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Journal articles on the topic 'Stylistic techniques'
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1
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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McIntyre, Dan. "Towards an integrated corpus stylistics." Topics in Linguistics 16, no. 1 (December 1, 2015): 59–68. http://dx.doi.org/10.2478/topling-2015-0011.
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Abstract Over recent years, the use of corpora in stylistic analysis has grown in popularity. However, questions still remain over the remit of corpus stylistics, its distinction from corpus linguistics generally and its capacity to explain complex stylistic effects. This article argues in favour of an integrated corpus stylistics; that is, an approach to corpus stylistics that integrates it with other stylistic methods and analytical frameworks. I suggest that this approach is needed for two main reasons: (i) it is analytically necessary in order to fully explain stylistic effects in texts, and (ii) integrating corpus methods with other stylistic tools is what will distinguish corpus stylistics from corpus linguistics. My argument is supported by reference to examples from Mark Haddon’s no vel The Curious Incident of the Dog in the Night-time and the HBO TV series Deadwood. Both these examples rely for their explanation on a combination of corpus stylistic analytical techniques and other stylistic methods of analysis.
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Либозаев, Дмитрий Петрович. "STYLISTIC TECHNIQUES FOR DRAFTING AN INDICTMENT." Вестник Тверского государственного университета. Серия: Право, no. 1(69) (March 22, 2022): 152–58. http://dx.doi.org/10.26456/vtpravo/2022.1.152.
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Рассматриваются проблемы, связанные с использованием стилистических приемов при составлении обвинительного заключения. Определяются и анализируются различные стилистические приемы изложения содержания обвинительного заключения и даются практические рекомендации по их применению. The problems associated with the use of stylistic techniques in the preparation of the indictment are considered. Various stylistic methods of presenting the content of the indictment are determined and analyzed and practical recommendations for their application are given.
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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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Morozova, Ekaterina N. "Stylistic text characteristics of Mari folk fairy tales." Finno-Ugric World 14, no. 1 (April 22, 2022): 44–57. http://dx.doi.org/10.15507/2076-2577.014.2022.01.44-57.
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Introduction. The relevance of the article is determined by the need to identify and describe the stylistic characteristics of the texts of folklore genres, as well as revealing the composition of the identified expressive means and figurative techniques of the Mari language. With a modern interest to the spiritual heritage of nations, the development of philological sciences, an analysis of the stylistic characteristics of the texts of Mari fairy tales can provide a more complete picture of the language and style of Mari folklore, which is an integral part of the system of functional styles of the Mari language. The article presents new data on the systemic nature of stylistic devices in the texts of folk tales. Materials and Methods. The empirical material is presented by 133 Mari folk fairy tales borrowed from various sources and considered from the stylistics within the framework of the theory of systems using a combination of general scientific (analysis and synthesis) and specific stylistic (semantic-stylistic, stylistic interpretation of the text) methods. Results and Discussion. The identified and described set of expressive and figurative means testifies to the wide variety of the components of folklore functional style, which is part of the system of styles of the Mari language. The algorithm for studying expressive means and figurative techniques in the texts of fairy tales presented in the article makes it possible to use the theoretical basis and methodological base in the study of texts of other folklore genres that belong not only to the Mari linguistic culture. Conclusion. The relevance and significance of the research is determined by the tasks set in it resulting in definition of new data on the systemic nature and components of the style of folk fairy tales. The main part of the system of stylistic devices is made up of expressive techniques of the phonological and syntactic levels of texts, supplemented by techniques of the morphological and lexical levels.
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Boginskaya, Anastasia. "French translations of “Eugene Onegin”: on the conveyance of stylistic patterns." Litera, no. 11 (November 2021): 227–41. http://dx.doi.org/10.25136/2409-8698.2021.11.36632.
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This research is dedicated to the topic of multivariate translations. Leaning on the text corpus that contains 16 French translations of A. S. Pushkin's novel “Eugene Onegin”, analysis is conducted on the peculiarities of conveying certain characteristic stylistic patterns in French texts alongside other stylistic techniques of the original, as well as changes in translations depending on the poetic form chosen by the translator. The selected extensive material trace traces the evolution of translators’ approach towards the stylistics of Pushkin's text over time. The article focuses on the chapters III and VIII of the novel. Comparative analysis demonstrates the dependence of the stylistic aspect of translation on the poetic form chosen by the translator. Prose translations provide more accurate stylistic equivalents than translations of the verses. Poetry translations are divided into two groups: 1) accurate compliance with the of Onegin’s verse; 2) departure from the rhyme pattern of the original. The frequency of transmitting stylistic techniques of the original in both groups does not demonstrated significant systematic differences. The author determines the consistencies in conveying certain stylistic patterns in various French translations. Periphrases, comparisons, inversions, and metaphors most of the time receive stylistically accurate equivalents in all translations; while metonymy and polysyndeton with conjunction “and” do not. The scientific novelty lies in examination of the text corpus that contains virtually all existing full translations of the novel “Eugene Onegin”.
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Morini, Massimiliano. "Towards a musical stylistics: Movement in Kate Bush’s ‘Running Up That Hill’." Language and Literature: International Journal of Stylistics 22, no. 4 (November 2013): 283–97. http://dx.doi.org/10.1177/0963947013491486.
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A very recent trend in stylistics proposes the extension of its field of enquiry to accommodate various forms of multimodal art. Reflecting as it does the growing semiotic complexity of contemporary aesthetics, ‘multimodal stylistics’ is a welcome development. So far, however, its proponents have concentrated on genres in which texts are complemented by, or realized through, the visual medium – films, stage plays, television series and illustrated books. In this article, a multimodal stylistic analysis is attempted on a genre which has attracted little critical attention in linguistics – modern pop-rock music. A 1985 song by singer-songwriter Kate Bush, ‘Running Up That Hill’, is studied linguistically and musically. Employing a blend of stylistic and musicological techniques, and some of the insights provided by newborn multimodal stylistics, the author explores the complex ways in which meaning is created in a pop-rock song.
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Egbert, Jesse. "Style in nineteenth century fiction." Scientific Study of Literature 2, no. 2 (December 31, 2012): 167–98. http://dx.doi.org/10.1075/ssol.2.2.01egb.
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Recent years have seen substantial advances in ‘corpus stylistics’, which is the use of corpora and computational techniques to study literary style. Corpus stylistics has produced analyses of otherwise imperceptible features of literary style. However, studies in corpus stylistics have rarely considered the full set of core linguistic features. The present study explores literary style through the application of Multi-Dimensional analysis. Stylistic variation along three dimensions is accounted for using a large, principled corpus of fiction. The dimensions of variation are interpreted as ‘Thought Presentation versus Description’, ‘Abstract Exposition versus Concrete Action’, and ‘Dialogue versus Narrative’. These three dimensions are then used to compare the styles of nineteenth-century fiction between authors, and the range of stylistic variation among the novels of individual authors. The findings are interpreted qualitatively and with reference to previous analyses of author style.
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Simpson, Paul, and Geoff Hall. "7. DISCOURSE ANALYSIS AND STYLISTICS." Annual Review of Applied Linguistics 22 (March 2002): 136–49. http://dx.doi.org/10.1017/s0267190502000077.
