In the work of any author, expressive means play huge role. And to create a good solid detective, with its forcing atmosphere, mysterious murders and even more mysterious and vivid characters, they are simply necessary. Expressive means serve to enhance the expressiveness of statements, to give "voluminousness" to the characters and sharpness of the dialogues. Using expressive means, the writer has the opportunity to more fully and beautifully express his thoughts, to fully bring the reader up to date.
Suitable for analysis existing problems. That is why the answer can only be preliminary. Analysis is a misleading term in this context. Analysis is usually a systematic procedure in which the object of study is broken down into its individual parts. This is not how literature works.
Means of expressiveness of artistic speech
However, the literature does not attempt to make any general statements. The power of literature - or one might say storytelling, because the same is true of films, journalism, good television series, oral tradition, and so on. - lies in the fact that he takes care of a special, individual case.
Expressive means are divided into:
Lexical (archaisms, barbarisms, terms)
Stylistic (metaphor, personification, metonymy, hyperbole, paraphrase)
Phonetic (using the sound texture of speech)
Graphic (graphon)
Stylistic expressive means are a way of giving emotionality and expressiveness to speech.
That's why it's important that we hear or read a lot different stories. In what sense? In order to be able to relate these particular individual cases to other special individual cases, we will gradually weave a dense web and thus gain a useful understanding of some contemporary problems with a social dimension. The mathematical, quantitative description of the problem considers the average, the general as real and individual, the particular and random as insignificant secondary matter.
On the other hand, descriptive descriptions treat individuality and concreteness as real and important. Lawful, universal, average is then only a temporary construction that serves the abbreviated understanding, but does not concern the real real.
Syntactic means of expression are the use syntactic constructions for stylistic purposes, for the semantic highlighting (underlining) of any words or sentences, giving them the desired color and meaning.
Lexical means of expression are special usage words (often in their figurative meaning) in figures of speech.
When you are in last time faced literary story who expected extralithic analysis? The best part about this idea is that you will find something useful in all the good literary texts. But these are just small snippets. For example, you can read "Direct Smoke" by Dennis Johnson and suddenly realize that there are people for whom war is a way of life. And then you understood something important in the war. But only one aspect of many. Then you should read War and Peace by Tolstoy and Catch 22 by Heller and Naked and the Dead by Mailer, etc. we need a lot of stories.
Phonetic expressive means is the use of the sound texture of speech in order to increase expressiveness.
Graphic - show deviations from the norms of speech.
Lexical expressive means.
Archaisms.
Archaisms are words and expressions that have gone out of everyday use and are felt as outdated, reminiscent of a bygone era. From Big Soviet Encyclopedia: “Archaism is a word or expression that has become obsolete and has ceased to be used in ordinary speech. Most often used in literature as a stylistic device to give solemnity to speech and to create realistic coloring when depicting antiquity. Whilome - formerly, to trow - to think - this is obsolete words, which have analogues in modern English language. There are also words that have no analogue, for example: gorget, mace. You can also give an example from John Galsworthy's book:
Figures of speech, sentence structure
We're talking more about a kaleidoscope than a telescope. This has the useful side effect of avoiding the monomite, the actual history - and it's still the best remedy against totalitarianism. For example, it won't be one novel explaining the financial crisis.
Sound writing: assonance, alliteration, onomatopoeia
Is artistic beauty not fundamentally detrimental to the clarity of social analysis? Isn't it the unconditional desire for clarity that hurts social analysis? Is literature important in contemporary Swiss society as a means of social reflection? But this is not a special Swiss phenomenon. Our Western society seems to have fallen into a collection of quantitative highlights - to use the term of the Italian sociologist Elena Esposito. We rely too much on quantitative research and mathematical models and in Galileo's exposition that everything is measurable, and that which is not yet measurable must be measurable raised to dogma.
“How thou art sentimental, maman!”.
Foreign words (Foreign words).
Foreign words in stylistics are words and phrases borrowed from foreign language and not subjected to grammatical and phonetic transformations in the borrowing language.
