Nizhnev on the style of the English language - guidelines. Stylistic devices: lexical repetition, parallelism, chiasmus
Nizhneva N.N.
LECTURES ON STYLISTICS OF THE ENGLISH LANGUAGE
The teaching of the discipline is based on an approach to the selection of teaching methods, according to which the main criterion for the success of new educational technologies is teaching students mental independence, which involves the formation of:
critical thinking,
initiative,
ability to see the problem
ability to ask questions
ability to process information, solve problems,
erudition,
ability to predict
creative thinking.
Reading the course ensures the implementation of a quality management system for education through:
creation of methodological materials of a new generation, performing the function of managing the cognitive activity of students;
implementation of a new education paradigm ("student's question - teacher's answer", "I'm learning" instead of "I'm being taught").
Professional and methodological training of students in the discipline "Stylistics in English» is carried out as part of a lecture course, seminars and independent work.
The course consists of two main sections:
1. The system of stylistic means of the English literary language.
2. Description of speech styles of the English literary language.
Key Issues of the Course
phonetic style. Graphic tools.
Morphological style.
Lexical style.
syntactic style.
Functional style.
Text style.
When conducting the course, along with the classical lecture, the following can be used:
- monolecture represents the reading of the material;
- feedback lecture combines explanation with active student involvement;
- combined lecture- reading with demonstration of experimental, illustrative, audio and video material;
- multipurpose lecture based on the complex interaction of individual elements: the supply of material, its consolidation, application, repetition and control;
- lecture review material on the thematic cycle has a final-generalizing character;
- problematic lecture- approbation of multivariate approaches to solving the presented problem, activates the personal search of students.
Review the syllabus and identify questions that need to be addressed during the lecture.
Determine the goals and objectives of your presentation, based on the characteristics of the audience.
Think over the logic and form of the lecture organization. You can use the traditional stages and techniques of working with the text of the speech.
Assignments before the lecture.
Mark those questions for which there are ready-made answers.
Discuss the proposed questions before listening to the lecture and write down your answers in thesis (then compare them with the lecture materials).
Find English equivalents for Russian terms and vice versa.
Formulate your own questions about the topic.
Mark true, false statements, etc.
assignments during the lecture.
Listen to the lecture and write down the answers to the questions.
Determine the main compositional parts of the lecture and highlight the key idea of each of them.
Find English/Russian equivalents for the suggested words and expressions, etc.
Assignments after the lecture
Working in pairs and groups, prepare questions to control understanding of this topic.
Answer questions from classmates/teacher.
Perform exercises to fill in the gaps, paraphrase, complete sentences, partial translation.
Discuss in pairs and groups the proposed methodological developments on the topic.
Compare your own developments with the developments of the authors of the training courses.
Compile an English-Russian dictionary (glossary) of terms on this issue.
The purpose of the seminars is to develop students' skills in recognizing and explaining phenomena characteristic of the stylistic level, developing the skills of stylistic analysis and interpretation of the text and a number of its parameters. Here, such forms and methods of teaching (or their elements) as analysis are possible. concrete examples, their discussion, students' speeches, testing, writing essays on individual issues, a business game, etc. The general orientation of all classes is the maximum approximation to the practice of using the studied means and phenomena: both lectures and seminars should show students how the theoretical provisions of the course are refracted in the practice of an English teacher at school, in the practice of using English in other activities.
The organization of classes is a creative process that can take place in an interactive form using non-traditional forms of work - presentations, case method, involvement of modern audio and video resources. The logical conclusion of students' participation in the proposed training course may be the defense of their projects.
Ranked list of educational activities of students:
participation in the competition in the subject;
asking the original question possible option answer;
presenting an original point of view;
presentation with a solution to the problem;
presentation of information on one / several sources;
setting a new problem and its solution;
report at a scientific conference / seminar;
victory in the competition in the subject;
publication of research materials (print work).
Format and content of current and final control
Depending on the conditions and nature of the audience, the teacher can vary the forms and types of current control using:
micro-reports and messages,
question-answer exercises in oral and written forms,
problem tasks,
mutual control provided through the preparation of test tasks by the students themselves and their implementation in the classroom or at home,
test tasks for listening, transformations based on the topics and content of lectures;
project assignments performed orally and in writing;
conferences;
round tables.
Response grading options.
The assessment of answers during the current and final control is based on common parameters. These include:
1. Accuracy and correctness of the taskwithconsidering this situation:
taking into account the peculiarities of the audience and the stage of training when choosing the nature of language and speech exercises within the framework of the chosen topic;
the ability to justify the logic of selection and the sequence of using the selected exercises;
the ability to anticipate the emergence of difficulties and errors of a linguistic, speech, sociocultural nature and prepare the necessary supports for their minimization when developing your own mini-lessons, lesson fragments;
the ability to use the provided sources to illustrate their author's position;
the ability to provide the necessary and sufficient level of feedback.
2. Professional communication skills:
terminological literacy of the answer;
brevity of the answer and clarity of argumentation;
adequate response to the examiner's comments;
professional manner of communication;
readiness to solve professional problems.
Examples of test tasks
1. Stylistic semasiology deals with:
shifts of meanings and their stylistic functions;
stylistic functions of shifts of meanings and combinations of meanings;
shifts of meanings and combinations of meanings.
2. Figures of replacement fall into the following groups:
a) figures of quantity and figures of quality;
figures of quantity, figures of quality and irony;
figures of similarity, figures of inequality and figures of con-trast.
3. Figures of quantity include:
a) hyperbole, understatement, litotes;
b) gradation, anti-climax;
c) antithesis, oxymoron.
4. In the sentence "The pennies were saved by bulldozing the grocer" we come across
5. In the sentence "Jim stopped inside the door, as immovable as a setter at the scent of quail" the simile is used
to impart expressiveness to the utterance;
to produce humorous effect;
to enable the reader to visualize the scene completely.
6. Indicate the sentence which constitutes a simile:
a) She writes novels as Agatha Cristie.
She is as talkative as a parrot.
She sings like Madonna.
7. State the type of figure of speech in the following sentence :
He was followed by a pair of heavy boots.
c) metonymic connection;
8. State the type of relations between the object named and the object implied in the following examples of metonymy:
source of action instead of the action;
effect instead of the cause;
characteristic feature instead of the object itself;
symbol of the object symbolized.
For several days he took an hour after his work to make inquiry taking with him some examples of his pen and inks.
9 . To write jargon is to be perpetually shuffling around in the fog and cotton-wool of abstract terms (Ezra Pound). What sentence contains jargon?
They gave him a silver teapot.
He was made the recipient of a silver teapot.
10. George Orwell writes that these words are used:
1) to dress up simple statements and give an air of scientific impartiality to biased judgments;
2) to dignify the sordid processes of international politics;
3) to give an air of culture and elegance.
What words does he speak about?
the colloquial words;
Main literature
1. Arnold I.V. Stylistics of modern English. - L., 1990. - 301 p.
2. Galperin I.R. Stylistics of the English language. - M., 1997. - 335 p.
3. Kukharenko V.A. Workshop on the style of the English language. - M., 1986. - 144 p.
4. Maltsev V.A. Stylistics of the English language. - Mn., 1984. - 117 p.
5. Crystal D. Davy D. Investigating English style. - L.: Longman, 1973. - 264 p.
additional literature
1. Avelychev F.L. The return of rhetoric // In the book: Dubois J. et al. General rhetoric - M .: Progress, 1986. - 392 p.
2. Anichenka U.V. Fundamentals of Maulenny culture and stylistics. - Mn., 1992. - 254 p.
3. Arnold I.A. Stylistics of modern English - L., 1981. - 295 p.
4. Arnold I.A. Stylistics of modern English. - L., 1990. - 301 p.
5. Burlak T.F., Devkin A.P., Krokhaleva L.S. A guide to the style of the English language (levels of vocabulary, syntax and text). - Mn., 1995. - 90 p.
6. Burlak T.F., Dzeўkin A.P. Teaching assistant in functional styles of modern English language. - Mn., 1993. - 78 p.
7. Vinogradov V.V. Stylistics. Theory of poetic speech. Poetics. - M., 1963. - 255 p.
8. Galperin I.R. Text as an object of linguistic research. - M., 1981. - 138 p.
9. Glushak T.S. Functional stylistics of the German language. - Mn., 1981. - 173 p.
10. Kuznets M.D., Skrebnev Yu.M. Stylistics of the English language. - L., 1960. - 175 p.
11. Kukharenko V.A. Seminar on the style of the English language. - M., 1971. - 183 p.
12. Maltsev V.A. Textbook on analytical reading. - Mn., 1980. - 240 p.
13. Naer V.L. To the description of the functional-style system of the modern English language. Issues of differentiation and integration.// Linguistic and stylistic features of the scientific text. - M., 1981, p. 3-13.
