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Parallel ConstructionsKey words: the nature of stylistic inversion, syntac?tical relations and the meaning of the sentence, detached constructions, the ordinary word order of the sentence, the stylistic device of parallel constructions, the structural types of parallel construc?tions, the functions of parallel constructions in different functional styles. 1.Word order has peculiarities in many languages. So, the direct word order in Modern English is a well-known fact for everybody. This word order is considered to be neutral and deprived of any stylistic information. But according to the writer?s aim the word order may be changed in the sentence after which the emphasis springs up. Thus the violation of the traditional word order of the sentence (subject - predicate - object - adverbial modi?fier) which does not alter the meaning of the sentence only giving it an additional emotional colouring is called sty?listic inversion. For example: "Rude am I in my speech". (Shakespeare) - the speech is emphasized. Stylistic inversion in Modern English should not regarded as a violation of the norms of standard English. It is only the practical realization of the potential possibi?lities of the language. Stylistic inversion is used to single out some parts of the sentence and sometimes to heighten the emotional tension. "Suddenly the door opened and entered the Baron. Followed a complete and deathlike silence". (Mansfield) Stylistic inversion is realized in the following wide?ly used patterns: 1. The object is at the beginning of the sentence: E.g.: "Poems he wanted to 2. The attribute is placed after the word it modifies:
"With fingers weary and worn". (The Hood) 3. The predicative is placed before the subject: "And very melancholy work it was; Beautiful these donkeys were." (J. Galsworthy) 4. The adverbial modifier is at the beginning of the "Among them stood tulips". (R. Aldington) 5. In compound sentences emphasis can be expres? "From some chimney opposite a thin wreathe of smoke was rising". (O. Wilde) These models comprise the most common and recognized models of inversion. The chief stylistic function of inversion is to put stress on one of the parts of the sentence, which is significant. It may be done for the sake of emphasis, to add emotional colouring to the utterance. Therefore, inversion must be regarded as an expressive means of the language having typical structural models. 2.Sometimes one of the secondary parts of the sentence is placed so that it seems formally independent of the word it logically refers to. Such parts of structures are called detached. But a detached phrase cannot rise to the rank of primary of the sentence - it always remains secondary from the semantic point of view, although structurally it possesses all the features of a primary mem?ber. This isolation is achieved with the help of stress, commas, dash and even a full stop. In oral speech it is achieved with the help of intonation. From grammatical point of view these secondary parts are closely connected with the primary parts of the sentence:
1. He did not answer, and sickly white, she 2. For an instant she apprehended him there, Different parts of the sentence may be detached. So 1.An attribute may be detached from its head noun: "Val sought the misty freedom of Green street, reckless and depressed." (J. Galsworthy) 2. An adverbial modifier can also be detached: "Sir Pitt came in first, very much flushed, and rather unsteady in his gait". Problematic question: Does detached construction break word order in the English sentence? Detached construction breaks the ordinary word order in the English sentence and in this way isolates the secon?dary parts of the sentences. This isolated part, bringing independence to words and word combinations, becomes stylistically significant: "?She admired her husband, strong, brave and victorious". (W. Thackeray) Detached constructions give prominence to some words and help the author to draw the reader's attention to a certain detail or circumstance or help the author to em?phasize his emotional attitude towards what he describes. The stylistic function of this construction is to bring emphasis to the idea expressed in the detached part and thus, to make the image and description brighter and more emotional. 3.Constructions formed by the same syntactical pattern, closely following one another present the stylistic device of parallelisms/E.g.: 1.Talent Mr. Micawber has, capital Mr. Mic- 2. Nostrils wide, ...his senses picked up some? Parallelism can be completed when the construction of the second sentence fully copies that of the first one: "The sky was dark and gloomy, the air damp and raw, the streets wet and sloppy." (Dickens) In a vast quantity or cases parallelism is strengthened by repetition or antithesis. Parallel constructions are used in different styles with different stylistic functions. In belles-lettres style it car?ries an emotive function. It is also used as a means in building up other stylistic devices, in particular antithesis and climax. There are two main functions of parallel const?ructions: semantic and structural. The first constr?uction implies either equal semantic significance or oppo?sition of the repeated parts. The second implies a rhyth?mical design to the parts of the parallel construction (es?pecially in poetry). E.g.: Nothing to see but sights, Nothing to quench but thirst, Nothing to have but what we've got. Thus through life we are cursed. (B. King) Very often parallel constructions are used in folk songs and nursery rhymes: Work while you work, Play while you play, That's the way To be happy and gay! Questions
4. How is isolation marked in oral speech? 5. What is the stylistic device of parallel constructions? 6. Are the parallel constructions imminent in oratorical 7. Classify parallel constructions into complete and Literature: 1. Akhmanova O. S. Linguostylistics. Theory and Method. M., MGU,1972 2. Anderson W. E. The Written Word. Some uses of English. Oxford University,1971 3. Arnold I. V. The English Word. M., Higher School, 1973 4. Galperin I. R. Stylistics M., Higher school, 1977 5. Murry, J. Middleton. The problems of Style. Ldn, 1961 6. Turner G. W. Stylistics. Peguim Books,1975 7. Warner A. A. Short Guide to English Style 8. ?????????? ?.?. ?????? ???? ????????????. ?., ?қ??????, 1995 9. www.linguistlist.org
LECTURE 10 Date: 2016-06-12; view: 470
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