Metod - Funkcionalnaya Stilistika Teksta

МИНИCTEPCTBO ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение

высшего образования
«СЕВЕРО-КАВКАЗСКИЙ ФЕДЕРАЛЬНЫЙ УНИВЕРСИТЕТ»
МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ ПО ВЫПОЛНЕНИЮ

ПРАКТИЧЕСКИХ РАБОТ ПО ДИСЦИПЛИНЕ
«ФУНКЦИОНАЛЬНАЯ ФУНКЦИОНАЛЬНАЯ СТИЛИСТИКА
ТЕКСТА ТЕКСТА»
Специальность 45.05.01 Перевод и переводоведение

Специализация Лингвистическое обеспечение военной
деятельности, Лингвистическое обеспечение
межгосударственных отношений
Квалификация специалист
Форма обучения очная
Ставрополь, 2017
СОДЕРЖАНИЕ
1. Введение
2. Тема 1. Общие вопросы стилистики
3. Тема 2. Текст как объект стилистического анализа
4. Тема 3. Классификация функциональных стилей
5. Тема 4. Выразительные средства языка и стилистические приемы
6. Тема 5. Лексические стилистические приемы: метафора, виды метафор;
метонимия, синекдоха, эпитет
7. Тема 6. Лексические стилистические приемы: сравнение, антономазия,
зевгма, ирония
8. Тема 7. Функционально-стилевое расслоение лексики: диалектизмы,
термины, жаргонизмы, профессионализмы, просторечные слова, архаизмы,
неологизмы
9. Тема 8. Синтаксические фигуры: инверсия, повторение, обособление
предложений
10. Тема 9. Синтаксические фигуры: параллельные синтаксические
конструкции, вставные конструкции, прямая речь
11. Тема 10. Синтаксические фигуры: анафора, эпифора, антитеза, градация,
эллипсис, умолчание, риторический вопрос, многосоюзие и бессоюзие
12. Тема 11. Стилистическое использование фразеологизмов
13. Тема 12. Стилистическое использование вариантных форм имен
существительных и имен прилагательных
14. Тема 13. Стилистическое использование вариантных форм имен
числительных, местоимений и служебных слов
15. Тема 14. Фонетические выразительные средства
16. Тема 15. Выразительные ресурсы графики
17. Тема 16. Семантическое пространство текста и его анализ
18. Тема 17. Алгоритм выполнения лингвостилистического анализа текста
Введение
Методические рекомендации к практическим занятиям студентов по
дисциплине «Функциональная функциональная стилистика текста теста»
разработаны в соответствии с рабочей программой дисциплины по
специальности 45.05.01 – Перевод и переводоведение, специализации –
Лингвистическое обеспечение военной деятельности, Лингвистическое
обеспечение межгосударственных отношений.
Основная цель практических занятий по дисциплине «Функциональная
функциональная стилистика текста теста» – научить студентов выявлять в
текстах различные стилистические приемы и обосновывать их употребление
в тексте для раскрытия замысла автора. Объектом работы в ходе
практических занятий являются отрывки из аутентичных текстов, в которых
студенты самостоятельно выделяют и анализируют наличие и применение
стилистических приемов. При работе с текстами студентам предлагают не
только узнавать приемы или выразительные средства, но и охарактеризовать
цель их употребления в данном контексте, функциональную нагрузку,
которой данные приемы обладают.
Тема 1. Общие вопросы стилистики
Цель: ознакомление студентов с основными понятиями, проблемами и
базовой терминологией стилистики, развитие стилистической грамотности
специалиста.
Формируемые компетенции: ПК-15.
Актуальность: умение анализировать стилистические явления в их
реальном функционировании способствует углубленному пониманию текста
на изучаемом языке и успешному декодированию всего объема
содержащейся в нем информации.
The subject of stylistics has so far not been definitely outlined. This is due
to a number of reasons.
First of all there is a confusion between the terms style and stylistics. The
first concept is so broad that it is hardly possible to regard it as a term. We speak of
style in architecture, literature, behaviour, linguistics, dress and other fields of
human activity
Even in linguistics the word style is used so widely that it needs
interpretation. The majority of linguists who deal with the subject of style agree
that the term applies to the following fields of investigation.:
1) the aesthetic function of language;
2) expressive means in language;
3) synonymous ways of rendering one and the same idea;
4) emotional colouring of language;
5) a system of special devices called stylistic devices;
6) the splitting of the literary language into separate subsystems called
stylistic devices;
7) the interrelation between language and thought;
8) the individual manner of an author in making use of language.
Stylistics and its Subdivisions
1. Galperin: Stylisitics is a branch of general linguistics, which deals with
the following two interdependent tasks:
a) studies the totality of special linguistic means ( stylistic devices and
expressive means ) which secure the desirable effect of the utterance;
b) studies certain types of texts "discourse" which due to the choice and
arrangement of the language are distinguished by the pragmatic aspect of
communication (functional styles).
Depending on the school of thought there are:
1. Linguo-stylistics;
2. Literary stylistics;
3. Stylistics of decoding;
Практическое задание 1. Обсудить следующие вопросы на английском

языке:
1. What is the subject of stylistics? Discuss the concepts of style, functional
style, individual style, and idiolect.
2. What is understood by expressive possibilities of language? Discuss the
concepts of ‘neutral language means’, ‘expressive means’ and ‘stylistic
devices’.
3. What varieties of English are you familiar with? Consider their main
characteristics. What functional styles are you familiar with?
Практическое задание 2. Сделать следующие задания:

1. Прочитайте следующие предложения, обращая внимание на
подчеркнутые примеры экспрессивности, попытайтесь определить
стилистическое средство.
a) She saw around her multitudes of red lips, powdered cheeks, and cold, hard
eyes.
b) The coffee was imprisoned in the can.
c) Thank you very much for the trouble of ruining this nice party!
d) He saved her life and three dollars in her pocket.
e) Their bitter-sweet union did not last long.
f) Everywhere were people. People going along the street and running, people
talking and smiling.
g) It was the best of times, it was the worst of times, it was the age of wisdom,
it was the age of foolishness...
2. Прочитайте два текста письма-жалобы. Какое из них Вы находите

более соответствующим научному стилю? Докажите это выбором
языковых средств.
Transaction ref: FR6104 Star Dear Sir/Madam

Dear Sir/Madam
I have phoned you twice already
On the 25 May 2006 your courier service
about the parcel of confidential
agreed to send a package of confidential
materials which was sent to a
materials to Monsieur Lebleu, a colleague
colleague of mine. Although I
of mine in France. I was assured that, if I
was told that your ‘Star’ express
took advantage of your 'Star’ express
service (which costs twice as
service, the materials were guaranteed to
much as the normal service)
arrive within 24 hour and would be
would get it there by Wednesday,
delivered personally to the addressee.
it didn’t actually arrive there until
However, the materials did not arrive until
last Friday. Monsieur Lebleu had
a week later, by which time my colleague
gone of holiday by then and the
had left the country. The parcel was left of
parcel was taken un by Madame
the doorstep and was eventually taken by Tournier who lives next door.
a neighbor. Needless to say, this caused You can imagine that I am very
great inconvenience. I had expected a angry, especially as I asked for
more efficient and reliable service, the ‘Star’ service and paid a lot of
especially considering the higher charges money for the privilege. I really
for ‘Star’ delivery. didn’t expect such inefficiency
and incompetence!
Although I have contacted your office by
phone on two occasions and explained the So please let me know what you
circumstances, I am still awaiting a are going to do about it. Although
response to my complaint. I would I have phoned your office twice, I
appreciate if you could arrange for the still don’t know what you are
package to be collected and returned to me going to do about it. Can you get
as soon as possible. The address where the the parcel back to me as soon as
package can be collected is at the bottom possible? The next-door
of this letter. neighbour’s name is Madame
Tournier. Please let me know
I look forward to receiving your reply. what is happening.
Yours faithfully, Best wishes,

Kenneth Thompson Kenneth Thompson
Please collect the parcel from : Madam

Tournier
Rue Saint Denis 51, Vernosc-les-Annonay
France. Tel.: 4477 9340
Литература
1. Арнольд И.В. Функциональная стилистика текста. Современный
английский язык. – 5-е изд., испр. и доп. – М.: Флинта: Наука, 2012. – 384 с.
2. Galperin I.R. Stylistics. M.: «Высшая школа», 2010. - 336 с.
3. Кухаренко В. А. Практикум по стилистике английского языка /
Seminars in Stylistics. – М.: Флинта: Наука, 2009. – 184 с.
Тема 2. Текст как объект стилистического анализа

Цель: понимание подхода к тексту с точки зрения лингвистических и
экстралингвистических факторов стилеобразования как проявления
стилистического узуса и индивидуально-авторского стиля.
Формируемые компетенции: ПК-15
на изучаемом языке и успешного декодирования всего объема содержащейся
в нем информации.
Genuine texts vary in communicative aims, in their topics, in length,
structure and composition to such extent that it is difficult to give the concept of
'text' a generalizing and precise definition. In the book "Text as an Object of
Linguistic Study" Prof. Galperin offers his definition of the 'text' in which he tries
to differentiate 'text' as a speech product, that is presented in a written form, from
'discourse' as a piece of oral speech. He writes: 'Text is a piece of speech
production represented in a written form that correlates to some literary norms; it is
characterized by completeness, wholeness and coherence and consists of specific
text units joined by various logical, lexical, grammatical and stylistic means under
one title; it has a definite communicative aim as a carefully thought-out-impact on
the reader' (Гальперин И. P. Текст как объект лингвистического исследования.
- М. 1981. - С. 18)
This definition contains the most general parameters of well-composed texts
and states knowledge about text formation as an object of special linguistic
interest. Prof. Galperin proposes to study text categories and singles out some ten
categories in his book. Categories of discreteness (divisibility), cohesion are
referred mainly to basic structural categories and basic semantic categories are
informativeness, continuum, prospectively and retrospection, semantic
independence of its constituents, modality, integration and completeness.
Well-formed texts undoubtedly follow a certain compositional pattern: there
is a heading, the text as such and conclusion. The text itself can be divided into
smaller units made up of interdependent sentences, that are grouped into a
paragraph, then there may be chapters, parts and books. This kind of pragmatic
division which aims at promoting the process of comprehension varies from text to
text, as the author always takes into consideration information capacity of human
brains.
Any reader perceives a text in his individual manner. It depends upon his
approach, his aim, his intellect and his emotional susceptibility. One may either
read merely for the sake of the plot or grasp all the subtleties of the text and
penetrate deep into the author's intention. To achieve the latter a text must be
treated as an integral whole. To comprehend a text as an integral whole, the reader
must perceive simultaneously its several layers, as a text is to be regarded as a
hierarchy of them in mutual interdependence and interpenetration.
Практическое задание 1. Проанализируйте предложенный текст.