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This review focuses on contemporary work in discourse stylistics, defined here as that designated branch of stylistics which draws specifically on the techniques and methods of discourse analysis. The review acknowledges a key assumption in modern discourse stylistic research, namely that the distinction between ‘literary’ and ‘nonliterary’ discourse, if tenable at all, is drawn not on a purely linguistic basis but in terms of multiple intersections among texts, readers, institutions, and sociocultural contexts. In spanning studies of both literary and nonliterary discourse, therefore, the coverage of the present review is intended to reflect this axiom. It also attempts to foreground the diversity of method and approach in contemporary discourse stylistics. Given that the techniques of discourse analysis are themselves many and various, the survey seeks to cover stylistic work that offers productive applications of the many available models in pragmatics, conversation analysis, cognitive linguistics, speech act theory, and discourse psychology. Finally, in covering a selection of important monographs, articles, and book chapters, the review seeks both to highlight some of the critical, cultural, and ideological frameworks currently employed by discourse stylisticians and to demarcate, in more general terms, the current state-of-play in this research tradition.
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Adil Jaafar, Eman. "Corpus Stylistic Analysis of Thomas Harris' The Silence of the Lambs." Khazar Journal of Humanities and Social Sciences 20, no. 1 (April 2017): 25–42. http://dx.doi.org/10.5782/2223-2621.2017.20.1.25.
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This paper aims to employ one of the corpus stylistic methods to analyze Thomas Harris's novel, The Silence of the Lambs. Recently, technology has invaded our lives. To put it differently, researchers depend highly on computers to access and gain information about certain data. Thus, it is crucial to keep up with the up-to-date developments concerning computational methodologies and toolkits. Corpus stylistics helps to find certain features that cannot be understood without using the techniques of computers. In order to achieve this goal, a quantitative and qualitative methodology is applied. Corpus stylistics helps to analyze lengthy texts more efficiently. This is not to say that it substitutes the manual stylistic one. In fact, both the corpus and manual stylistic analyses work hand in glove, and they complement each other. The tool that is used to conduct the analysis by examining keywords and key semantic domains is Wmatrix3. In addition to the previous tool, AntConc is a complementary tool to investigate n- grams in the novel and to point out their significance to the overall interpretation.
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Ji, Meng. "Quantifying Phraseological Style in Two Modern Chinese Versions of Don Quijote." Meta 53, no. 4 (January 16, 2009): 937–41. http://dx.doi.org/10.7202/019664ar.
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Abstract Quantifying style, or stylometry, has always been one of the oldest traditions in Western literary studies. It seems, however, that such a well-explored and long-standing scientific methodology has been rarely applied to translations, as opposed to original literary texts. The present paper, which focuses on the stylistic use of phraseology in two contemporary Chinese versions of Cervantes’ Don Quijote, shall endeavour to address the two current problems in corpus-based translation stylistics, i.e., the lack of debate on the question of semantically-rich linguistic units in quantifying style of translations, and the need for testing the use of methods and techniques adapted from corpus statistics in detecting stylistic traits in translations. It is hoped that this study, which aims at expanding the current methodological framework for translation stylistics, will help in the development of this growing area of research in Translation Studies.
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Meng Ji. "Corpus stylistics in translation studies: two modern Chinese translations of Don Quijote." Language and Literature: International Journal of Stylistics 18, no. 1 (February 2009): 61–73. http://dx.doi.org/10.1177/0963947008099306.
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This article aims to provide a quantitative account of the stylistic differences between two modern Chinese translations of Don Quijote in terms of the use of language archaism. For this purpose, a number of statistical techniques applicable in corpus linguistics have been used, which exemplifies the foregrounding of quantitative primary data. The article provides an original interdisciplinary study which attempts to integrate research methods adapted from different areas of research, e.g. textual statistics, corpus linguistics, literary stylistics and translation studies, into the development of an emerging field known as corpus stylistics.
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Hassan Sallomi, Azhar. "A STYLISTIC STUDY OF PERSUASIVE TECHNIQUES IN POLITICAL DISCOURSE." International Journal of Language Academy 6, no. 23 (January 1, 2018): 357–65. http://dx.doi.org/10.18033/ijla.3912.
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Popova, Olexandra, Oleg Bolgar, and Tomashevska Anastasiia. "TRANSLATION TECHNIQUES OF STYLISTIC PHENOMENA IN A TV INTERVIEWER’S SPEECH." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2020, no. 31 (December 2020): 312–27. http://dx.doi.org/10.24195/2616-5317-2020-31-20.
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The work is devoted to the study of translation peculiarities of stylistic features of a TV interviewer’s English speech into Ukrainian. The correct translation of the content of a speech segment requires good knowledge of vocabulary, and the capability to recognize the stylistic features of a foreign language in communication, and the techniques used to translate them into the native language. Translation of metaphors, metonymy, comparisons is of particular difficulty for the translator, however, it is the ability to use various techniques in translation that helps the translator to convey the meaning of the statement to the listener adequately. The television interview is characterized as an independent journalistic genre, is a kind of television communication, a purposeful individual-social speech phenomenon, which consists of the organized interaction detween the speakers and finds its expression in a specific dialogically constructed form. The results of this study show that each translated stylistic unit is characterized by a set of transformations typical for it. In most cases, these transformations involve lexical and syntactic stylistic devices. At the level of vocabulary, the speech of a TV interviewer is characterized by a significant number of colloquialisms, colloquial cliches, phraseological units. At the level of syntax, the typical indicators of the conversational style of the TV nterviewer are parallel constructions, repeated requests, elliptical sentences, repetitions, unfinished phrases, and the absence of inversion in interrogative sentences. The information obtained as the result of convergence of stylistic devices as a set of components participating together with other linguistic units in the formation of expressiveness, emotiveness and evaluation is one of the important sources of the language pragmatic function.
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Zhang, Shеngwen. "FORMATION OF STYLE CULTURE OF PERFORMANCE OF MUSICAL WORKS IN FUTURE TEACHERS OF MUSICAL ART: METHODOLOGICAL ASPECTS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 208–11. http://dx.doi.org/10.36550/2415-7988-2021-1-195-208-211.
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The article is devoted to the coverage of methods of formation of stylistic culture of performance of musical works at future teachers of musical art. Attention focused on the practical advantages of the proposed methods. The use of methods of sketchy-stylistic processing of musical material, stylistic analysis and stylistic comparisons, as well as the method of variant-stylistic processing of music in systematic interaction contribute to the expansion of musical-cognitive capabilities of students, activation of their evaluative-interpretive actions and creative self-expression. The practical solution of the problem of formation of stylistic culture of performance of musical works of students provides expansion of musical-theoretical erudition of students in the historical-stylistic aspect; strengthening the analytical and evaluative orientation of stylistic elaboration of educational material, stimulating future teachers in the process of interpreting music to creative self-expression on the basis of deep comprehension and adherence to the stylistic basis of the composer's work. An indispensable condition for stylistic analysis is the consideration of stylistic features of the form of a musical work in unity with the stylistic characteristics of its figurative content. The practical application of stylistic analysis also takes into account the influence of the historical context of the development of musical culture on the stylistic features of composer's thinking, reproduced in music. The article presents an analytical understanding of scientific and methodological literature, the results of executive training of students, analogies, comparison of experimental data, modeling, generalization. Methods and techniques of formation of stylistic culture of the future teacher of musical art in the course of performance of musical works are offered. The need for further research in identifying methods and techniques for forming a stylistic culture of future teachers to perform works of school repertoire emphasized.
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Ene, Ana. "Interpreting poetry for teaching about style." JOURNAL OF LINGUISTIC AND INTERCULTURAL EDUCATION 12, no. 1 (April 30, 2019): 71–84. http://dx.doi.org/10.29302/jolie.2019.12.1.5.