14. Odintsov V.V. Compositional types of speech // V. kn. Functional types of Russian speech. - M., 1982, p. 130-217.
15. Odintsov V.V. Text style - M., 1980. - 263 p.
16. Razinkina N.M. Functional style. - M., 1989. - 182
17. Skrebnev Yu.M. Essay on the theory of stylistics. - Gorky, 1975. - 175 p.
18. Solovieva N.K., Kortes L.P. A practical guide to text interpretation (poetry) - Mn., 1986, 123 p.
19. Troyanskaya E.S. On the nature of linguistic features of texts that characterize various functional styles // Linguistic Research scientific speech. - M., 1979, p. 202-224.
20. Tsikotsky M.Ya. Styles of the Belarusian language: Vuchyb. dapam. for student faculty. journalists. - Mn., 1995. - 293 p.
21. Shmelev A.D. Russian language and its functional varieties. - M., 1977. - 168 p.
22. Arnaudet M.L., Barrett M.E. Paragraph development a guide for students of English. - Englewood Cliffs, NY: Regents/Prentice Hall, 1990.- 182 p.
23. Bander R. American English rhetoric - NY: Holt, 1983.
24. Bonheim H. Theory of narrative modes// In: Semiotica, 1975, v. fourteen,no 4, pp. 329-344.
25 Cook G Discourse. - Oxford: UP, 1989. - 168 p.
26. Coulthard M. An introduction to discourse analysis. - NY: Longman, 1992. - 212 p.
27. Leech G., Short M. Style in fiction. - L. - NY: Longman, 1981. - 402 p.
28. Widdowoson H.G. Stylistics and the teaching of literature. - L.: Longman, 1975. - 128 p.
Stylistics. - 1998. - 576 p. - Bibliography: ...
» BULLETIN OF NEW ARRIVALS July-August 2009 Vitebsk 2009 From the compilers
Bulletin1 C 80 Stylistics foreign language (Englishlanguage): typical textbook. program for higher textbook establishments on special... philology / [comp. N. N. Nizhneva] ; Ministry of Education of the Republic of Belarus, UMO universities of the Republic of Belarus on humanit. education...
Index of literature proposed for redistribution issue 3 2009
Bibliographic indexToolkit onEnglishlanguage for 1st and 2nd year students on specialty "... 06 "Romano-Germanic Philology" / N.N. Nizhneva, L. N. Drozd, L. B. Khmurets. ... 2009. - 71 p. Stylistics French language: educational and methodical complex for ...
The textbook "Workshop on the style of the English language" is intended for students of the third - fourth courses of higher educational institutions studying in the specialty "Foreign Language". The textbook meets the requirements of the work program for the subject, drawn up in accordance with the State Educational Standard for Higher vocational education in the specialty 033200 "Foreign language with an additional specialty", taking into account the recommendations given in the section "Stylistics of the English language" of the Program of disciplines for subject training in the specialty 021700 "Philology", edited by V.A. Lukov.
Analyze the following cases of personification.
1. On this dawn of October, 1885, she stood by her kitchen window. . . watching another dismal and rainy day emerge from the womb of the expiring night. And such an ugly, sickly-looking baby she thought it was that, so far as she was concerned, it could go straight back where it came from. (P.M.)
2. He was fainting from sea-sickness, and a roll of the ship tilled him over the rail on to the smooth lip of the deck. Then a low, gray mother-wave swung out of the fog, tucked Harvey under one arm, so to speak, and pulled him off and away to lee-ward; the great green closed over him, and he went quietly to sleep. (R.K.)
3. A dead leaf fell in Soapy's lap. That was Jack Frost's card. Jack is kind to the regular denizens of Madison Square, and gives fair warning of his annual call. At the comers of four streets he hands his pasteboard to the North Wind, footman of the mansion of All Outdoors, so that the inhabitants thereof may make ready. (O.H.)
TABLE OF CONTENTS
FROM AUTHORS-CREATORS
CHAPTER I Stylistic devices and expressive means of language
Lexical stylistic devices
Exercises
Syntactic stylistic devices
Exercises
Lexico-syntactic stylistic devices
Exercises
Graphic and phonetic means of expression
Exercises
CHAPTER II Stylistic analysis of poetic and prose works
I. W. Shakespeare "Sonnets" (XXVII, LXV)
II. E.A. By "The Bells"
III. W. de la Mar "Silver"
IV. G. Melville "Moby Dick" (Chapter 19)
V. O. Wilde "The Picture of Dorian Gray" (excerpt from the novel)
CHAPTER III Register
CHAPTER IV I.V. Arnold
Interpretation of a literary text (excerpts from a lecture).
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Introduction
Syntax is the main beginning of a speech work, but the importance of syntax for any type of utterance cannot be overestimated.
The most important syntactic unit is considered to be a sentence. It is in it - its structure, length, completeness - that we see the main difference between oral and written speech.
The main function of the overwhelming majority of syntactic stylistic means is to highlight a particular unit of the utterance due to its specific location in the utterance.
Syntactic stylistic means play a very important role today, proof of this is Skrebnev’s quote “A person who uses stylistic means in his speech is a genius of the Russian people” [Skrebnev, 1956., 49].
We encounter syntactic stylistic means not only in oral speech, but also in writing. The great importance of stylistic syntactic means lies in its use in works of art. There is no such author who would not use syntactic stylistic means in order to embellish his work, namely, to describe various phenomena, actions and, of course, heroes in bright colors. A striking example of syntactic stylistic means is Oscar Wilde's novel The Picture of Dorian Gray, the author of this novel used a lot of syntactic, lexical and phonetic stylistic means in his novel. Basically, scientists began to study syntactic stylistic means at an early stage in the development of writing. Kudrin made a huge contribution to the development of stylistic means and is considered the founder of stylistics. Another figure that should be noted is Galperin, who continued the work of Kudrin.
Relevance This course work is due to the fact that the problems with style every year are more and more interested in linguists, and in particular the study of syntactic stylistic means.
aim This course work is the study and identification of syntactic stylistic means in Oscar Wilde's The Picture of Dorian Gray.
To achieve this goal, the following tasks were solved in the work:
1. To study the basic concepts: means of expression and techniques.
2. To study the classification of stylistic syntactic means.
3. In the material of the work "The Picture of Dorian Gray", find and analyze the use in this case stylistic syntactic means.
Subject of study This course work is the stylistic syntactic means that are used in Oscar Wilde's novel "The Picture of Dorian Gray".
Object of study course work is the stylistic syntactic means of the English language.
Research material Oscar Wilde's The Picture of Dorian Gray.
Research method this course work was the method of observation, the method of quantitative calculation, the method of qualitative calculation and the method of continuous sampling.
The theoretical basis was the work of: Skrebnev, Galperin, Kukharenko, Vinagradov, Efimov, Arnold and many other scientists.
This course work consists of an Introduction, 2 chapters, a conclusion, an application, a table and a list of references.
The first chapter deals with the definition, features, and classification of stylistic syntactic means.
In the second chapter, in the practical part, I studied Oscar Wilde's novel "The Picture of Dorian Gray", studied and analyzed stylistic syntactic means.
1. Syntactic stylistic means in modern linguistics
1.1 General concept of expressive means and stylistic devices
In modern linguistics, such terms as are very often used: Expressive means of language, expressive means of language, stylistic means and stylistic devices.
It is very difficult to draw a clear line between the expressive or expressive language and the stylistic devices of the language, but nevertheless, differences between them are still observed [Efimov. 1996. 45].
Under the expressive means of the language, we mean such syntactic, morphological and word-building forms of the language that serve to emotionally or logically enhance speech. [Galperin, 1958., 43].
The main attention of scientists was directed to the fact that separate stylistic devices are used only in large segments of the utterance, others are easily relied on in minimal groups of words; some stylistic devices give the presentation the ability to evoke a figurative idea of the subject of thought, others only increase the emotional tension of the statement; some enrich mainly the semantic side of the utterance, others hint at subtle additional shades of content with structural features of construction. [Galperin, 2003., 44].
Syntactic stylistics studies the expressive possibilities of word order, types of sentences, types of syntactic connection.
Inversion.
For example: Never have I seen such a dress. In this sentence, the inversion is caused by the position of the adverb never in the first place in the inversion sentence - there is no violation in the grammatical norm. (Sentences Never I have seen such a dress, in this case we can say with confidence that the sentence is not built correctly, but rather with a violation of the usage.).
A structure like “Only Then have I made up my mind to go there” is called stylistic inversion.
Similarly, a construction like “It Was that…. is also an inversion.
In English, each member of a sentence, as you know, has a common place, determined by its syntactic expression, connection with other words and the type of sentence.
Inversion is a violation of the usual sequence of sentence members, as a result of which some element is emphasized and receives special connotations of emotionality and expressiveness [Arnold, 1981., 162].
Some changes in word order change syntactic relations, and with them the whole meaning of the sentence:
For example: When the man wants to kill a tiger he calls it sport; when a tiger wants to kill, a man it is ferocity.
