2014-02-24
1547
Бэн:«Фигурой речи называется уклонение от обыкновенного способа выражаться, с целью усилить впечатление». Вандриес: «Художественный стиль — это всегда реакция против общего языка; в известной мере — это арго, литературный арго, который может иметь различные разновидности...». Гальперин: «стилистический прием есть обобщенное, типизированное воспроизведение нейтральных и выразительных фактов языка в различных литературных стилях речи».
Корреляция (соотношение) понятий стилистического приёма и выразительного средства на примере оксюморона:
Violently affectionate, calmly desperate – original, genuine oxymorons:
a) Against such a sight, and against such determination as that of the calmly desperate man who was already accustomed to lead half the people present, I might as hopefully have entreated the wind.(Ch. Dickens, “David Copperfield”)
b) ‘It’s very much to be wished that some mothers would leave their daughters alone after marriage, and not be so violently affectionate. ’ (Ch. Dickens, “David Copperfield”).
Fair and legitimate war, innocent deceit – trite, hackneyed oxymorons:
c) He was killed in war; killed in fair and legitimate war; killed in battle, as you may say, and yet he was as sincerely mourned by the opposing force as if he had been their brother. (O’Henry, “The Private History of a Campaign that Failed”)
d) It was a hard matter to preserve the innocent deceit of which they were profoundly unsuspicious. (Ch. Dickens, “A Tale of Two Cities”).
Pretty disgusting, awfully nice - oxymoronic expressive means:
a) I didn’t care, except that it’s pretty disgusting to watch smb pick their nose. (J. D. Salinger, “The Catcher in the Rye”)
b) ‘You were awfully good to us when we started.’ (W. S. Maugham, “Theatre”)
Лексический стилистический приём = троп/тропеическая конструкция ( trope). Намеренная замена ( transference): “ pancake ”, “ ball ” for the “ sky ” or “ silver dust ”, for “ stars ”.
Метафора (metaphor). Взаимодействиепредметно-логического (denotational meaning)и контекстуального (contextual) значения. Метафорические именования: leg of a table, eye of a needle, fishbone design.
Анималистическая метафора « N – свинья»:
Piggy needs but a word. When the girls named him, an undeserving stigma was cast upon the noble family of swine. (O’Henry, 100 Selected Stories)
Переносное значение (figurative meaning) существительного‘swine’.
Глагол и существительное в роли метафоры:
1) Memory, like a horrible malady, was eating his soul away. (“The Picture of Dorian Gray” by O. Wilde) 2) She unpacked her things, colonizing the room. (“Olivia Joules” by H. Fielding) 3) Dorothea by this time had looked deep into the ungauged reservoir of Mr. Casaubon’s mind… (“Middlemarch” by G. Elliot)
Развернутая метафора (sustained/prolonged metaphor):
Within this restless, hurried, modern world
We took our hearts full pleasure – You and I,
And now the white sails of our ship are furled,
And spent the lading of our argosy. (O. Wilde, “My voice”)
Метафора как способ образования новых значений слов:
1) She was sandwiched between Rick and the hooded man in the narrowest part of the tunnel. (“Olivia Joules” by H. Fielding) 2) A barrage of indignation erupted from the earpiece. (“Olivia Joules” by H. Fielding)
Речевая (авторская) метафора (fresh, original, genuine) и языковая (стёртая) (trite, hackneyed) метафора: a pillar of society, a tower of strength, a storm in a teacup.
Олицетворение (personification): стёртое: face of London или the pain of the ocean;
речевое (авторское): 1) Experience keeps a dear school, but fools will learn in no other. 2) Pride that dines on vanity, sups on contempt.
Развёрнутое олицетворение:
Hear the loud alarum bells –
Brazen bells!
What a tale of terror now their turbulence tells!
In the startled ear of night
How they scream out their afright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tone… (E. A. Poe, “The Bells”)
