of Mikhail Lermontov." Russian Studies in Philosophy 54, no. 2 (March 3, 2016): 160–75. http://dx.doi.org/10.1080/10611967.2016.1203191.
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Qadha, Adil Mohammed Hamoud. "The Use of the Concept of “Language Variation” As a Stylistic Device in Pygmalion: Toward A Socio-Stylistic Approach." International Journal of English Linguistics 9, no. 5 (September 15, 2019): 422. http://dx.doi.org/10.5539/ijel.v9n5p422.
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In this paper, the author supports the claim that there is an inevitable relationship between language and social class to which a speaker (character) belongs. The paper claims that a literary language is a manifestation of the verbal practices done by real speakers in real communicative situations. The paper illustrates that Bernard Shaw in Pygmalion used the concept of “language variation” as a stylistic device to reveal some significant social aspects of Eliza Doolittle, the main character of the play. Drawing on Basil Bernstein’s distinction between elaborated code and restricted code, the paper compares between Eliza as a low -class illiterate speaker and the same Eliza after having intensive linguistic training by Prof. Higgins. The analysis is based on some selected extracts of Eliza’s speech in different conversational scenes in the play. The paper hypothizes that literary discourse, mainly dialogues, can be treated as an ordinary language used in real conversational situations. The analysis was conducted from phonological, syntactic, pragmatic and sociolinguistic perspectives.
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Dyadyshcheva-Rosovetska, Juliya. "Stylistic symmetry of the Methodius's translation of the Song of Songs." Current issues of Ukrainian linguistics: theory and practice, no. 43 (2021): 59–75. http://dx.doi.org/10.17721/apultp.2021.43.59-75.
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The article is devoted to the analysis of stylistic symmetry in Methodius' translation of the Song of Songs. The study was conducted from a rather unexpected position, namely – using the linguo-folkloristic approach. The rationale for this approach is that it's subject is a folklore text, a collection of wedding songs, which later underwent exquisite literary and book processing. It is concluded that the realizations of the poetic technique of stylistic symmetry found here are based on the same syntactic construction of the members that make it up. Parts of this construction are presented as semantic additions to each other. Adjacent constructions similar in syntactic structure were found with sublime depictions and chants of brides, their beauty and perfection, love. Based on the studied material, it was found that, although in all found examples the components of stylistic symmetry are not identical as required by the logic of reception, but in some of them at least a third of the verbal material of the first. Naturally, in such a poetic text as the Song of Songs, one could expect to come across a significant number of tropes and as part of the verbal embodiment of a stylistic device based on semantic parallelism. In fact, in the vast majority of examples they were recorded in both parts of stylistic symmetry. These are comparisons, metaphors, epithets, allegories, hyperboles, highly artistic paraphrases, etc. Twice stylistic symmetry was built on the antithesis, in particular it was found in the praise of the bride. It has been found that the stylistic symmetry in the Song of Songs is productively explored in terms of ways to express the expressiveness of syntax: how, by what means similar or identical human emotions are reflected in related syntactic constructions. As for the reproduction of this Middle Eastern stylistic device in the Methodist translation of the Song of Songs, it demonstrates unsurpassed harmonious examples of expressive expressiveness and original variation of thought.
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Abdulilah Gheni, Ali. "A Study of Feminist Stylistic Analysis of Language Issues of Gender Representation in Selected Literary text." Journal of the College of languages, no. 43 (January 2, 2021): 102–17. http://dx.doi.org/10.36586/jcl.2.2021.0.43.0102.
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Stylistics is the analysis of the language of literary texts integrated within various approaches to create a framework of different devices that describe and distinct a particular work. Therefore, feminist stylistics relied on theories of feminist criticism tries to present a counter- image of a woman both in language use and society, to draw attention , raise awareness and change ways that gender represents. Feminist stylistic analysis is related not only to describe sexism in a text, but also to analyze the way that point of view, agency, metaphor, and transitivity choices are unanticipatedly and carefully connected to issues of gender(Mills,1995:1) The study tries to discuss matters of gender representation in stylistic analysis and how questions and messages of gender are deducted and exposed when reading and interpreting a text. Moreover, the concept of transitivity and how meaning is encoded and adopted by different patterns of transitivity will be analyzed and investigated. The study has shown that transitivity patterns are used as a device to analyze gender representation as well as to describe the ideational meaning which involves the experiential realization of the world. The results of the analysis of transitivity choices of the selected romantic scene have shown that the whole number of processes are nineteen, the female does five processes in her role as an actor, whereas male shows fourteen which are the highest number in his performance. The male appears to be the active participant agent who is conscious and in control of his action, whereas the female appears to be passive in her quality, volition and being affected or recipient actor. Also, it is seen that feminist analysis tries to create a new message and picture of woman position; this is depicted by the essential role of the readers' assumption and contextual factors of the text in the process of interpretation.