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This paper investigates a series of problems which may appear in the process of literary text interpretation, especially texts belonging to the lyric poetry genre, in view of teaching certain stylistic analysis techniques at the university level. Teaching in practice shows that one of the major difficulties that undergraduates can face in their stylistic approach to such a text consists in the correct decoding of its theme and message. The main objective of this paper is therefore to examine and interpret the external form of the analysed text meant to lead to its internal form. A configuration of the perimeter of this investigation involves certain methodological aspects belonging to the field of linguistic stylistics and, partially, to the domains of pragmatics and general semiotics. Implicitly, the analytical instruments to be used are selected from those specific to the aforementioned domains. The demonstrative analysis is applied to two modern Romanian poems, selected according to the following principle: the texts must contain enough aspects to create difficulties in reception and which require various stylistic approaches.
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Naumenko, Olha. "PHONETIC DEVICES OF E. A. POE’S POEM “THE RAVEN” AND TECHNIQUES OF THEIR EMBODIMENT IN TRANSLATION." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2020, no. 30 (March 2020): 120–34. http://dx.doi.org/10.24195/2616-5317-2020-30-8.
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The given article is devoted to the studying of main phonetic devices in E. A. Poe’s poem “The Raven” and peculiarities of their rendering in three target languages. Comparative analysis has been based on the original of the poem and its Ukrainian translations of P. Hrabovskyi, H. Kochur, A. Onyshko, V. Marach; Russian translations of S. Andreyevsky, K. Balmont, V. Bryusov, V. Betaki; German translations of K. T. Eben, H. Lachmann, T. Etzel, H. Wollschläger. The main techniques of phonetic devices rendering have been revealed. They are: stylistic equivalence, stylistic strengthening, stylistic weakening, stylistic individualization, stylistic grading. In the course of comparative analysis of E. A. Poe’s poem “The Raven” and its Ukrainian, Russian and German translations it has been found, that early translations, Ukrainian and Russian in particular, are aimed at sense rendering and do not pay much attention to the form, especially to the phonetic devices. In later translations the form and the sense of the original are preserved equally. However, notwithstanding high accuracy of later Ukrainian and Russian translations, German translations are the most precise ones as to phonetic devices’ rendering, because English and German belong to one language group — German group of Indo-European family, that’s why they have many similarities in the phonetic organization.
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Podavets, O. D., and O. V. Gerok-Yerzhanova. "How to teach students to make complex interpretation of a text." ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ 72, no. 5 (April 2021): 109–12. http://dx.doi.org/10.18411/lj-04-2021-202.
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This article deals with the main problems of the literary interpretation of a text and focuses on the ways to eliminate them. The authors of the article present various techniques for working with stylistic terminology and give recommendations for students in the application of theoretical knowledge in stylistics in practice. Furthermore, the authors suggest different variations on analyzing the text, based on the theoretical material, which facilitate the formation of the necessary practical skills for the interpretation of a literary text.
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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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Litvinova, A. A., and N. V. Stepanova. "Linguistic and Cultural Analysis of Translation Techniques in the Process of Localization of an English Fairy Tale." Discourse 8, no. 1 (February 25, 2022): 168–80. http://dx.doi.org/10.32603/2412-8562-2022-8-1-168-180.
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Introduction. This article is devoted to the consideration of linguistic and cultural study of translation techniques in the process of localization of an English fairy tale for a Russianspeaking readership. The relevance of the research is determined by the need for a comprehensive study of the localization process of various ethno-cultural phenomena displayed during translation, as well as the stylistic transformations used in this process for the purpose of adapting the original text to the linguistics and culture of the target language.Methodology and sources. The typology of translation transformations by L.K. Latyshev was used as a reference classification, within which the author distinguished lexical, morphological, syntactic, mixed and stylistic transformations. The research was conducted in the context of a linguistic-stylistic approach to the analysis of the text using continuous sampling method, the methods of contextual, linguistic and cultural analysis, as well as the descriptive and comparative method, which implies identifying and understanding of stylistic transformations performed by the translator, and semantic and cognitive analysis, consisting in the study of verbal representations of the concept in the language, were used. The research material is presented by an English-language fairy tale and its translation into Russian (the book by K. Lewis “The Lion, the Witch and the Wardrobe” and the translation made by G.A. Ostrovskaya).Results and discussion. Stylistic transformations implemented during the localization of a fairy tale significantly change the original text in accordance with the requests of the culture of the target language. The most common stylistic transformations during localization of an English fairy-tale texts are related to such stylistic devices as metaphors and idioms, due to discrepancies in the system of images between languages, as well as exotisms, that underlie the key concepts of a particular culture, and allusions, since, due to the distance between cultures, they may be unknown to the recipient of the translation.Conclusion. A fairy tale preserves the wisdom, traditions and morals of a particular society, and therefore is a way of reflecting national identity. Localization, as a process of adaptation of works of this genre, is directly related to stylistic transformations, since they play a key role in achieving an adequate translation.
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Young, James E., Takeo Igarashi, Ehud Sharlin, Daisuke Sakamoto, and Jeffrey Allen. "Design and evaluation techniques for authoring interactive and stylistic behaviors." ACM Transactions on Interactive Intelligent Systems 3, no. 4 (January 2014): 1–36. http://dx.doi.org/10.1145/2499671.
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Chistyakova, Olga. "Artistic and Stylistic Features of Yusupov Glassworks in Arkhangelskoye." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 125–38. http://dx.doi.org/10.36340/2071-6818-2019-15-3-125-138.
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The article deals with the main periods, the history of the emergence of Yusupov glassworks in the Arkhangelskoye estate and its importance in the development of Russian glass art. Yusupov glass-making in Arkhangelskoye was developing under the influence of European trends in shaping and decoration in synthesis with the Russian tradition and the specifics of Russian materials, raw material bases and national perspective on the wide range of techniques and technologies. The author pays special attention to the artistic, stylistic and technological features of the manufactured products, as well as to the decor specifics of cut glass technique. Author divided the history of the Yusupov factory into two main stages. The first one lasted from 1811 to 1820. During this time the enterprise was operating as a full-scale production and the process of manufacturing crystalware or glassware was going through all stages: from the preparation of the mixture and the cooking of “crystal material” to the decorative processing of finished objects. Although in fact such a cycle was fully followed only three times in the period of 1814-1816. However, the institution was regarded as a factory from 1811 until 1820, and only after the fire, the idea of reviving the production was finally rejected. During the second stage, from 1820 to early 1827, the factory was turned into a lapidary workshop, where the craftsmen were engaged in decorative processing of the purchased unfinished glassware. The identification of stylistic features and characteristic techniques of processing the products made in the estate factory and their evolution at different periods of the production history makes it possible to attribute the tableware of N. Yusupov’s enterprise in the collections of other museums. Moreover, the results could provide the basis for the re-emergence of the lapidary workshop in the modern Arkhangelskoye Estate Museum where craftsmen could reproduce the decorative techniques typical of the Yusupov factory based on the finished unprocessed glassware.
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Habashneh, Qutaiba. "Amjad Nasser’s Short Poem’s Stylistic Composition." Modern Applied Science 13, no. 2 (January 27, 2019): 265. http://dx.doi.org/10.5539/mas.v13n2p265.