Определите его лексические, фразеологические и грамматические
особенности.
Практическое задание 2. Охарактеризуйте манеру изложения, строй
речи данного текста.
JOHN CHEEVER
The Enormous Radio
Jim and Irene Wescott were the kind of people who seem to strike that satisfactory
average of income, endeavor, and respectability that is reached by the statistical
reports in college alumni bulletins. They were the parents of two young children,
they had been married nine years, they lived on the twelfth floor of an apartment
house near Sutton Place, they went to the theater on an average of 10.3 times a
year, and they hoped someday to live in Westchester. Irene Wescott was pleasant,
rather plain girl with soft brown hair, and a wide, fine forehead upon which
nothing at all had been written, and in the cold weather she wore a coat of fitch
skins dyed to resemble mink. You could not say that Jim Westcott looked younger
than he was, but you could at least say of him that he seemed to feel younger. He
wore his graying hair cut very short, he dressed in the kind of clothes his class had
worn at Andover, and his manner was earnest, vehement, and intentionally naive.
The Westcotts differed from their friends, their classmates, and their neighbors,
only in an interest they shared in serious music. They went to a great many
concerts - although they seldom mentioned this to anyone - and they spent a good
deal of time listening to music on the radio.
Their radio was an old instrument, sensitive, unpredictable, and beyond repair.
Neither of them understood the mechanics of radio - or when the instrument
faltered, Jim would strike the side of the cabinet with his hand. This sometimes
helped. One Sunday afternoon, in the middle of the Schubert quartet, the music
faded away altogether. Jim struck the cabinet repeatedly, but there was no
response; the Schubert was lost to them forever. He promised to buy Irene a new
radio, and on Monday when he came home from work he told her that he had got
one. He refused to describe it, and said it would be a surprise for her when it came.
The radio was delivered at the kitchen door the following afternoon, and with the
assistance of her maid and the handyman Irene uncrated it and brought it into the
living room. She was struck at once with the physical ugliness of the large
gumwood cabinet. Irene was proud of her living room, she had chosen its
furnishings and colors as carefully as she chose her clothes, and now it seemed to
her that her new radio stood among her intimate possessions like an aggressive
intruder. She was confounded by the number of dials and switches on the
instrument panel, and she studied them thoroughly before she put the plug into a
wall socket and turned the radio on. The dials flooded with a malevolent green
light, and in the distance she heard the music of a piano quartet. The quintet was in
the distance for only an instant; it bore down upon her with a speed greater than
light and filled the apartment with the noise of music amplified so mightily that it
knocked a china ornament from a table to the floor. She rushed to the instrument
and reduced the volume. The violent forces that were snared in the ugly gumwood
cabinet made her uneasy. Her children came home from school then, and she took
them to the Park. It was not until later in the afternoon that she was able to return
to the radio.
The maid had given the children their suppers and was supervising their baths
when Irene turned on the radio, reduced the volume, and sat down to listen to a
Mozart quintet that she knew and enjoyed. The music came through clearly. The
new instrument had a much purer tone, she thought, than the old one. She decided
that tone was most important and that she could conceal the cabinet behind the
sofa. But as soon as she had made her peace with the radio, the interference began.
A crackling sound like the noise of a burning powder fuse began to accompany the
singing of the strings. Beyond the music, there was a rustling that reminded Irene
unpleasantly of the sea, and as the quintet progressed, these noises were joined by
the many others. She tried all the dials and switches but nothing dimmed the
interference, and she sat down, disappointed and bewildered, and tried to trace the
flight of the melody. The elevator shaft in her building ran beside the living-room
wall, and it was the noise of the elevator that gave her a clue to the character of the
static. The rattling of the elevator cables and the opening and closing of the
elevator doors were reproduced in her loudspeaker, and, realizing that the radio
was sensitive to electrical currents of all sorts, she began to discern through the
Mozart the ringing of telephone bells, the dialing of phones, and the lamentation of
a vacuum cleaner. By listening more carefully, she was able to distinguish
doorbells, elevator bells, electric razors, and Waring mixers, whose sounds had
been picked up from the apartments that surrounded hers and transmitted through
her loudspeaker. The powerful and ugly instrument, with its mistaken sensibility
to discord, was more than she could hope to master, so she turned the thing off and
went into the nursery to see her children.
When Jim Wescott came home that night, he went to the radio confidently and
worked the controls. He had the same sort of experience Irene had had. A man
was speaking on the station Jim had chosen, and his voice swung instantly from the
distance into a force so powerful that it shook the apartment. Jim turned the
volume control and reduced the voice. Then, a minute or two later, the interference
began. The ringing of telephones and doorbells set in, joined by the rasp of the
elevator doors and the whir of cooking appliances. The character of the noise had
changed since Irene had tried the radio earlier; the last of the electric razors was
being unplugged, the vacuum cleaners had all been returned to their closets, and
the static reflected that change in pace that overtakes the city after the sun goes
down. He fiddled with the knobs but couldn’t get rid of the noises, so he turned
the radio off and told Irene that in the morning he’d call the people who had sold it
to him and give them hell.
The following afternoon, when Irene returned to the apartment from a luncheon
date, the maid told her that a man had come and fixed the radio. Irene went into
the living room before she took off her hat or her furs and tried the instrument.
From the loudspeaker came a recording of the “Missouri Waltz.” It reminded her
of the thin, scratchy music from an old-fashioned phonograph that she sometimes
head across the lake where she spent her summers. She waited until the waltz had
finished, expecting an explanation of the recording, but there was none. The music
was followed by silence, and then the plaintive and scratchy record was repeated.
She turned the dial and got a satisfactory burst of Caucasian music - thump of bare
feet in the dust and the rattle of coin jewelry - but in the background she could hear
the ringing of bells and a confusion of voices. Her children came home from
school then, and she turned off the radio and went to the nursery.
When Jim came home that night, he was tired, and he took a bath and changed his
clothes. Then he joined Irene in the living room. He had just turned on the radio
when the maid announced dinner, so he left it on, and Irene went to the table.
Jim was too tired to make even pretense of sociability, and there was nothing about
the dinner to hold Irene’s interest, so her attention wandered from the food to the
deposits of silver polish on the candlesticks and from there to the music in the
other room. She listened for a few minutes to a Chopin prelude and then was
surprised to hear a man’s voice break in. “For Christ’s sake, Kathy,” he said, “do
you always have to play the piano when I get home?” The music stopped abruptly.
“It’s the only chance I have,” the woman said. “I’m at the office all day.” “So am
I,” the man said. He added something obscene about an upright piano, and
slammed a door. The passionate and melancholy music began again.
“Did you hear that?” Irene asked.
“What?” Jim was eating his dessert.
“The radio. A man said something while the music was still going on - something
dirty.”
“It’s probably a play.”
“I don’t think it is a play,” Irene said.
They left the table and took their coffee into the living room. Irene asked Jim to
try another station. He turned the knob. “Have you seen my garters?” A man
asked. “Button me up,” a woman said. “Have you seen my garters?” the man said
again. “Just button me up and I’ll find your garters,” the woman said. Jim shifted
to another station. “I wish you wouldn’t leave apple cores in the ashtrays,” a man
said. “I hate the smell.”
“This is strange,” Jim said.
“Isn’t it?” Irene said.
Jim turned the knob again. “‘On the coast of Coromandel where the early
pumpkins blow,’” a woman with a pronounced English accent said, “‘in the middle
of the woods lived the Yonghy-Bonghy-Bò. Two old chairs, and half a candle, one
old jug without a handle . . .’”
“My God!” Irene cried. “That’s the Sweeneys’ nurse.”
“‘These were all his worldly goods,’” the British voice continued.
“Turn that thing off,” Irene said.”Maybe they can hear us.” Jim switched the radio
off. “That was Miss Armstrong, the Sweeneys’ nurse,” Irene said. “She must be
reading to the little girl. They live in 17-B. I’ve talked with Miss Armstrong in the
Park. I know her voice very well. We must be getting other people’s apartments.”
“That’s impossible,” Jim said.
“Well, that was the Sweeneys’ nurse,” Irene said hotly. “I know her voice. I know
it very well. I’m wondering if they can hear us.”
Jim turned the switch. First from a distance and then nearer, nearer, as if borne on
the wind, came the pure accents of the Sweeneys’ nurse again: “‘Lady Jingly!
Lady Jingly!’” she said, “‘sitting where the pumpkins blow, will you come and be
my wife? said the Yonghy-Bonghy-Bò . . .’”
Jim went over to the radio and said, “Hello” loudly into the speaker.
“‘I am tired of living singly,’” the nurse went on, “‘on this coast so wild and
shingly, I’m a-weary of my life; if you’ll come and be my wife, quite serene would
be my life . . .’”
“I guess she can’t hear us,” Irene said. “Try something else.”
Jim turned to another station, and the living room was filled with the uproar of a
cocktail party that had overshot its mark. Someone was playing the piano and
singing the “Whiffenpoof Song,” and the voices that surrounded the piano were
vehement and happy. “Eat some more sandwiches,” a woman shrieked. There
were screams of laughter and a dish of some sort crashed to the floor.
“Those must be the Fullers, in 11-E,” Irene said. “I knew they were giving a party
this afternoon. I saw her in the liquor store. Isn’t this too divine? Try something
else. See if you can get those people in 18-C.”
1. Болотнова Н.С. Филологический анализ текста. – М.: Флинта: Наука,
2011. – 520 с.
2. Гальперин И.Р. Текст как объект лингвистического исследования. – М.:
Едиториал УРСС, 2014. – 144 с.
Тема 3. Классификация функциональных стилей

Цель: формирование понимания о системе функциональных стилей,
развитие навыков определения функционального стиля текста и выделения
его основных черт.
Формируемые компетенции ПК-15
According to Galperin: Functional Style is a system of interrelated language
means serving a definite aim in communication. It is the coordination of the
language means and stylistic devices which shapes the distinctive features of each
style and not the language means or stylistic devices themselves. Each style,
however, can be recoquized by one or more leading features which are especially
conspicuous. For instance the use of special terminology is a lexical characteristics
of the style of scientific prose, and one by which it can easily be recognized.
Classification of Functional Styles of the English Language
1. The Newspaper Functional Style.
a) brief news items;
b) advertisments and announcements;
c) headlines;
2. The Scientific Prose Style.
a) exact sciences;
b) humanitarian sciences;
c) popular- science prose;
3. The Belles - Letters Functional Style.
a) poetry;
b) emotive prose;
c) drama;
4. Publicistic Functional Style,
a) oratory;
b) essays;
c) articles in newspapers and magazines;
5. The Official Documents Functional Style.
a) diplomatic documents;
b) business letters;
c) military documents;
d) legal documents;
Практическое задание. Определите функциональный стиль данного

типа текста. Проанализируйте особенности данных текстов с точки
зрения их функциональных стилей.
1. Nothing could be more obvious, it seems to me, than that art should be moral
and that the first business of criticism, at least some of the time, should be to judge
works of literature (or painting or even music) on grounds of the production's
moral worth. By "moral" I do not mean some such timid evasion as "not too
blatantly immoral". It is not enough to say, with the support of mountains of
documentation from sociologists, psychiatrists, and the New York City Police
Department, that television is a bad influence when it actively encourages pouring
gasoline on people and setting fire to them. On the contrary, television - or any
other more or less artistic medium - is good (as opposed to pernicious or vacuous)
only when it has a clear positive moral effect, presenting valid models for
imitation, eternal verities worth keeping in mind, and a benevolent vision of the
possible which can inspire and incite human beings towards virtue, towards life
affirmation as opposed to destruction or indifference. This obviously does not
mean that art should hold up cheap or cornball models of behaviour, though even
those do more good in the short run than does, say, an attractive bad model like the
quick-witted cynic so endlessly celebrated in light-hearted films about voluptuous
women and international intrigue. In the long run, of course, cornball morality
leads to rebellion and the loss of faith. (J.G.)
2. In tagmemics we make a crucial theoretical difference between the grammatical
hierarchy and the referential one. In a normal instance of reporting a single event in
time, the two are potentially isomorphic with coterminous borders. But when
simultaneous, must'be sequenced in the report. In some cases, a chronological or
logical sequence can in English be partially or completely changed in
presentational order (e.g. told backwards); when this is done, the referential
structure of the tale is unaffected, but the grammatical structure of the telling is
radically altered. Grammatical order is necessarily linear (since words come out of
the mouth one at a time), but referential order is at least potentially simultaneous.
Describing a static situation presents problems parallel to those of presenting an
event involving change or movement. Both static and dynamic events are made
linear in grammatical presentation even if the items or events are, referentially
speaking, simultaneous in space or time (K.Pk.)
3. Techniques of comparison form a natural part of the literary critic's analytic and
evaluative process: in discussing one work, critics frequently have in mind, and
almost as frequently appeal to, works in the same or another language.
Comparative literature systematically extends this latter tendency, aiming to
enhance awareness of the qualities of one work by using the products of another
linguistic culture as an illuminating context; or studying some broad topic or theme
as it is realized ("transformed") in the literatures of different languages. It is worth
insisting on comparative literature's kinship with criticism in general, for there is
evidently a danger that its exponents may seek to argue an unnatural
distinctiveness in their activities (this urge to establish a distinct identity is the
source of many unfruitfully abstract justifications of comparative literature); and
on the other hand a danger that its opponents may regard the discipline as nothing
more than demonstration of "affinities" and "influences" among different
literatures - an activity which is not critical at all, belonging rather to the
categorizing spirit of literary history. (R.F.)
4. Caging men as a means of dealing with the problem of crime is a modern
refinement of man's ancient and limitless inhumanity, as well as his vast capacity
for self-delusion. Murderers and felons used to be hanged, beheaded, flogged,
tortured, broken on the rack, blinded, ridden out of town on a rail, tarred and
feathered, or arrayed in the stocks. Nobody pretended that such penalties were
anything other than punishment and revenge. Before nineteenth-century American
developments, dungeons were mostly for the convenient custody of political
prisoners, debtors, and those awaiting trial. American progress with many another
gim "advance", gave the world the penitentiary.
In 1787, Dr. Benjamin Rush read to a small gathering in the Philadelphia home of
Benjamin Franklin a paper in which he said that the right way to treat offenders
was to cause them to repent of their crimes. Ironically taken up by gentle Quakers,
Rush's notion was that offenders should be locked alone in cells, day and night, so
that in such awful solitude they would have nothing to do but to ponder their acts,
repent, and reform. To this day, the American liberal - progressive - idea persists
that there is some way to make people repent and reform. Psychiatry, if not
solitude will provide perfectability.
Three years after Rush proposed it, a single-cellular penitentiary was established in
the Walnut Street Jail in Philadelphia. By the 1830s, Pennsylvania had constructed
two more state penitentiaries, that followed the Philadelphia reform idea.
Meanwhile, in New York, where such reforms as the lock-step had been devised,
the "Auburn system" evolved from the Pennsylvania program. It provided for
individual cells and total silence, but added congregate employment in shops,
fields, or quarries during a long, hard working day. Repressive and undeviating
routine, unremitting labor, harsh subsistence conditions, and frequent floggings
complemented the monastic silence; so did striped uniforms and the great wall
around the already secure fortress. The auburn system became the model for
American penitentiaries in most of the states, and the lofty notions of the
Philadelphians soon were lost in the spirit expressed by Elam Lynds, the first
warden of Sing Sing (built in 1825): "Reformation of the criminal could not
possibly be effected until the spirit of the criminal was broken."
The nineteenth-century penitentiary produced more mental breakdowns, suicides,
and deaths than repentance. "I believe," wrote Charles Dickens, after visiting such
an institution, "that very few men are capable of estimating the immense amount of
torture and agony which this dreadful punishment, prolonged for years, inflicts
upon the sufferers." Yet, the idea persisted that men could be reformed (now we
say "rehabilitated") in such hellholes - a grotesque derivation from the idea that
man is not only perfectable but rational enough to determine his behavior through
self-interest.
A later underpinning of the nineteenth-century prison was its profitability. The sale
and intraprison use of prison-industry products fitted right into the productivity
ethic of a growing nation. Convicts, moreover, could be and were in some states
rented out like oxen to upright businessmen. Taxpayers were happy, cheap labor
was available, and prison officials, busily developing their bureaucracies, saw their
institutions entrenched. The American prison system - a design to reform criminals
by caging humans - found a permanent place in American society and flourished
largely unchanged into the twentieth century. In 1871, a Virginia court put the
matter in perspective when it ruled that prisoners were "slaves of the state". (Wic.)
5. BUYERS BOX FOR PACKER $ 350 m prace tag is put on Waddington
A J350 million bidding war is set to erupt for Waddington, the packaging group
that last month admitted it had received a takeover approach from its management
team.
At least two venture capital firms are understood to be looking at Leeds-based
Waddington, which is expected to command a takeout of at least £325 a share
against Friday's close of£247. One of the potential buyers is believed to be
CinVen.
Waddington's management team, led by chief executive Martin Buckley and
finance director Geoffrey Gibson, are preparing their own offer for title company.
They are being advised by NatWest Equity Partners, which last week backed the
management buyout of Noreros, the building materials outfit.
Waddington's three non-executive directors, led by chairman John Hollowood, are
thought to have been alerted to the prospect of rival bidders.
City analysts said rival approaches were expected in the wake of Waddington's
recent announcement, since the takeout price originally mooted was far too low.
(S.T.)
6. REVEALED: BRITAIN'S SECRET NUCLEAR PLANT
A SECRET nuclear fuel plant processing radioactive material a mile from the
centre of a British city has been revealed to have serious safety flaws.
Nuclear fuel more volatile than the uranium which caused the recent radioactive
leak at a Japanese facility is being secretly manufactured in the Rolls-Royce plant
in Derby.
Highly enriched uranium fuel is processed at the factory for the Ministry of
Defence (MoD) - although this has never before been disclosed and the local
population has not been told because the work is classified. They are only aware
that the factory makes engines for Trident nuclear submarines.
Leaked company documents reveal that there is a risk of a "criticality accident" -
the chain reaction which caused the nuclear disaster at a fuel manufacturing plant
in Tokaimura last month. It has also emerged that after a safety exercise at the
plant this year, inspectors concluded that it was "unable to demonstrate adequate
contamination control arrangements". There is still no public emergency plan in
case of disaster.
"I can't believe that they make nuclear fuel in Derby and don't have an off-site
public emergency plan," said a nuclear safety expert who has visited the plant.
"Even in Plymouth where they [the MoD] load the uranium fuel into the
submarines, they have a publicised plan for the local population."
In the Tokaimura disaster two weeks ago, clouds of deadly radiation poured out
from a nuclear fuel plant after a nuclear fission chain reaction. Most nuclear plants
in Britain use fuel containing about 3% uranium 235, but in the Tokaimura
incident it was about 20%, which was a contributory factor for the chain reaction.
In Derby the fuel is potentially even more unstable, containing more than 90%
uranium 235. Rolls-Royce has always said that its marine power division at
Raynesway, Derby, makes propulsion systems for nuclear submarines. It has never
previously admitted processing the uranium fuel. (S.T.)
7. I hear America singing
I hear America singing, the varied carols I hear,
Those of mechanics, each one singing his as it should be
Blithe and strong,
The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or
Leaves off work,
The boatman singing what belongs to him in his boat, the
Deckhand singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter
Singing as he stands,
The wood-cutter's song, the ploughboy's on his way in the
Morning, or at noon intermission or at sundown,
The delicious singing of the mother, or of the young wife
At work, or of the girl sewing or washing,
Each singing what belongs to him or her and to none else,
The day what belongs to the day - at night the party of
Young fellows, robust, friendly,
Singing with open mouths their strong melodious songs. (W.W.)
8.
Professor W.H. Leeman
79 Rigby Drive London
Dorset, Merseyside 10th March 1998
Dear Sir!
Contributed papers accepted for the Conference will be presented in oral sessions
or in poster sessions, each type of presentation being considered of equal
importance for the success of the conference. The choice between the one or the
other way of presentation will be made by the
Programme Committee. The first is a ten-minute talk in a conventional session,
followed by a poster presentation in a poster area. In the poster period (about two
hours) authors will post visual material about their work on a designated board and
will be prepared to present details and answer questions relating to their paper. The
second mode of presentation is the conventional format of twenty-minute talks
without poster periods. This will be used for some sessions, particularly those for
which public discussion is especially important or for which there is a large well-
defined audience.
Sincerely T. W. Thomas, Chairman.
9. My Lord, February 7th, 1755