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Rutkowska, Hanna. "Stylistic Devices in The Schoole of Vertue, an Early Modern Manual of Good Conduct for Children." Studia Anglica Posnaniensia 51, no. 3 (December 1, 2016): 95–124. http://dx.doi.org/10.1515/stap-2016-0016.
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Abstract This paper is a case study examining the choice and interaction of stylistic devices employed in The Schoole of Vertue, Francis Segar and Robert Crowley’s manual of good manners for children issued between 1582 and 1687. It was designed to convince its readers that particular patterns of behaviour were socially beneficial and worth following. In order to enhance the attractiveness, persuasiveness, and mnemonic qualities of the text, several stylistic devices are employed in the manual, including, for example, rhymes, acronyms, as well as binomials. It is generally agreed that repetitive patterns (especially binomials) are typical of formal registers, and particularly plentiful in legal and literary texts in Early Modern English, but the present study shows that similar rhetorical devices were also readily employed in the less formal and elevated style of manuals of good behaviour. Another rhetorical device frequently used in the manual under consideration consists in addressing the reader directly with the second person singular pronoun, especially in imperative constructions, thus creating an ambiance of emotional closeness, characterising the relationship between the master and the pupil.
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Emmott, Catherine, Anthony J. Sanford, and Lorna I. Morrow. "Capturing the attention of readers? Stylistic and psychological perspectives on the use and effect of text fragmentation in narratives." Journal of Literary Semantics 35, no. 1 (January 19, 2006): 1–30. http://dx.doi.org/10.1515/jls.2006.001.
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AbstractThis article brings together researchers from Stylistics and Psychology to study whether text fragmentation, which appears often to be used by writers as a foregrounding device (Mukařovský 1964), is able to capture the attention of readers of narratives. We examine two types of text fragmentation: sentence fragments and mini-paragraphs. Firstly, we study the stylistic functions of fragmentation, including its cumulative use at plot crucial moments and its use for local rhetorical purposes. We then turn to psychological research on depth of processing (e.g. Sanford and Sturt 2002) and introduce a new method of testing, the text change detection method (Sturt at al. 2004). We report an experiment using this method to examine whether text fragments and very short sentences can increase the amount of detail that readers notice in a text, and then discuss the results in relation to potential applications. The work provides both a case study of the empirical analysis of foregrounding devices, and also, more generally, a case study of inter-disciplinary research across the Humanities and Social Sciences.
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Shamyaunova, Margarita D. "Lexical blending as a stylistic device in the prose of Vladimir Nabokov." Vestnik Tomskogo gosudarstvennogo universiteta, no. 393 (April 1, 2015): 43–47. http://dx.doi.org/10.17223/15617793/393/6.
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tayeh Jehjooh, Rasim. "PARALLELİSM AS A STYLİSTİC DEVİCE İN D.H LAWRENCES TEASE AND NİZAR QABBANYS." International Journal of Language Academy 6, no. 23 (January 1, 2018): 366–80. http://dx.doi.org/10.18033/ijla.3913.
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Kusovac, Olivera, and Jelena Pralas. "Repetition as Trapped Emotion in Tennessee Williams’s the Glass Menagerie." Studia Anglica Posnaniensia 51, no. 4 (December 1, 2016): 29–51. http://dx.doi.org/10.1515/stap-2016-0018.
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AbstractRepetition as a linguistic and stylistic device extensively used in Tennessee Williams’s plays has been noticed by many. At the same time, more psychologically-inclined scholars have frequently drawn parallels between Williams’s plays and his own experiences and emotional conflicts. In an attempt to combine the two perspectives, this article will explore the function of repetitions as indicators of trapped emotions in Williams’s celebrated and award-winning play The Glass Menagerie. Starting from the stylistic theoretical background, but at the same time taking into account the psychological insights into the link between Williams’s life and work through some basic concepts of Freud and Lacan, an attempt will be made to demonstrate that in this play linguistic repetition appears as an obsessive expression of the characters’ emotions as well as those of the dramatist himself, making him repeat and relive both his experiences and his emotions. The authors will first introduce the concept and functions of repetition as a linguistic and stylistic device and then explore its representative instances in individual characters and their meanings, ending with the parallels which can be drawn between the characters’ and the dramatist’s own experiences and emotions expressed or intensified through repetitions.