Terms (Terms) - words and phrases denoting scientific concepts, which reflect the properties and characteristics of the object. Here is an example from Theodore Dreiser's The Financier:
It has come to this for many reasons. Tell me. On the one hand, the language of mathematics gives us a certain degree of certainty and stability and an impression of universal, intersubjective justice. In view of the uncertain future, this is a value that should not be underestimated. But then this measurability also has a calming effect. It gives us a sense of processing. These phenomena interact interactively with other social phenomena. The dogma of measurability, for example, has importance for capitalism.
Only what is measurable, that is, what is analyzed, exists, is traded and occurs in the capitalist lexicon. Why? What do you mean by this? Of course, the quantitative, mathematical approach has its justification. If you want to know what the weather will be like tomorrow, you need good mathematical model not a sonnet. But on this moment that's too much great importance. And we pay too little attention to the nature of the problems we want to describe.
“There was a long conversation - a long wait. His father came back to say I was doubtful whether they could make the loan. Eight per cent, then being secured for money, was a small rate of interest; considering its need. For ten per cent Kugel might make a call-loan."
Stylistic means of expression.
Periphrase (Periphrasis) is the use of a proper name as a common noun, or, conversely, the use of a descriptive phrase instead of a proper name. For example, instead of the word "readers" A.S. Pushkin in his poem "Ruslan and Lyudmila" says "Friends of Lyudmila and Ruslan!". "He is Napoleon of crime" (Conan Dole).
They seem to think that the current status of literature is too profound. Was there ever a time when writers were satisfied with their social respect? For a novel, especially for social novel century was a special time. Beecher Stowe's "Uncle Tom's Cabin", Zola's "Germinal" or Dickens' "David Copperfield" are novels that today have achieved a socially unimaginable effect. Is stronger subsidization of the literary business desirable? Would you like a stronger stock to debut your way?
As a rule, there is no promotion for a debut. You usually have to publish something to be eligible for a grant. And this is somehow understandable. You have to stop and allow yourself to write with bread work. If you really want to write, write anyway. It is always an expression of the respect society places on art and culture.
Epithet (Epithet) - a figurative definition of an object, usually characterized by an adjective. Examples are good, bed, cold, hot, green, yellow, big, small, etc.
Hyperbole is the use of a word or expression that exaggerates real degree quality, intensity of the feature or the scale of the subject of speech. Hyperbole deliberately distorts reality, enhancing the emotionality of speech. Hyperbole is one of the oldest means of expression, and it is widely used in folklore and epic poetry all times and peoples. Hyperbole has become so firmly established in our lives that we often do not perceive it as hyperbole. For example, hyperbole includes such ordinary expressions as: a thousand apologies, a million kisses, I haven't seen you for ages, I beg a thousand pardons. "He heard nothing. He was more remote them the stars” (S. Chaplin).
Subsidizing is also not a good term in this context. This is too similar to economic thinking. No economic standards can be applied to a culture at least, not with the corresponding result. And a country like Switzerland should and can afford it. Of course, the accusation that cultural advancement breeds many less important works, is in the room. This may be true for some. But it also makes them big, bulky, hard to reach, which might not have been possible without support.
Metaphor (Metaphor) - a type of trope (trope - a poetic turn, the use of a word in a figurative sense, a departure from literal speech), a figurative meaning of a word based on likening one object or phenomenon to another by similarity or contrast. Like hyperbole, metaphor is one of the oldest expressive means, and this can be exemplified by ancient Greek mythology, where the sphinx is a cross between a man and a lion, and a centaur is a cross between a man and a horse.
This is no different from advancing science. It seems to be a contradiction government systems subsidies. But we can handle it pretty well. To what extent do you, as a writer, profit from your scientific work? On the one hand, both literary writing and philosophical writing, and, above all, the reflection of important private and social issues. And sometimes if you think one sentence, one sentence is good enough, just write it down. And more importantly, it allows me to engage in dialogue with other philosophers on issues that concern me.
"Love is a star to every wandering bark" (from Shakespeare's sonnet). We see that the reader is given the opportunity to compare such concepts as "star" and "love".
In Russian, we can find such examples of metaphor as "iron will", "bitterness of separation", "warmth of the soul" and so on. Unlike simple comparison, in the metaphor there are no words "as", "as if", "as if".
Science is much more communicative than literary writing. Are there writers who are role models for you in this interaction? Sartre and Lars Gustafsson. So far, her debut has received very good feedback. If you succeed in the market, do you recognize your scientific career? Probably not. On the one hand, these two works are mine, and philosophy interests me too much. On the other hand, both actions allow me mutually defined freedoms. And as long as I still have university income, I don't have to squint at financial success my books.