I have been lately informed, by the proprietor of "The World", that two papers, in
which my "Dictionary" is recommended to the public, were written by your
Lordship. To be so distinguished is an honour, which, being very little accustomed
to favours from the great, I know not well how to receive or in what terms to
acknowledge.
When, with some slight encouragement, I first visited your Lordship, I was
overpowered, like the rest of mankind, by the enchantment of your address, and
could not forbear to wish that I might boast myself "Le vainqueur du vainqueur de
la terre", - that I might obtain that regard for which I saw the world contending; but
I found my attendance so little encouraged that neither pride nor modesty would
suffer me to continue it. When I had once addressed your Lordship in public, I had
exhausted all the art of pleasing which a retired and uncourtly scholar can possess.
I had done all that I could; and no man is well pleased to have his all neglected, be
it ever so little.
Seven years, My Lord, have now passed since I waited in your outward rooms or
was repulsed from your door; during which time I have been pushing on my work
through difficulties, of which it is useless to complain, and have brought it at last to
the verge of publication, without one act of assistance, one word of
encouragement, or one smile of favour. Such treatment I did not expect, for I never
had a patron before. The shepherd in Virgil grew at last acquainted with love, and
found him a native of the rocks. Is not a patron, My Lord, one, who looks with
unconcern on a man straggling for life in water, and when he has reached ground,
encumbers him with help?
The notice you have been pleased to take of my labours, had>it been early, had
been kind; but it has been delayed till I am indifferent, and cannot enjoy it; till I am
solitary and cannot impart it; till I am known and do not want it. I hope it is no
very cynical asperity, not to confess obligations when no benefit has been received;
or to be unwilling that the public should consider me as owing that to a patron,
which Providence has enabled me to do for myself.
Having carried on my work thus far with so little obligation to any favourer of
learning, I shall now be disappointed though I should conclude it, if less be
possible, with less; for I have been long wakened from that dream of hope in which
I once boasted myself with so much exultation,
My Lord
Your Lordship's most humble,
most obedient Servant
Sam Jonson.
10. Liverpool, 17th July 19...

Messrs. M. Worthington & Co., Ltd., Oil Importers,
c/o Messrs. Williams & C.; Ship Agents,
17 Fenchurch Street,London, Е., С., England
Dear Sirs,
Re: 9500 tons of Edible Oil under B/LNos.:
2732, 3734, 4657 m/t Gorky ar'd 16.07.
In connection with your request to start discharging the above cargo first by
pumping out bottom layer into barges and then to go on with pumping the rest of
the cargo into shore tanks I wish to point out the following.
As per clause of the Bill of Lading "Weight, quantity and quality unknown to me"
the carrier is not responsible for the quantity and quality of the goods, but it is our
duty to deliver the cargo in the same good order and conditions as located. It
means that we are to deliver the cargo in accordance with the measurements taken
after loading and in conformity with the samples taken from each tank on
completion of loading.
Therefore if you insist upon such a fractional layer discharging of this cargo, I
would kindly ask you to send your representative to take joint samples and
measurements of each tank, on the understanding that duplicate samples, jointly
taken and sealed, will be kept aboard our ship for further reference. The figures,
obtained from these measurements and analyses will enable you to give us clean
receipts for the cargo in question, after which we shall immediately start
discharging the cargo in full compliance with your instructions.
It is, of course, understood, that, inasmuch as such discharging is not in strict
compliance with established practice, you will bear all the responsibility, as well as
the expenses and / or consequences arising therefrom, which please confirm.
Yours faithfully
C.LSh....
Master of the m/t Gorky
2.38 p.m.
11. Speech of Viscount Simon of the House of Lords:

Defamation Bill
3.12p.m.
The noble and learned Earl, Lord Jowitt, made a speech of much persuasiveness on
the second reading raising this point, and today as is natural and proper, he has
again presented with his usual skill, and I am sure with the greatest sincerity, many
of the same considerations. I certainly do not take the view that the argument in
this matter is all on the side. One could not possibly say that when one considers
that there is considerable academic opinion at the present time in favour of this
change and in view of the fact that there are other countries under the British Flag
where, I understand, there was a change in the law, to a greater or less degree, in
the direction which the noble and learned Earl so earnestly recommends to the
House. But just as I am very willing to accept the view that the case for resisting
the noble Earl's Amendment is not overwhelming, so I do not think it reasonable
that the view should be taken that the argument is practically and considerably the
other way. The real truth is that, in framing statuary provisions about the law of
defamation, we have to choose the sensible way between two principles each of
which is greatly to be admired but both of which ran into some conflict. (July 28,
1952.)
12. ENEMY OF THE PEOPLE

Radio 2
Johnnie Walker, the DJ fined £ 2,000 last week for possessing cocaine, was
suitably contrite as Radio 2 opened its arms to welcome him back to work. "I'm
extremely sorry for all the embarrassment I've caused my family, friends and the
BBC," he said.
Embarrassment? My dear old chap, this is absolutely the best thing to have
happened to Radio 2's image in years.
There has only been one other significant drags scandal involving a Radio 2
presenter. One day in 1993, Alan Freeman accidentally took an overdose of his
arthritis pills. Luckily, there was no lasting damage done to Freeman, but for Radio
2 it was touch and go.
Arthritis pills? This was not the image that the station had been assiduously
nurturing. For years, Radio 2 has been struggling to cast off the impression that it
thinks hip is something that you can have replaced on the NHS at some point in
your late seventies.
This struggle has not been a success. To many listeners, it is the station to which
people turn when they start taking an interest in golf, Sanatogen and comfortable
cardigans.
It is a reliable friend to lean on when you hear yourself say: "Radio 4 is all very
well, but why does everything have to be so brash and loud?".
So for Radio 2 to have a chap on the staff who's had a brush with cocaine and wild
living was a lucky bonus. For a short time, Radio 2 producers could turn up at
nightclub doors without being sniggered at. (S.T.)
13. ME IMPERTURBE
Me imperturbe, standing at ease in Nature,
Master of all or mistress of all, aplomb in the midst of
Irrational things,
Imbued as they, passive, receptive, silent as they,
Finding my occupation, poverty, notoriety, foibles, crimes
Less important than I thought,
Me toward the Mexican sea, or in the Mannahatta or the
Tennessee, or far north or inland,
A river man, or a man of the woods or of any farm-life of
These States or of the coast, or the lakes of Kanada,
Me wherever my life is lived, О to be self-balanced for
Contingencies,
To confront night, storms, hunger, ridicule, accidents,
Rebuffs, as the trees and animals do. (W.W.)
14. TOBACCO CAN HELP STOP THE HAIR LOSS FROM CANCER DRUGS
TOBACCO plants could be the key to allowing chemotherapy patients to keep
their hair, writes Roger Dobson.
Biotechnologists have succeeded in getting the transgenic plants to grow an
antibody that neutralises the hair-loss effects of the toxic chemicals used in cancer-
fighting chemotherapy.
When a solution of the antibodies is rubbed into the hair and scalp before anti-
cancer treatment begins, it protects and preserves the hair follicles from the
aggressive toxins in the drug treatment. ( S. T.)
15. In most countries, foreign languages have traditionally been taught for a small
number of hours per week, but for several years on end. Modern thought on this
matter suggests that telescoping language courses brings a number of unexpected
advantages. Thus it seems that a course of 500 hours spread over five years is
much less effective than the same course spread over one year, while if it were
concentrated into six months it might produce outstanding results. One crucial
factor here is the reduction in opportunities for forgetting; however, quite apart
from the difficulty of making the time in school time-tables when some other
subject would inevitably have to be reduced, there is a limit to the intensity of
language teaching which individuals can tolerate over a protracted period. It is
clear that such a limit exists; it is not known in detail how the limit varies for
different individuals, nor for different age-groups, and research into these factors is
urgently needed. At any rate, a larger total number of hours per week and a
tendency towards more frequent teaching periods are the two aspects of intensity
which are at present being tried out in many places, with generally encouraging
results. (P.St.)
16. US FIRM QUITS BISCUIT RACE

THE US venture capital firm Hicks, Muse, Tate & Furst, which bought Hillsdown
Holdings this year, has ruled out a bid for United Biscuits.
Hicks Muse, which owns the Peak Freans brand, was previously a hot favourite in
the City to bid for UB, whose products include McVitie's, Penguin, Jaffa Cakes,
KP, Skips and Phileas Fogg.
UB, which is expected to command a price tag of about $l.2 billion, admitted last
week it had received an approach that might lead to an offer.
However, Hicks Muse's departure leaves just four serious bidders for some or all of
UB.
They are two venture capitalists - Kohlberg Kravis Roberts and CVC Capital
Partners - as well as Nabisco, America's leading biscuits firm, and Danone, the
French food group that owns Jacob's cream crackers and HP sauce. (S.T.)
17. Between my finger and my thumb The squat pen rests; snug as a gun. Under
my window, a clean rasping sound When the spade sinks into gravelly ground: My
father, digging, I look down.
Till his straining rump among the flowerbeds Bends low, comes up twenty years
away Stooping in rhythm through potato drills Where he was digging.
The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked
Loving their cool hardness in our hands.
My God, the old man could handle a spade. Just like his old man. (S.H.)
18. PREPARING A BUSINESS PLAN

A business plan is essential to the start-up, growth and modification of any
business whether it be a small private farm or a large state farm or an agricultural
processing facility. The business plan specifically defines the business. It identifies
and clarifies goals and provides the direction for their achievement.
A well developed plan will serve three primary functions. First, it will act as a
feasibility study. Writing the plan forces the business owner or director to translate
ideas into black and white allowing substantiation and evaluation of the
assumptions upon which the plan is based. It helps to determine the need for, and
proper allocation of resources and, by allowing the owner to look for weak spots
and vulnerabilities, helps reduce the risk of unforeseen complications.
Second, the plan will serve as a management tool. It provides a guide for
implementation and standards against which to evaluate performance. Properly
utilised, it can help alert the owner/manager to potential problems before they
become detrimental, and potential opportunities before they are missed.
Third, the plan is the tool for obtaining financing for the business. Whether seeking
bank financing, private domestic or foreign investors, government financing or
venture capital, a detailed, well-drafted plan is necessary. (Wt.)
19.United States Department of Agriculture

Commercial Agriculture Development Project 2
Luctukiv Pereulok Maliv, Ukraine 25002 Tel/Fax: (380-02) 42-80-80 E-mail:
eller@te.net.ua
March 2, 2000
Harry Mead, USAID
19 Rubyy Val St.254 Kyi'v, Ukraine
Dear Mr. Walters,
I have discussed the issue of using funds allocated for wages, transportation,
technical assistance, and other expenditures in the KNO Project for larger capital
purchases for the four cooperatives with you and Ken Boyle and I am seeking
formal approval to do this. I have also discussed this idea with the boards of the
four cooperatives and they have agreed that this would be a better way to use the
funds in the budget.
Artsis is working on a deal with Monsanto for no-till planting equipment. I agreed
to make the down payment for that deal, which is $10,000.00. We have been
working on this for a long time (it seems like forever) with CNFA and Monsanto.
The payment has already been made to Monsanto.
I have already purchased seed treating equipment and two tractors for Ivanov
Coop. They got the equipment from bankrupt collectives and got a very good deal
on all of it. The seed treating equipment was still in crates and was purchased from
Germany two years ago for $27,000.00. We got it all for $7,000.00. The Ivanov
Coop will specialize in hailing, storing and selling seed. They got the two tractors
from a bankrupt collective in Ivanovka for $3,000.00 and will provide a plowing
service for their members this year.
Sincerely,
John Wales USDA/CADP Odessa
4. Скребнев Ю.М. Основы стилистики английского языка. – М.: ООО
«Издательство Астрель»: ООО «Издательство АСТ», 2013. – 221с.
Тема 4. Выразительные средства языка и стилистические приемы

Цель: совершенствование умения определять в тексте выразительные
средства языка и стилистические приемы, а также понимать механизмы их
воздействия на читателя.
Expressive means are stylistic devices from three large groups of phonetic,
lexical, syntactical means and devices. Each group is further subdivided according
to the principle, purpose and function of a mean or a device in an utterance.
Stylistics studied the types of texts which are distinguished by the pragmatic aspect
of the communication and are called functional styles of language. Expressive
means of a language are those phonetic, morphological, word-building, lexical,
phraseological and syntactical forms which exist in language-as-a-system for the
purpose of logical and/or emotional intensification of the utterance. (Galperin, 27).
The intensifying forms have special functions in making the utterances emphatic.
A stylistic device is a conscious and international intensification of some typical
structural and/or semantic property of a language unit (neutral or expressive)
promoted to a generalized status and thus becoming a generative model. (Galperin,
3) A stylistic device is an abstract pattern, a mould into which any content can be
poured.
Classification of Lexical Stylistic devices (I.R. Galperin) There are 4
groups. The interaction of different types of lexical meaning. 2 logical (dictionary
and contextual): metaphor, metonymy, irony; Primary and derivative (zeugma,
pun, semantically false chain); Logical and emotive (epithet, oxymoron); Logical
and nominal (antonomasia); Intensification of a feature (simile, hyperbole,
periphrasis). Peculiar use of set expressions (cliches, proverbs, epigrams,
quotations). Interaction of Logical and Nominal Meaning.
Практическое задание 1. Найдите в данном отрывке выразительные