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Yee, Gale A. "“Fraught with Background”." Interpretation: A Journal of Bible and Theology 42, no. 3 (July 1988): 240–53. http://dx.doi.org/10.1177/002096438804200303.
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Narrative ambiguity is a deliberate stylistic device which engages the reader, seizes the imaginative processes, and creates an interaction with the characters of the story that a more explicitly detailed account does not allow to happen.
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Boldyreva, Anzhela. "TRANSLATION OF GENUINE SIMILES IN SHORT STORIES BY P. G. WODEHOUSE." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS 32 (2017): 13–24. http://dx.doi.org/10.17721/2663-6530.2017.32.01.
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The article deals with such a stylistic device and expressive means as a genuine simile. It reveals its structure, ways of its creation in English and Russian, focuses on ways of its rendering into a target language.
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Rendsburg, Gary A. "Marking Closure." Vetus Testamentum 66, no. 2 (March 21, 2016): 280–303. http://dx.doi.org/10.1163/15685330-12301229.
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The literary device of stylistic change to indicate closure is barely recognized by biblical scholars. Apart from Aharon Mirsky, who wrote the seminal article and monograph on the subject, very few scholars have paid attention to this technique. The present article summarizes the work of Mirsky and two others (with six examples total), and then proceeds to present an additional nineteen examples of this literary device.
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Goncharenko, E. S. "Rythm-forming, functional and pragmatic potential and immanence of repetitions in the modern Spanish language." Linguistics & Polyglot Studies 7, no. 5 (January 3, 2022): 24–35. http://dx.doi.org/10.24833/2410-2423-2021-5-29-24-35.
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This article offers the results of the investigation of repetitions in the modern Spanish language. To understand the role of the repetitions in a certain text, first of all, it’s necessary to determine whether they are immanent in the language or culture, and, therefore, unmarked, or, on the contrary, carry some charge: stylistic, rhythmic or pragmatic. Such differentiation is carried out by means of the analysis and synthesis of the theoretic material (А. Аlonso, E. А. Llorach, J. Nogeira, V. Iovenko, V. Vinogradov, etc.), contrastive and comparative analysis. The results show the redundancy of the Spanish language in comparison with Russian, which accounts for the numerous unmarked repetitions in Spanish. On the other hand, the frequent use of repetitions as stylistic, semantic or rhythmic device becomes evident too. For the analysis, we chose some official documents, characterized by the absence of stylistic devices, and some appellative and literary texts (poetry by A. Carvajal, a novel by S. Puertolas, etc.), which are apriori aimed at the form and pragmatic effect. This approach helps achieve the most objective conclusions concerning the nature of the repetitions in a text. We considered lexical and grammar repetitions, grammar, semantic and concept repetitions. Phonetic and lexical repetitions, as the basic stylistic devices, have not been subjected to analysis, as their markedness is evident. The results of the research, presented in the article, may be useful both for the people studying the Spanish language in order to speak it correctly and to understand the pragmatic function of repetition, and for translators to decide whether to follow the structure and rhythm of the text if repetitions are marked, or to omit them when they are in the original text, should they be immanent in the language and the culture.
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Yona, Shamir, and Ariel Ram Pasternak. "Concatenation in Ancient Near East Literature, Hebrew Scripture and Rabbinic Literature." Review of Rabbinic Judaism 22, no. 1 (February 19, 2019): 46–92. http://dx.doi.org/10.1163/15700704-12341351.
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Abstract This paper follows the development of concatenation from its early use in Ancient Near Eastern literature through its use in the Hebrew Bible, in Hebrew Ben-Sira, and ultimately in Rabbinic literature. We demonstrate that the Rabbis adopted this rhetorical pattern for stylistic purposes and also used it as an editing device. The latter use of the rhetorical device in question is only rarely attested in the Hebrew Bible.