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The present study explores the stylistic composition of Amjad Nasser’s short poem. The analysis covers the features of the experience, the poet’s awareness of its forms and his motivations. It is found that the poet is conscious of the composition of the genre, which has its own function and beauty, and a technical necessity representing a stylistic stage of his poetry. Such poetic revolutionizing is a self-attempt experience to diversify the poetic shape, mixed with human and artistic factors which express rebellion and rejection and prefer the stylistic composition of the short poem. He is also affected by the heritage of Arab and Western modernism. It is also found that the poet builds his short poem on a set of foundations and techniques, such as intensity, irony, satire, circular construction, connotation, flash, omission, poetic concentration, squeezed language, ambiguity, intertextuality, opening, etc.
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Dzhagatspanyan, Olga, and Svetlana Orlova. "The Role of Syntactic Expressive Means in the English Language Economic Mass Media." International Journal of English Linguistics 10, no. 5 (June 2, 2020): 15. http://dx.doi.org/10.5539/ijel.v10n5p15.
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This article studies expressive syntax as a type of stylistic devices and illustrates its use in publicistic style economic oral and written media reports. The relevance of the research is that syntactic expressive means have not been thoroughly studied and analyzed in economic mass media. The work aims to identify the techniques that apply syntactic expressive means to evoke emotiveness in economic media reports. This article also addresses the recurrence of usage of expressive syntax in written and oral speech involving economic discourse. Using the method of text analysis on the bases of theoretical linguistic statements evaluating functional style, media stylistics, and stylistic devices in the English language, we determined the diverse usage of expressive syntax in both videocasting and written articles. From analyzed syntactic expressive means, we identified the frequency and common usage of such syntactic expressive means as rhetorical question and simple repetition in oral and written reports. The sample analysis indicated that a paragraph in any economic report might restrain more than one occurrence of expressive syntax; these carry a manipulative function through psychological phenomena represented via syntactic expressive means.
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Kuzmenko, A. O., and V. E. Railianova. "Lingvuistic features of the English language opera aria." Bulletin of Luhansk Taras Shevchenko National University, no. 3 (341) (2021): 76–85. http://dx.doi.org/10.12958/2227-2844-2021-3(341)-76-85.
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The article deals with the relationship between discourse and text, as well as song discourse and song text. The place and role of the style of the opera aria in the world culture (musical culture) has been determined. The object of the study is the English-language song texts of opera arias, and the subject is their stylistic arrangement. The signs of dialogism in the English-language song texts of opera arias are clarified: the use of interjections, the first and second person of pronouns and verbs, imperative constructions and addresses. It has been proven that stylistic means of addition and substitution play a significant role in style. The stylistic addition is aimed at depicting the magical and mystical with a breath of the imaginary. On the other hand, vernacular using interjections, imperatives, abbreviated forms reinforce the ordinariness of life. All stylistic techniques of addition are aimed at more emotional saturation of the realities of human existence in the English-language song texts of opera arias. Personification is perhaps the main technique of opera arias, because everything that is sung about the feeling of love is filled with human skills and capabilities. Stylistic figures of addition and substitution in the English-language opera arias emphasize the emphatic nature of thought and the acuteness of the speaker's perception of the world around him.
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Fadli, Zaki Ainul, and Dewi Kusmiati. "Gaya Bahasa Pada Lirik Lagu Spirits Of The Sea Karya Kenshi Yonezu." KIRYOKU 4, no. 1 (May 25, 2020): 1–6. http://dx.doi.org/10.14710/kiryoku.v4i1.1-6.
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(Title: Stylistics on Song Lyrics Spirits of the Sea by Kenshi Yonezu) Lyrics of the song are an outpouring of the author's personal feelings and contain various meanings based on the style of language used. The style of language in a literary work is known as the 'stylistics'. In this regard, this research trying to find out the stylistic elements (language style) contained in the lyrics of Spirits of the Sea by Kenshi Yonezu. The theory used is the style theory by Gorys Keraf. In conducting this research, the author uses qualitative methods. Data processing techniques used are literature review and analysis techniques. Data obtained by reading the lyrics of the song Spirits of the Sea by Kenshi Yonezu. Through library research methods and analysis techniques, the results and conclusions obtained in the form of qualitative data is description and interpretation, namely the style of language based on the choice of words used and the style of language based on the sentence structure in the lyrics. Besides, there are several types of language styles based on the direct or indirect meaning in the lyrics of the song Spirits of the Sea by Kenshi Yonezu such as personification, hyperbole, etc.
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N.V., Diachuk, and Biliuk I.L. "ГОЛОВНІ ТЕХНІКИ СТВОРЕННЯ ПОРТРЕТУ ГЕРОЯ У ХУДОЖНІЙ ЛІТЕРАТУРІ." South archive (philological sciences), no. 87 (September 29, 2021): 42–45. http://dx.doi.org/10.32999/ksu2663-2691/2021-87-6.
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Вступ. Філологічний аналіз словесних та художніх описів емоційного стану героїв може допомогти виявити ті якості, які сприяють характеристиці літературного персонажа та основної ідеї твору в цілому. Мета. Мета дослідження – пролити світло на мовно-стилістичні засоби, які сприятимуть створенню психологічного пор-трета головного героя в художньому тексті. Для виконання завдання потрібно з’ясувати найпотужніші прийоми, які використовує автор, і ґрунтовно пояснити наміри автора під час створення психологічного портрету головного героя або героїв роману.Методи. Перелік методів, що використовуються у дослідженні, різноманітний. Серед найбільш ефективних є метод індукції та метод синтезу. Контекстуальний аналіз мовних одиниць розглядається як надзвичайно важливий. Це дослідження має важливе значення з точки зору його практичного та теоретичного значення. Дослідження може бути практично використано для лінгвостилістичного аналізу художньої літератури.Результати. Майстерно зображені автором психологічні портрети протагоністів допомагають зрозуміти глибоку психологічну суть самого роману. Головною ідеєю твору є мотив дружби, на якому ґрунтується опис персонажів. Створюючи харак-теристики літературних образів, автор використав засіб опису середовища та емоцій головних героїв. Таким чином, психологічний портрет образу Джорджа та Ленні був створений за допомогою лінгвостилістичних засобів та поетичних прийомів. Щодо останніх, вони включали дискретний груповий портрет та опис природи, щоб підкреслити схожість характерів героїв, а також показати вражаючий контраст у їх зовнішності. Найчастіше використовуються лінгвостилістичні засоби: порівняння, персоніфікація, епітети, метафори та зооморфне порівняння.Висновки. Мовно-стилістичні засоби відіграють важливу роль у створенні психологічного портрета літературного персо-нажа. Мовна виразність і яскравість висловлювань досягається не лише завдяки виразним стилістичним та оцінно-стилістичним компонентам, а й тому, що слова і словосполучення можуть набувати переносних значень, бути частиною стилістичних фігур, що провокують створення образного значення. Для створення психологічного портрета використовуються різні мовно-стилістичні засоби, такі як епітет, метафора, метонімія, оксиморон та інші, які допомагають розкрити суть персонажів, роз-пізнати їхній внутрішній світ та спосіб їхнього мислення та дій.Ключові слова: психологічний портрет, літературний текст, стилістичні засоби, поетична мова, літературний герой. Introduction. The philological analysis of verbal and artistic descriptions of the characters’ emotional state can help profoundly identify those qualities that contribute to the characterization of the literary character and the main idea of the work as a whole.Purpose. The research aims to shed some light on the linguistic and stylistic means that will contribute to creating the psychological portrait of the main character in the literary text. To accomplish the task we need to figure out the most powerful techniques the author uses and thoroughly explain the intentions of the author while creating the psychological portrait of the personage.Methods. The list of methods used in the research is diverse. Amongst the most efficient are the method of induction and the method of synthesis. The contextual analysis of linguistic units is viewed yet as one of paramount importance. This study is important in terms of its practical and theoretical value. The research can be practically used to deal with linguostylistic analysis of the literature.Results. Skillfully written psychological portraits have been used to focus on deep psychological meaning of the novel “Of Mice and Men”. The main idea of the novel is the motive of friendship, on which the description of characters is based. Meanwhile, creating the personages’ characteristics, the author used the means of identifying the description of the environment and emotions of characters. Thus, the psychological portraits of the images of George and Lenny were created with the help of linguo-stylistic means and poetic devices. Regarding the latter, they included a discrete group portrait and a description of nature to emphasize the similarity of the characters of the heroes, as well as to show a striking contrast in their appearance. The most commonly used linguo-stylistic means are: comparison, personification, epithets, metaphors, and zoomorphic comparison.Conclusions. Linguistic and stylistic means play an important role in creating a psychological portrait of a literary character. Linguistic expressiveness and brightness of utterances are achieved not only due to expressive stylistic and evaluative-stylistic components, but also due to the fact that words and phrases can acquire figurative meanings, be part of stylistic figures that provoke the creation of figurative meaning. To create a psychological portrait, various linguistic and stylistic means are used, such as epithet, metaphor, metonymy, oxymoron and others, which help to reveal the essence of the characters, recognize their inner world and the way they think and act.Key words: psychological portrait, literary text, stylistic means, poetic language, literary personage.