средства и стилистические приемы. Предложите варианты их адекватного
перевода на русский язык.
Charles Dickens
There is no month in the whole year, in which nature wears a more beautiful
appearance than in the month of August; Spring has many beauties, and May is a
fresh and blooming month, but the charms of this time of the year are enhanced by
their contrast with the winter season. August has no such advantage. It comes when
we remember nothing but clear skies, green fields, and sweet-smelling flowers –
when the recollection of snow, and ice, and bleak winds, has faded from our minds
as completely as they have disappeared from the earth – and yet what a pleasant
time it is. Orchards and cornfields ring with the hum of labour; trees bend beneath
the thick clusters of rich fruit which bow their branches to the ground; and the
corn, piled in graceful sheaves, or waving in every light breath that sweeps above
it, as if it wooed the sickle, tinges the landscape with a golden hue. A mellow
softness appears to hang over the whole earth; the influence of the season seems to
extend itself to the very wagon, whose slow motion across the well-reaped field is
perceptible only to the eye, but strikes with no harsh sound upon the ear.
Практическое задание 2. Определите, какие приемы присутствуют в данных

отрывках и укажите их функциональную специфику:
1. Out came the thin, butter-yellow watch again, and for the twentieth – fiftieth
– hundredth time he made the calculation.
2. His voice is far, far too kind. The crotchets and quavers are dancing up and
down the stave like little black boys on a fence. Why is he so . . . She will not cry –
she has nothing to cry about . . . (Mansfield 1920: 140-141). – Его голос
слишком, слишком мягок. Ноты начинают танцевать у нее перед глазами, как
маленькие черные мальчики на заборе. Почему он так … Нет, она не
заплачет, не от чего ей плакать… (Мэнсфилд 1926: 91-92).
3. “Ah-Aah! sounded the sleepy sea… The sheep ran forward in little pattering
rushes; they began to bleat, and ghostly flocks and herds answered them from
under the sea. “Baa! Baaa!”... (Mansfield 1922: 2-3). – «А-аа! – вздыхает сонное
море. … Овцы бегут вперед маленькими топочущими волнами. Они
начинают блеять, и прозрачные отары и стада отвечают им из глубины моря:
«Бэ-э! Бэ-э» (Мэнсфилд 1958: 100-111).
4. But the dusk came slowly, spreading like a slow stain over the water»
(Mansfield 1922: 213). – Но сумерки медленно ползли, темной тенью
расплываясь по воде» (Мэнсфилд 1926: 34).
5. «After I had recognized you today – I had to take such a leap – I had to take
a leap over my whole life to get back to that time» (Mansfield 1920: 236). –
«Когда я вас сегодня увидел и узнал, мне пришлось сделать огромный
прыжок, прыжок через всю жизнь, чтобы вернуться к тому времени»
(Мэнсфилд 1958: 165).
6. In the past when they had looked at each other like that they had felt such a
boundless understanding between them that their souls had, as it were, put their
arms round each other and dropped into the same sea, content to be drowned, like
mournful lovers (Mansfield 1920: 235). – Когда им случалось обмениваться
подобными взглядами в прошлом, они чувствовали такое безграничное
взаимопонимание, что их души, так сказать, заключали друг друга в объятия
и бросались в море, радуясь тому, что идут ко дну вместе, словно несчастные
любовники» (Мэнсфилд 1958: 164).
7. But as the door shut, anger – anger suddenly gripped her close, close,
violent, half strangling her (Mansfield 1920: 264). – Не успела Мари закрыть за
собой дверь, как Моникой внезапно овладела ярость – буйная, подступающая
к горлу ярость» (Мэнсфилд 2005: 212).
8. But her words, so light, so soft, so chill, seemed to hover in the air, to rain
into his breast like snow (Mansfield 1922: 229). – Но ее слова, казалось,
носились в воздухе и падали в его душу, как снег (Мэнсфилд 1926: 48).
9. She was young, brilliant, extremely modern, exquisitely well dressed,
amazingly well-read in the newest of new books, and her parties were the most
delicious mixture of the really important people and ... artists – quaint creatures,
discoveries of hers, some of them too terrifying for words, but others quite
presentable and amazing (Modern English Short Story 1961: 126). – Она была
молода, блестяща, необычайно современна, безупречно одета, потрясающе
осведомлена обо всех новейших книгах, и на ее вечерах собиралось
восхитительно разнородное общество: с одной стороны – люди
действительно влиятельные, с другой – всякая богема, странные существа, ее
«находки». Иные из них были просто кошмарны, а некоторые – вполне
пристойны и забавны» (Мэнсфилд 2005: 34).
10. "Tuk-tuk-tuk," clucked cook like an agitated hen (Mansfield 1922: 216). –
«Ко-ко-ко! – кудахтала кухарка, как испуганная курица» (Мэнсфилд 2005:
111).
11. It was dull, stifling; the day drooped like a flag (Mansfield 1922: 164). –
Было жарко, душно; день вяло повис, словно полотнище флага» (Мэнсфилд
1958: 313).
12. Like lightning he drew out his cigar-case and offered it to old Captain
Johnson (Mansfield 1922: 216). – С быстротой молнии он вынул портсигар и
протянул его капитану Джонсону (Мэнсфилд 1926: 37).
13. There was Mrs. Hammond – yes, yes, yes – standing by the rail and smiling
and nodding and waving her handkerchief (Mansfield 1922: 216). – Вот стоит
миссис Гаммонд – да, да, да! – стоит у перил и улыбается, и кивает головой,
и машет платком (Мэнсфилд 1926: 37).
14. Reginald's heart swelled with tenderness, but it was her voice, her soft voice,
that made him tremble (Mansfield 1922: 123). – Сердце Реджинальда таяло от
нежности к ней, при каждом звуке ее мягкого голоса он весь трепетал
(Мэнсфилд 1958: 260).
15. There was Madame behind the counter, round, fat, white, her head like a
powder-puff rolling on a black satin pin-cushion (Mansfield 1920: 267). – За
кассой сидела «мадам» – круглая, толстая, белая. Ее голова напоминала
пуховку для пудры, положенную на черную сатиновую подушечку для
булавок (Мэнсфилд 1958: 214).
16. It was long and low built, with a pillared veranda and balcony all the way
round. The soft white bulk of it lay stretched upon the green garden like a sleeping
beast… A strange beautiful excitement seemed to stream from the house in
quivering ripples (Mansfield 1920: 10-11). – Он был длинный и низкий, веранда
с колоннами и балкон окружали его со всех сторон. Он лежал в зеленом саду
мягкой белой громадой, словно спящее животное. Казалось, дом излучает
непонятную тревожную радость и ее трепещущие волны льются в сад
(Мэнсфилд 2005: 161).
17. I believe that people are like portmanteaux – packed with certain things,
started going, thrown about, tossed away, dumped down, lost and found, half
emptied suddenly, or squeezed fatter than ever, until finally the Ultimate Porter
swings them on to the Ultimate Train and away they rattle . . . Not but what these
portmanteaux can be very fascinating. (Mansfield 1920: 71). – По моему, люди
похожи на чемоданы: из набивают всякой всячиной, везут, бросают, кидают,
швыряют один на другой, теряют, находят, вдруг наполовину опустошают,
потом опять набивают до отказа, пока в конце концов Последний Носильщик
не запихнет их в Последний Поезд – и они помчатся неведомо куда … И все-
таки порой эти чемоданы привлекают меня. (Мэнсфилд 2005: 227-228).
2011. – 520 с.
Тема 5. Лексические стилистические приемы: метафора, виды метафор;

метонимия, синекдоха, эпитет
Цель: совершенствование умения определять в тексте лексические
стилистические приемы, такие как метафора, метонимия, синекдоха, эпитет,
а также понимать механизмы их воздействия на читателя.
Interaction of Dictionary And Contextual Logical Meaning
The relation between dictionary and contextual meanings may be maintained

along different lines: on the principle of affinity, on that of proximity, or symbol -
referent relations, or on opposition. Thus the stylistic device based on the first
principle is metaphor, on the second, metonymy and on the third, irony
A metaphor is a relation between the dictionary and contextual logical
meanings based on the affinity or similarity of certain properties or features of the
two corresponding concepts. Metaphor can be embodied in all the meaningful parts
of speech, in nouns, adjectives, verbs, adverbs and sometimes even in the auxiliary
parts of speech , as in prepositions. Metaphor as any stylistic devices can be
classified according to their degree of unexpectedness. Thus metaphors which are
absolutely unexpected, are quite unpredictable, are called genuine metaphors. e. g.
Through the open window the dust danced and was golden. Those which are
commonly used in speech and are sometimes fixed in the dictionaries as expressive
means of language are trite metaphors or dead metaphors e. g. a flight of fancy,
floods of tears.
Metonymy is based on a different type of relation between the dictionary
and contextual meanings, a relation based not on affinity, but on some kind of
association connecting the two concepts which these meanings represent on a
proximity
The proximity may be revealed:
1) between the symbol and the thing it denotes;
2) in the relations between the instrument and the action performed with this
instrument; e.g. His pen is rather sharp.
3) in the relation between the container and the thing it contains; e.g. He drank one
more cup.
4) the concrete is put for the abstract; e. g. It was a representative gathering
(science, politics).
5) a part is put for the whole; e.g. the crown - king, a hand - worker.
The epithet is based on the interplay of emotive and logical meaning in an
attributive word, phrase or even sentence, used to characterize an object and
pointing out to the reader some of the properties or features of the object with the
aim of giving an individual perception and evaluation of these features or
properties.
Classification of Epithets
From the point of view of their compositional structure epithets may be divided
into:
1) simple (adjectives, nouns, participles): e.g. He looked at them in animal panic.
2) compound: e.g. apple - faced man;
3) sentence and phrase epithets: e.g. It is his do - it - yourself attitude.
4) reversed epithets - composed of 2 nouns linked by an ofphrase: e.g. "a shadow
of a smile";
Semantically according to I. Galperin.
1) associated with the noun following it, pointing to a feature which is essential to
the objects they describe: dark forest; careful attention.
2) unassociated with the noun, epithets that add a feature which is unexpected and
which strikes the reader: smiling sun, voiceless sounds.
Практическое задание 1. Проанализируйте использование метафор в

данных отрывках и определите их вид:
1. She looked down on Gopher Prairie. The snow stretching without break from
street to devouring prairie beyond, wiped out the town's pretence of being a shelter.
The houses were black specks on a white sheet. (S.L.)
2. And the skirts! What a sight were those skirts! They were nothing but vast
decorated pyramids; on the summit of each was stuck the upper half of a princess.
(A.B.)
3. I was staring directly in front of me, at the back of the driver's neck, which was a
relief map of boil scars. (S.)
4. She was handsome in a rather leonine way. Where this girl was a lioness, the
other was a panther - lithe and quick. (Ch.)
5. His voice was a dagger of corroded brass. (S.L.)
6. Wisdom has reference only to the past. T-he future remains for ever an infinite
field for mistakes. You can't know beforehand. (D.H.L.)
7. He felt the first watery eggs of sweat moistening the palms of his hands. (W.
S.)
8. At the last moment before the windy collapse of the day, I myself took the road
down. (Jn. H.)
9. The man stood there in the middle of the street with the deserted dawnlit
boulevard telescoping out behind him. (Т.Н.)
10. Leaving Daniel to his fate, she was conscious of joy springing in her heart.
(A.B.)
11. He smelled the ever-beautiful smell of coffee imprisoned in the can. (J. St.)
12. We talked and talked and talked, easily, sympathetically, wedding her
experience with my articulation. (Jn.B.)
13. "We need you so much here. It's a dear old town, but it's a rough diamond, and
we need you for the polishing, and we're ever so humble...". (S.L.)
14. They walked along, two continents of experience and feeling, unable to
communicate. (W.G.)
15. Geneva, mother of the Red Cross, hostess of humanitarian congresses for the
civilizing of warfare! (J.R.)
16. She and the kids have filled his sister's house and their welcome is wearing
thinner and thinner. (U.)
17. Notre'Dame squats in the dusk. (H.)
18. I am the new year. I am an unspoiled page in your book of time. I am your next
chance at the art of living.
I am your opportunity to practice what you have learned during the last twelve
months about life.
All that you sought the past year and failed to find is hidden in me; I am waiting
for you to search it out again and with more determination.
All the good that you tried to do for others and didn't achieve last year is mine to
grant - providing you have fewer selfish and conflicting desires.
In me lies the potential of all that you dreamed but didn't dare to do, all that you
hoped but did not perform, all you prayed for but did not yet experience. These
dreams slumber lightly, waiting to be awakened by the touch of an enduring
purpose. I am your opportunity. (Т. Н.) •
19. Autumn comes And trees are shedding their leaves, And Mother Nature
blushes Before disrobing. (N. W.)
20. He had hoped that Sally would laugh at this, and she did, and in a sudden
mutual gush they cashed into the silver of laughter all the sad" secrets they could
find in their pockets. (U.)
21. All across the Union audiences clamour for her arrival, which will coincide
with that of the new century. For we are at the fag-end, the smouldering cigar-butt,
of a nineteenth century which is just about to be ground out in the ashtray of
history. (An.C.)
Практическое задание 2. Найдите в отрывках случаи использования

