Supplement 1. Samples of stylistic analysis

1. My dad had a small insurance agency in Newport. He had moved there because his sister had married old Newport money and was a big wheel in the Preservation Society. At fifteen I'm an orphan, and Vic moves in. "From now on you'll do as I tell you," he says. It impressed me. Vic had never really shown any muscle before. (N.T.)

The first person singular pronouns indicate that we deal either with the entrusted narrative or with the personage's uttered monologue.

The communicative situation is highly informal. The vocabulary includes not only standard colloquial words and expressions such as "dad", "to show muscle" (which is based on metonymy), the intensifying "really'', but also the substandard metaphor - "a big wheel". The latter also indicates the lack of respect of the speaker towards his aunt, which is further sustained by his metonymical qualification of her husband ("old Newport money").

The syntax, too, participates in conveying the atmosphere of colloquial informality - sentences are predominantly short. Structures are either simple or, even when consisting of two clauses, offer the least complicated cases of subordination.

The change of tenses registers changes in the chronology of narrated events. Especially conspicuous is the introduction of Present Indefinite (Simple) Tense, which creates the effect of immediacy and nearness of some particular moment, which, in its turn, signifies the importance of this event, thus foregrounding it, bringing it into the limelight - and making it the logical and emotional centre of the discourse.

2. He had heard everything the Boy said however - was waiting for the right moment to wrap up his silence, roll it into a weapon and hit Matty over the head with it. He did so now. (W.G1.)

In this short extract from W. Golding's Darkness Visible the appearance of a person who was an unnoticed witness to a conversation is described. The unexpectedness of his emergence is identified with the blow in the sustained metaphor which consists of three individual verb metaphors showing stages of an aggressive action.

The abrupt change of sentence length and structure contributes to the expressiveness of the passage.

3. And out of the quiet it came to Abramovici that the battle was over, it had left him alive; it had been a battle - a battle! You know where people go out and push little buttons and pull little triggers and figure out targets and aim with the intention to kill, to tear your guts, to blow out у our brains, to put great ragged holes in the body you've been taking care of and feeding and washing all youi life, holes out of which your blood comes pouring, more blood than you ever could wash off, hold back, stop with all the bandages in the world! (St.H.)

Here we deal with the change "of the type of narration: from the author's narrative, starting the paragraph, to represented inner speech of the character. The transition tells on the vocabulary which becomes more colloquial (cf. ''guts") and more emotional (cf. the hyperbole "all the bandages in the world"); on the syntax brimming with parallelisms; on tne punctuation passing on to the emphatic points of exclamation and dashes; on the morphology. "Naive" periphrases are used to describe the act of firing and its deadly effect Third person pronouns give way to the second person ("you", "your") embracing both communicants - the personage (author) and the reader, establishing close links between them, involving the reader into the feelings and sentiments of the character.

Very important is repetition. Besides syntactical repetition (parallelism) mentioned above, pay attention to the repetition of "battle", because it is this word which on one hand, actually marks the shift from one type of narration to another (the first "battle" bringing in the author's voice, the last two - that of Abramovici). On the other hand, the repetition creates continuity and cohesion and allows the two voices merge, making the transition smooth and almost imperceptible.

4. "This is Willie Stark, gents. From up home at Mason City. Me and Willie was in school together. Yeah, and Willie, he was a bookworm, and he was teacher's pet. Wuzn't you, Willie?" And Alex nudged the teacher's pet in the ribs. (R.W.)

Alex's little speech gives a fair characteristic of the speaker. The substandard "gents", colloquial "me", irregularities of grammar ("me and Willie was"), pronunciation (graphon "wuzn't"), syntax ("Willie, he was"), abundance of set phrases ("he was a bookworm", "he was a teacher's pet", "from up home") - all this shows the low educational and cultural level of the speaker.

It is very important that such a man introduces the beginning politician to his future voters and followers. In this way R. P. Warren stresses the gap between the aspiring and ambitious, but very common and run-of-the-mill young man starting on his political career, and the false and ruthless experienced politician in the end of this road.

Note the author's ironic attitude towards the young Stark which is seen from the periphrastic nomination of the protagonist ("teacher's pet") in the author's final remark.

5. From that day on, thundering trains loomed in his dreams - hurtling, sleek, black monsters whose stack pipes belched gobs of serpentine smoke, whose seething fireboxes coughed out clouds of pink sparks, whose pushing pistons sprayed jets of hissing steam - panting trains that roared yammeringly over farflung, gleaming rails only to come to limp and convulsive halts - long, fearful trains that were hauled brutally forward by red-eyed locomotives that you loved watching as they (and you trembling) crashed past (and you longing to run but finding your feet strangely glued to the ground). (Wr.)