Metonymy (Metonymy) - establishing a connection between phenomena or objects by contiguity, transferring the properties of an object to the object itself, with the help of which these properties are discovered. In metonymy, the effect can be replaced by the cause, the content by the capacity, the material from which the thing is made can replace the designation of the thing itself. The difference between metonymy and metaphor is that metonymy deals only with those connections and combinations that exist in nature. So, in Pushkin, the "hiss of foamy glasses" replaces the foaming wine itself, poured into glasses. At A.S. Griboedov, Famusov recalls: "Not on silver, on gold." In English, there are such examples of metonymy as:
For the child, artistic expression is more than a pastime, it is meaningful communication with himself, it is the choice of things and materials in his environment, by which he identifies himself and organizes all of them into a new and meaningful whole. This article has collected some thoughts on the importance of giving the hero a place for languages. artistic expression in primary education. The reflections are based on an experience developed over 35 years by the Center for Artistic Expression, Mafalda Kindergarten in Bogota.
This invitation is not only to recognize life relationships between art and education, but also to consider the problems and ways of moving from simple art education to the construction of artistic pedagogy based on their own constructions, in accordance with creativity teachers.
She has a quick pen. Or:
"The stars and stripes invaded Iraq". In the first case, in the example of metonymy, the characteristic is transferred from the girl herself to her writing pen, and in the second, the color and pattern of the flag replaces the name of the country.
Gradation (Climax) - stylistic figure, in which definitions are grouped according to the increase or decrease in their emotional and semantic significance. This is a gradual strengthening or weakening of the images used to build up the effect. Example:
Keywords: art, childhood, elementary education, art pedagogy, auxiliary intelligence. It is important to reconstruct a bit of history to reflect reflection and primary education. Insofar as living history is the one we know best and we can best talk about, through which we will look at some of the elements around the reflections that unite us today. The project develops a pedagogical route in which children rely on their feelings, on their ability to understand and act, languages of artistic expression, put it at the service of generating new knowledge and achievements, achieving harmonious and integral growth.
I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees. (S.A. Yesenin).
In English, you can find such examples of gradation:
"Little by little, bit by bit, day by day, he stayed of her." Or a sequential enumeration of signs in ascending order: clever, talented, genius.
Oxymoron (Oxymoron) - special kind antitheses (oppositions), based on the combination of contrasting values. An oxymoron is a direct correlation and combination of contrasting, seemingly incompatible signs and phenomena. An oxymoron is often used to achieve the desired effect when describing a person's character, indicating a certain inconsistency of human nature. So, with the help of the oxymoron “splendor of shamelessness”, a capacious characterization of a woman of easy virtue in W. Faulkner’s novel “The City” is achieved. The oxymoron is also widely used in the titles of works ("Young lady-peasant", "Living corpse", etc.). Among English authors The oxymoron is widely used by William Shakespeare in his tragedy Romeo and Juliet:
In the mid-70s, when we started this experience, we set a clear goal: to promote the growth of children without allowing us to filter out even the subtle forms of abuse often present in educational processes. To a certain extent, we had more clarity about what we didn't want to do than the education proposal itself. However, we relied on our ability to build knowledge and the creative spirit that all people are endowed with. With a few indications between eyebrow and eyebrow, but above all, with the resurrection of the moments of joy of our childhood in the heart, we feel confident that art and its indispensable ally, play, will be the main languages to go to meet children.
Oh brawling love! O loving hate!
Oh anything! of nothing first create.
O heavy lightness! serious vanity!
(1 act, scene 1).
Comparisons (Simile) is a rhetorical figure close to metaphor, revealing common feature when comparing two objects or phenomena. Comparison differs from metaphor in that it contains the words "like", "as if", "as if". Comparison is widely used both in literature and in everyday speech. For example, everyone knows such expressions as: “plow like an ox”, “hungry like a wolf”, “stupid as a cork”, etc. We can observe examples of comparisons in A.S. Pushkin in the poem "Anchar":
We felt that they would allow children to wonder, learn and enjoy the necessary support for their growth. We relied on art as a path leading to a meaningful encounter with ourselves, with other people, and with the world. At that time, restless people around the world perceived education as a tool for building a more humane, fair and equitable society. There were great discussions about the relationship between education, society and culture, and along this path the place of art in education was reflected.