метонимии, определите тип отношения между объектами.
1. He went about her room, after his introduction, looking at her pictures, her
bronzes and clays, asking after the creator of this, the painter of that, where a third
thing came from. (Dr.)
2. She wanted to have a lot of children, and she was glad that things were that way,
that the Church approved. Then the little girl died. Nancy broke with Rome the day
her baby died. It was a secret break, but no Catholic breaks with Rome casually.
(J.O'H.)
3. "Evelyn Glasgow, get up out of that chair this minute." The girl looked up from
her book. "What's the matter?"
"Your satin. The skirt'll be a mass of wrinkles in the back." (E. F.)
4. Except for a lack of youth, the guests had no common theme, they seemed
strangers among strangers; indeed, each face, on entering, had straggled to conceal
dismay at seeing others there. (T.C.)
5. She saw around her, clustered about the white tables, multitudes of violently red
lips, powdered cheeks, cold, hard eyes, self-possessed arrogant faces, and insolent
bosoms. (A.B.)
6. Dinah, a slim, fresh, pale eighteen, was pliant and yet fragile. (С. Н.)
7. The man looked a rather old forty-five, for he was already going grey. (K. P.)
8. The delicatessen owner was a spry and jolly fifty. (T. R.)
9. "It was easier to assume a character without having to tell too many lies and you
brought a fresh eye and mind to the job." (P.)
10. "Some remarkable pictures in this room, gentlemen. A Holbein, two Van
Dycks and if I am not mistaken, a Velasquez. I am interested in pictures." (Ch.)
11. You have nobody to blame but yourself. The saddest words of tongue or pen.
(I.Sh.)
12. For several days he took an hour after his work to make inquiry taking with
him some examples of his pen and inks. (Dr.)
13. There you are at your tricks again. The rest of them do earn their bread; you
live on my charity. (E.Br.)
14. I crossed a high toll bridge and negotiated a no man's land and came to the
place where the Stars and Stripes stood shoulder to shoulder with the Union Jack.
(J. St.)
15. The praise was enthusiastic enough to have delighted any common writer who
earns his living by his pen. (S.M.)
16. He made his way through the perfume and conversation. (I.Sh.)
17. His mind was alert and people asked him to dinner not for old times' sake, but
because he was worth his salt. (S.M.)
18. Up the Square, from the corner of King Street, passed a woman in a new
bonnet with pink strings, and a new blue dress that sloped at the shoulders and
grew to a vast circumference at the hem. Through the silent sunlit solitude of the
Square this bonnet and this dress floated northwards in search of romance. (A.B.)
19. Two men in uniforms were running heavily to the Administration building. As
they ran, Christian saw them throw away their rifles. They were portly men who
looked like advertisements for Munich beer, and running came hard to them. The
first prisoner stopped and picked up one of the discarded rifles. He did not fire it,
but carried it, as he chased the guards. He swung the rifle like a club, and one of
the beer advertisements went down (I.Sh.)
Практическое задание 3. Определите структуру и значение эпитетов в
следующих отрывках. Определите тип и функцию эпитетов:
1. He has that unmistakable tall lanky "rangy" loose-jointed graceful closecropped
formidably clean American look. (I.M.)
2. Across the ditch Doll was having an entirely different reaction. With all his heart
and soul, furiously, jealously, vindictively, he was hoping Queen would not win.
(J.)
3. During the past few weeks she had become most sharply conscious of the
smiling interest of Hauptwanger. His straight lithe body - his quick, aggressive
manner - his assertive, seeking eyes. (Dr.)
4. He's a proud, haughty, consequential, turned-nosed peacock. (D.)
5. The Fascisti, or extreme Nationalists, which means black-shirted, knife-carrying,
club-swinging, quick-stepping, nineteen-year-old-pot-shot patriots, have worn out
their welcome in Italy. (H.)
6. Where the devil was heaven? Was it up? Down? There was no up or down in a
finite but expanding universe in which even the vast, burning, dazzling, majestic
sun was in a state of progressive decay that would eventually destroy the earth too.
(Js.H.)
7. She has taken to wearing heavy blue bulky shapeless quilted People's Volunteers
trousers rather than the tight tremendous how-the-West-was-won trousers she
formerly wore. (D.B.)
8. Harrison - a fine, muscular, sun-bronzed, gentle-eyed, patrician-nosed, steak-
fed, Oilman-Schooled, soft-spoken, well-tailored aristocrat was an out-and-out
leaflet-writing revolutionary at the time. (Jn.B.)
9. In the cold, gray, street-washing, milk-delivering, shutters-coming-off-the-shops
early morning, the midnight train from Paris arrived in Strasbourg. (H.)
10. Her painful shoes slipped off. (U.)
11. She was a faded white rabbit of a woman. (A. C.)
12. And she still has that look, that don't-you-touch-me look, that women who-
were beautiful carry with them to the grave. (J.B.)
13. Ten-thirty is a dark hour in a town where respectable doors are locked at nine.
(T.C.)
14. He loved the afterswim salt-and-sunshine smell of her hair. (Jn.B.)
15. I was to secretly record, with the help of a powerful long-range movie-camera
lens, the walking-along-the-Battery-in-the-sunshine meeting between Ken and
Jerry. (D.U.)
16. "Thief!" Pilon shouted. "Dirty pig of an untrue friend!" (J.St.)
17. She spent hausfrau afternoons hopping about in the sweatbox of her midget
kitchen. (T.C.)
18. He acknowledged an early-afternoon customer with a be-with-you-in-a-minute
nod. (D.U.)
19. He thoroughly disliked this never-far-from-tragic look of a ham Shakespearian
actor. (H.)
20. "What a picture!" cried the ladies. "Oh! The lambs! Oh, the sweets! Oh, the
ducks! Oh, the pets!" (K.M.)
21. A branch, cracking under his weight sent through the tree a sad cruel thunder.
(T.C.)
22. There was none of the Old-fashioned Five-Four-Three-Two-One-Zero
business, so tough on the human nervous system. (A. Cl.)
23. His shrivelled head bobbed like a dried pod on his frail stick of a body. (J.G.)
24. The children were very brown and filthily dirty. (W. V.)
25. Liza Hamilton was a very different kettle of Irish. Her head was small and
round and it held small and round convictions. (J. St.)
26. He sat with Daisy in his arms for a long silent time. (Sc.F.)
27. From the Splendide Hotel guests and servants were pouring in chattering bright
streams. (R.Ch.)
1. Васильева А.Н. Художественная речь. - М., 1983.
2.Виноградов В.В. О теории художественной речи. - М., 1971.
3.Лотман Ю.М. Анализ художественного текста. - Л., 1972.
4.Новиков Л.А. Художественный текст и его анализ. - М., 1988.
5.Шанский Н.М. Лингвистический анализ художественного текста. - М.,
1990.
Тема 6. Лексические стилистические приемы: сравнение, антономазия,

зевгма, ирония
Цель: совершенствование умения определять в тексте лексические
стилистические приемы, такие как сравнение, антономазия, зевгма, ирония, а
также понимать механизмы их воздействия на читателя.
Simile. The intensification of some feature of the concept is realized in a

device called simile. Similes set one object against another regardless of the fact
that they may be completely alien to each other. The simile gives rise to a new
understanding of the object. The properties of an object maybe viewed from
different angles, f. e. its state, its actions, manners Accordingly, similes may be
based on adjective - attributes, adverb - modifiers, verb - predicates etc. Similes
have formal elements in their structure: connective words such as like, as, such as,
as if, seem.
Antonomasia. It is the result of interaction between logical and nominal
meaning of a word.
1) When the proper name of a person, who is famous for some reasons, is put for a
person having the same feature. e.g. Her husband is an Othello.
2) A common noun is used instead of a proper name, e. g. I agree with you Mr.
Logic, e.g. My Dear Simplicity.
Zeugma is the use of a word in the same grammatical but different semantic
relations to two adjacent words in the context, the semantic relations being on the
one hand literal, and on the other, transferred. e. g. Dora, plunging at once into
privileged intimacy and into the middle of the room.
Irony is a stylistic device also based on the simultaneous realization of two
logical meanings - dictionary and contextual, but the two meanings are in
opposition to each other. The literal meaning is the opposite of the intended
meaning. One thing is said and the other opposite is implied. e.g. Nice weather,
isn't it? (on a rainy day).
Практическое задание 1. Какие речевые средства и стилистические

приемы создают иронический эффект в данных отрывках?
1. The book was entitled Murder at Milbury Manor and was a whodunit of the
more abstruse type, in which everything turns on whether a certain character, by
catching the three-forty-three train at Hilbury and changing into the four-sixteen at
Milbury, could have reached Silbury by five-twenty-seven, which would have
given him just time to disguise himself and be sticking knives into people at
Bilbury by six-thirty-eight. (P.G.W.)
2. When the, war broke out she took down the signed photograph of the Kaiser
and, with some solemnity, hung it in the men-servants' lavatory; it was her one
combative action. (E.W.)
3. "I had a plot, a scheme, a little quiet piece of enjoyment afoot, of which the very
cream and essence was that this old man and grandchild should be as poor as
frozen rats," and Mr. Brass revealed the whole story, making himself out to be
rather a saintlike holy character. (D.)
4. The lift held two people and rose slowly, groaning with diffidence. (I.M.)
5. England has been in a dreadful state for some weeks. Lord Coodle would go out.
Sir Thomas Doodle wouldn't come in, and there being nobody in Great Britain (to
speak of) except Coodle and Doodle, there has been no Government (D.)
6. From her earliest infancy Gertrude was brought up by her aunt. Her aunt had
carefully instructed her to Christian principles. She had also taught her
Mohammedanism, to make sure. (L.)
7. She's a charming middle-aged lady with a face like a bucket of mud and if she
has washed her hair since Coolidge's second term, I'll eat my spare tire, rim and all.
(R.Ch.)
8. With all the expressiveness of a stone Welsh stared at him another twenty
seconds apparently hoping to see him gag. (R.Ch.)
9. "Well. It's shaping up into a lovely evening, isn't it?" "Great," he said.
"And if I may say so, you're doing everything to make it harder, you little sweet."
(D. P.)
10. Mr. Vholes is a very respectable man. He has not a large business, but he is a
very respectable man. He is allowed, by the greater attorneys to be a most
respectable man. He never misses a chance in his practice which is a mark of
respectability, he never takes any pleasure, which is another mark of respectability,
he is reserved and serious which is another mark of respectability. His digestion is
impaired which is highly respectable. (D.)
11. Several months ago a magazine named Playboy which concentrates editorially
on girls, books, girls, art, girls, music, fashion, girls and girls, published an article
about old-time science-fiction. (M.St.)
12. Apart from splits based on politics, racial, religious and ethnic backgrounds
and specific personality differences, we're just one cohesive team. (D.U.)
13. A local busybody, unable to contain her curiosity any longer, asked an
expectant mother point-blank whether she was going to have a baby. "Oh,
goodness, no," the young woman said pleasantly. "I'm just carrying this for a
friend." (P.G.W.)
14. Sonny Grosso was a worrier who looked for and frequently managed to find,
the dark side of most situations. (P. M.)
15. Bookcases covering one wall boasted a half-shelf of literature. (T.C.)
16. I had been admitted as a partner in the firm of Andrews and Bishop, and
throughout 1927 and 19281 enriched myself and the firm at the rate of perhaps
forty dollars a month. (Jn.B.)
17. Last time it was a nice, simple, European-style war. (I.Sh.)
18. He could walk and run, was full of exact knowledge about God, and
entertained no doubt concerning the special partiality of a minor deity called Jesus
towards himself. (A.B.)
19. But every Englishman is born with a certain miraculous power that makes him
master of the world. As the great champion of freedom and national'independence
he conquers and annexes half the world and calls it Colonization. (B.Sh.)
20. All this blood and fire business tonight was probably part of the graft to get the
Socialists chucked out and leave honest businessmen safe to make their fortunes
out of murder. (L. Ch)
21. He spent two years in prison, making a number of valuable contacts among
other upstanding embezzlers, frauds and confidence men whilst inside. (An.C.)
английский язык: Учебник для вузов. – 9-е изд. – М.: Флинта: Наука, 2009. –
384 с.
2. Арутюнова Н.Д. Язык и мир человека. – М.: Языки русской культуры,
1999. – 895 с.
3. Бахтин М.М. Вопросы литературы и эстетики. – М.: Художественная
литература, 1975. – 504 с.
4. Винокур Г.О. Филологические исследования. – М.: Наука, 1990. – 452 с.
5. Винокур Т.Г. Закономерности стилистического использования языковых
единиц. – М.: Наука, 1980. – 237 с.
Тема 7. Функционально-стилевое расслоение лексики: диалектизмы,

термины, жаргонизмы, профессионализмы, просторечные слова,
архаизмы, неологизмы
Цель: совершенствовать умение адекватно воспринимать и
интерпретировать текст, усваивая не только его поверхностный, но и
глубинный смысл с учетом использования лексики разных функциональных
стилей.
Literary words common (also called learned, bookish, high-flown) & special
contribute to the massage the tone of solemnity, sophistication, seriousness,
gravity, learnedness. They are used in official papers & documents, in scientific
communication in high poetry, in authorial speech of creative prose.
Colloquial words, on the contrary, mark the massage as informal, non-official
conversational. Apart from common colloquial words, widely used by all speakers
of the language in their everyday communication (dad, kid, fan, folks) such special
subgroups should be mentioned: slang.
Jorgonisms, professionalisms, dialectal words vulgarisms & colloquial
cointages.
Slang forms biggest subgroup. They are identified and distinguished by
contrasting them to standard literary vocabulary. They are expressive, mostly
ironical words, serving to create fresh names for some things that are frequent
topics of discourse.
Jargonisms In the non-literary vocabulary of the English language there is a
group of words that are called jargonisms. Jargon is a recognized term for a group
of words that exists in almost every language & whose aim is to preserve secrecy
withing one or another social group. Jargonisms are generally old words with
entirely new meanings imposed on them. Most of the jargonisms are absolutely
incomprehensible to those outside the social group which has invented them. Thus
word grease means “money”, “loaf means head”, “a tiger hunter” – “a gambler”.
Professionalisms As the term itself signifies, are the words used in a
definite trade, profession or calling by people connected by common interests both
at work and at home professionalisms are correlated to terms.
Dialectal words Are those which in process of integration of the English national
language remained beyond its literary boundaries, 7 their use generally confined to
a definite locality. In Great Britain 4 major dialects are distinguished: Low land
Scotch, Northern, Midland (Central) & Southern. In the USA 3 major dialectal
varieties are distinguished: New England, Southern & Midwestern (Central,
Midland). These classification do not include many minor local variations.
Практическое задание. Найти и охарактеризовать использование в тексте