This paragraph from Richard Wright is a description into which the character's voice is gradually introduced first through the second person pronoun "you", later also graphically and syntactically - through the so-called embedded sentences, which explicitly describe the personage's emotions.

The paragraph is dominated by the sustained metaphor "trains" = "monsters". Each clause of this long (the length of this one sentence, constituting a whole paragraph, is over 90 words) structure contains its own verb-metaphors "belched", "coughed out", "sprayed", etc., metaphorical epithets contributing to the image of the monster -"thundering", "hurtling", "seething", "pushing", "hissing", etc. Their participial form also helps to convey the effect of dynamic motion. The latter is inseparable from the deafening noise, and besides "roared", "thundering", "hissing", there is onomatopoeic "yammeringly".

The paragraph abounds in epithets - single (e.g. "serpentine smoke"), pairs (e.g. "farflung, gleaming rails"), strings ("hurtling, sleek, black monsters"), expressed not only by the traditional adjectives and participles but also by qualitative adverbs ("brutally", "yammeringly"). Many epithets, as it was mentioned before, are metaphorical, included into the formation of the sustained metaphor. The latter, besides the developed central image of the monstrous train, consists of at least two minor ones - "red-eyed locomotives", "limp and convulsive halts".

The syntax of the sentence-paragraph shows several groups of parallel constructions, reinforced by various types of repetitions (morphological- of the -ing-suffix, caused by the use of eleven participles; anaphoric -of "whose"; thematic - of the word "train"). All the parallelisms and repetitions create a definitely perceived rhythm of the passage which adds to the general effect of dynamic motion.

Taken together, the abundance of verbs and verbals denoting fast and noisy action, having a negative connotation, of onomatopoeic words, of repetitions - all of these phonetic, morphological, lexical and syntactical means create a threatening and formidable image, which both frightens and fascinates the protagonist.

ANALYSIS

PASSIONATE YEAR

The text under analysis is written by James Hilton, England writer, who took education in Cambridge where he wrote his first novel, "Catherine Herself". Also he is famous with his books "We Are Not Alone" (1937), "Random Harvest" (1941), "Nothing So Strange" (1947), "Time and Time Again" (1953).

The theme of given extract is describing teacher’s behavior in nonstandard situation. Idea is relationships between students and teacher, teacher should be tolerant everytime.

The genre of the story is novel. This text we can divide into three logical parts: first part depicts the tense atmosphere in a class; second explains a conflict between students and teacher and solution of it; the third part describes the dialog between two teachers: Speed and Clanwell.

The plot structure concludes all parts: the exposition (the description atmosphere in the class), the story itself (students’ desire for making a fool of teacher), climax (teacher’s solution – penalty), closed denouement (last part of the story).

The form of narration in the text mainly is represented be indirect speech, the third person narration, but in the story itself and denouement we see a dialogue.

There is one main character – teacher Speed, and some minor characters, they are students Worsley and Naylor, teacher Clanwell.

Emotional atmosphere changes during the text. In the beginning and in the middle it is tense, in the end it is bright, ironical.

Author chose emotionally-coloured words (titter, to make a fool etc.).

In general there are simple sentences in the text, in compound sentences we can see polysyndeton.

Lexical devices are: epithets (outrageously bold adventure, bright boy, ), metaphor (the most dangerous weapon in a new Master's armoury, entirely without incident), irony (to make a fool), simile (Speed felt rather as if he were sitting on a powder-magazine). Author used them for create certain atmosphere.

In the text there are many adjectives (for describing some peculiarities). Author used verbs in past tenses, indicative mood (in the dialogue between teacher and students – imperative).

This text is a dialectical unity of form and context.

STYLISTICS

NOTES ON THE STYLISTIC INTERPRETATION OF THE BELLES-LETTRES TEXT

Students of the English department are supposed to be able to give a full stylistic analysis' of a belles-lettres text fragment at the state exam. The analysis includes a careful study of the expressive means and stylistic devices used by, the author to unfold the message of the extract. A stylistic interpretation of the text is supposed to consist of two main stages:

a). Analysis of the test. . . *

b). Synthesis ofthe main idea (message) of the text.

The first stage, in its turn, is subdivided into four successive "stages.

First of all, the student is to characterize briefly the cultural, social and historical background of the author and the text under consideration; the literary trend or tradition the author of the text belongs to. The theoretical information drawn from the course of English and American literature will help the student to achieve these ends.

Secondly, the student should dwell on the innovative aspect of the text, pointing out what new aspects in the problems and in the form of the text were put forth by. the author, and offering his own consideration concerning these facts. The material of the literature course should be resorted to.