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Kanashina, S. V. "STYLISTIC DEVICE OF DEFEATED EXPECTANCY AS A SPECIFIC COMMUNICATIVE STRATEGY IN INTERNET MEMES." Tomsk state pedagogical university bulletin, no. 10 (2017): 9–14. http://dx.doi.org/10.23951/1609-624x-2017-10-9-14.
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Chen, Y. S. "The Flood Motif as a Stylistic and Temporal Device in Sumerian Literary Traditions." Journal of Ancient Near Eastern Religions 12, no. 2 (2012): 158–89. http://dx.doi.org/10.1163/15692124-12341236.
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Abstract Recent scholarship suggests the Flood motif and its literary representations may have emerged and developed relatively late in Sumerian literary traditions. To investigate how the Flood motif gained its entry in the literary traditions, the current study traces the dissemination of the temporal expression eĝir a-ma-ru ba-ur3-ra-ta “After the Flood had swept over . . .” and its variants in Sumerian mythological and chronographic sources during the Old Babylonian period. This study seeks to demonstrate that when the Flood motif first emerged explicitly in Sumerian literary traditions it manifested as an innovative stylistic and temporal device for introducing the primeval time of origins as well as for marking the (re-)beginning of time. Coming to grips with this initial stage of development of the Flood motif will shed important light on some key conceptual and literary processes through which the Flood motif and its mythological and chronographic representations formed and evolved during the Old Babylonian period.
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Pezzini, Giuseppe. "Consonance of Final -s and Asyndetic Accumulation in Latin Poetry." Mnemosyne 68, no. 6 (December 4, 2015): 987–1001. http://dx.doi.org/10.1163/1568525x-12341666.
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Taking as a starting point Housman’s note on Man. 4.780 (Cyrenes lacrimis radicis Scorpios acris), the article analyses a stylistic device of Latin poetry, namely the repetition (consonance) of final -s within the same line. The analysis is based on the collection of all the cases of lines which have words, or all words except one, ending in -s, in both early and classical Latin poetry, the stylistic and linguistic features of which are discussed. A split between early texts and classical texts is observed: in early Latin texts consonance of -s is generally concomitant with asyndetic accumulation of similar words (cf. e.g. Enn. Ann. inc. 498 S. flentes plorantes lacrumantes obtestantes), which is an interesting stylistic pattern, common in early Latin and associated with elevated style, and later probably acquiring an archaising ring. On the other hand, consonance of -s in classical Latin poetry appears as an independent sound figure, deployed by authors for poetic effect (cf. e.g. Verg. A. 12.708 ingentis genitos diuersis partibus orbis). By analysing these patterns of consonance, the article also investigates the stylistic potential of asyndeton and the phonetic status of final -s in early and classical Latin.
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Rudneva, Ol'ga Viktorovna. "Analogy as a rhetorical device and a linguocognitive phenomenon in a public lecture." Филология: научные исследования, no. 5 (May 2022): 10–20. http://dx.doi.org/10.7256/2454-0749.2022.5.37804.
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The article analyzes the features of the functioning of analogy in socio-scientific texts based on the material of public lectures on history. Analogy is considered as a linguocognitive phenomenon and a rhetorical device. The purpose of the article is to study the functions of analogy in the structure of a public lecture, the features of its use in describing historical events. The research methodology is based on general scientific methods of description, interpretation, comparison and classification, and highly specialized methods of component and stylistic analysis are also used within the framework of communicative-pragmatic, functional-semantic and linguocognitive approaches. The object of the study is the representation of analogy as a way of processing objective information, as a means of interaction with the audience and as a component of the linguistic worldview of the lecturer's personality. The subject of the study is the mechanisms of implementation of the analogy, its structural and stylistic specificity and functional characteristics. The novelty of the research consists in the application of the comparative aspect in the study of the general features of the use of analogy on the material of historical materials. It is concluded that the use of analogy depends on the scope of application to a greater extent than on the peculiarities of the lecturer's linguistic personality. Using the example of the analysis of the corpus of public lectures, it can be concluded that the use of techniques in a public lecture is standardized, and the methods of logical construction of scientific presentation, which are one of the features of the scientific style, are combined with expressiveness and clarity in this genre. The variation of stylistic means depends not only on the goals of communication, the peculiarities of addressing, but also on the specific linguistic personality and the nature of the content of the lecture. The range of ways to attract attention and activate interest in the proposed problem is expanding, which leads to the use of expressive means that are not characteristic of the scientific style proper, realizing the author's communicative goals.