стилистически-маркированных лексем.
Leonard Tushnet
The Klausners
Everybody has one at some time or other. A Klausner, I mean. Only it should be
spelled with a small k, like the r in robots. Not that klausners are robots, not at all.
Klausners arc independent thinkers, very independent, and far from submissive.
That's what makes them klausners. They're domineering and aggressive in a
politely offensive manner, one that gets under your skin and gives rise too late to
cab–wit. They mean you no harm; rather, they mean you well. They point out your
errors and try to help you overcome them. They go out of their way to do you
good, whether or not you want to be the benefi-ciary of their philanthropy. They're
constantly doing you favors that leave you feeling like a fool.
I didn't realize how pernicious klausners could be until after we moved to Great
Neck and the family was exposed to their influence. Oh, in the city there were
some but we instinctively avoided them, easy to do in the security of our own
segment of the apartment–beehive. But in the suburbs, that's a different matter.
There's more neighborliness, which means more personal unavoidable contact. For
example, if you run out of gas for your power mower, the man next door will lend
you n gallon out of his reserve. You thank him and reciprocate when he runs out of
gas. Unless he's a klausner. Klausners never run out of gas. They're prepared for
every contingency. They have big candles in the house, not ornamental ones, when
the power fails. They see your darkened windows and send over a dozen candles
without your asking for them. Of course, along with the candles comes advice.
"Always keep a supply on hand. You never know when you'll need them. They're
cheap. It's not a great expense."
My own klausners swam slowly into my ken. I'm busy all day in the city, so at the
outset I heard about the Klausners only by dinner–table allusions. My wife
mentioned Mrs. Klausner. My oldest son spoke about Gerald Klausner. My
daughter (fourteen) told me about Emily Klausner and Michael (seven) about
Harvey. They told jokes and stories about the Klausners and it took a little while
before I recognized that underneath the humor lay hostility and fear caused by my
family's increasing sense of inferiority. Michael said, "Harvey's the first in the
reading group." Berenice said, "Emily has a vinyl miniskirt." Joseph said, "Gerald
made the football team."' My wife, Estelle, said, "Mrs. Klausner has an automatic
pineapple corer."
That last remark, thrown out in a discussion of what make of dishwasher we were
going to buy, was so irrelevant that I laughed. "What has that to do with the price
of eggs? You also have lots of gadgets. Like a garlic press you never use and an
egg slicer."
Estelle laughed, too. "I just happened to think of it. That woman has every
imaginable kitchen tool made and a few she thought up herself. By the way, we're
invited to a party she's giving in two weeks. Just neighbors. The Wiglers will be
there, and the Silvermans. You know them." After she passed the asparagus, she
added. "I think it would be nice if you wore a turtle-neck."
I looked at her in amazement. "What for? Isn't a clean white shirt good enough?
Who are these Klausners, anyway?"
"They live at the end of the block," she answered. "The big red brick house with
the curving driveway. I met her in the supermarket. She's very pleasant." A
moment of silence. "Do you like the roast? It's a new cut she told me about.
Tomorrow I'm making an Italian dinner. She took me to a little place on Northern
Boulevard that has wonderful imported delicacies, and not expensive, either."
I looked forward to meeting the Klausners. It seemed to me that discussions about
them took up more and more time as the days went on. I was amused by the
interest they aroused in my family. The Klausners knew everything: where a
knitting mill had a discount outlet, how to flatter the art teacher into making high
school election posters, when to develop variations on the watusi and the frug, why
dinosaurs became extinct.
The only one of the Klausners I had met before the party was Harvey Klausner,
who had become Michael's best friend, or at least his constant companion. Harvey
was a big boy, a little too fat in the behind and with the clumsy gait that goes with
excess avoirdupois in that area. But he was a whole head taller than Michael and
had apple–red cheeks, curly chestnut hair, and bright blue eyes that made him look
like the models in the Sunday–magazine advertisements for boys' clothes. He was
polite and never in the way; he went home well before our dinner hour and never
came too early on Saturday mornings. The only problem we had with him was my
own son. Often du ring his visits Michael would lose his temper and fling
something at Harvey, and always after Harvey left Michael would misbehave and
would have to be punished. Michael liked to ride his bike; he had just learned how
to dispense with the training wheels. Harvey had been riding for more than a year
and he kept showing Michael how to make sharp turns, how to carry a package in
one hand and steer with the other, and how to go up and down curbs without
falling off. On rainy days Michael played in the den with him, checkers or casino,
at both of which Harvey was proficient. Michael's moods got worse and worse
after Harvey became his friend, so that finally I had to give the warning, "Either
you control yourself or I'll forbid Harvey to come here anymore." Michael burst
into tears. Harvey had for him the fascination a snake has for a chicken. He
wouldn't forgo the masochistic pleasure of being with him. My ultimatum couldn't
be carried out.
The evening of the party Estelle wore a dress I hadn't seen before: a simple frock
with an embroidered jacket. She looked very well in it. The gold and brown
accentuated her hazel eyes and dark-brown hair; the jacket, in a Persian design,
served to cut her height just enough. (Estelle is quite tall for a woman, as tall as I
am.) "You look lovely," I said, kissing her. "When did you get that dress? "
Estelle reddened. "This week. I never spent so much on a dress before. It's an
original from La Louise."
I whistled. La Louise is a boutique in Manhasset, an expensive chi–chi place I've
heard of in conversation. "You're really trying to make an impression, aren't you?"
I asked with a twinge of jealousy. "Is Klausner so handsome?"
Estelle giggled. "Don't be silly. I've never met him. It's just that I need a new going
–out dress and I liked this one. I think this is going to be a very fancy party.
Yesterday I saw Myra Klausner coming out of the Gourmet Shop with two large
shopping bags, and this morning Harvey asked Michael what we were going to
bring."
The suburban custom of bringing a small objet d'art (known to my mother as a
chotchka) or a bottle of wine was new to me but agreeable. In honor of the
fanciness of the party, I took a bottle of aquavit I had bought for myself on my last
trip to Denmark.
I didn't wear a turtleneck. Sweaters under jackets are too closely connected in my
mind with the dice-playing, foulmouthed young bloods who hung around the
corner bar on the street where I grew up; I honored the occasion, however, by a
new tie, one that Estelle had given me for my birthday.
We walked to the Klausners'. Even then, at the beginning of November, with the
leaves from the trees steadily falling, their front lawn looked immaculate. I made a
mental note to myself to help the boys clean up around our house next day. I had
the picture before me of the drifts under our rhododendrons and the chewing-gum
wrappers I'd seen entangled in the hedge.
Mrs. Klausner herself opened the door for us. I had expected to see a big woman
but not someone like Myra Klausner. She was no taller than Estelle but she was
decidedly more imposing. Her very matronly bosom thrust forward barely in
advance of her very large abdomen that was decorated by a broad red sash, the
fringes of which reached to the knees of her lounging pajamas. She wore a white
silk blouse straining at its buttons. Around her massive neck was a string of large
red beads. Her face was red, too, its floridity incongruous with the obviously
untinted pale blond hair loosely tied in a bun at the back. She didn't look ready for
a gala party.
"I'm so glad you could come," she boomed, taking my topcoat and Estelle's wrap.
"We had a disappointment. Two disappointments. The Wiglers couldn't get a
babysitter and the Silvermans had a death in the family. But the others are here."
She led us into the living room, patting Estelle's arm as she did so. "My, you look
lovely, dear! So elaborate, though."
The remark, its double nature at once complimentary and disparaging, changed
Estelle's expression. Her answering smile became artificially fixed and she reached
out her hand for my support as though there were a high step before her.
"Herman will be in a moment," Mrs. Klausner said. "He's getting more ice from
the kitchen." She made the introductions to the other guests: a Mr. and Mrs.
Antonius, a Dr. Leavitt and a Miss Gordon, the doctor's fiancée. Mr. Antonius,
dark, slight, and nervous, wore a white turtleneck sans jacket; the doctor (of what I
never learned during the course of the evening) wore an open–necked sport shirt
and slacks; Mrs. Antonius had on a plain black dress adorned with a large gold
brooch at the left shoulder; Miss Gordon, as befitted her presumed youth and
single status, wore bellbottom velvet pants and a dark cotton print blouse. I felt
sorry for Estelle. My tie made me self–conscious; I knew how she was feeling. She
was definitely overdressed for such an informal gathering as this was.
What made it worse was Mrs. Klausner's ("call me Myra") insistence that Estelle
stand up to have her jacket admired, "The dress is nice. A little too plain for my
taste, but the jacket is adorable! That intricate embroidery! It looks almost as
though it were handmade. What wonderful machines they have nowadays!"
"It is handmade," Estelle said, tightening her lips ever so slightly. "I got it at La
Louise."
Myra clapped her hand to her mouth. "I made a boo-boo!" Her cuteness was in
such sharp contrast to her appearance that we all, including Estelle, laughed. Myra
shrugged. "Excuse me, dear. Me, I never buy in small stores so I wouldn't know
about their reliability." She showed me the bar set-up. "Help yourself." While I
made our drinks, she explained to the assenting murmurs of the other women
(again including Estelle) that one advantage of shopping in a department store was
not being obligated to buy merely because a salesgirl spent time with you.
"Besides, if you change your mind, you can always return the dress, and no hard
feelings."
The discussion (or rather, disquisition) about the dress was terminated by the
entrance of our host with a bucket of ice cubes. Myra was big but Herman
Klausner was bigger. Bald, beefy, moonfaced, broad of shoulder and of girth, he
loomed over us, a Gulliver among the Lilliputians. He had a hearty handshake and
a deep chesty laugh. He was not as obvious a master of the put-down as his wife
but he did well enough in his own way. He insisted on tasting our martinis, made a
face, and said they were no good. He mixed another batch in substitution. They
were better than those I had made.
Except for Estelle's discomfort, the evening passed pleasantly. Myra had potato
chips and pretzels, cheese cubes and a dish of tiny pieces of herring, and finally a
large tray of cocktail knishes. "Homemade," she announced. They were delicious.
She offered to give Estelle the recipe.
Herman and Myra amazed me at the breadth of their interests and the skill with
which they manipulated the conversational ball. The talk, while not brilliant, was
above the level of the usual suburban affair. We agreed about the influence of the
war on student politics. We discussed the effects of technologic changes on
modern art. We laughed at the use of nudity as novelty in the theater. We argued
about Catch-22 being the best of the war novels.
The occupational status of the host and guests were soon identified. Mr. and Mrs.
Antonius were real–estate brokers; Miss Gordon was a high school teacher; Dr.
Leavitt worked for the state (in what capacity I couldn't discover); Herman
Klausner owned a raincoat factory in Queens. I was the one with an exotic
background, being foreign buyer for a cutlery firm. Herman was immediately
interested. He asked intelligent questions about my work and openly envied my
frequent trips to Europe.
During our late snack (not at all what Estelle had envisaged – only lox, cream
cheese, bagels, and a luscious chocolate cake), the talk turned to our community
pool. Herman had definite ideas about next year's program.
английский язык: Учебник для вузов. – 9-е изд. – М.: Флинта: Наука, 2009. –
384 с.
2. Арутюнова Н.Д. Язык и мир человека. – М.: Языки русской культуры,
1999. – 895 с.
3. Барт Р. Избранные работы. Семиотика. Поэтика. – М.: Прогресс, 1989. –
616 с.
4. Бахтин М.М. Вопросы литературы и эстетики. – М.: Художественная
литература, 1975. – 504 с.
Тема 8. Синтаксические фигуры: инверсия, повторение, обособление

предложений
Цель: совершенствование умения определять в тексте синтаксические

фигуры, такие как инверсия, повторение, обособление предложений, а также
понимать механизмы их воздействия на читателя.
Syntactical Stylistic Devices Based on Peculiar Syntactical Arrangement

include: stylistic inversion, detached constructions, parallel constructions,
chiasmus, suspense, climax, antithesis.
Stylistic Inversion. The English word order is fixed. Any change which
doesn't influence the meaning but is only aimed at emphasis is called a stylistic
inversion. Stylistic inversion aims at attaching logical stress or additional
emotional colouring to the surface meaning of the utterance. Therefore a specific
intonation pattern is the inevitable satellite of inversion.
The following patterns of stylistic inversion are most frequently met in both
English prose and English poetry.
1. The object is placed at the beginning of the sentence.
2. The attribute is placed after the word it modifies, e. g. With fingers weary and
worn.
3. The predicate is placed before the subject, e.g. A good generous prayer it was.
4. The adverbial modifier is placed at the beginning of the sentence. e.g. My
dearest daughter, at your feet I fall.
5. Both modifier and predicate stand before the subject, e. g. In went Mr. Pickwick.
Практическое задание. Найти и охарактеризовать использование в

тексте следующих синтаксических фигур: инверсия, повторение,
обособление предложений.
David Garnett
Letting Down the Side
Mary was like a large dark moth. She had the same texture of softness, and when
she looked at you with her large dark eyes they spoke of the night: of the night
hours in the Rectory garden, of night–scented stocks, the starry heavens above and
the whirring yet soothing rattle of the nightjars in the glades of the New Forest
close at hand. A rectory in the New Forest – that was where she was brought up. It
was an English setting; but Mary and her brother Simon never seemed very
English, and it was scarcely a surprise to discover that their mother had been a
Persian.
The Reverend George Melchisedek Watson had spent ten years as a missionary in
Kazvin. He had married an educated Persian lady and after her death had returned
to England with his two children. His second cousin, Lord Carmine, had presented
him with the living of Dry Moreton. There was nothing really unusual about all
that.
Yes, Mary was like a large dark moth, and you might suspect that if she lifted her
wings to fly she would uncover brilliant red or purple underwings in dazzling
contrast to the ashy ambiguously patterned pair which she exhibited when at rest.
A fanciful idea – but possibly it conveys her quality.
Her brother Simon was a big man, very dark and strong and silent, with the same
big eyes as his sister. He had heavy black eyebrows also, like the faces painted on
Persian tiles. He went to Oxford, studied engineering and played rugger.
That was how Mary came to meet her husband, Nelson. He was at Oxford with
Simon, played rugger and took Holy Orders3 . He was almost a neighbor – a curate
in a Bournemouth parish. He was invited to the Rectory, and a terrible afternoon
followed when they played tennis on the lawn–half moss, covered with worm casts
and overshadowed by trees. Mary played atrociously and felt ashamed of herself.
However, the young curate came back three days later, and she partnered him
brilliantly in a game of croquet, winning easily against her brother and her father,
although Nelson had the wrong temperament for that testing game. He was a big
man, as big as Simon, but with sandy hair and blue eyes. He took his ideas from
the Daily Telegraph and the books in his prep – school library, and his guiding rule
in life was to play safe.
A few months later he proposed and was accepted. Mary was not in love, indeed
not much attracted, but she found it impossible to refuse him outright and her
indefinite murmurs were interpreted as assent, after which she was taken
possession of, not physically but morally. She was no longer herself – a lonely girl
with only one intimate friend, and she in Dublin – but a part, a very small part, of
we. ‘Now we can really get a move on. We’ll have a lot of planning to do.’
Nelson had asked Mary’s father’s consent before proposing and told him
afterwards that Mary had agreed to their engagement. He asked his blessing, and
while Mr. Watson was giving it Mary found it impossible to say: ‘Wouldn’t it be
better to wait a little?’ Nor could she say anything to Nelson, for he left at once on
his motorbike. He was holding a meeting for delinquent boys within half an hour.
That evening after supper – they had dolmas – her father had a taste for Middle
Eastern food – Mary slipped out into the garden in great agitation. A voice was
saying: ‘You have done for yourself, my girl. What do you know of this man?’
When I say ‘a voice’, I mean that the words came from a source outside herself;
not that they could have been heard by anyone else, or measured in decibels. She
had often heard these Voices’. On this occasion her reaction was to pull her jacket
tighter and to reply; this time in spoken words: ‘Well, anyway, if it hadn’t been
him it would have been somebody else’. For the moment that disposed of the
subject. But it seemed odd to her that Nelson had never kissed her.
The stipend of a young curate is not sufficient on which to marry, and Mary looked
forward to an engagement of several months, or even years. But Nelson did not
believe in letting the grass grow under his feet and applied for the headmastership
of a Mission School that was being started in New Guinea. There was a decent
salary and it was a great opportunity. Owing to his excellent sports record at
Oxford, he got the job. Mary had to agree to an early wedding, and after the
ceremony they set off in one of the few liners to call at Port Moresby. They had a
first – class stateroom. There was a Japanese captain and a Filipino crew.
Years later, when her second husband asked her about the first weeks of her
honeymoon, she said: ‘You know what it is like. It is all so strange for a girl,’ and
she lifted her heavily ringed hand and dropped it, unable to add another word.
But she did tell him later that she had been surprised by the contrast between
Nelson’s attitude to foreigners and that of her father. He had always shown a great
interest in the ideas and culture, not only of the Persians, but also of the Turks,
Armenians, Arabs and Georgians. She was accustomed to hearing discussions
about them. But to Nelson all the races of the Middle East were ‘wogs’ Italians
were ‘eye-ties’ and all of them but little superior to the Papuan head-hunting
‘fuzzy-wuzzies’ who were to be his pupils in New Guinea, Nelson was on stiff
formal terms with the fat little Japanese captain at whose table Mary and he dined.
It was over this that their worst quarrel arose.
One day Mary, who had been drooping in the heat, was slow in dressing and had
only just started making up her face when the bell for dinner rang. Nelson watched
her with annoyance. He was not sure whether he altogether approved of mascara
and eyes – hade. Of course, lipstick was all right and a touch of powder. Suddenly
he said:
‘I can’t bear to see you so slow. Didn’t you hear the bell? We shall be late at that
little brown man’s table. You are letting the side down. I like to be on the dot.’
Then, as Mary did not reply, he exploded. ‘Snap to it. You are being slow on
purpose.’ Mary said nothing and Nelson added, as though to himself but for Mary
to hear: ‘I ought to have known what it would be when the old man confessed that
you had a touch of the tar brush.’
It took Mary some time to realize that this was a reference to her mother.
Well, there was this honeymoon couple on board the small liner in the middle of
the Indian Ocean. During the day they played a lot of games on deck – clock golf
10 and hoop–la, and Nelson won the table tennis tournament with ease. There was
a fancy-dress dance, and Mary won the second prize: a box of chocolate creams.
* * *
It was night. The sea smooth as glass. Slowly Mary woke up, struggling to the
surface through sleep made heavier by the heat. There was a lot of noise, and the
ship was stopping. She realised that something unusual was going on. She lay there
for some time in the dark. There had been no stateroom with a double bed, so she
and Nelson occupied different bunks. She didn’t want to disturb her husband, or
expose herself to the kind of snub he often administered. However, after a while
she asked him what was happening. He did not reply and she was afraid of waking
him. However, the ship had stopped, and there was some shouting. She was awake
and switched on her bedside light. Nelson was not in his bunk. She lay there with
the light on, wondering. Then, as Nelson did not return, she rang the bell for the
stewardess. Nobody answered it. The noises had stopped and the ship was silent.
Mary got out of her bunk, put on a dressing – gown and slipped the pair of ruby
earrings that had been her mother’s into her ears because she was afraid they might
be stolen if she left them on the table. She put a scarf round her head, her feet into
a pair of slippers, opened the door and looked out. There was nobody. She
wandered down the corridor to the saloon. There was no one to be seen.
1. Виноградов В.В. Функциональная стилистика текста. Теория поэтической
речи. Поэтика. М.: наука, 1963. – 252 с.
2. Винокур Г.О. Филологические исследования. – М.: Наука, 1990. – 452 с.
3. Винокур Т.Г. Закономерности стилистического использования языковых
единиц. – М.: Наука, 1980. – 237 с.
4. Гальперин И.Р. Функциональная стилистика текста английского языка. – 3-
е изд. – М.: Высш. шк., 1981. – 334 с.
Тема 9. Синтаксические фигуры: параллельные синтаксические