' A very important stage is to break the text under analysis into a few logical parts and state its composition, pointing out such fragments as: introduction (i. e. manner of presenting the place, time and characters ofthe text), the plot, climax, denouement and a closing part. Special attention should be paid to the fact if any of the parts is deliberately omitted. If the text is a part of some bigger text the-breaking is done correspondingly.

The manner of presentation (narration) should be specified with reference to every logical part. In some cases the type of narration may be homogeneous, but more often than not it is mixed in character. Thus, author's narrative may be intermingled with interior or represented speech, in-sets of dialogue speech may occur. The student is also supposed to specify the narrative compositional form (i.e. description, argumentation, meditation or narrative proper) and state then relationships.

Each logical part should be analyzed separately from the following points of view, keeping in mind the peculiarities of the message unfolding on different text levels:

Phonetic stylistic devices - alliteration, assonance, onomatopoeia, rhythm, rhyming (if any).

Lexical peculiarities - the student is supposed to characterize the words used in the tex from the stylistical point of view, to indicate their stylistic colouring (bookish, neutral, colloquial) their reference to some special sphere of vocabulary - archaic words, neologisms, dialect words professional terms, slang and vulgar words etc. and to give his considerations for the choice of words and their stylistic functions in the text. To prove his points of view, the student shoulc supply neutral synonyms to the words chosen by the author.

Besides, at the lexical level the student is to dwell on the use of various stylistic device: serving to intensify the message, such as metaphor, metonomy, synecdoche, play on words, irony hyperbole, oxymoron. A detailed characteristics of epithets should be given, if possible, stating theii types.

Syntactical peculiarities of the analyzed or of the whole text-length and comparativ* complexity or simplicity of the sentence structure, types of sentence structures (characteristic of conversational or oral type of speech or characteristic of written type of speech); the us< of special syntactical stylistic devices such as repetition (indicating its type - ordinary, anaphora epiphora, ring (framing), chain repetition, successive repetition), parallel constructions, chiasmus stylistic inversion, suspense, detachment, ellipsis, apokoinu constructions, break. The sentence: should be characterized bv the tvne of connection between clauses − polysyndeton or asyndeton.

Lexico-syntactical stylistic devices. Here special attention should be paid to the use of antithesis, climax and anticlimax, simile, litotes and periphrasis, stating the relations between the discreet fragments of the text, stating the development of ideas presented by the author through the event and characters he describes and the language material used.

After the analysis of the text the student will be able to dwell on the message of it, to say what the author wanted to express in the extract, to reveal the author's attitude to his characters., his sympathies, likes and dislikes. The formulation of the message should be based on the linguistic value of the expressive means and stylistic devices mentioned above.

Finally, the student is supposed to comment on the peculiarities of the author's style as can be judged from the analysed extract. It should be characterized with reference to its brevity or exuberance, its precision and clarity, transparence, abundance of artistic details and figures of speech, the presence of implication, preference for certain types of narration.

Supplement №1

Stylistic analysis

1. Literary image. The world of literary work is the world of its characters, situations, events.

The term image refers not only to the whole of the literary work, but to any of its meaningful units: detail, phrase...

2. The theme of a literary work may be understood as an interaction of human characters under

certain circumstances, such as social or psychological conflict (war and peace, race discrimination, social challenges...). Thus, in "The Forsyte Saga" - the life of English middle class at the end and after the Victorian epoch.

3. The idea of literary work - the underlying (lying behind) thought and emotional attitude

transmitted to the reader by the whole structure of the literary text which is multi-layered in entity).

4. Exposition - the necessary preliminaries to the action which are laid out: the time, place, the

subject of the action, the circumstances.

5. Plot - the sequence of events which the characters are involved in. The events are made up of

episodes, and episodes, in their turn, of smaller action details. The plot consists of composition, interior or dramatic monologue, description, narration, dialogue.

6. Story is that part of the plot which represents the beginning of the collision itself.

7. Climax is the highest point of the action.

8. Denouement - the event or events that bring the action to an end.

9. Narration can be: informative, declarative, a narrative report, direct (author's speech), indirect

(a character's retelling), homogeneous, heterogeneous (intermingled with a dialogue), direct speech, represented speech, interior speech, inner monologue (soliloquy); monologue: suggestive, dramatic, lyrical

10. Micro-image. At the bottom of the literary hierarchy there lies the word image

or a micro-image. Each such image, when in isolation, is just a trope: metaphor, simile, epithet, metonymy, hyperbole... and other stylistic devices.

Supplement № 2

stylistic analysis

Some useful words and word combinations:

1. a landmark in the history of modern fiction

2. a great master of ironic style

3. an observer of human nature

4. the author presents, describes, reveals, exposes, criticizes, scrutinizes, emphasizes

5. to excite the mind

6. a true picture of life

7. unflagging interest