Others reconnect grammatical and expressive features:
For example: I had known it. - Had I known it. - If I had known it.
Where the second differs from the first in grammatical meaning, and from the third in expression. Finally, word order changes that do not change the grammatical meaning are possible and are not associated with expression or emotionality, but have a functional-stylistic coloring. These include, for example, the transfer of a preposition to the end of a sentence is possible only in a colloquial style:
For example: The man of whom I spoke. - The man I, spoke of.
Ellipsis is a deliberate omission of any member of a sentence in a written and literary type of speech.
For example: See you tomorrow! Had a good time? Won't do.. You say that.
In this example, we observe the lack of any member of the sentences. The absence of sentence members in the above examples is provoked by various reasons [Galperin, 1958.101]. In the first two examples, the absence of the subject and part of the predicate is due to the position in which communication takes place and which allows the construction of this kind of sentence. In the third example, the absence of a subject is provoked by some characteristic verbal living relationship. The last example is provoked by the state of excitement of the speaker.
The omission of the main member of sentences (often with a verb - a bunch), the nominal part of a predicate or an auxiliary verb is the most common form of an ellipse.
Unlike the German language, in which the pronominal subject is omitted only in some cases in words emotionally enlarged in the appropriate context [Admoni, 1955. 185].
Being especially characteristic of colloquial speech, the ellipse itself, even outside the dialogue, gives the presentation the intonation of living words, dynamism, and sometimes some confidential simplicity:
For example: If teenage baby - sitters typical, there "s hope yet.
The repetition of words expresses a certain speaking state, not counting on what or the result. The repetition of the words of the author's words is not a consequence of such a spoken psychological state and aims at a stylistic specific result. It is a stylistic means of emotional influence for the reader.
Lexical repetition is considered the repetition of a word, a group of words, or a sentence in the number of narrations and in more military communications units spanning a series of narrations.
Repetition, as Vandries writes, is also one of the tricks that have come out of the language as valid. This device, once applied to a logical language, has become a simple grammatical tool. We see its starting point in the excitement that accompanies the expression of feeling, entrusted to its highest effort [Vandries, 1937. 147].
Indeed, repetition as a stylistic device is a typified generalization from a means that appears in the language of expressing the state of excitement, which is expressed in words with various means, depending on the degree and nature of the excitement. Speech in its structure can be elevated. Pathetic, irritable, touching, etc. t. E.
For example: “Stop! ”- She Cried, “ Don "t tell me! I don" t want to hear; I don't want to hear what you've come for. I don't want to hear.
The repetition of the words “ I don "t want to hear" is not a stylistic device.
Usually in the text of works of art, where such a state of excitement of the hero is explored, the author's remarks are given (cried, sobbed, passionately, etc.).
Varieties and functions of repetition:
The variety of functions inherent in repetition is especially pronounced in poetry. Some authors even find repetition as a stylistic sign of distinguished poetry and prose [Kvyatkovsky, 1979. 182].
1. Epiphora - the repetition of a word at the end of two or more phrases.
2. Ring repetition (frame) - the repetition of a word or a group of words at the beginning and at the end of the same sentence, stanza, paragraph.
3. Polysyndeton - repetition of unions.
The problem of repetition has attracted the attention of very few researchers. Of great interest is the problem of determining the limits of repetition.
Non-union is a stylistic device: the development of words, in which conjunctions that join words are omitted. It gives the presentation speed, dynamism, provides a sharp transition from one picture to another, impressions, actions [Galperin, 1958. 47].
For example: I came, I saw, I conquered.
The omission of conjunctions may be dictated by the demands of the rhythm. For long enumerations, he gives a sharp change of pictures or emphasizes the saturation with partial separated impressions within the overall picture, the impossibility of listing them:
For example: He never tired of their (pictures) presence; they are represented by a substantial saving in death duties.
Unionlessness (asindeton) - deliberate omission of unions.
Climax - Increase.
Within a paragraph (rarely within a single sentence), with the aim of emotionally influencing the reader, it is usually used just the same method of growth, which contributes to the gradation of subsequent statements, that is, makes them stronger, more important, more significant, more significant, more than the previous ones .. [Vinogradov, 1953. 95].
For example: Your son is very ill, seriously ill -- desperately ill.
Detached construction - Separation.
Separate members of a sentence in English are usually called such parts of the statement - mostly secondary members of the sentence, which, due to the break in the usual syntactic links, turn out to be isolated from those main members of the sentence on which they usually depend. Isolation in its essence is related to inversion.
For example:
1. Sir Pitt came in first, very much flushed, and rather unsteady in his gait.
Between the isolated secondary members of the sentence and the main members of the sentence there is a connection, albeit interrupted. This connection becomes less significant the more the isolation itself is felt.
Indeed, isolated members of the sentence have greater independence, greater eloquence and semantic separability. As you know, expressiveness in some cases is determined by intonation. Isolation is a reception of a written type of speech, and it is the intonational emphasis that is suggested only by the corresponding position of the isolated members of the sentence as part of the whole sentence. In other words, intonational emphasis is a function of the syntactic position of a separate member of a sentence. The main content of isolation is the rupture of the usual existing traditional relations between the members of the proposal. The rupture of syntactic links provokes a longer break before a separate member, a change in the intonation pattern during pronunciation, a stronger stress, etc. [Galperin, 1958., 195].
Question-in-the-Narrative - Questions in a narrative text.
This type of stylistic devices based on the original use of the features of the oral type of words also includes the use of interrogative sentences in a narrative text. These questions should not be confused with questions of rhetoric. In other words, questions are usually used in live colloquial speech, that is, in communication. The question asked usually requires an answer. The answer is expected from this person to whom the question is addressed [Galperin, 1958.120].
Interrogative sentences in a narrative text change markedly the nature of this kind of sentence.
For example: How long must it go on? How long must we suffer? Where is the end? What is the end?
Interrogative sentences that do not receive an answer create an influx of questions because they require a clear answer.
The interrogative form emphasizes the certainty that no one will want to admit the absence of humor.
In the scientific style, an important role is provided by the use of a similar rhetorical question, but it is not quite analogous. This question, accompanied by an answer and involving the reader in deepening the author, obliges him to act with him. Approximately the same thing, although with a greater degree of emotionality, occurs in the style of journalism.
Again and again I have heard the statement that learning machines cannot subject us to any new dangers, because we can turn them off when we feel like it. But can we? To turn a machine off effectively we must be in possession of information as to whether the danger point has come. The mere fact that we have made the machine does not guarantee that we shall have the proper information to do this.
The above passage interprets a common theme in science and articles on political and social activity, and can serve as an illustration of both styles. The reasoning begins with a rhetorical question that makes an active reader. Here is the widely held and nonchalant claim that we can shut down the machine at all times, and finally the direct question casts doubt and the answer fails.
Litota - Double negation.
The litote is used to weaken the positive attribute of a concept. Thus, instead of It is good is It is not bad; instead of He is a brave man, He is no coward is used. These synonymous means of expressing the idea of structure with the negative particle no or not obviously feel like a deliberate understatement. The power of expressiveness of this stylistic device lies in the fact that this conscious understatement is understandable to the participants in communication [Galperin, 1958.122].
Litota is a means of asserting a positive sign. Therefore, in its composition, quite often a word expresses a concept, a sign of which can be characterized as negative. Indeed, in order to obtain a positive sign, one must negate a negative sign.
Negation is not used in immediate emotional reactions to the situation.<…>Although emotions can be negative, they repel denial from themselves” [Arutyunova, 1999. 665].
Negation allows us to make a particularly laconic phrase and strengthen the expression of the irreversibility of the moment we are talking about.
For example: All the perfumes of Arabia will not sweeten this little hand.
A short phrase contains a huge store of information: Lady Macbeth does not forget in her madness feminine beauty(small hands), about the luxury that she has (all the flavors of Arabia), and that everything is over for her - the traces of the crime remained insignificant in her. Denial contrasts everything she is and is proud of, and what she herself has become, trampling on humanity. The presence of the word all, the sophistication and exoticism of associations with the aromas of Arabia, the incompatibility of ideas about tender femininity and cruel crimes enhance the expressiveness of the sentence.
Litota is interesting for a national specific feature. It is necessary to express this by the national English character reflected in the etiquette of English speech: English restraint in demonstrating assessments and emotions, the desire to avoid extremes and maintain mastery in any position.
For example: It is rather an unusual story, isn" t it? = You lie. It would not suit me, all that well. = It is impossible.
Chiasmus - chiasm.
The stylistic devices, which are built on the repetition of the syntactic pattern of the sentence, can also include the opposite parallelism (chiasm). The pattern of this technique is as follows: two sentences follow one after the other, while at the same time the word order of the sentence is opposite to the word order of the other sentence [Galperin, 1958.144].
For example: Down dropt the breeze, the sails dropt down.