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Karaeva, Z. K., and N. A. Shabdanaliev. "TRANSLATION OF STYLISTIC DEVICES FROM ENGLISH TO KYRGYZ LANGUAGE IN THE TRAGEDY OF W. SHAKESPEARE "RICHARD III"." Heralds of KSUCTA, №4, 2021, no. 4-2021 (December 27, 2021): 615–18. http://dx.doi.org/10.35803/1694-5298.2021.4.615-618.
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The stylistics are based on the concepts of tropes and figures. Embellishments of speech have been considered and analyzed since antiquity. In this direction, the works of many orators, philosophers and stylists are known (Theophrastus, Aristotle, Demetrius, Cicero, Quintilian, etc.). In linguistics, stylistic devices are studied in detail, but it analyzes how stylistic devices were translated into the Kyrgyz language containing information about English culture and history, what which correspond to the Kyrgyz culture in the tragedy of the great English writer W. Shakespeare "Richard 3".
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Иванова, Елена Викторовна, Екатерина Владимировна Оботнина, and Марина Юрьевна Евпак. "PECULIARITIES OF RENDERING STYLISTIC CONVERSION (ON THE BASIS OF L. TOLSTOY’S “ANNA KARENINA” AND ITS TRANSLATION IN ENGLISH)." Tomsk state pedagogical university bulletin, no. 5(211) (September 7, 2020): 57–64. http://dx.doi.org/10.23951/1609-624x-2020-5-57-64.
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Введение. Проанализированы способы передачи стилистической конвергенции при переводе с русского языка на английский. Явление конвергенции стилистических приемов недостаточно подробно изучено ни стилистикой с точки зрения ее языковой реализации, ни переводоведением в плане передачи в переводе всего объема семантической, стилистической и прагматической информации, транслируемой автором с использованием указанного феномена. В научных исследованиях нередко рассматривается проблема передачи того или иного стилистического приема, но не их совокупности, что, несомненно, усложняет работу переводчика. Постановка такой проблемы в рамках данного исследования необходима для определения наиболее эффективной переводческой стратегии передачи конвергенции стилистических приемов в тексте перевода. Цель статьи – выявить и проанализировать способы передачи конвергенции стилистических приемов с языка-источника на язык перевода в плане сохранения ее прагматической функции. Материал и методы. Материалом исследования послужил роман Л. Толстого «Анна Каренина» и его перевод на английский язык, выполненный Маргарет Ветлин и опубликованный изданием Progress Publishers в 1978 г. Объектом исследования является конвергенция стилистических приемов, предметом – способы ее передачи с русского языка на английский. В работе нашли применение общенаучные и лингвистические методы исследования, в том числе описательный и сравнительно-сопоставительный. Результаты и обсуждение. Выявлено, что полное сохранение конвергенции в переводе встречается редко в силу лексических и структурных особенностей двух языков. Из 70 выявленных единиц текста 24 % составляют те, в которых стилистическая конвергенция была полностью сохранена при переводе. Передача стилистической конвергенции методом замещения или добавления некоторых ее элементов при переводе также встречается довольно редко (12 и 17 % соответственно). Наиболее частотным является способ передачи стилистической конвергенции с опущением при переводе тех или иных стилистических приемов оригинала (47 %). Что касается прагматических функций стилистической конвергенции, то они, в большинстве своем, сохраняются при переводе, при этом усиливая или, наоборот, ослабляя стилистический эффект текста оригинала. Заключение. В работе дан краткий обзор истории изучения явления стилистической конвергенции и приведены основные определения данного феномена. В ходе анализа материала исследования рассмотрены стилистические приемы, формирующие стилистическую конвергенцию в художественном тексте, проведен сопоставительный анализ текстовых единиц с применением конвергенции стилистических приемов в тексте оригинала и тексте перевода, выявлены наиболее частотные способы передачи стилистической конвергенции с русского языка на английский. Кроме того, проанализированы прагматические функции стилистической конвергенции и рассмотрены возможности их сохранения при переводе. Introduction. This article carries out the analysis of the ways the stylistic convergence is rendered from Russian into English. The phenomenon of convergence has been thoroughly studied neither by the stylistics as far as its speech implementation is concerned, nor by the theory of translation taking into account all the semantic, stylistic and pragmatic information expressed by the author by means of convergence that needs to be rendered in translation. Quite often, scientific research studies the problem of transferring a particular stylistic device rather than their converged group which obviously complicates the translator’s work. The problem thus stated is aimed at revealing the most effective translation strategy for rendering the stylistic convergence in the target text. Aim and objectives. The aim of the article is to single out and analyze the ways the convergence of stylistic means is rendered from the source language into the target language maintaining its pragmatic function. Material and methods. The material