конструкции, вставные конструкции, прямая речь
фигуры, такие как параллельные синтаксические конструкции, вставные
конструкции, прямая речь, а также понимать механизмы их воздействия на
читателя.
Parallel construction is a device which may be encountered not so much in
the sentence as in the macro - structures dealt with the syntactical whole and the
paragraph. The necessary condition in parallel construction is identical or similar,
syntactical structure in two or more sentences or parts of sentence.
Detached constructions. Sometimes one of the secondary members of the
sentence is placed so that it seems formally inderpendent of the word it refers to.
Being formally inderpendent this secondary member acquires a greater degree of
significance and is given prominence by intonation. e.g. She was gone. For good.
Represented speech There is also a device which coveys to the reader the
unuttered or inner speech of the character, his thoughts and feelings. This device is
also termed represented speech. To distinguish between the two varieties of
represented speech we call the representation of the actual utterance through the
author's language "uttered represented speech", and the representation of the
thoughts and feelings of the character unuttered or inner represented speech.
Question in the narrative. Changes the real nature of a question and turns it into a
stylistic device. A question in the narrative is asked and answered by one and the
same person, usually the author. It becomes akin to a parenthetical statement with
strong emotional implications. e. g. For what is left the poet here? For Greeks a
blush - for Greece a tear.
As is seen from these examples the questions asked, unlike rhetorical questions do
not contain statements.
Question in the narrative is very often used in oratory. This is explained by one of
the leading features of oratorical style - to induce the desired reaction to the
content of the speech.
Практическое задание: Найти и охарактеризовать использование в тексте

следующих синтаксических фигур: параллельные синтаксические
конструкции, вставные конструкции, прямая речь.
W. Somerset Maugham
THE FORCE OF CIRCUMSTANCE
She was sitting on the verandah waiting for husband to come in for luncheon. The
Malay boy had drawn the blinds when the morning lost its freshness, but she had
partly raised one of them so that she could look at the river. Under the breathless
sun of midday it had the white pallor of death. A native was paddling along in a
dug-out so small that it hardly showed above the surface of the water. The colours
of the day were ashy and wan. They were but the various tones of the heat. (It was
like an Eastern melody, in the minor key, which exacerbates the nerves by its
ambiguous monotony; and the ear awaits impatiently a resolution, but waits in
vain.) The cicadas sang their grating song with a frenzied energy: it was as
continual and monotonous as the rustling of a brook over the stones; but on a
sudden it was drowned by the loud singing of a bird, mellifluous and rich; and for
an instant, with a catch at her heart, she thought of the English blackbird.
Then she heard her husband’s step on the gravel path behind the bungalow, the
path that led to the court –house in which he had been working, and she rose from
her chair to greet him. He ran up the short flight of steps, for the bungalow was
built on piles, and at the door the boy was waiting to take his topee. He came into
the room which served them as dining-room and parlour, and his eyes lit up with
pleasure as he saw her.
‘Hulloa, Doris. Hungry?’
‘Ravenous.’
‘It’ll only take me a minute to have a bath and then I’m ready.’
‘Be quick, she smiled’.
He disappeared into his dressing-room and she heard him whistling cheerily while,
with the carelessness with which she was always remonstrating, he tore off his
clothes and flung them on the floor. He was twenty-nine, but he was still a
schoolboy; he would never grow up. That was why she had fallen in love with him,
perhaps, for no amount of affection could persuade her that he was good–looking.
He was a little round man, with a red face like the full moon, and blue eyes. He
was rather pimply. She had examined him carefully and had been forced to confess
to him that he had not a single feature which she could praise. She had told him
often that he wasn’t her type at all.
‘I never said I was a beauty,’ he laughed.
‘I can’t think what it is I see in you.’
But of course she knew perfectly well. He was a gay, jolly little man, who took
nothing very solemnly, and he was constantly laughing. He made her laugh too. He
found life an amusing rather than a serious business, and he had a charming smile.
When she was with him she felt happy and good–tempered. And the deep affection
which she saw in those merry blue eyes of his touched her. It was very satisfactory
to be loved like that. Once, sitting on his knees, during their honeymoon she had
taken his face in her hands and said to him:
‘You’re an ugly, little fat man, Guy, but you’ve got charm. I can’t help loving
you.’
A wave of emotion swept over her and her eyes filled with tears. She saw his face
contorted for a moment with the extremity of his feeling and his voice was a little
shaky when he answered.
‘It’s a terrible thing for me to have married a woman who’s mentally deficient’, he
said.
She chuckled. It was the characteristic answer which she would have liked him to
make.
It was hard to realize that nine months ago she had never even heard of him. She
had met him at a small place by the seaside where she was spending a month’s
holiday with her mother. Doris was secretary to a member of parliament. Guy was
home on leave. They were staying at the same hotel, and he quickly told her all
about himself. He was born in Sembulu, where his father had served for thirty
years under the second Sultan, and on leaving school he had entered the same
service. He was devoted to the country.
‘After all, England’s a foreign land to me,’ he told her. ‘My home’s Sembulu.3
And now it was her home too. He asked her to marry him at the end of the month’s
holiday. She had known he was going to, and had decided to refuse him. She was
her widowed mother’s only child and she could not go so far away from her, but
when the moment came she did not quite know what happened to her, she was
carried off her feet by an unexpected emotion, and she accepted him. They had
been settled now for four months in the little outstation of which he was in charge.
She was very happy,
She told him once that she had quite made up her mind to refuse him.
‘Are you sorry you didn’t? ‘he asked, with a merry smile in his twinkling blue
eyes.
‘I should have been a perfect fool if I had. What a bit of luck that fate or chance or
whatever it was stepped in and took the matter entirely out of my hands!’
1. Кухаренко В.А. Интерпретация текста. – 2-е изд., перераб. – М.:
Просвещение, 1988. – 18 с.
2. Лотман Ю.М. Структуры художественного текста. – М.: Искусство, 1970. –
384 с.
3. Новое в зарубежной лингвистике. Лингвофункциональная стилистика
текста. – Выпуск 9. – М.: Прогресс, 1980.
4. Скребнев Ю.М. Основы стилистики английского языка: Учебник для ин-
тов и фак. иностр. яз. – 2-е изд., испр. – М.: ООО «Издательство Астрель»:
ООО «Издательство АСТ», 2003. – 221 с. (на англ. яз.)
Тема 10. Синтаксические фигуры: анафора, эпифора, антитеза,

градация, эллипсис, умолчание, риторический вопрос, многосоюзие и
бессоюзие
фигуры, такие как анафора, эпифора, антитеза, градация, эллипсис,
умолчание, риторический вопрос, многосоюзие и бессоюзие, а также
понимать механизмы их воздействия на читателя.
Antithesis is a SD based on the author's desire to stress certain qualities of

the thing by appointing it to another thing possessing antagonistic features. e. g.
They speak like saints and act like devils.
Enumeration is a SD which separates things, properties or actions brought
together and form a chain of grammatically and semantically homogeneous parts
of the utterance. e. g. She wasn't sure of anything and more, of him, herself, their
friends, her work, her future.
Asyndeton is a deliberate avoidance of conjunctions in constructions in
which they would normally used. e.g. He couldn't go abroad alone, the sea upset
his liver, he hated hotels.
Polysyndeton - is an identical repetition of conjunctions: used to emphasize
simultaneousness of described actions, to disclose the authors subjective attitude
towards the characters, to create the rhythmical effect. e. g. The heaviest rain, and
snow, and hail, and sleet, could boast of the advantage over him in only one
respect.
Gap - sentence - link It presents two utterances the second is brought into
the focus of the reader's attention. e. g. She and that fellow ought to be the
sufferers, and they were in I tally.
Ellipsis - is the omition of a word necessary for the complete syntactical
construction of a sentence, but not necessary for understanding. The stylistic
function of ellipsis used in author's narration is to change its tempo, to connect its
structure. e. g. You feel all right? Anything wrong or what?
Aposiopesis (Break - in - the narrative). Sudden break in the narration has
the function to reveal agitated state of the speaker.
e. g. On the hall table there were a couple of letters addressed to her. One was the
bill. The other...
Rhetorical question is one that expects no answer. It is asked in order to
make a statement rather than to get a reply They are frequently used in dramatic
situation and in publisistic style. e. g. What was the good of discontented people
who fitted in nowhere?
Практическое задание 1. Выделите смысловой центр и укажите

структурные особенности антитезы
1. Mrs. Nork had a large home and a small husband. (S.L.)
2. In marriage the upkeep of woman is often the downfall of man. (Ev.)
3. Don't use big words. They mean so little. (O.W.)
4. I like big parties. They're so intimate. At small parties there isn't any privacy.
(Sc.F.)
5. There is Mr. Guppy, who was at first as open as the sun at noon, but who
suddenly shut up as close as midnight. (D.)
6. Such a scene as there was when Kit came in! Such a confusion of tongues,
before the circumstances were related and the proofs disclosed! Such a dead
silence when all was told! (D.)
7. Rup wished he could be swift, accurate, compassionate and stern instead of
clumsy and vague and sentimental. (I.M.)
8. His coat-sleeves being a great deal too long, and his trousers a great deal too
short, he appeared ill at ease in his clothes. (D.)
9. There was something eery about the apartment house, an unearthly quiet that
was a combination of overcarpeting and underoccupancy. (H.St.)
10. It is safer to be married to the man you can be happy with than to the man you
cannot be happy without. (E.)
11. Then came running down stairs a gentleman with whiskers, out of breath. (D.)
12. It was the best of times, it was the worst of times, it was the age of wisdom, it
was the age of foolishness, it was the epoch of belief, it was the epoch of
incredulity, it was the season of Light, it was the season of Darkness, it was the
spring of hope, it was the winter of despair; we had everything before us, we had
nothing before us, we were all going direct to Heaven, we were all going direct the
other way - in short the period was so far like the present period, that some of its
noisiest authorities insisted on its being received for good or for evil, in the
superlative degree of comparison only. (D.)
13. Cannery Row in Monterey in California is a poem, a stink, a grating noise, a
quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered
and scattered, tin and iron, and rust and splintered wood, chipped pavement and
weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks,
restaurants and whore houses and little crowded groceries and laboratories and
flophouses. Its inhabitants are, as the man once said "Whores, pimps, gamblers and
sons of bitches", by which he meant Everybody. Had the man looked through
another peephole he might have said "Saints and angels and martyrs and holy men"
and he would have meant the same thing. (J. St.)
Практическое задание 2. Прокомментируйте длину, структуру,