The word order in the second sentence is reversed with respect to the first. Chiasma can be otherwise called as a combination of inversion and parallelism.
Sometimes the opposite parallelism can be a transition from an active construct to a passive construct and vice versa. In the same way, using an example, as we have already given in order to illustrate growth, the author changes the construction of the sentence: the passive construction in the first sentence is replaced by the active one in the second sentence.
For example: The register of his burial was signed by the clergyman, the clerk, the undertaker and the chief mourner. Scrooge signed it.
Thus, the chiasm performs an auxiliary function in relation to growth.
Represented speech: a) Uttered Represented speech - Improperly direct speech.
b) Unuttered or Inner Represented speech. - Indirectly - direct speech
a) Improper direct speech
In the Artistic style, there are traditionally three types of speech rendering: direct speech, indirect speech, and improperly direct speech. Under the term improperly direct speech, 2 variational types are added: indirectly - direct speech and Depicted speech.
Only improperly direct speech belongs to the competence of stylistics.
In linguistic scientific literature, the term "inappropriately direct speech" is applied both to various ways of transmitting someone else's speech, which differ from indirect speech, and to the author's depiction of feelings, excitement and ideas of characters. The representation of the inner state of the hero, his ideas, feelings and emotions is an absolutely special phenomenon, which should not be confused, due to its specific features, with pronounced words and means of expressing pronounced words.
Therefore, indirect speech stands out indirectly in indirect speech - direct speech, as one of the means of conveying pronounced words, really sounding speech, and presented speech, which are used to describe the artistic representation of the hero’s internal state, but are not a form of conveying the character’s words.
b) Indirectly - direct speech.
In English fiction, a special technique has recently developed for transmitting someone else's speech, which occupies a transitional position from indirect to direct speech. The characteristic features of both speech in it are so mixed that we can limit them only after linguistic detailed analysis each component of the utterance. Attention must be paid here to the fact that in this position the actually sounding speech is transmitted, i.e., the previously mentioned speech.
Such a similarly mixed form of transmitting someone else's speech is usually called indirectly direct speech.
Recently, in English fiction received
Antithesis - Antithesis.
In order to create a contrasting characteristic of the described phenomenon, it is often compared with another, logically opposed. Such a comparison reveals not common features of objects and a phenomenon, but antagonistic opposing features. The facts of objective reality do not approach by common features, but just the same move away from one another.
For example: They speak like saints and act like devils.
The antithesis can be carried out within a single sentence, as well as in the number of large segments of an utterance. Within one sentence, the antithesis usually creates a semantic complete semantic completeness of the statement - a maxim.
VV Vinogradov from 1817-1818 supplemented the changes in Pushkin's artistic style with the construction of phrasal antitheses. Instead of combinations by a direct contract, word combinations appear based on inconsistencies in the semantic channel, partial contradictions, semantic incomplete coordination, rising quite often, however, also to the norms of French rhetoric [Vinogradov, 1941. 192].
The antithesis is usually built on a non-union connection of sentences. If the connection between the components of the antithesis is expressed by an allied connection, the union and is most often used. By its nature, it is a partial expression of the unity of opposing phenomena. When the union but appears, the stylistic result of the antithesis is weakened to a great extent.
Antithesis is often found in styles in artistic speech and journalism styles. It is rarely used in the style of scientific prose, where, however, logical opposition is a common occurrence.
Rhetorical question - Rhetorical question
Affirmative sentences can be used as questions if the person asking the question wants to show that he is already figuring out what the answer will be and is not indifferent to it. They can also serve as a call to action. The so-called questions of rhetoric are used as an emphatic statement, and imperative sentences can sometimes convey not an impulse to action, but a threat or ridicule [Arnold, 1981. 165].
A rhetorical question does not imply an answer and is supposed to encourage the audience to tell something unknown to the speaker. The function of a rhetorical question is to attract attention, enhance the impression, increase the emotional tone, create elation. The answer is already there, and the rhetorical question involves only the reader in reasoning or excitement, making him the most active, obliging him to make his final conclusion.
The rhetorical question is found in all styles of speech, but each of them has a slightly specific irony, mockery:
For example: Men will confess to treason, murder, arson, false teeth or a wig. How many of them own up to a lack of humor?
Break-in-the-Narrative - Default.
Silence and aposiopesis close to it are included in the emotional break of the utterance, but with silence, the speaker deliberately allows the audience to think about the unknown, and with aposiopesis, really or accidentally, he cannot continue unrest or indecision. Both drawings are so close that it is often difficult to distinguish them [Galperin, 1958.198].
For example: Emily, I do improve and make a big change.. would you be... I mean could you be...
These phrases are built on aposiopesis: the character cannot continue from excitement.
Another character has a default in the next fragment (T. Williams "Suddenly Last Summer") Mrs. Vineble seeks to bribe the doctor to make him perform an operation on the brain of her little niece, whose revelations she fears.
For example: Doctor: This is a good deal of risk in my operation. Whenever you enter the brain with a foreign object...
Mrs V.: You said that it pacifies them, it quiets them down, it suddenly makes them peaceful.
Speakers do not want to call a spade a spade.
1.2 Classification of stylistic syntactic means
I. R. Galperin, in its essence, classifies stylistic devices as syntactic, phraseological, lexical and frenetic. Stylistic syntactic devices include: inversion, isolation, ellipse, silence, improperly direct speech, indirectly - direct speech, questions in a narrative text, rhetorical question, litote, parallel constructions, chiasm, repetitions, buildup, retardation, antithesis, addition (comulation ), multi-union and non-union [Galperin, 2003. 44].
V. A. Kukharenko emphasizes stylistic syntactic devices: inversion, rhetorical question, ellipse, suspense, repetition, parallel constructions, chiasm, polyunion, non-union, aposiopesis [Efimov, 1996. 41].
One of the main classifications of sentences in syntax is the classification according to the purpose of the statement into interrogative, declarative, exclamatory and imperative sentences. Proposals are divided into affirmative and negative ones. Each of these categories has formal and negative features. Everyone can, in turn, meet in the meaning of any of the others, acquiring more modal or emotional special meaning, expressiveness or stylistic coloring.
Transposition is the use of syntactic structures in non-native or denotative meanings and with additional connotations.
Syntactic transposition refers to the implicative forms of changes in the nuclear sentence. According to Yu.M. Skrebnev, implication is the use of visual content unusual for a language unit, functional enrichment of the content plan of a language unit [Skrebnev, 1971, 85].
I. V. Arnold presents stylistic syntactic means, such as: inversion, rhetorical question, litote, repetitions, polyunion, asyndeton, aposiopesis, parallel constructions, ellipsis, default [Arnold, 2002. 217].
We will look at some typical cases of inversion:
1. A predicate expressed by a noun or an adjective may precede the former subject and verb of the copula.
For example: Beautiful those donkeys were! This type is typical for colloquial speech.
2. A direct complement for the purpose of emphasis may possibly take the initial line.
For example: Her love letters I returned to the detectives for filing.
3. A definition expressed by an adjective or several adjectives, when placed after the determined, gives the statement an upbeat solemn character, organizes it rhythmically, can be reinforced by adverbs or conjunctions, and even gets a shade of predicative nature.
For example: Spring begins with the first narcissus, rather cold and shy and wintry; In some place there are old yellow tulips, slender, spiky, and Chinese-looking.
4. The circumstantial words put forward in the first place are not only strengthened. They will also strengthen the subject, which will later move to the last line - the last line is also emphatic.
For example: Hallo! Here come to lovers; Among them stood tulips.
We will consider stylistic syntactic repetitions that elements of different levels can be repeated, and repetitions are classified depending on which elements are repeated:
1. Meter - periodic repetition of the iambic foot.
2. Sound repetition in the form of alliteration.
3. Repetition of words or phrases.
4. Repetition of morphemes (live and life).
5. Repetition of the design.
7. Pickup calls the connection between two ideas, increases not only expressiveness, but also rhythm.
2. Analysis of the novel by Oscar Wilde "The Picture of Dorian Gray"
2.1 Individual-author's use of syntactic stylistic means
The author put Dorian Gray in a fantastic situation: he is given eternal youth and beauty, and his image in the portrait grows old and becomes ugly, terrible. A rich, handsome young man plunged into the world of pleasures after his teacher, Lord Henry Watt, suggested the idea eternal youth admiring the portrait of Dorian in the studio of the artist Basil Hallward. The artist, struck by the purity of young Gray, put his dreams, feelings, his vision of the beauty of "himself" into the portrait. A beautiful work of art has received a part of the creator's soul, capable of influencing others and conquering them. But Dorian Gray was attracted not by Basil's feelings, but by the idea of Lord Henry, according to which a person should not trust art, not learn beauty from him, but independently seek it in life.
Consider the use of syntactic stylistic means in the novel The Picture of Dorian Gray using the following examples:
Repeat:
Those who find beautiful words in beautiful things are the cultivated.