We had access, among other things, to the work of Paulo Freire on the dialogue of knowledge, Professor Lowenfeld on plastic arts, Gianni Rodari on literature, Rudolf Steiner on eurythmy, and conversations with the Colombian playwright Giulia Rodriguez about theater and puppets that gave us, not only leadership and conceptual framework, but they were an important impetus. However, there were very few educational experience, and in particular kindergartens, which shared the path of art education as a pedagogical imprint.
Anchar, like a formidable sentry,
Worth - alone in the entire universe.
In English, there are such comparisons as: fresh as rose, fat as a pig, to fit like a glove. An example of a comparison can be found in Ray's story Bradbury "A sound of thunder" ("And thunder struck"):
"Like a stone idol, like a mountain avalanche, Tyrannosaurus fell"
Personification is the endowment of objects and phenomena inanimate nature features of living beings. Personification helps the writer to more accurately convey his feelings and impressions of the surrounding nature.
How soon hath Time, the subtle thief of youth,
Stoln of wing my three and twen teeth year! ( classical poetry 17-18 centuries)
Antithesis (Antithesis) - artistic opposition. This is a method of enhancing expressiveness, a way of conveying life's contradictions. According to the writers, the antithesis is especially expressive when it is made up of metaphors. For example, in G.R. Derzhavin’s poem “God”: “I am a king - I am a slave, I am a worm - I am a god!” Or A.S. Pushkin:
They agreed. Water and stone
Poetry and prose, ice and fire
Not so different among themselves ... ("Eugene Onegin")
Also, many artistic oppositions are contained in proverbs and sayings. Here is an example of a common English saying:
"To err is human and to forget is divine." Or like this a prime example antitheses:
"The music professor"s lessons were light, but his fees were high".
Also, stylistic expressive means include the use of slang and neologisms (words formed by the author himself). Slang can be used both to create an appropriate flavor, and to enhance the expressiveness of speech. The authors resort to neologisms, as a rule, when they cannot get by with the traditional set of words. For example, with the help of the neologism "loud-boiling cup" F.I. Tyutchev creates a bright poetic image in the poem "Spring Storm". Examples from English are the words headful - a head full of ideas; handful - a handful.
Anaphora - unity of command. This is a technique that consists in the fact that different lines, stanzas, sentences begin with the same word.
"Not a little thing like that! Not a butterfly! cry Eckels".
Epiphora is the opposite of anaphora. Epiphora is the repetition at the end of a segment of the text of the same word or phrase, a single ending of phrases or sentences.
I woke up alone, I walked alone and returned home alone.
Syntactic expressive means.
Syntactic expressive means include, first of all, the author's arrangement of signs, designed to highlight any words and phrases, as well as to give them the desired color. To syntactic means include inversion - wrong order words ( you know him?), unfinished sentences(I don "t know ...), italics individual words or phrases.
phonetic means of expression.
Phonetic expressive means include onomitopia (Onomethopea) - the use by the author of words whose sound texture resembles any sounds. In Russian, you can find many examples of onomitopy, for example, the use of the words rustles, whispers, crunches, meows, crows, and so on. In English, words such as moan, scrabble, bubbles, crack, scream belong to onomitopy. Onomitopia is used to convey sounds, manners of speech, partly the voice of the hero.
Graphic expressive means.
Graphon (Graphon) - non-standard spelling of words, emphasizing the features of the character's speech. An example of a graphon is an excerpt from Ray Bradbury's story "The sound of thunder":
“His mouth trembled, asking: “Who-who won the presidential election yesterday?”.
The use of expressive means by the author makes his speech more saturated, expressive, emotional, vivid, individualizes his style and helps the reader to feel the author's position in relation to the characters, moral standards, historical figures and era.
Means of expressiveness give brightness to speech, enhance its emotional impact, attract the attention of the reader and listener to the statement. Facilities speech expressiveness are diverse.
Phonetic (sound), lexical (associated with a word-lexeme), syntactic (associated with a phrase and a sentence), phraseological (phraseological units), tropes (figurative figures of speech) pictorial means are distinguished. They are used in different areas communication: artistic, journalistic, colloquial and even scientific speech. The poorest of them officially
business style of speech.