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Bradley, Elizabeth, David Capps, Jeffrey Luftig, and Joshua M. Stuart. "Towards Stylistic Consonance in Human Movement Synthesis." Open Artificial Intelligence Journal 4, no. 1 (February 8, 2010): 1–19. http://dx.doi.org/10.2174/18740618010040100001.
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A common task in dance, martial arts, animation, and many other movement genres is for the character to move in an innovative and yet stylistically consonant fashion. In this paper, we describe two mechanisms for automating this process and evaluate the results with a Turing Test. Our algorithms use the mathematics of chaos to achieve innovation and simple machine-learning techniques to enforce stylistic consonance. Because our goal is stylistic consonance, we used a Turing Test, rather than standard cross-validation-based approaches, to evaluate the results. This test indicated that the novel dance segments generated by these methods are nearing the quality of human-choreographed routines. The test-takers found the human-choreographed pieces to be more aesthetically pleasing than computer-choreographed pieces, but the computer-generated pieces were judged to be equally plausible and not significantly less graceful.
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Tsui, Ts. "LINGUISTIC FEATURES OF RUSSIAN FOLK TALES." BULLETIN Series of Philological Sciences 77, no. 3 (September 15, 2021): 44–51. http://dx.doi.org/10.51889/2021-3.1728-7804.06.
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Russian folk tale surprises with its rich vocabulary, colorful turns, and unusual stylistic methods. In order to plunge into the world of the Russian folk tale, in this article, we will analyze each feature separately and highlight more indicative features in each. The tale has a generalizing idea that has been developed over the centuries. In a fairy tale, artistic thought itself plays a huge role, and this unity is created thanks to certain means: repetitions, epithets, hyperbole, antithesis and other stylistic and compositional techniques. From the point of view of their stylistic specifics, Russian folk tales are taken a particular interest. Ergis G.U. argued that not only their content but also the stylistic features of the text serve as a means of moral education of the reader. The grammatical properties of units consist of: forms of words, phrases, sentences, order of units, grammatical meanings of forms, etc.
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Perfilyeva, Irina Yu. "Contemporary Artistic Enamel: Stylistic and Innovative Development Trends." Vestnik of Saint Petersburg University. Arts 10, no. 4 (2020): 586–608. http://dx.doi.org/10.21638/spbu15.2020.404.
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Artistic enamel from the 1920s to the 2010s, has experienced a difficult path of development. In the early twentieth century, it represented a variety of techniques in regard to the artistic processing of metals. Today, it is an independent type of plastic arts, which synthesized both technical and technological innovations, as well as stylistic features of contemporary art and current artistic practices. In the history of artistic enamel several stages are clearly visible. The beginning of the process lies in the penetration of the principles of easel art into decorative art, which occurred in the first post-revolutionary decade due to the participation of leading masters of the Russian avant-garde in the creation of enamel works. During the second stage, the artists of the next generation attempted to combine the principles of easel painting with the national traditions that prevailed in the centers of folk arts and crafts. The third stage was inspired by the entry into the process of monumentalists and the active participation of Russian artists in international creative enamel symposia. In the fourth stage, the role of a structuring factor in the development of domestic enamel art was played by individual creative workshops that opened in different regions of Russia. Easel enamel of the 2010s is characterized by the multidimensionality of the artistic space, the creation of enamel works at the junction of different types of characteristics: both traditional and contemporary. These are classic “paintings”, panels and easel three-dimensional objects in which enamel is combined with other materials, but also monumental and decorative art objects and digital painting in enamel. Contemporary Russian art enamel represents an independent type of plastic arts, in which, in addition to traditional ones, there are numerous innovative author’s technical and technological techniques as well as methods of work.
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Setyanto, Tian, Andayani Andayani, and Nugraheni Eko Wardani. "THE IMAGE OF WOMEN IN HANINDAWAN'S LAMPOE PLENTHONG 15 WATT DRAMA SCRIPT." RETORIKA: Jurnal Bahasa, Sastra, dan Pengajarannya 14, no. 1 (March 28, 2021): 21. http://dx.doi.org/10.26858/retorika.v14i1.15321.
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The purpose of this research was to describe the image of women in Hanindawan's drama script Lampoe Plenthong 15 Watt. This research was a descriptive qualitative research with content analysis. The data was from Hanindawan's Lampoe Plenthong 15 Wattdrama script. Data collection techniques used library techniques, listen and take notes. The data analysis technique used an interactive technique with a stylistic approach. Based on the results of the research, it was found that the form of women's image included the role of women as individuals, the role of women as mothers, the role of women as wives, the role of women as workers and the role of women in community life.
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.
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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.
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Borisova, Inna Vladimirovna. "Fulfillment of stylistic potential of the English-language advertising slogans in the Internet discourse." Litera, no. 9 (September 2021): 66–81. http://dx.doi.org/10.25136/2409-8698.2021.9.36239.
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The article examines the English-language advertising content of modern Internet discourse (2010–2021). Leaning on the existing theoretical postulates of Russian and foreign scholars in the area of advertising business and taking into account the accumulated discursive practices of scientific research, the author analyzes the examples of the authentic English-language advertising slogans for the purpose of determining most common and effective stylistic techniques. The validity of the acquired results is substantiated by scientific rigor in selecting the methods of research that correlate with the goals and tasks set by the author: continuous sampling, contextual analysis, statistical data analysis, descriptive and comparative methods. The results presented as a diagram most vividly demonstrate the current trends in fulfilling stylistic potential of the English-language advertising slogans to influence the Internet communicants in the most effective way. The specifics of the online advertising discourse is defined by the fact that Internet is an experimental platform for language artistry of the communicants, who are able to appreciate the nonstandard linguistic intentions of the advertiser and their creative implementation. The author offers to continue the analysis of the stylistic component of the online advertising discourse, as well as trace the dependence of the success of realization of the tactics and strategies of the advertisers on the use of certain stylistic techniques in advertising slogans.
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Sharov, Oleg. "Bosporus. Polychromic Styles of the Late Roman Period." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 197–220. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.13.