Those who are able to see in the beautiful its high meaning are cultured people (22, 28).
"It is your best work, Basil, the best thing you have ever done," said Lord Henry, languidly. "You must certainly send it next year to the Grosvenor.
This is one of your finest works, Basil, the best of all that you have written, ”said Lord Henry lazily. We must certainly send it to an exhibition at Grosvenor next year (22, 65).
But beauty, real beauty, ends where an intellectual expression begins. But beauty, true beauty, disappears where spirituality appears (22, 72).
Not at all," answered Lord Henry, "not at all, my dear Basil. “Not at all,” retorted Lord Henry, “not at all, dear Basil!” (22, 54).
There is too much of myself in the thing, Harry--too much of myself!" Do you understand now, Harry? I put too much of my soul into this canvas, too much of myself (22, 89).
What you have told me is quite a romance, a romance of art one might call it, and the worst of having a romance of any kind is that it leaves one so unromantic." it can be said that a novel is based on art, but having survived the novel of his former life, a person - alas! - becomes so prosaic (22, 102).
"I don"t think I shall send it anywhere," he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford. "No: I won"t send it anywhere." (22, 142).
And I’m not going to exhibit this portrait at all,” the artist replied, throwing back his head, according to his characteristic habit, which his comrades used to mock at Oxford University. “No, I won’t send him anywhere (22, 93).
It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. How strange! If it’s unpleasant when people talk about you a lot, then it’s even worse when they don’t talk about you at all (22, 90).
A portrait like this would set you far above all the young men in England, and make the old men quite jealous, if old men are ever capable of any emotion." and would inspire strong envy in the old, if old people are still capable of experiencing any feelings at all (22, 121).
I never know where my wife is, and my wife never knows what I am doing. I never know where my wife is and my wife doesn't know what I'm doing (22, 65).
"Being natural is simply a pose, and the most irritating pose I know," cried Lord Henry, laughing; and the two young men went out into the garden together, and ensconced themselves on a long bamboo seat that stood in the shade of a tall laurel bush. I know that being natural is a pose, and the most hated pose for people! exclaimed Lord Henry with a laugh. The young people went out into the garden and sat on a bamboo bench in the shade of a tall laurel bush.
Dorian, in response to the question of the Duchess of Monmouth, did Lord Henry's philosophy help him find happiness, says: “I have never searched for happiness .... I have searched for pleasure.” (22, 72).
“And found it, Mr. Grey?”
“often. Too often.” - the use of repetition in this case gives the phrase a certain tragedy, and the monosyllabic expression creates the impression of understatement (22, 58).
Anaphora:
Perhaps he suffered, perhaps he hated, perhaps he loved by cruelty alone.
Perhaps he suffered, perhaps he hated, perhaps he loved out of cruelty alone (22, 95).
He shook his curls; he smiled and went easily through the seven motions for acquiring grace in your own room before an open window ten minutes each day. He danced like a fauna; he introduced manner and style and atmosphere.
He shook his curls, gave smiles and lightly did all those seven body movements that you spend ten minutes daily in your room in front of an open window to gain flexibility and grace. He danced like a faun. He created around him an atmosphere of courtesy and subtle treatment (22.105).
Epiphora
"Mother, mother, I am so happy!" whispered the girl, burying her face in the lap of the faded, tired-looking woman who, with back turned to the shrill intrusive light, was sitting in the one arm-chair that their dingy sitting-room contained. "I'm so happy!" she repeated, "and you must be happy too!"
Mom, mom, I'm so happy! whispered the girl, pressing her cheek against the knees of a woman with a tired, faded face, who sat with her back to the light in the only armchair in a squalid and dirty drawing-room. “I am so happy,” repeated Sybil. (22, 168).
Chiasmus
“May I take so bald”, he said with a smile that was like a frown, and with a frown that was like a smile. Can I say it directly, - he said with a smile that looked like a grimace, and with a grimace that looked like a smile (22, 91).
“Little by little, bit by bit, and day by day, and year by year the baron got the worst of some disputed guestion” (22, 165).
“I"m not lame, I"m not loathsome, I"m not a boor, I"m not a fool. What is it? What's the mystery about me? Her answer was a long sigh” (22, 75).
Inversion
Lord Henry charmed Dorian with his elegant but cynical aphorisms. “A new Hedonism - that is what our century want (using inversion, the author focuses on the subject of conversation)... I thought how tragic it would be if you were wasted. For there is such a little time that your youth will last - such a little time (In this sentence, inversion gives expressiveness to speech, and emphatic repetition enhances impression),” says Lord Henry to Dorian in the second chapter. In the sixth chapter he states: “And unselfish people are colourless. They lack individuality.” - the author's use of a metaphor built on a series of associations. Objects of bright colors attract attention, interest, while colorless or transparent ones go unnoticed. This association is transferred to people. By "colorless" people are meant not people without color, but people who do not attract attention to themselves with their uninterestingness.
Having undergone many more changes in himself, having committed many crimes, Dorian dies in the last chapter. Within the given limits, he goes through the entire test cycle, and one can try to answer the question of whether the life of Dorian Gray proved the validity of Lord Henry's ideology or not.
“The aim of life is self-development. To realize one`s nature perfectly - that is what each of us is here for (the author again resorts to inversion to make the words of Lord Henry meaningful and colorful) ”- Lord Henry inspires his young friend. However, Dorian's later life is not at all a revelation of the essence of the person whose portrait was painted by the artist Basil Hallward, but a reshaping of his soul, which is ultimately reflected on the canvas. This reshaping leads to that loss of integrity, indirect signs of which are noticed even by Lord Henry himself, finding that Dorian at certain moments becomes “quite out of sorts” (22,147).
In the last sentences of the novel, the author uses the inversion “When they entered, they found hanging upon the wall a splendid portrait... Lying on the floor was a dead man....” in order to make the narrative more emotional and expressive (22, 224).
Crudely as it had been told to him, it had yet stirred him by his suggestion of a strange, almost modern romance. Even told in general terms, this story excited him with its unusualness, its almost modern romanticism (22, 79).
Parallelism
From one she would copy and practice a gesture, from another an eloquent lifting of an eyebrow, from others, a manner of walking, of carrying a purse, of smiling, of greeting a friend, of addressing "inferiors in station." From one she copied the gesture, from the other - the eloquent movement of the eyebrows, from the third - the gait, the manner of holding the purse, smiling, greeting friends, treating the "lower" (22, 165).
Sweet is the scent of the hawthorn and sweet are the bluebells that hide in the valley.
Sweet is the fragrance of hawthorn and sweet bluebells that hide in the valley (22.178).
polysyndeton
And I want to eat at a table with my own silver and I want candles, and I want my own tea, and I want it to be strong and I want to brush my hair out in front a mirror and I want a kitty and I want some new clothes new clothes (22,187).
“A tall woman, with a beautiful figure, which some members of the family had once compared to a heathen goddess, stood looking at these two with a shadowy smile” (22, 150).
Antithesis:
O. Wilde's novel "The Picture of Dorian Gray" is a vivid example of antithesis.
At the center of Oscar Wilde's work is the theme of beauty and pleasure. The writer describes a real tragedy in the disagreement between a person's desire for pleasure and the impossibility of bliss. It was this disagreement that became the center of the novel "Dorian Gray". The problem is revealed through two main images. One of them is the artist Hallward, who devotes himself to art, giving his life to serve the ideal of art. The second is Dorian Gray, who destroys his soul, striving for pleasure. The themes of art and the fall become elements of antithesis in the novel.
"...he...stand,with a mirror, in front of the portrait that Basil Hallward had painted of him,looking now at the evil and the aging face on the canvas, and now at the fairyoung face that laughted back at him from the polished glass." The author does not say: he looked at the portrait, then at himself in the mirror. He specifically uses the expressions “face on the canvas” and “face...from the polished glass” to show that none of these faces can truly be called the face of Dorian, just as it cannot be said that they were not his face. The author uses the technique of antithesis, contrasting “evil and aging face” and “fair young face”.
"On his returnhe would sit in front of the picture, sometimes loathing it and himself, butfilled, at other times, with that pride of individualism that is half thefascination of sin, and smiling, with secret pleasure, at the misshapen shadowthat had to bear the burden that should have been his own.” -- the author uses the metaphorical expression "bear the burden" in the sense that the portrait bears the burden of old age, the author also uses the oxymoron "fascination of sin".
The portrait went from “the finest piece of work” to “the misshapen shadow”. antithesis.
The life that was to make his soul would mar his body. Life, forming his soul, will destroy his body (22, 174).
I get hungry for her presence; and when I think of the wonderful soul that is hidden away in that little ivory body, I am filled with awe."
I can't live without her anymore. And when I think about the wonderful soul enclosed in this fragile body, as if carved from ivory, I am seized with awe (22, 71).
