The general tone of the text

Direct

Заключение

а) Химические и динамические процессы играют одинаково важную роль в формировании «озоновых дыр»;

б) При отсутствии денитрификации нижней стратосферы действие галогенной активации является неэффективным и приводит лишь к незначительному сокращению содержания озона;

в) Скорость разрушения циркумполярного вихря при весеннем потеплении является существенной для глубины образования озоновой дыры при рассмотрении и динамической, и чисто химической теорий образования озоновых аномалий, и при их совместном действии.

г) Хлорные и бромные газовые составляющие способствуют регулярности проявления озоновых аномалий даже при относительно «слабых» динамических факторах, но глубина, пространственный охват и временные фазы дыр определяются динамическими факторами;

д) Наблюдаемые в последние годы межгодовые вариации в формировании озоновых дыр определяются, скоростью разрушения циркумполярного вихря в результате весеннего потепления.

е) В Арктике глубокие дыры не образуются, т.к. там циркумполярный вихрь на стабилен и, соответсвенно, температуры выше, площади поверхности ПСО меньше и гетерогенные реакции не столь эффективны как в Антарктике.

2. Indirect

1.Direct definition – names the trait

V.S. Naipaul Half a Life

The Correias, for instance, were proud of their aristocratic name. They were also obsessed with money. They talked about it all the time. They lived with the idea of a great disaster about to happen.

2. Indirect presentation:

a. actions

- static/dynamic

-conflict ( person - person; person -environment; person - self )

b. speech ( indicative of origin, social status, profession, dwelling place )

J. Austen Sanditon

Sir Edward: “My sister wanted my counsel in the selection of some books. We have many leisure hours and read a great deal. I am no indiscriminate novel reader. You will never hear me advocating those puerile emanations which detail nothing but discordant principles incapable of amalgamation, or those vapid tissues of ordinary occurrences from which no useful deductions can be drawn. In vain we put them into a literary alembic; we distil nothing which can add to science. You understand me, I am sure?”

“I am not quite certain that I do.” – said Charlotte.

c. environment

- physical surrounding

- human environment

d. external appearance

М. Булгаков Мастер и Маргарита

Какой-то не то больной, не то не больной, а странный, обросший бородой, в черной шапочке и в каком-то халате спускался вниз нетвердыми шагами.

Text interpretation

Hermeneutics

Hermes = the Greek God of communication, arts, and trade

Hermeneutics = art of interpreting ancient literature, studying the Bible

New Criticism / Practical Criticism

Interpretation (Greek = explication) = explaining the meaning and elucidating the sense (Prof. Vorobyova)

Выготский Л.С. Мышление и речь

Если «значение» слова является объективным отражением системы связей и отношений, то «смысл» – это привнесение субъективных аспектов значения соответственно данному моменту и ситуации.

1. Textual meaning (explicit content, direct information, objective, unambiguous)

Linguostylistic analysis - the focus on the explicit level of the text (textual meaning - WHAT THE AUTHOR SAID)

non-fictional/expository texts

2. Textual sense (implicit, hidden meanings, subjective, individual, ambiguous)

А. Блок Незнакомка

И перья страуса склоненные

В моем качаются мозгу,

И очи синие бездонные

Цветут на дальнем берегу.

meaning of textual elements = a means of expressing sense

Text interpretation - the focus on implications (textual sense - WHAT THE AUTHOR INTENDED TO SAY)

fictional/literary texts

Interpretation of the text =

to show the relation between the concept of the text with its content and the linguistic form which is a part of the content

Jauss H.R. Toward an Aesthetic of Reception

The model for text interpretation:

1 / understanding (meaning)

2/ interpretation (sense)

3/ application (aesthetic or emotional reaction to the text)

THE SCHEME FOR TEXT INTERPRETATION

(literary discourse)

1. Analysis of the traditional aspect of the text

(Morokhovsky = “Broad literary norm”)

- the information about the author

- a brief information about the literary trend and tradition

- the general features of the given genre of the text

2. The theme and message of the text

- the definition of the main idea(s)

- the key thematic lines (the reflection of the theme in the choice of vocabulary)

3. The slant/tone of the text and means of achieving it

4. The content and composition of the text

discrete compositional logical parts (how the theme is developed):

- exposition

- plot complications/conflicts

- climax /culmination

- denouement

- closing/concluding part (ending)

5. The character of the text

(how it helps to form the concept of the text)

type of narrative and narrator:

a. the manner of presentation:

- subjective ( type of narrator and narrative perspective )

- objective ( type of narrator and narrative perspective )

•

b. the choice of the point of view (internal characterisation):

that of the author, the main character or the onlooker’s

c. the image of the author

(how externally it is characterized by specific linguistic means)

d. the form of presentation:

- the author’s speech (the purpose): narration / expository speech / description (panoramic, general view, close-up) / argumentation/persuasion

- the character’s speech: 1/ direct (monologue, dialogue), 2/ inner speech of characters (linguistic features and stylistic functions)

- represented speech: inner/unuttered or outer/ uttered (linguistic features and functions)

6. Characters and type of characterisation:

- direct (the author’s explicit evaluation)

- indirect (through actions, appearance, speech)

7. Stylistic effect of the EM and SD employed by the author

- explanation of the author’s choice of the vocabulary and EM / SD in the light of the concept/message of the text

8. Summing up / synthesis of the text

capitalising on the previously acquired data to formulate the concept / main idea of the text

THE SCHEME FOR TEXT ANALYSIS

(publicistic/media discourse)

1. The definition of the text

- the definition of the style and genre of the text

2. The theme and message of the text

- the main idea(s)

- the key thematic lines

- the reflection of the theme in the choice of vocabulary

4. Compositional features

- text arrangement - precision, logic and expressive power

- argumentative power

- logical segmentation into SPU and paragraphs

- headlines:

a titles and subtitles

a the reflection of the theme

a structural compression, graphical, lexical means

5. Lexical features

- newspaper cliches and set phrases

- terminological variety

- abbreviations and acronyms

- numerous proper names, toponyms

- international words, dates and figures

6. Syntactical / morphological features

7. Stylistic effect of EM and SD

SEMINAR 1

1. Text as a communicative unit: the definition, its main characteristics, types of text models

2. Basic categories of the text. The category of discreteness:

-

- text partitioning (minimal supra-syntactical units)

-

- text composition: distribution of the plot elements

-

3. The category of integrity:

4.

- the cohesion of the text; cohesive means

-

- the coherence of the text;

- factors which ensure coherence

Materials

1. R. Galperin Stylistics. – 1981. – p. 193 – 202.

2.

2. А.Н. Мороховский и др. Стилистика английского языка. - 1991. - c. 200 – 202, 211 – 227.

3.

3. И.В. Арнольд Стилистика современного английского языка. – 1981. - с. 34 – 40.

4. В.А. Кухаренко Інтерпретація тексту. – 2004. – с. 72 – 79.

Practical assignment

Analyse (in writing) salient stylistic features of excerpt No 30 on p. 148 – 150 in the book: V. Kukharenko A Book of Practice in Stylistics. - 2000.

4.

-

-

-

-

-