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The polychromic style of the Late Roman period is characterized by a combination of the following traits: a stable set of ornamental motifs, specific ornamentation techniques (embossing, stamping, granulating and filigree techniques) and bezel setting of semi-precious stones or jewelry glasses. Altogether, five stylistically distinct groups of polychromic articles can be distinguished in the Late Roman Period. The first stylistic group named Illerup–Kerch consists of objects decorated with thin gold plates embossed with the following designs: granulation, filigree patterns, concentric circles and serpents. They appear as early as the second third of the 3rd century AD and continue to exist up to the middle of the 4th century. The second stylistic group Berkasovo–Kishpek includes objects decorated mainly with thin gilded silver plates embossed with both the same and some new designs such as sidelong crosses, stars, triangles. These objects appear not earlier than the early 4th century and continue to exist during most of this century. The third stylistic group Gorgippia–Loo includes massive gold objects decorated all over with festoon patterns of soldered granulation and filigree, and with turquoise, carnelian and garnet inserts in the center of the girdle. While such objects are particularly common at the Caucasian sites (Armaziskhevi, Kldeeti, Loo) dated to the second half of the 2nd century and the first half of the 3rd century, they are also known in Bosporus (Gorgippia, Panticapaeum) and in the Kuban region (“Golden cemetery”). In addition, some of the Late Roman sites have yielded rare finds of objects executed in a technique similar to the technique of filigree incrustation. These objects constitute the fourth stylistic group Aragvispiri–Tanais. They were found at Komarov II (barrow 8); Adzhimushkai, 1841; burial with the Golden Mask of 1837; Berdyansk barrow; Tanais, 1972, etc. The fifth group Messaksudi–Kerch appears in the second third of the 4th century AD and combines characteristics of the previous two groups: ornaments of the third group (genuine granulation and filigree), but on thin gold plates. The main ornamental motif are granulated triangles which fill all the space between the bezels inserted with semiprecious stones and glasses. Nearly all items included in the third and fifth groups may have analogies among the objects of I.P. Zasetskaya’s stylistic group I of the Hunnic era polychrome products, but precede them and belong to the 3rd – 4th centuries AD.
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Johnson, R. A., J. J. Stipp, M. A. Tamers, Georges Bonani, Martin Suter, and Willy Wölfli. "Archaeologic Sherd Dating: Comparison of Thermoluminescence Dates with Radiocarbon Dates by Beta Counting and Accelerator Techniques." Radiocarbon 28, no. 2A (1986): 719–25. http://dx.doi.org/10.1017/s0033822200007943.
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Sherds can be dated by four independent methods: 14C beta counting on associated material, accelerator mass spectrometry on carbon traces on and within the sherd, thermoluminescence studies on minerals within the sherd, and stylistic form. Age analyses of materials and sherds from several sites are shown in this work. Each technique has its own frequently encountered non-laboratory sources of error. A combination of at least two independent techniques is indispensable for the highest level of confidence.
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Шидловская, Диана, and Diana Shidlovskaya. "Translation of Tropes and Stylistic Devices in Jonathan Safran Foer’s Novel “Everything Is Illuminated”." Scientific Research and Development. Modern Communication Studies 8, no. 5 (September 24, 2019): 18–25. http://dx.doi.org/10.12737/article_5d775faa003d04.79926851.
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Stylistic devices and tropes are the elements of style that give an extra, figurative meaning to a written or oral text. They include metaphors, simile, allegory, paradox, word game and so on. Each author uses them in different ways to make their works more expressive and emotionally dense. Sometimes stylistic devices and tropes can manifest themselves as the characteristics of an author’s individual style. Metaphoric language and bizarre manner of representation are particularly common for the authors of the postmodern era. When it comes to translation of these works from one language to another the process is fraught with pitfalls and challenges for the translator. In the translation studies it’s believed that literary translation requires not only precise rendition of the contents but also conveyance of the stylistic features of a work. This article is dedicated to the analysis of the stylistic devices and tropes used in the novel “Everything Is Illuminated” by Jonathan Safran Foer and their translation from English into Russian. The aim of this work is to identify what kind of translation techniques are used by the translator V. A. Arkanov to render the linguistic and stylistic properties of the original text.
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Shyshkina, Iryna. "STYLISTIC FEATURES OF THE NOVEL “PAPER TOWNS” BY JOHN GREEN." English and American Studies 1, no. 16 (September 7, 2019): 196–202. http://dx.doi.org/10.15421/381927.
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The article is based on the current interest in John Green’s novels as they are little observed from the stylistic point of view. This work clarifies the main stylistic peculiarities of the writer, presents a profound analysis of John Green’s novel "Paper towns" on different levels of the language. It describes the functions performed by all the stylistic devices used in the text. It can be stated that "Paper towns" is very rich in various striking, original stylistic means, each of which has an essential role to the entire “tissue” of the text. At the end of the research it can be concluded that the most powerful emotional expression, logical and psychological effects are comprised in those parts of the text in which there is a synthesis of stylistic techniques of different levels of language. And the more such techniques the story has, the more it impresses the reader. These parts of the text make the reading process much more interesting and incredibly exciting. Stylistically marked syntactical units in the text of the investigated English-language novel aim to create expressiveness, to act as a means of representing the emotional state of characters, to create a logical and emotional enhancement, to increase the dynamism of the narrative, while not complicating the perception of information. That allows the writer to establish emotional contact with the reader, to increase an expressive sound of the text. Attracting the attention of the reader, increasing the logical and emotional influence on him or her, providing the text with dynamism, authenticity, allocating certain moments in the narrative − all this is achieved with the help of linguistic devices of expressive syntax.
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Fischer-Starcke, Bettina. "Keywords and frequent phrases of Jane Austen’s Pride and Prejudice." International Journal of Corpus Linguistics 14, no. 4 (December 15, 2009): 492–523. http://dx.doi.org/10.1075/ijcl.14.4.03fis.
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Corpus linguistic analyses reveal meanings and structural features of data, that cannot be detected intuitively. This has been amply demonstrated with regard to non-fiction data, but fiction texts have only rarely been analysed by corpus linguistic techniques. This is the case even though it has been shown by previous analyses that corpus stylistic analyses reveal literary meanings of the data that are left undetected by the intuitive analyses of literary criticism. The analysis of the keywords and most frequent phrases of Jane Austen’s novel Pride and Prejudice presented in this article confirms this claim by uncovering meanings that are not discussed in literary critical secondary sources. This constitutes evidence for the large potential of corpus stylistics for the analysis of literature and its meanings.
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Batool, Zahida, Shumaila Kiran, and Mehmood Ahmad Azhar. "Stylistic analysis of William wordsworth’s poem ‘daffodils’." International Journal of Basic and Applied Sciences 5, no. 2 (March 6, 2016): 95. http://dx.doi.org/10.14419/ijbas.v5i2.5521.
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<p>Present study is based on stylistic analysis of the poem ‘Daffodils” written by a very famous romantic poet William Wordsworth. This analysis is made on the graphological, phonological, morphological and semantic level to analyze what the poet wants to convey by mentioning the memories of a very small, yet important cure for human beings in the form of gifted memories of lovely past. Stylistic techniques and methods are used to unfold the hidden beauty of the poet’s thoughts. Since stylistic is the study of different devices used in language that gives expressive or literary style to any writing so, keeping in view, this article aims to figure out the secret jewels of these beautiful lines. This analysis is helpful in understanding the basic concept that Nature can bring peace of mind to a dejected soul. The stylistic devices used in this poem are the setting of the poem along with the figures of speech. Through this analysis the researcher wants to explore how the social and cultural background of a poet affects on the usage of Nature in the poetry. The researcher will explore how the use of figurative speech enhances the impact of the poetry at the readers mind.</p>
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Кучма, Ольга, and Євгенія Тимченко. "СТИЛІСТИЧНО МАРКОВАНА ЛЕКСИКА В РОМАНІ ТОМАСА БРУССІҐА “АM KÜRZEREN ЕNDE DER SONNENALLEE” ТА ЇЇ ВІДТВОРЕННЯ В УКРАЇНСЬКОМУ ПЕРЕКЛАДІ." Inozenma Philologia, no. 134 (December 15, 2021): 69–80. http://dx.doi.org/10.30970/fpl.2021.134.3512.
