Assignments for stylistic analysis. 1. Define the style of the extract, prove your point of view.

1. Define the style of the extract, prove your point of view.

2. State a) the basic theme; b) the central idea of the letter.

3. Decide what prevails in the text - description or narration; what per­son (1*/3*) presentation the text is and how it influences the reader's per­ception of the idea.

4. Does the text have a simple, or complex, or intricate plot?

5. Is the setting of the events realistic/ historical/ fantastic/ exotic/ rural?

6. Prove whether the interrogative sentence is a rhetoric question or not.

7. Are the phenomena in the text described as long in duration, constant, or reccurent? How is this realised in the sentence structure? Is the sentence simple or composite? Is enumeration homogeneous or heterogeneous? Are the enumerated components joined by means of asyndeton or polysyndeton? What is the stylistic effect of this?

8. Determine whether there is or there is not any text segmentation.

9. Decide and explain whether the tone of the text is formal/ semiformal/ tnformal/ conversational/ casual/ sympathetic/ cheerful/ vigorous/ serious/ humorous/ mock-serious/ lyrical/ dramatic/ excited/ agitated/ passionate/ im­passive/ detached/ matter-of-fact/ dry/ impartial/ melancholy/ moralising/ unemotional/ pathetic/ sarcastic/ ironical/ sneering/ bitter/ reproachful, etc.

10. Enumerate and prove by illustration what of these phonetic stylistic

devices the text contains: a) onomatopoeia (direct or indirect?), b) allitera­tion, c) assonance, d) rhyme, e) rhythm. What are they used for?

11. Define the rhythm of the text.

12. Say whether all the enumerated components present onomatopoeia What is the stylistic function of this?

13. What stylistic effect does the adjective "quiet" have in the text? What stylistic device(s) is/are represented in this element?

14. Decide if the text has the climax and the denouement.

15. In conclusion, explain how the expressive means and stylistic devic­es characterize the protagonist and the situation.

Theoretical items for independent personal consideration

1. The text communicative pragmatic aim. The category of addressing.

2. Anthropocentrism, modality, and "point of view" in the text.

Literature recommended

1. Долинин К. А. Интерпретация текста (фр. яз.). - М., 1985. - С. 181-283.

2. Домашнее А. И. и др. Интерпретация художественного текста (нем. яз.). - М., 1989. - С. 52-114.

3. Кухаренко В. А. Интерпретация текста. - М., 1988. - С. 133-188.

4. Мороховский А. Н., Воробьева О. П. и др. Стилистика английс­кого языка. - К., 1991. - С. 227-234.

5. Пелевина Н. Ф. Стилистический анализ художественного тек­ста. - М., 1980. - С. 187-206, 234-237.

Independent personal work 5 Morphological and Graphic Expressive Means, Etc.

Item 1

Sometimes we'd have the whole river all to ourselves for the longest time. Yonder was the banks and the islands, across the water; and maybe a spark - which was a candle in a cabin window - and sometimes on the wattj

you could see a spark or two - on a raft or a scow, you know; and maybe you could hear a fiddle or a song coming over from one of them crafts. It's lovely _t0 live on a raft. We had the sky, up there, all speckled with stars, and we used to lay ^{on our} backs and look up at them, and discuss about whether they was made, or only just happened - Jim he allowed they was made, but I allowed they happened; I judged it would have took too long to make so many. Jim _said the moon could a laid them; well, that looked kind of reasonable, so I didn't say nothing against it, because I've seen a frog lay most as many, so of course it could be done. We used to watch the stars that fell, too, and see them streak down. Jim allowed they'd got spoiled and was hove out of the nest.

From Mark Twain's Huckleberry Finn

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