Expressive means play an important role in artistic speech. Facilities
the reader to enter the world artwork reveal the author's intent.
Vocabulary- minimum
Lexical facilities expressiveness
SYNÓ NIMS- words that are close in meaning, but are not the same root, for example: enemy,
enemy, adversary. S. help to express the idea most accurately, allow
detail the description of phenomena or objects. The most important stylistic function
S. is a substitution function when it is necessary to avoid the repetition of words. S row,
arranged so that each next enhances the previous one, creates a gradation (see): “I was in a hurry, flew, trembled ...” (A.S. Griboedov). S. are used in artistic
text (along with antonyms (see), homonyms (see) and paronyms (see)) as a means of thin .. express:
I'm talking to a friend of my youthful days;
In your features I look for other features;
In the mouth of the living, the mouth has long been mute,
In the eyes of the fire of extinguished eyes.
ANTONYMS- words that are opposite in meaning, helping to better convey, depict contradictions, contrast phenomena: “only a shine is whiter, a shadow is blacker”; “they came together: wave and stone / / poetry and prose,
ice and fire... A. may be present in the titles: “War and Peace” by L.N. Tolstoy,
"Fathers and Sons" by I.S. Turgenev. A. are used in artistic text(as well as
synonyms (see), homonyms (see) and paronyms (see)) as lexical device
artistic expressiveness, For example:
You are rich, I am very poor
You are a prose writer, I am a poet,
You are blush, like a poppy color,
I, like death, and thin and pale. A.S. Pushkin
HOMONYMS- words that have the same sound and spelling but different meanings: marriage
(matrimony) - marriage (poor-quality products). In addition to O. proper, they distinguish
homophones (words that sound the same but are spelled differently) and homographs
(words that only match in writing). O. are used in artistic
text (along with synonyms (see), antonyms (see) and paronyms (see)) as
lexical means of artistic expression or language game:
You fed the white swans
Throwing back the weight of black braids...
I swam nearby; the helms came together;
The sunset beam was strangely oblique. (V.Ya. Bryusov)
OCCASIONALISMS- a kind of neologisms (see): individual author's words created
poet or writer in accordance with the laws of word formation of the language, according to
models that exist in it and are used in a literary text
as a lexical means of artistic expression (“... hammered,
sickle soviet passport”,“ I don’t give a damn about the many-way bronzes ... ”V.
Mayakovsky) or the language game:
smart teacher,
bent over the table
squinting, bespectacled,
vicious pest.
A. Levin ("The Gray Teacher", 1983-95)
PARONYMS- cognate words that are similar (but not the same) in sound, but differ in individual morphemes (prefixes or suffixes) and do not match in meaning: dress -
put on, signature - painting, spectacular - effective. Items are used in
literary text (along with synonyms (see), homonyms (see) and antonyms (see))
Dark glory bunt,
not empty and not hateful,
but tired and cold
Vocabulary limited scope use
DIALECTISMS- words and expressions used folk speech, local
I speak (chereviki - shoes, base - yard, biryuk - a lonely and gloomy person). D.
are used in a literary text, like other vocabulary that has a limited
scope of use (colloquial elements (see), professionalisms (see), jargon
(see)) as a means of artistic expression (for example, as one of
ways speech characteristics character).
ARCHAISMS- obsolete words and expressions,
used, as a rule, in a "high poetic" style and giving
solemnity of artistic speech “Fade away, like a beacon, wondrous genius” (M.Yu.
Lermontov); “Show off, city of Petrov, and stand steadfastly, like Russia ...” (A.S. Pushkin).
However, A. can also introduce an ironic connotation into the text: “I'm in the village again. I go to
hunting, // I write my verses - life is easy ... ”(N.A. Nekrasov); “Once upon a time there was a Beast...//
Ran to the amusement, // Gatherings and gatherings. // Loved the spectacle, // In particular -
disgrace ... "(B. Zakhoder
JARGON(from French jargon) - emotionally and expressively colored speech,
different from the common one; deviant conditional language any
social group, containing many words and expressions that are not included in the colloquial
language. Varieties of Zh .: high-society or salon, student, army, thieves, sports, youth, family, etc.
to rat - to steal, goof - razin, an ingenuous person, and also - a businessman, a merchant;
PROFESSIONALISMS- words and expressions characteristic of people's speech
various professions and service various areas professional
activities, but not in common use. P., unlike the terms,
are considered "semi-official" words (lexemes) that do not have a strict
scientific nature, for example: organic - organic chemistry, steering wheel - steering wheel
car. AT fiction P., like other vocabulary that has
limited scope of use (colloquial elements, dialectisms,
jargon), are used as one of the ways to characterize
character, for example: “We are not talking about storms, but about storms” (V. Vysotsky).