A beautiful woman risking everything for a mad passion. A beautiful girl who sacrificed everything for passionate love (22, 57).
A few wild weeks of happiness cut short by a hideous, treacherous crime. Several weeks of immeasurable happiness, broken by a heinous crime (22, 98).
Behind every exquisite thing that existed, there was something tragic. Some tragedy is always hidden behind the beautiful (22, 74)
Ellipsis:
“Her name is Sibyl Vane” - “Never heard of her”. “No one has. People will someday, however;
"Her name is Sybil Wayne" - "Never heard of her." "No one has. People will someday, however; (22, 98).
You may lose more than your fees! Can't!
“You will lose more than you feel” (22, 152).
June had answered in her imperious brisk way, like the little embodiment of will she was. (22, 250)
The entire list of data, using the method of continuous sampling, can be found in the appendix to this course work.
Conclusion
From the foregoing, it is obvious that in a work of art there is a purposeful use of the main parameters of the syntactic organization of the text - the length, structure of the sentence, the order of the elements in it and the means of communication. Syntactic figures are episodic, optional and are a deliberate deviation from the language norm, designed to perform various functions, the key of which is the function of enhancing expressiveness.
Each element of a literary text - words, sounds, the construction of phrases - affects the mind and feelings of the reader not separately, not in isolation, but in connection with the artistic whole.
In the creative evolution of Oscar Wilde - and, above all, Wilde the prose writer - the novel occupied an exceptionally important place.
As a result of this work, an analysis of the novel by Oscar Wilde "The Picture of Dorian Gray" was carried out. The style of the novel is analyzed: the novel is written in the style of aestheticism, which is manifested in the elegance of the author's style, in refined colorful images, in a carefully adjusted selection of words. Also in the novel, the author's commitment to dandyism makes itself felt, which manifests itself in the work in a detailed, careful description of the costumes. The debunking of the ideas of hedonism, the empty vicious life of the protagonist, who passed in searches that did not lead to anything, and his death reflect the general decadent decadent mood of English society at the end of the 19th century.
Wilde's style is characterized, first of all, by the frequent use of the words of the synonymous series "beautiful", by the exoticism of the image of the objective world, the world of things, jewelry, works of art, flowers and birds. Also, Wilde's style is marked by witty, concisely constructed dialogues, dialogues that are lengthy tirades, and dialogues that are close in construction to dramatic ones. A common feature is the careful verification of the meanings of words, aphoristic, metaphorical and paradoxical.
The purpose of this work was to identify syntactic stylistic means in the work. We have identified such means as repetition, epiphora, chiasmus, inversion, anaphora, parallelism, polysyndeton, ellipsis. Examples of such tools are given in the practical part of the work. From this we can conclude that the author quite often resorts to the use of syntactic stylistic means.
After examining 100 examples, we came to the conclusion that the work of Oscar Wilde's "The Picture of Dorian Gray" uses syntactic stylistic means. The most commonly used syntactic stylistic devices are: Inversion, question-in-the-Narrative, Repetition and Rhetorical question. Quantitatively, inversion is 12 percent, chiasm 5 percent, litote 10, asyndetone 2, antithesis 6, rise 2, ellipse 10, rhetorical question 13, narrative questions 16, isolation 4, epiphora 3, ring repetition 11, polyunion 6. In the course of the study, we identified 100 examples in total.
Bibliography
linguistics syntactic stylistic wilde
1. Arnold I.V. Stylistics of Modern English 1981. .
2. Arnold I.V. Stylistics of Modern English 1981. .
3. Ilyish B.A. Modern English. - M., 1948. See Admoni V. G. Introduction. In the syntax of modern German. M., 1955. .
4. Vandries J. language. Sotsekgiz. M., 1937, .
5. Vinogradov VV The language of Gogol and its significance in the history of the Russian language. Acad. Sciences of the USSR 1953, t 3. V. V. Vinogradov calls such a repetition "an imaginary tautology."
6. V. V. Vinogradov, Pushkin’s style, State. Ed. Hood. Literature. 1941. .
7. Shevyakova V. E. Educational literature. Moscow 1981.
8. Krupnov V. N. Course of translation. 1979.
9. Arnold I.V. Decoding style. M., 1990.
10. Beregovskaya E.M. expressive syntax. Smolensk, 1984.
11. Vinogradov V.V. Stylistics, theory of poetic speech, poetics. M., 1963.
12. Klimenko E.I. Tradition and innovation in English literature. M., 1963.
13. Kuznets M.D., Skrebnev Yu.M. Stylistics of the English language. L., 1960.
14. Kukharenko V.A. Text interpretation. L., 1988.
15. Kukharenko V.A. Linguistic study of English artistic speech. Odessa, 1973.
16. Skrebnev Yu.M. Essay on the theory of stylistics. Gorky, 1975.
17. Sosnovskaya V.B. Poetics of modern English prose. Krasnodar, 1977.
18. Galperin I. An Essay in Stylistic Analysis. M., 1968.
19. Galperin I. Stylistics. M., 1977.
20. Halliday M.A.K. Explorations of Language. Ldn. 1974.
21. Halliday M.A.K., Hasan R. Cohesion in English. Longman, 1976.
22. Kukharenko V. Seminars in Styk. M., 1971.
23. M.A.K., Hasan R. Cohesion in English. Longman, 1976.
Sources
http://www.stylistics.com.
http://www.ru.wikipedia. Org.
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“I want to speak English as well and beautifully as my favorite Hollywood actor, I want to speak as confidently as a BBC announcer, I want to speak better than my teacher…”
It turns out that this is possible. Moreover, it is possible at any stage of language learning. At the beginning of the last century, theater institutes developed special articulation exercises that allow future actors to quickly develop high-quality beautiful and confident speech. In this article, I want to tell you what these exercises are and how they can and should be applied to develop correct speaking in English.
Many people are perplexed - how could this happen, I studied English for so long, mastered almost all of English grammar, I read without a dictionary, I understand English well, but in a conversation I hardly choose words, I speak indistinctly, they hardly understand me. What's the matter? Here I am sitting alone, preparing for a conversation, I know what I will say, I know what and how I will answer. And in a real dialogue, the right words do not come to mind, and when they finally do, my entire speech apparatus does not want to pronounce them in any way so that the interlocutor understands me.
Something was missing in my foreign language teaching. Something very important was not given to me by my teachers. Oh yes, practice. But where can I get it, if everyone around speaks my native Russian. It's not enough to know, you have to know. We all know dozens of times more than we can. And since the process of speaking both in the native and in a foreign language is a physical process, it means that if we want to speak beautifully and confidently, we need to physically train our speech apparatus, our speech muscles. Is it possible? After all, I’m just learning English, I don’t know much, I think before I say something ...
Now let's ask ourselves a question - and who can speak the most beautifully and most confidently? Of course, these are artists and announcers. Artists and announcers are specifically taught this. These exercises were developed at the beginning of the last century, but so far they have been successfully used in all theater institutes to develop beautiful and clear speech in future artists.
Unfortunately, most foreign language teachers ignore these simple but very effective exercises. And many don't even know about them.
You have a unique opportunity to get acquainted with these exercises, try them out for yourself and apply them in your foreign language classes.
It should be noted that in the absence of a communicative environment, it is very difficult to speak a foreign language without articulation exercises.
Let's see what these exercises are like:
- Speed Reading
Any already studied exercise or text in English is taken, and each phrase is read four times in a row - first very slowly, then faster and faster, but not faster than it is possible to read without errors. This develops reading fluency. - Speaking at a comfortable speed
This is done as follows: an already studied exercise is taken, but already in Russian, and each of its phrases is read in English slowly, very slowly, the main task is to build the phrase grammatically correctly, to avoid mistakes. It is read slowly three or four times, then a little faster five times, then this phrase is repeated five more times, but without looking at the text. You should not strive to speak as quickly as possible, the speed of speaking itself will become optimal, comfortable. Then you should try to come up with similar sentences yourself and pronounce them in the same way, but from memory. This achieves the fluency of spontaneous speaking. - Pencil exercises
You have probably seen in the movies how pirates climb rope ladders aboard a boarded ship, holding daggers in their teeth. This is exactly the way you should hold a pencil (or an old plastic pen) in your teeth and read any text aloud (you can even Russian) for at least 10-15 minutes. Moreover, despite the hindrance, one should try to read in such a way that all sounds and words are pronounced as correctly as possible. This exercise should be done every day. What does it give? With the help of a pencil, you complicate the “life” of your speech organs (mainly your tongue and lips), making them more flexible and obedient. (Here you can draw an analogy with dumbbells, which help to develop strength and increase the tone of the muscles of the body). The effect of such an exercise is noticeable after the first session. Try to hold out with a pencil in your mouth for 20 minutes, reading any text aloud, and then read the same text again without a pencil. You will immediately notice how much better your tongue and lips will obey you, and how much clearer your pronunciation will become even with Russian text! And after a week of such classes, all your relatives and friends will notice an improvement in your diction. By the way, the beneficial effect on diction of such a temporary interference can be confirmed by experience of those who, in childhood, wore special plates or braces in their mouths so that their teeth grew even and beautiful. Such devices make it very difficult to speak, but as soon as they are taken out, for example, before answering a lesson at the blackboard, the pronunciation becomes almost an announcer! - Reading Russian texts with an English accent
Everything is simple here. Take any Russian text and read it as if your native language is English. - Reading up
Each phrase of the text is read first quietly, the second time at normal volume, then loudly, and the last time to a cry. - Reading in high and low tones
Each phrase of the text is read twice - the first time in a high voice, the second time in a low one. This technique requires sufficiently long phrases of 10 words or more.