for the study is the novel “Anna Karenina“ by L. Tolstoy and its translation in English by Margaret Wettlin published by Progress Publishers in 1978. The object of the research is convergence of stylistic means, the subject is the ways of its transference from Russian into English. The basis of the methodology lies in the scientific and linguistic methods including the descriptive and comparative ones. Results and discussion. The research has shown that the complete transference of the convergence is rather rare due to the lexical and structural peculiarities of the two languages. Having analyzed 70 text units we have come to the conclusion that 24 % of them are those in which the stylistic convergence is preserved in the target text. The stylistic convergence is rendered by substituting or adding some of its components in 12 % and 17 % of units respectively. The most frequent (47 %) are the cases when some of the converged stylistic means of the source text are omitted in translation. As for the pragmatic functions of the stylistic convergence, they are in most cases retained in the target text enhancing or, on the contrary, weakening the stylistic effect of the original text. Conclusion. The article gives a short historical overview of studying stylistic convergence and covers its main interpretations. The analysis of the research material includes the study of stylistic means that form the stylistic convergence in the literary text, the comparative analysis of the text units containing the stylistic convergence both in the source text and in the target text. We revealed the most frequent ways of rendering the stylistic convergence from Russian into English. In addition, we analyzed the pragmatic functions of the stylistic convergence as well as the ways they can be retained in translation.
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Kanashina, Svetlana. "Representation of Grotesque Forms in English Internet Memes." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 3 (July 21, 2021): 55–64. http://dx.doi.org/10.37482/2687-1505-v103.
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This article looks at the grotesque as a stylistic device in English memes. The novelty of the research is determined by the fact that for the first time the grotesque is analysed in detail within the context of such a popular and understudied phenomenon of computer-mediated communication as the Internet meme. The relevance of the paper consists in the necessity of studying the grotesque in the Internet meme with the aim of developing and complementing a coherent theory of Internet memes. The aim of the paper is to examine the functioning of the grotesque in English Internet memes from the perspective of discourse theory, taking into account the distinctive communicative and semiotic nature of these units. The research shows that the grotesque is a common stylistic device in English Internet memes. Such forms of grotesque realization as political underpinning, zoomorphism and the interplay of the present and the past were revealed. It is noted that the political underpinning of the grotesque is manifested when this stylistic device is used to emphasize aspects of the political sphere. As for zoomorphism, this phenomenon is realized when animals are likened to people in a grotesque way. Further, it is demonstrated that the interplay of the present and the past is based on the fantastic and grotesque expression of temporal relations in Internet memes. The empirical evidence testifies that, as a rule, the grotesque in Internet memes acts as a means of creating humour and helps to express the implication of the meme’s author. In addition to that, the findings indicate that the functioning of the grotesque in Internet memes is determined by the multimodal form of these units, which allows one to create an expressive and vivid grotesque image. In conclusion, the article outlines prospects for further study of the grotesque in Internet memes.
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Stoliarova, A. G. "REGIONAL DEVELOPMENT OF A POETICAL TRADITION: FOREIGN INCLUSIONS AS A LITERARY DEVICE (stylistic aspect)." Bulletin of Udmurt University. Series History and Philology 30, no. 6 (December 11, 2020): 1008–13. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1008-1013.
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Scottish alliterative poetry, which can be regarded as a regional variety and at the same time the final step in the evolution of the alliterative tradition in England and Scotland, was composed in the second half of the 15th century, the period that marked the gradual decline of the tradition. In Scotland the alliterative verse was mainly employed for ironic or satirical purpose. The Buke of Howlat by Richard Holland, the earliest Scottish poem, can provide an example of using alliterative style in allegory and parody. The paper deals with how elements of a foreign language, as well as imitation of foreign speech can be employed as a literary device. By means of abracadabra, imitating the sounding of Scottish Gaelic, parody of Seanchas, or Gaelic genealogy, and the wrong transmission of Gaelic terms of poetry, the author creates a caricature on a Gaelic poet and the ancient oral Celtic poetical tradition, which was unjustly neglected by early Scottish writers.