NEOLOGISM- a newly formed or innovatively introduced into the language) word or expression that reflects the emergence in people's lives of new concepts, phenomena, objects. N. are formed as on the basis
existing forms, in accordance with the laws of language ("There will be a storm - we will bet
// And we will take courage with her” (N.M. Yazykov); “Oh, laugh, laughers” (V.
Khlebnikov).
Phraseological style
PHRASEOLOGICAL UNITS- phrases (expressions) that are stable in composition, the meaning of which is fundamentally
cannot be deduced from the meanings of their constituent words, for example: take water in your mouth -
be silent, the fifth wheel in the cart is superfluous, press all the pedals - apply everything
efforts to achieve a goal or perform some business, etc. For F.
characteristic: constant composition (instead of a cat crying, you can’t say a dog
cried), the inadmissibility of including new words in their structure (one cannot say
instead of seven Fridays this week - seven Fridays this week), sustainability
grammatical structure (it is impossible to say sewed with white threads instead of sewn with white threads)
thread), in most cases a strictly fixed word order (it is impossible instead of a beaten unbeaten lucky unbeaten beaten luck). By origin distinguish F.,
borrowed from Old Church Slavonic and, as a rule, going back to the Bible
(voice in the wilderness, Babel etc.), which came from
ancient mythology (Achilles' heel, Gordian knot, etc.), primordially Russian (in full
Ivanovskaya, pull the gimp, etc.), tracing paper, that is, expressions, literally
translated from source language
Phonetic means of expression
ALLITERATION- one of the types of sound writing (cm): repetition in poetic speech (less often in prose) of the same
consonant sounds in order to enhance its expressiveness.
The hiss of foamy glasses
And punch flame blue.
ASSONANCE(from French assonance - consonance) - 1. One of the types of sound writing (see):
repeated repetition in a poem (less often in prose) of the same vowel sounds,
enhancing the expressiveness of artistic speech.
Do I wander along the noisy streets
I enter a crowded temple,
Am I sitting among the foolish youths,
I surrender to my dreams.
ONOMATOPOEIA- one of the types of sound recording (see): use
phonetic combinations that can convey the sound of the described phenomena (“echo
laughter", "the clatter of hooves").
Trails (words and phrases in a figurative sense)
METAPHOR(from the Greek. metaphora - transfer) - a kind of trail: figurative knowledge of the word,
based on likening one object or phenomenon to another; hidden comparison,
built on the similarity or contrast of phenomena, in which the words "as", "as if",
"as if" are absent, but implied. M.'s varieties are
personification (see) and reification (see).
Nineteenth century, iron,
Truly a cruel age!
You in the darkness of the night, starless
Careless abandoned man!
METONYMY(from the Greek metonymia - renaming) - type of trail: rapprochement,
concept matching based on substitution direct name subject to others
adjacency principle (containing - content, thing - material, author - its
work, etc.), for example: “The bows sang frenziedly ...” (A. Blok) - “they sang
bows” - the violinists played their instruments; "You led swords to a plentiful feast ..."
(A.S. Pushkin) - "swords" - warriors. “Porcelain and bronze on the table, // And, pampered feelings
joy, // Perfume in cut crystal...” (A.S. Pushkin) - “porcelain and bronze”, “in crystal”
Products from bronze, porcelain and crystal; “The theater is already full, // The boxes are shining, // The parterre and
armchairs - everything is in full swing ... "(A.S. Pushkin) - "boxes shine" - women's shine (shine)
decorations on the ladies sitting in the boxes, “parterre and armchairs” - the audience in the stalls
(space behind the seats) and seats (seats in front of the auditorium) of the theater.
reification- type of trail: likening an object. For example: "Nails b
make these people: Stronger if there were no nails in the world ”(N.S. Tikhonov). Variety
metaphors (see).