These are pretty simple exercises. True, they must be performed daily and not for three minutes a day, but at least thirty. My fifth-graders, after three months of daily classes with such exercises during the summer holidays, came to school and spoke better than their teachers.
So you have every chance to significantly improve your pronunciation by doing these very simple exercises. It should be noted that it is better to work according to this technique not with ordinary texts from a book, but with educational texts from textbooks. So at the same time grammatical constructions are worked out.
Municipal budgetary educational institution gymnasium of the city of Uray, Tyumen region
Training and communication exercises when learning to speak in English
Prepared by the English teacher Malyueva Irina Anatolyevna
b We're really tired. 2 She won't stop taking my things.
c Put away these books, please. 3 Yes, there's the bell. I'll see you tomorrow.
d I can't write on this blackboard. 4 No, you'll hurt yourself. I'll do it.
e Why is Maria annoying you? 5 I'll hand it in on Monday, I promise.
f I don't understand this problem. 6 It's dangerous. You'll burn yourself.
g Please stop throwing things, George. 7 Ok, I'll explain how to do it.
h Shall I move this desk? 8 We'll have a short break in a few minutes.
i I still haven't got your project! 9 Shall I put them in the cupboard?
j Is that the end of the lesson? 10 I'll clean it for you.
2) Complete the sentences to make a summary statement with some and others.
Mountain ranges vary in age. The Alps are only 15 million years old, but the Urals and the Appalachians are over 250 million, and the Highlands of Scotland are 400 million years old.
Summary: Some mountain ranges are only 15 million years old, while others are 400 million years old.
Pine trees depend on birds to spread their seeds. The Monterey and pond pine, however, depend on forest fires, which release the seeds from the cone .
Summary:…………………… to spread their seeds, while …………………….. to release the seeds from the cone.
Frogs jump from place to place using their powerful back legs. Asian gliding tree frogs ( Rhacophorus reinwardii), however, ‘fly’ from tree to tree for as much as 12 meters using their webbed feet as parachutes.
Summary:……………….. using webbed feet as parachutes , while……………..
Rivers generally flow into a larger river or a lake, or flow to the sea, but in some desert regions, they simply waste in the desert and disappear.
……………………………….. evaporate in the desert and disappear, while ………………… into rivers, lakes or into the sea.
The difference in sea level between high tide and low tide varies from the place to place. It can be almost nothing, while in Alaska and eastern Canada the difference can be as great as 10 to 15 meters.
Summary:…………………….. the difference in sea level …………….. as great as 10 to 15 meters.
2. Situational, including educational and speech problem situations, the main unit of learning is a fragmentary statement, the essence of the operation is in the reaction of students to a description of the situation, containing a stimulus to speech:
a He came from a rich family.
Q Did he come from a rich family…………………………………..?
A No, not really. His father was a glove maker.
b He grew up in London.
Q………………………………………………………………………?
ANo, in Stratford upon Avon, a small town about 160 km from London.
c He went to school.
Q………………………………………………………………………?
A Yes, we think so.
d He knew Latin.
Q………………………………………………………………………?
A Yes, he learned Latin at school, and some Greek as well.
e He got married.
Q………………………………………………………………………?
A Yes , he was only 18 when he married Anne Hathaway, aged 26 .
f They had children.
Q………………………………………………………………………?
A Yes ,a daughter Susanna, and twins, a boy Hamnet and a girl Judith.
g He began writing plays in Statford.
Q………………………………………………………………………?
A We don't really know. We only know that after 1592 he was an actor and writer in London.
h He wrote 37 plays all by himself.
Q………………………………………………………………………?
AWell, we know he wrote two plays together with John Fletcher. Some people think that all his plays were really written by somebody else.
i He made up all the characters and plots of his plays.
Q………………………………………………………………………?
A Actually no. He borrowed lots of ideas from other writers. This was quite usual in his time.
j He became rich and famous.
Q………………………………………………………………………?
A He certainly became quite rich, and his plays were popular. But he only became really famous in the 18 th century and later2) Read the statement from a news conference held at an archaeological site. Then answer the questions.
‘Good morning everyone, my name is Julia Richmond, and I’m the director of this dig. Thank you for coming to this news conference. First I want to explain how we found this site, and what we've been doing here. I'm sure you have read the publicity handout, so you know something about this. It's important to give you the latest information. Then I'm going to give a description of some of the interesting discoveries we have made here. I'll give you a general account of the project, and I'll show some slides of the site. Then there will be a chance for all of you to look at some fascinating objects. We've brought some of the more spectacular finds. They are waiting for you in the room next door, and you will be able to take photographs. You've been very patient. So now let's begin….'
What did the archaeologist say about …
She told the journalists …(that) she was the director of the dig.
b … finding the site?
c … the public handout?
d … the latest information?
She said……………………………………………………………
e … interesting discoveries?
She told…………………………………………………………
f … a general account of the project?
She said……………………………………………………………
She told…………………………………………………………
h … fascinating objects?
She said …………………………………………………………..
i … spectacular finds?
She told…………………………………………………………
j … the room next door?
k… photographs?
She told…………………………………………………………
l … being a patient?
She said………………………………………………………..
3) Rewrite the sentence as a complaint, using wish with would or wouldn't.
Use contracts.
a You never hand your work in on time! I wish you'd hand your work in on time……!
b You always make so many mistakes! I……………………………………………..!
c You always drop litter on the floor! I……………………………………………..!
d You never pay attention! I……………………………………………..!
e You always talk during the test! I……………………………………………..!
f You never listen to what I'm saying! I……………………………………………..!
g You always interrupt people! I……………………………………………..!
h You always throw things across the room! I……………………………………………..!
i You never behave! I……………………………………………..!
j You always make so much noise! I……………………………………………..!
3. Reproductive, including retelling, message, information; the unit of instruction is a monologic unity, the essence of the operation is in the presentation of some speech material by students prompted by the stimulus or instruction contained in it:
1) Complete the sentence using a verb from the list in the present perfect simple form.
collect install organize paint plant
put up recycle replace send show
What we have done to make our school a greener place
a We……….. have sent……………information leaflets to all parents.b We……………………………….information posters in every classroom.c We……………………………….over five tons of litter for recycling.d We……………………………….fifteen trees in front of the school.e We…………………………….....50 light bulbs with energy-saving bulbsf We……………………………….25 ink cartridges from computer printers.g We……………………………….three films about how to save energy.h We ……………………………….signs on all the doors reminding people to turn off the lights.i We……………………………….five new energy-saving heaters.
j We……………………………….teams of students to turn off unused lights.
2) Complete each sentence so that it means the same as the first sentence, using either make or let in a suitable form.
a) In ancient Sparta, girls had to practice running, wrestling and throwing javelins. The ancient Spartans made girls practice running, wrestling and throwing javelins.
b) A baby was not allowed to live if it did not fit a strong. The ancient Spartans did not……………………………………………………….c) They encouraged young children to fight each other to make them tough.The ancient Spartans……………………………………………………………..D) People were not allowed to take a lot of baths.The ancient Spartans didn't………………………………………………………..e) The children had to sleep on rushes, a kind of glass.The ancient Spartans………… ……………………………………………………….f) Eating a lot of food was not allowed.The ancient Spartans………………………………………… ……………………….g) All the boys had to join the army.The ancient Spartans……………………………………………………………….h ) Boys were not allowed to cry when they fought. The ancient Spartans……………………………………………………………….
4. Descriptive, including a description of visual materials (pictures, videos and films), the main unit of learning is a monological unity, the essence of the operation is in translating into sound a visual sequence that has content:
Say what you think will happen in each picture. Use a verb from the list.
Blow down hit flood disappear snow erupt
a) b) c) 
d) e) f) 
a) The volcano is going to erupt. d___________________b)____________________ e___________________c)_________________________ f____________________
5. Discussive, including an educational discussion and commenting, the unit of learning is a coherent statement of various lengths, the essence of the operation is in response to some exposure that stimulates students to express their attitude towards it:
Complete each sentence using will have(done) or won't have(done)+the verb in brackets, according to your opinion
a) People (start) will have started living on other planets. b) Scientists (invent) _______________ artificial food.c) We (find) _________________ a solution to the problem of poverty.d) Doctors (discovered) _____________ a cure for cancer.f) We (use) ________________ all the fossil fuel on Earth .g) The world (become) _______________ a peaceful place.h) People (make) ________________ the environment cleaner.