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The article deals with problems of literary translation on the lexical level. Translation strategies and techniques used to reproduce stylistically marked words and expressions of Thomas Brussig’s novel “Am kürzeren Ende der Sonnenallee” and the equivalency of their functions in the Ukrainian translation are explored. The word choice of the well known German author targeted at creating humorous or satirical tone in his novels constitutes his own individual style which is diffi cult to reproduce in other languages. That is why each new translation of his novel arouses a great interest of linguists and translatologists. The purpose of this article, therefore, was to classify the stylistically coloured vocabulary of the novel and to examine the lexical and stylistical choices of the translator S. Onufriv, especially the means chosen to render dialectisms, slang and jargon expressions, historical words from the GDR time, expressive personal nicknames, and denominations into Ukrainian. The main terms used in this article to describe the relation between the original text and its translation are “stylistic equivalency” and “stylistic density”, their application being explained based on the linguistic theories of translation (Fedorov, Retsker, Koller, Reiß). In the article, the comparative and descriptive methods as well as the quantitative estimations were used. Seven text fragments with 123 stylistically coloured expressions of lower register were chosen for our analysis. It revealed a higher stylistic density of the Ukrainian translation compared to the German text due to the use of stylistically lower vocabulary and Ukrainian dialect words used to substitute stylistically neutral words of the German author: 181 coloured words and expressions were found. The most important translation issues regarding the reproduction of dialect, slang words and of expressive names were defi ned. It was discovered that the eff ect caused by combining words of diff erent registers (formal and casual) had been lost in translation. Full stylistic equivalency of the youth slang translation as well as features of individual translator’s style were revealed. Several suggestions were made on how to avoid word-to-word translation in some places of the analyzed text fragments. To obtain the whole picture of formal translation equivalency, the tasks for further equivalency studies on other text levels were formulated. Key words: stylistically marked words and expressions, dialectisms, slang expressions, expressive personal nicknames and denominations, translation, stylistic equivalency, stylistic density
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Najeeb, Sabitha S. R., and Manar AlDawood. "Linguistic Choices for Literary Dialectics: A Coming Together of Divergent Entities." European Scientific Journal, ESJ 12, no. 32 (November 30, 2016): 269. http://dx.doi.org/10.19044/esj.2016.v12n32p269.
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Literature involves the manipulation of language for creative purposes and the discipline which fosters this synergic relationship between literature and language is termed stylistics. The purpose of this article is to show how it is possible to bridge the divide between language and literature by using the analytical techniques available within this sub-discipline of language study. Stylistics aims to interconnect linguistic form and literary effect, and also account for what it is that readers respond to when they praise the quality of a particular piece of writing. This article attempts to depict how the knowledge of linguistic intricacies can affect the reader’s interpretation. It also discusses how linguistic form relates to literary effect by analysing “Domination of Black”, by the renowned American poet Wallace Stevens. We aim to show that a linguistic approach to the analysis of a literary text does not have to mean that interpretation is disregarded. On the contrary, stylistic analysis can often illuminate why a particular literary text is regarded so highly.
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Tykhomyrova, Olena. "Metafiction in contemporary English-language prose: Narrative and stylistic aspects." Lege Artis 3, no. 1 (June 1, 2018): 363–416. http://dx.doi.org/10.2478/lart-2018-0010.
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Abstract This paper focuses on metafictional narrative strategies characteristic of contemporary English-language fiction. The research reveals the variety and stylistic peculiarities of these strategies, as well as specifies the definition of metafiction with regard to its liminal status and self-reflexivity. Narrative metalepsis, specific framing and plot arrangements, metafictional commentary, and other techniques have been analyzed resorting to numerous examples.
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Kuchina, Svetlana Anatolevna. "On Generative Poetry: Structural, Stylistic and Lexical Features." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no. 1 (August 10, 2018): 73–83. http://dx.doi.org/10.14195/2182-8830_6-1_5.
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This paper deals with key aspects of the Oulipo and Dada methods and their implementation in electronic generative poetry. Oulipian constraints such as acrostics, tautograms, simple numerical limitations and combinatory algorithms are easily integrated into digital environments. The analysis of structural, lexical and stylistic peculiarities of generative poetry is illustrated by permutational schemes (Poem.exe by Liam Cooke, Book of all Words by Józef Żuk Piwkowski), combinatory patterns (Frequency by Scott Rettberg) and syntactic templates (Dizains by Marcel Bénabou, Triolets by Paul Braffort) of electronic poems. Many combinatory and permutational electronic poems present technologically improved versions of the Oulipo constraints and Dada techniques such as open-form poetry and the use of image and graphic components in its structure. However, the electronic environment gives them an ambivalent status. Although the surface of an electronic poem looks open and random, its inward structure is preconfigured to use established parameters.
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Yusandra, Titiek fujita, and Trisna Helda. "Gaya Bahasa Teras Berita Covid-19 pada Saluran Youtube CNN Indonesia." GERAM 8, no. 2 (December 21, 2020): 52–62. http://dx.doi.org/10.25299/geram.2020.vol8(2).5761.
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This study aimed to describe the style of language on the terrace of news about Covid-19 as seen from the terrace / stylistic lead's writing style. A good news writer tries hard not to want to be too mechanistic. Rigid lead writing will feel tedious and unattractive. News that gives the possibility to treat as a feature are beautified, enlivened, even made like creative writings so that they are attractive to the audience. The approach used was descriptive qualitative. This research's data was the core/intro/lead of Covid-19 news that contains a stylistic style. Data obtained from the CNN Indonesia YouTube social media channel was present around the time of the research, namely starting from March to October. The data collection method used was the observation method with record and note techniques. Data were selected, classified, identified, and then described based on the stylistic lead theory. Nine stylistic terraces obtained from thirteen kinds of stylistic core used in disclosing Covid-19 news leads as the results of the study, namely: (1) punching leads, (2) descriptive leads, (3) contrast leads, (4) questioning leads, (5) quote leads, (6) cumulative curiosity leads, (7) sequential leads, (8) parody leads, and (9) greeting leads.
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Mostafa, Mohamed M., and Nicolas Roser Nebot. "A Corpus-based Computational Stylometric Analysis of the Word “Árabe” in Three Spanish Generación Del 98 Writers." Journal of Language Teaching and Research 9, no. 5 (September 1, 2018): 928. http://dx.doi.org/10.17507/jltr.0905.05.