OXYMORON (OXYMORON)- type of trope: a phrase made up of words that are opposite in meaning, based on the paradox: “Look, it’s fun for her to be sad, // Such an elegant
naked” (A. Akhmatova); “Woman, take heart, nothing, // This is life, it happened
after all, it’s even worse ... ”(V. Vishnevsky). O. allows you to give more expressiveness to the image: bitter joy, sweet tears, "The Living Corpse" (L.N. Tolstoy)
PERSONALIZATION- type of trail: image of inanimate objects,
in which they are endowed with the properties of living beings (the gift of speech, the ability to think, feel, experience, act), they become like a living being. For example:
What are you howling about, night wind?
What are you complaining about so much?
PERIPHRASE- type of trope: a descriptive turn of speech used instead of a word or phrase.
In P., the name of an object or phenomenon is replaced for greater expressiveness
indicating his most characteristics: "Northern Venice" (St.
Petersburg), "king of beasts" (lion). P. are figurative (wearing a metaphorical
character) and non-figurative (preserving the direct meaning of the words that form them,
for example: "city on the Neva" - Petersburg). Only figurative
P. In figurative P., some key feature stands out, and all the others, as it were
depicted objects and phenomena that are especially important for him in
artistic attitude. Unimaginative P. only rename objects,
qualities, actions and perform not so much an aesthetic as a semantic function: they help the author to more accurately express a thought, emphasize certain qualities of the described object or phenomenon, avoid repetition of words (for example, instead of A.S. Pushkin - “the author of“ Eugene Onegin ”“, "great Russian poet"). In the poem "The Death of a Poet" M.Yu. Lermontov the same A.S. Pushkin is called a "slave of honor", "a wondrous genius", and in a well-known obituary - "the sun of Russian poetry" - these are figurative P., tropes. P. - one of the leading tropes in the symbolist poetry of the early twentieth century.
SYNÉ ODOHA- type of trail: a kind of metonymy (see). The trope consists in replacing the plural
number singular; the use of the name of the part instead of the whole or general, and vice versa. For example:
From here we will threaten the Swede,
Here the city will be founded
To spite the arrogant neighbor ...
EPITHET(from Greek eritheton - application) - type of trail: figurative
a definition emphasizing some property of an object or phenomenon,
with a special artistic expression. For example: iron
since they are used in a figurative sense and carry a special semantic and
expressive-emotional load, while the same adjectives,
used in direct meaning(iron bed, silver coin),
are not epithets. Distinguish E. "decorating" - denoting permanent
sign (see PERMANENT EPITHET) and E. individual, author's, important
for creating specific image in this text(for example, in a poem by M.Yu.
Lermontov's "Cliff": "golden cloud", "giant cliff", stands alone", "quietly
crying"). E. is usually expressed by an adjective, participle, adverb, or
noun as an application.
HYPERBOLA- type of trope: excessive exaggeration of feelings, meaning, size, beauty, etc.
the same extraction of radium.
In a gram booty,
labor per year.
harassing
for one word
Thousand tons
verbal ore.
LITOTES(from the Greek litotes - simplicity, smallness, moderation) - a kind of trail,
opposite of hyperbole (see): artistic understatement of magnitude, strength,
the meaning of a phenomenon or object (“a boy with a finger”, “a man with a fingernail”). For example:
the same extraction of radium.
In a gram booty,
labor per year.
harassing
for one word
Thousand tons
verbal ore.
V. Mayakovsky
IRONY(from the Greek. eir?neia - pretense, mockery) - 1. Kind of comic:
subtle, hidden sneer. The comic effect is achieved by the fact that
says exactly the opposite of what is meant:
He [Onegin] sat down with a laudable purpose
Assign someone else's mind to yourself;
He set up a shelf with a detachment of books ... A.S. Pushkin
Syntactic figurative means (figures of speech )
PARALLELISM(from the Greek parall?los - walking beside) - 1. Identical or
a similar arrangement of speech elements in adjacent parts of the text, which, when correlated, create a single poetic image:
Waves crash in the blue sea.
AT blue sky the stars are shining.