6. Composite, including oral compositions of students based on the material given to them (theme, proverb), free story; the unit of study is an extended monologue:
Read the text. Then write eight sentences explaining what people think might have happened to the Mayas.
Nobody is quite sure what exactly happened to the Mayan civilization. We know that in 900 AD their cities were still prosperous , but a hundred years later they had been abandoned. A number of theories have been put forward to explain this. One theory is that the Mayan ruling class died out because the rulers did not work and so became unhealthy, and there was nobody to tell the farmers what to do. Another idea is what farmers were unable to grow enough food to support large populations in cities. Other people believe that a natural disaster, such as an earthquake, occurred, the cities were destroyed, and the people never moved back. Or perhaps another Mexican people conquered the Mayas, and destroyed their cities. Another theory is that there was a resolution, in which the farmers killed their rulers. Some experts believe that an epidemic of some kind caused the disappearance of the Mayas. Other think that the Mayas cities suffered from an environmental disaster, caused by drought or overproduction. Finally, some people believe that the people abandoned their cities because their priests told them to do it.
a) The Mayan ruling class might have died out because rulers did not work b) ________________________________________________________________c) _______________________________________________________________d) _______________________________________________________________e) _________________________________________________________________f) _________________________________________________________________g) _________________________________________________________________h) _______________________________________________________________
7. Initiative, including role-playing games, "interviews", "press conferences", various types of improvisations; the unit of learning is a sentence, a fragmentary statement; the essence of the operation is in the verbalization of the internal stimulus to organize communication:
Use the words to complete an if-sentences about solutions to environmental problems.
Solution A – recycle paper, metal and glass a) everyone/recycle paper/companies/not cut down so many trees If everyone recycles paper, companies won't cut down so many trees.
b) everyone/recycle metal and glass/we don’t waste valuable resources_____________________________________________________________c) everyone/ recycle metal and glass/ we don’t produce so much rubbish____________________________________________________________
Solution B – turn off lights, don't drive so much, insulate your house d) everyone/turn off unwanted lights/save a lot of electricity____________________________________________________________e) everyone/walk or cycle/not waste so much oil and petrol____________________________________________________________f) everyone/insulate their houses/not waste so much energy for heating______________________________________________________________
Solution C – use renewable energy g) countries use more wind and water power, not depend so much on power stations
h) countries use power stations less, cause less air pollution
8. Game, including all sorts of riddles, charades, games.
Complete the sentence with both … and or neither ...nor. Check the factual answers.
a) Both
Alexander and
Napoleon were leaders who conquered a number of other countries.b) …… Alexander … Napoleon died in his country.c) …….Alexander … Napoleon successfully handed on power to a son.d) …… Alexander … Napoleon managed to completely defeat all their enemies.e) …….Alexander … Napoleon successfully invaded Egypt.f) …… Alexander … Napoleon were excellent generals who won a large number of battles.g) ……Alexander … Napoleon led their armies to far distant countries.h ) ……Alexander … Napoleon married more than once, and had a number of children.i) …….Alexander … Napoleon lived to an old age.j) …… Alexander … Napoleon were poisoned, according to some historians.
Answer key
1. Responsive
1) a6 b8 c9 d10 e2 f7 g1 h4 i5 j3
2) a) Some mountain ranges are only 15 million years old, while others are 400 million years old. b) Some pine trees depend on birds to spread their seeds while others depend on forest fires to release the seeds from the cone. c) Some frogs ‘fiy’ from tree to tree using webbed feet as parachutes, while others jump using their powerful back legs. d) Some rivers in desert areas drain in the desert and disappear, while others flow into rivers, lakes or into the sea. e) In some places the difference in sea level between high tide and low tide can be almost nothing, while in others it can be as great as 10 to 15 meters.
2. Situational
1) a) Did he come from a rich family? B) Did he grow up in London? C) Did he go to school? D) Did he know Latin? E) Did he get married? f) Did they have children? g) Did he begin writing plays in Stratford? h) Did he write 37 plays all by himself? i) Did he make up all the characters and plots of his plays? j) Did he become rich and famous?
2) a) She told the journalists (that) she was the director of the dig. b) She said (that) she wanted to explain how they had found the site, and what they had been doing there. c) She told them (that) she was sure (that) they had read the publicity handout, and (that) they knew something about it. d) She said (that) it was important to give them the latest information. e) She told them (that) she was going to give a description of some of the interesting discoveries they had made there. f) She said (that) she would give them a general account of the project. g) She told them (that) she would show some slides of site. h) She said (that) there would be a chance for all of them to look at some fascinating objects. i) She told them (that) they had brought some of the more spectacular finds. j) She said (that) they were waiting for them in the room next door. k) She told them (that) they would be able to take photographs. l) She said (that) they had been very patient.
3) a) I wish you'd hand your work in on time! b) I wish you wouldn't make so many mistakes! c) I wish you wouldn't drop litter on the floor. d) I wish you would pay attention! e) I wish you wouldn't talk during the test! f) I wish you would listen to what I'm saying! g) I wish you wouldn't interrupt people! h) I wish you wouldn't throw things across the room! i) I wish you would behave! j) I wish you would make less noise/ wouldn't make so make so much noise!
3. Reproductive
- a) have sent b) have a put up c) have collected d) have planted e) have replaced f) have recycled g) have shown h) have painted i) have installed j) have organized
- a) The ancient Spartans made girls practice running, wrestling and throwing javelins. b) The ancient Spartans did not let a baby live if it was not fit and strong. c) The ancient Spartans made young children fight each other to make them tough. d) The ancient Spartans didn't let people take a lot of baths. e) The ancient Spartans made the children sleep on rushes, a kind of glass. f) The ancient Spartans didn't let people eat a lot of food. g) The ancient Spartans made all the boys join the army. h) The ancient Spartans didn't let the boys cry when they fought.
4. Descriptive
- The volcano is going to erupt. The water is going to disappear. The river is going to flood the houses. The ship is going to hit the iceberg. It's going to snow (again). The trees are going to blow down./ The wind is going to blow down the trees.
5. Discussive
- Will have started b) will/ won't have invented c) will/ won't have found d) will/won't have discovered e) will/ won't have moved f) will/ won't have used g) will/ won't have become h) will/ won't have made
- The Mayan ruling class might have died out because rulers did not work. Farmers might have been unable to grow enough food to support large populations in cities. A natural disaster, such as an earthquake, might have occurred. Another Mexican people might have conquered the Mayas. There might have been a revolution. An epidemic of some kind might have caused the disappearance of the Mayas. The Mayan cities might have suffered from an environmental disaster. The people might have abandoned their cities because their priests told them to do it.
- If everyone recycles paper, companies won't cut down so many trees. If everyone recycles metal and glass, we won't waste valuable resources. If everyone recycles paper, metal and glass, we won't produce so much rubbish. If everyone turns off unwanted lights, we will save a lot of electricity. If everyone walks or cycles, we won't waste so much oil and petrol. If everyone insulates their houses, we won't waste so much energy for heating. If countries use more wind and water power, they won't depend so much on power stations. If countries use power stations less, they will cause less air pollution.
8. Gaming
- Both Alexander and Napoleon Neither A nor N Neither A nor N Neither A nor N Both A and N Both A and N Both A and N Both A and N Neither A nor N Both A and N
Bibliography
1. Skalkin V.L. "Systematicity and typology of exercises for teaching speaking", "Foreign languages at school", 1979, No. 2.2. Gez N.I. “The system of exercises and the sequence of development of speech skills and abilities”, “Foreign languages at school”, 1969, No. 6.3. Passov E.I. "The system of exercises for teaching speaking", "Foreign languages at school", 1977, No. 6.4. Lapidus B.A. “Intensification of the process of teaching foreign language oral speech (ways and techniques)”, M., 1970.5. Lapidus B.A. "Combined exercises in teaching oral speech", "Foreign languages at school", 1961, No. 2.6. Passov E.I. "Communicative exercises", M., 1967.7. Skalkin V.L. “Educational conversation as a means of developing unprepared speech”, “Foreign languages at school”, 1978, No. 2.8. Skalkin V.L. "Exercises for the development of oral communicative speech", Kyiv, 1978.9. Gez N.I. "Problem situations in teaching oral speech", M., 1977.10. Simon Clarke Macmillan English Grammar In Context Essential11. Simon Clarke Macmillan English Grammar In Context Intermediate12. Michael Vince Intermediate English Practice13. Malcolm Mann Laser B1 Intermediate14. Steve Taylore-Knowles B1+ Intermediate and FCE15. pictures at http://yandex.ru/yandsearch?text