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Although the Generation of ’98 writers represents a group of renown Spanish novelists, philosophers, essayists and poets active during the 1898 Spanish-American war, no previous studies have attempted to analyze the diverse linguistic and stylistic features employed by such writers. This study aims to use computational stylometry to detect hidden stylistic and linguistic patterns employed by three Generation of ’98 writers, namely Pío Baroja, Vicente Blasco Ibáñez and Miguel de Unamuno. We employ a large corpus comprising 1,702,243 words representing nineteen works by the three writers. Several rigorous criteria were satisfied in designing the corpora such as authorship, genre, topic and register. Concordance, wordclouds, consensus trees, multidimensional and cluster analyses were performed to reveal the different stylistic and linguistic patterns used by the three writers. Although we focus solely on the use of the word “árabe”, we show that computational stylometry techniques can be used to help detect hidden stylistic and linguistic patterns employed by different writers. This result is significant since it can help the reader navigate across various possibilities of expressions and terminologies employed by different writers.
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Long, Stephen. "Magnus Lindberg's Recent Orchestral Music." Tempo, no. 208 (April 1999): 2–8. http://dx.doi.org/10.1017/s0040298200006963.
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The decades immediately following World War II constituted a flourishing period of musical innovation on the international scene, encompassing a considerable range of stylistic orientations and techniques. Exploration that led to genuinely innovative compositional practices involving relationships among melody, harmony, rhythm, and timbre reached fruition by the mid-1980s. Accordingly, the challenge to composers who emerged during this latter period was twofold: to develop personal styles through a discriminating selection from this large heritage of techniques and stylistic resources – and, in the process, to avoid imitating composers who had used them earlier. In countries not dominated by any particular compositional doctrine – most notably the United States, Great Britain and the Nordic countries – important composers emerged as consolidators who combined and synthesized these resources in a fresh and individual manner. One who has responded most successfully to this challenge is Finland's Magnus Lindberg.
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Madhat, Imad, and Hiba Almufti. "A Stylistic Study of Mythical Intertextuality in Milton's "Lycidas"." Al-Kitab Journal for Human Sciences 1, no. 2 (October 4, 2020): 313–27. http://dx.doi.org/10.32441/kjhs.01.02.p24.
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Intertextuality is a controversial modern linguistic term which has raised unsettled debates about writers' creativity and ideas ownership. The present paper is a literary linguistic study that hands over a substantial deliberation on the debated subject. The study is launched by an introduction to correlated topics including definitions, types, mechanisms, techniques, and arguments about intertextuality. Then, comprehensive deliberations and detailed analysis of mythical intertextuality in Milton's "Lycidas" are introduced. The paper has come up with a conclusion that the author is never dead since the text is alive and no longer a "once upon a time" narration but rather a living seed endlessly gives birth of current associations and predicts of future prospects. It has been also reached to a sort of agreement with Kristevain her confirmation on the productivity of intertextuality.
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Харченко, А. В. "СТИЛЬОВИЙ СИНТЕЗ ЯК ПЕРСПЕКТИВНИЙ МЕТОД У ФОРМУВАННІ СУЧАСНОГО ЖІНОЧОГО ОБРАЗУ." Art and Design, no. 3 (November 13, 2020): 111–22. http://dx.doi.org/10.30857/2617-0272.2020.3.9.
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The aim of the article is to analyze the stylistic synthesis examples in the design of a modern costume, and to identify the actual combinations of two or more styles in one image which are preferred by Ukrainian designers. Models of modern women’s clothing, represented on the Ukrainian market by designers, trade locations, and printed fashion magazines has been used asthe objects of the analysis. Methodology.The systematic approach has been used for examination of the modern design activities as result of the postmodern culture influence and for detection of the relationship between artistic phenomena and the design practice. Art analysis has been used for the analysis of the shape, silhouette, costume plasticity, and allowed to reveal the main ways of different styles elements combination into a single structural integrity. Resalts. The interpretation of the different styles interaction problem in art and dsign by art theorists and costume practitioners has been given in the study. The analysis of women's clothing models represented on the Ukrainian market by such designers as Nadya Dzyak, Ksenia Schnaider, and such Ukrainian brands as RITO, Jul through the Ukrainian Fashion Week web-resource, own web-sites and online stores, and published by TRserial and ELLE has been provided. The fact that modern costume designers are vibrantly trying to combine components ofdifferent styles in one image, which allows obtaining a variety that reflects a wide range of human needs and preferences, has been demonstrated. Scientific novelty. The study of stylistic synthesis as a separate direction in the costume design has been represented. The visual series that allows studying of the stylistic combinations variability and identifying the need of stylistic synthesis introduction into the theory and practice of design techniques have been formed with the help of the selective method. The main directions of different styles synthesis in the designers developments have been determined. The practical significance. The analysis of stylistic synthesis promising techniques in the modern women's costume can supplement the insufficiently studied areas in the theory and practice of design. The results of the study can be used as practical recommendations for costume design and fashionable image formation based on the stylistic synthesis.
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Oskina, Nataliia, and Raisa Martynova. "ON THE ISSUE OF RENDERING STYLISTIC COLORING OF COCKNEY DIALECT IN TRANSLATION." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2019, no. 29 (November 2019): 216–30. http://dx.doi.org/10.24195/2616-5317-2019-29-16.
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The presented article is aimed at elaborating the problem of specific stylistic coloring achieved by the employment of the Cockney dialect in English literature in the 19th century. The main objective of the paper consists in investigating the stylistic value of the Cockney rhymed dialect as the powerful expressive means in the English literature of realism as well as the possible ways of its rendering in artistic translation. The results of the carried-out research have proved that there exist common strategies and techniques of both employing Cockney in English literature of the given period and reproducing it in literary interpretations. The practical value of the research lies in the fact that the conclusions may be applied in the educational activity, namely in the course of English stylistics. The urgency of this paper arises from the need for all-sided review of difficulties of translating belles-lettres works in contemporary translation studies. The object of the work is a Cockney dialect viewed in the aspect of its translatability. The subject is the specific stylistic function of Cockney dialect in B. Shaw's play. The immediate tasks of the article have been predetermined by the above-mentioned objective and include respectively: the disclosure of the specifics of Cockney dialect; the outline of the strategies and tactics of translating Cockney in belles-lettres works. The methodology of this research involved the inductive and deductive methods, the method of contrastive analysis and ethnic methodological conversation analysis. In the course of the research it has been concluded and experimentally and statistically proved that there exist common strategies and tactics of translating Cockney. It has also been postulated that the pragmatic and the expressive potential of Cockney is rendered in translation. The perspective is seen in reviewing the peculiarities of rendering Cockney in literary interpretations in various Western and Oriental languages.
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Chernikova, Ekaterina L. "Model of teaching the stylistic aspect of foreign language communication in the process of secondary general education." Tambov University Review. Series: Humanities, no. 193 (2021): 81–89. http://dx.doi.org/10.20310/1810-0201-2021-26-193-81-89.
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This study is devoted to the development of a model of teaching the stylistic aspect of foreign language communication in the process of secondary general education. The results of theoretical research and accumulated experience show that the stylistic aspect of foreign language communication plays a huge role in foreign language education at high school. However, students experience difficulties in applying stylistic techniques and tropes, which leads to a decrease in the quality of foreign language communication. This fact indicates the relevance of this study. The theoretical significance of the work lies in the development of the main theoretical approaches and principles that ensure the effectiveness of the proposed model implementation. The leading approaches are highlighted such as personal-activity, communicative, communicative-cognitive, socio-cultural and integrative. The main principles are the principle of scientific character, the prin-ciple of accessibility and feasibility, the principle of connection between theory and practice, the principle of systematicity and consistency, the principle of visibility, the principle of conscious and active participation. This study proposes a model of teaching the stylistic aspect of foreign language communication in the process of secondary general education based on a comparative analysis of stylistic means and functions in the native and foreign languages. The obtained results of the work can be used in the process of developing curricula and creating manuals for high school students.