A.S. Pushkin
ANAPHORA(from the Greek anaphora - bringing up) - a stylistic figure:
monotony, repetition of a word or group of words at the beginning poetic lines or
prose phrases; one of the varieties of parallel syntactic constructions
I love you, Peter's creation,
I love your strict slim look. A.S. Pushkin
EPIPHORA(from the Greek epophora - additive) - a stylistic figure: the repetition of a word or group of words at the end of lines of poetry or prose
phrases; one of the varieties of parallel syntactic constructions (cf.
PARALLELISM).
I won't deceive myself
Concern lay in the misty heart.
Why did I become known as a charlatan,
Why am I known as a brawler?
……………………………………….
And now I won't get sick.
The slough in the heart cleared up like a mist.
That's why I was known as a charlatan,
That's why I was known as a brawler. (Yesenin)
GRADATION(from lat. gradatio - gradual elevation) - stylistic device: such an arrangement of words (phrases, parts complex sentence), in which each subsequent one strengthens (or weakens) the meaning of the previous one, which allows you to recreate events, actions, thoughts and feelings in
process, in development - from small to large (direct G.) or from large to small (reverse G.). Thanks to G., there is an increase in intonation and the emotionality of speech increases:
Thank you with heart and hand
Because you me - not knowing yourself! -
So love: for my peace of the night,
For the rarity of meetings at sunset,
For our non-walking under the moon,
For the sun is not over our heads ... (Tsvetaeva)
PARCELLATION(from French parcelle - particle) - intonation-
stylistic figure: syntactic emphasis separate parts or words
phrases (often homogeneous members) or parts of a compound
(complex) sentences as independent sentences with
in order to enhance their semantic weight and emotional load in the text:
And his shadow dances in the window
Along the embankment. In the autumn night.
There. For Araks. In that country.
P. Antokolsky
“And here Latyshev, if he is a scientist, an intellectual, had to push the harpooner under the elbow and scold the captain for thoughtlessness. And guard white whale from fools, and let the handsome sail further into legends.
rhetorical exclamationÁ NIE
figure: an exclamatory sentence that enhances the emotionality of the statement:
"Troika! Three bird! (N.V. Gogol). R. v. may be accompanied by hyperbolization, for example: “Magnificent! He doesn't equal to the river in the world!" (about the Dnieper) (N.V. Gogol).
Rhetorical questionÓ With(from Greek rhetor - speaker) - stylistic
figure: interrogative sentence, containing the affirmation (or negation),
formatted as a question that does not require an answer:
Didn't you at first so viciously persecuted
His free, bold gift
And for fun inflated
Slightly lurking fire? ...
M.Yu. Lermontov
R. v. is put not in order to get an answer, but in order to draw the attention of the reader (listener) to a particular phenomenon. R. v. used in poetry and public speaking, in journalistic and scientific texts, in fiction as well as in colloquial speech.
rhetorical addressÉ NIE(from the Greek rhetor - speaker) - a stylistic figure: an underlined, but conditional appeal to someone (something). In form, being an appeal, R. o. serves not so much to name the addressee of the speech, but to express the attitude towards this or that object or phenomenon: to give it an emotional assessment, to give speech necessary for the author intonation
(solemnity, cordiality, irony, etc.).
Flowers, love, village, idleness,
Fields! I am devoted to you in soul. (A.S. Pushkin)
INVERSION(from lat. inversio - rearrangement) - stylistic figure: violation
generally accepted in given language word order. Rearranging words or parts of a phrase
gives speech a special expressiveness, for example:
He ascended higher as the head of the rebellious
Pillar of Alexandria... A.S. Pushkin
ASYNDETON- stylistic figure: such a construction of speech in which conjunctions connecting words are omitted. Gives the statement swiftness, dynamism, helps to convey a quick change of pictures, impressions, actions.
Flickering past the booth, women,
Boys, benches, lanterns,
Palaces, gardens, monasteries,
Bukharians, sleighs, vegetable gardens,
Merchants, shacks, men,
Boulevards, towers, Cossacks,
Pharmacies, fashion stores,
Balconies, lions on the gates
And flocks of jackdaws on crosses.
A.S. Pushkin
POLYUNION- stylistic figure: intentional repetition of unions,
which is used for intonational and logical underlining
And flowers, and bumblebees, and grass, and ears of corn,
And azure, and midday heat ...