коммуникативный тип и пунктуацию предложений, обращая внимание
на создаваемые коннотации:
1. The sick child complained that his mother was going to read to him again from
the same book: "What did you bring that book I don't like to be read aloud to out of
up for?" (E.)
2. Now, although we were little and I certainly couldn't be dreaming of taking
Fonny from her or anything like that, and although she didn't really love Fonny,
only thought mat she was supposed to because she had spasmed him into this
woild, already, Penny's mother didn't like me. (J.B.)
3. The congregation amened him to death; a big sister, in the pulpit, in her long
white robe, jumped up and did a little shout; they cried. Help him, Lord Jesus, help
him! and the moment he sat down, another sister, her name was Rose and not much
later she was going to disappear from the church and have a baby - and I still
remember the last time I saw her, when I was about 14 walking the streets in the
snow with her face all marked and her hands all swollen and a rag around her head
and her stockings falling down singing to herself- stood up and started singing.
(J.B.)
4. Than Roy no one could show a more genuine cordiality to a fellow novelist.
(S.M.)
5. Such being at bottom the fact, I think it is well to leave it at that. (S M.)
6. Yet at least Mucho, the used car salesman, had believed in the cars. Maybe to
excess: how could he not, seeing people poorer than him come in, Negro, Mexican,
cracker, a parade seven days a week, bringing the most Godawful of trade-ins:
motorized metal extensions of themselves, of their families and what their whole
lives must be like, out there so naked for anybody, a stranger like himself, to look
at, frame cockeyed, rusty underneath, fender repainted in a shade just off enough to
depress the value, if not Mucho himself, inside smelling hopelessly of children,
supermarket booze, two, sometimes three generations of cigarette smokers, or only
of dust - and when the cars were swept out you had to look at the actual residue of
these lives, and there was no way of telling what things had been truly refused
(when so little he supposed came by that out of fear most of it had to be taken and
kept) and what had simply (perhaps tragically) been lost: clipped coupons
promising savings of 5 to 10 cents, trading stamps, pink flyers advertizing specials
at the market, butts, tooth-shy combs, help-wanted ads. Yellow Pages torn from the
prione book, rags of old underwear or dresses that were already period costumes,
for wiping your own breath off the inside of a windshield with so you could see
whatever it was, a movie, a woman, or car you coveted, a cop who might pull you
over just for drill, all the bits and pieces coated uniformly, like a salad of despair,
in a grey dressing of ash, condensed exhaust, dust, body wastes - it made him sick
to look, but he had to look (Th.P.)
7. Soldiers with their cartridges gone wandered aimlessly out of the chapparal,
dragging their rifles and plunged into the brush again on the other side of the
railroad, black with powder, streaked with sweat, their eyes vacantly on the
ground. (J.R.)
8. Strolling up and down the Main Street, talking in little groups on the corners,
lounging in and out of strike headquarters were hundreds of big strong-faced
miners in their Sunday best. (J.R.)
9. I am, he thought, a part of all that I have touched and that has touched me, which
having for me no existence save that I gave to it, became other than itself by being
mixed with what I then was, and is now still otherwise, having fused with what I
now am, which is itself a cumulation of what I have been becoming. (T.W.)
10. I like people. Not just empty streets and dead buildings. People. People. (P. A.)
11. "You know so much. Where is she?" "Dead. Or in a crazy house. Or married. I
think she's married and quieted down." (T.C.)
12. "Jesus Christ! Look at her face!" Surprise. "Her eyes is closed!" Astonishment.
"She likes it!" Amazement.
"Nobody could take my picture doing that!" Moral disgust. "Them goddam white
folks!" Fascinated fear. (Wr.)
13. What courage can withstand the ever-enduring and all-besetting terrors of a
woman's tongue? (W. I.)
14. "You talk of Christianity when you are in the act of banging your enemies.
Was there ever such blasphemous nonsense!" (B.Sh.)
15. What is the good of sitting on the throne when other fellows give all the
orders? (B.Sh.)
16. And what are wars but politics
Transformed from chronic to acute and bloody? (R. Fr)
17. Father, was that you calling me? Was it you, the voiceless and the dead? Was it
you, thus buffeted as you lie here in a heap? Was it you thus baptized unto Death?
(D.)
18. "Let us see the state of the case. The question is simple. The question, the usual
plain, straight-forward, common-sense question. What can we do for ourself? What
can we do for ourself?" (D.)
19. Jonathan Livingstone Seagull narrowed his eyes in fierce concentration, held
his breath, forced one... single - more... inch... of... curve-Then his feathers raffled,
he stalled and fell. (Rch. B.)
20. "Jake, will you get out!" said Magdalen. (I.M.)
21. A boy and a girt sat on stools drinking pop. An elderly man alone - someone
John knew vaguely by sight - the town clerk? - sat behind an empty Coca-Cola
bottle. (P. Q.)
22. What your doctor learned: biggest A.M.A. convention ever is full of medical
news about remedies and treatments he may (sob!) be using on you. (M.St.)
23. The neon lights in the heart of the city flashed on and off. On and off. On. Off.
On. Off. Continuously. (P. A.)
24. Bagdworthy was in seventh heaven. A murder! At Chimneys! Inspector
Badgworthy in charge of the case. The police have a clue. Sensational arrest.
Promotion and kudos for the afforementioned Inspector. (Ch.)
25. What is the opposite of faith? Not disbelief.Too final, certain, closed. Itself a
kind of belief. Doubt. (S.R.)
1. Тураева З.Я. Лингвистика текста. – М.: Просвещение, 1986. – 127 с.
2.Федоров А.В. Очерки общей и сопоставительной стилистики. – М.: Высш.
шк., 1971. – 195 с.
3.Федоров А. Язык и стиль художественного произведения. – М.; Л.:
Гослитиздат, [Ленингр. отд-ние], 1963. – 132 с.
4. Crystal D. Davy D. Investigating English style. – L.: Longman, 1973. – 264 p.
Тема 11. Стилистическое использование фразеологизмов

Цель: развитие умений смыслового восприятия фразеологизмов, а также
навыков понимать механизмы их воздействия на читателя.
A phraseological unit (PU) is “a block longer one word, yet functioning as

a whole. It is a semantically and structurally integral lexical collocation, partially
or completely different from the meaning of its components”. (A. Kunin) Its main
characteristic feature is that its meaning can’t infer from the sum of its components
because each PU is characterized by a certain degree of cohesion (сплоченность)
or semantic integrity. The main features of PU are stability, semantic integrity and
ready- made nature. There exist different classifications of PU.
According to I.R. Galperin’s classification of the English vocabulary all the
PU can ve subdivided into neutral, literary and non- literary PU.
Neutral PU: Ex.: “to let the cat out of the dog”, “ups and down,” “at the
eleventh hour”. Idioms and set expressions impart local coloring to the text and
make it sound more expressive. Ex.: Come, Roy, let’s go and shake the dust of this
place for good… (Aldridge)- Cf. … let us go leave this place for ever. (Skrebnev,
2000)Some of them are elevated: an earthly paradise, to breath one’s last; to play
fiddle while Rome burns. Among the elevated PU we can discern: Archaisms- to
play upon advantage (to swindle), the iron in one’s soul (the permament
embitterment). Bookish phrases- Formal (bookish PU): “to breathe one’s last (to
die); “The debt of Nature” (death), Gordian knot (a complicated problem); Foreign
PU- a propos de bottes (unconnected with the preceding remark, bon mot (a witty
word). Some are: Subneutral or familiar colloquial PU: to rain cats and dogs, to be
in one’s cups (=to be drunk), big bug, small fry, alive and kicking, a pretty kettle of
fish. Jargon PU – a loss leader (an article sold below cost). Old slang PU- to be
nuts about, to kick the bucket, to hop the twig (to die).
Occasional PU are based on the following cases of violation of the fixed
structure of a PU: Prolongation: “He was born with a silver spoon in a mouth
which was rather curly and large”. (Galsworthy) Insertion: “he had been standing
there nearly two hours, shifting from foot to unaccustomed foot”. (Galsworthy)
Substitution: “to talk pig (shop).” Prolongation and substitution: “They spoiled
their rods, spared their children and anticipated the results in enthusiasm”.
(Galsworthy)
The author’s PU: “Oh, my ears and whiskers” (L. Carroll); “Too true to be
good” (B. Shaw), The Gilded Age (The Golden Age). Peculiar use of set
expressions A cliché is generally defined as an expression that has become
hackneyed and trite. It has lots its precise meaning by constant reiteration: in other
words it has become stereotyped. Cliché is a kind of stable word combination
which has become familiar and which has been accepted as a unit of a language:
e.g. rosy dreams of youth, growing awareness. Proverbs are short, we;;-known,
supposedly wise sayings, usually in simple language. E.g. Never say never. You
can’t get bloom of a stone. Proverbs are expressions of culture that are passed from
generation to generation. They are words of wisdom of culture- lessons that people
of that want their children to learn and to live by. They are served as symbols,
abstract ideas. Proverbs are usually dedicated and involve imagery. E.g. Out of
sight, out of mind. Epigram is a short clever amusing saying or poem. E.g. A thing
of beauty is a joy forever.
Quotation is a phrase or sentence taken from a work of literature or other
piece of writing and repeated in order to prove a point or support an idea. They are
marked graphically: by inverted commas: dashes, italics: All hope abandon, ye
who enter (Dante)
Allusion is an indirect reference, by word or phrase, to a historical, literary,
mythological fact or to a fact of everyday life made in the course of speaking or
writing. The use of allusion presupposes knowledge of the fact, thing or person
alluded to on the part of the reader or listener. “You too, Brutus?” (Shakespeare)
Proverbs, sayings, quotations, allusions and paradoxes are based on the interplay of
primary and secondary meanings being also a variety of occasional PU: “to drop a
handkerchief and relations”.
Paradox is a statement which though it appears to be self- contradictory,
nevertheless involves truth or at least an element of truth. – O. Wilde’s paradoxes:
“It’s simply washing one’s clean linen in public”.
Практическое задание. Найти в следующем тексте фразеологические

единицы и прокомментировать их использование автором.
Jane Cooper
FOUR DAYS
(Woman’s Weekly, November 18, 1997)
The aeroplane taxied down the runway, paused briefly to catch its breath and sped
forwards, faster, across the wet Tarmac.
‘Stop!’ Maggie shouted in a panic. It had all been a terrible mistake. She should
never have left them. She had to get off.
‘It’s all right,’ said her husband, patting her arm as the fields outside the window
gently tilted. ‘Caroline will look after the children.’
Maggie opened her eyes. ‘Just now, I felt like jumping up and telling the pilot to
stop’, she said.
It was meant to sound like a joke, but she could tell, from Anthony’s eyes, that he
wasn’t fooled. ‘Stop worrying. It’s only four days.’
Four days. The phrase beat like a drum in Maggie’s mind. She jumped as the You
can now re¬move your seat-belts sign pinged like her kitchen timer.
‘Good, drinks. I’m gasping,’ said Anthony, as the stewardess pushed the square
metal drinks trolley unsteadily down the aisle.
‘Just an orange juice, please’, said Maggie.
‘We’re on holiday’, said Anthony. ‘Have a gin and tonic.’
It used to be her favourite drink before the children were born, when she and
Anthony would spend hours sitting in a pub garden in the fading twilight, with no
one to think of but themselves.
The gin tasted good, cold and clear. Briefly, it blotted out the nagging doubts in her
mind. But now everything was coming back.
‘We need a break,’ Anthony had said last month, flourishing the brochure. ‘Four
days in New York. Caroline will have the kids. It will do us both good.’
Maggie had protested. Ben was only four and Rachel six.
‘You ought to go’, Caroline had said warningly. ‘A couple need time away from
the children. It’s important for a marriage.’
‘We want to stay at Auntie Caroline’s’, Rachel had sung, when the idea was first
suggested.
‘We want to stay’, echoed Ben, enveloping Maggie’s neck with his arms. She
breathed him in like the freesias Anthony used to bring home on Friday nights.
Leaving them had been agony. Like childbirth in reverse with all the pain on the
inside.
‘Don’t fuss or they’ll get upset, Maggie’, Caroline had said, as she returned for a
last hug.
At the airport, Maggie felt lost without a small hand to hold on to. She tried to
chat, but there was nothing to say. No, ‘Rachel, don't do that.’ It was almost a
relief when the flight was called and they took off.
The arrival lounge was vast. Maggie scanned it in vain for a placard asking Mr.
and Mrs. Hope to phone home at once.
The hotel on fifty-seventh street had glass revolving doors and a doorman. ‘I don’t
know how they do it for the price,’ said Anthony, pleased to have got a last-minute
bargain. The room was small and dwarfed by a large bed. The light on the bedside
phone was a dull red, indicating that no one had left a message. Maggie said a
silent prayer of thanks. Outside, police sirens were screeching.
‘Let’s go out for a coffee’, said Anthony, who was keen to explore.
‘At this time?’ Maggie cried. ‘We might get mugged.’
‘It’s safe, providing you don't do anything silly’, Anthony replied.
New York never sleeps, read the guidebook. At home, the shops shut at five. They
found a cafe, studded with black and white photographs of Ronald Reagan, Judy
Garland and Elvis.
‘Sure, Ma’am, they’ve all been in here’, said the waitress, when Maggie asked her.
‘Tell me another’, laughed Anthony. Maggie didn't believe the woman either.
Their shared skepticism made them feel like cosy conspirators.
They woke at five in the morning, New York time. Maggie reached out for Ben
and felt Anthony’s back. Three days.
‘We’ll walk to the Village,’ announced Anthony over a bagel breakfast; he was
already starting to sound like a local.
They walked miles, weaving through commuters in suits and trainers, waiting for
the lights to flash Walk, window-shopping and working out the exchange rate.
Once, forgetting, Maggie put out her hand to steer Rachel across the road.
Greenwich – too vast for a village – was a labyrinth of pave¬ment bistros and
street barrows, selling Aztec-coloured mohairs. Trump Tower was a marble ice-
rink of jewelers and a downstairs coffee shop. Maggie filled Anthony in on Ivana.
‘You read the wrong papers she teased’. She hadn’t done that for ages.
They found a real ice-rink in Central Park. ‘That’s Yoko Ono’s home’, said
Anthony, pointing to a Gothic outline in the distance. Two days.
Tiffany’s was priceless. ‘Strictly for looking,’ said Anthony, but he did buy her a
silver teaspoon.
They got braver and caught the subway. The trains rattled like speeding silver
cattle trucks. No one spoke in the carriage.
‘Like a silent film’, said Anthony. Her feelings exactly.
Later, they shivered in the wind on the Staten Island Ferry, leaning just like lovers
over the side.
At night, Anthony stroked her head. Ben's empty space seemed less empty. One
day.
They went off to Chinatown and returned late, laughing, laden with paper dragons
for the chil¬dren and a bag of fortune cookies.
Anthony noticed it first. ‘The message light is on’, he said.
Maggie rang the receptionist. ‘Call Caroline’, she was told.
‘You’re right, we shouldn’t have come’, said Anthony, as she dialed England.
‘It will be all right’, said Maggie, amazed at her calmness.
Caroline finally answered. ‘We’ve just got back from the hospital. I'm really sorry,
Maggie, but Ben fell out of a tree. He’s broken his arm, but otherwise he’s fine. I
feel awful...’
‘Don’t worry’, said Maggie. ‘At least he’s alive.’
Ben sounded almost happy. Everyone had signed his plaster.
‘We’ll be home tomorrow’, said Maggie, and replaced the receiver.
‘You’re so calm’, said Anthony wonderingly. ‘I thought you’d be screaming;
saying it was my fault for making you come here.’
‘It’s the distance ‘, said Maggie. ‘I’ve stood back from the assembly line. I can see
myself now.’ She didn’t say she could see the distance between them, too. It had
narrowed in four days and she had to keep it narrowing. Just as she had to stop
drowning in motherhood. To be a good mother, she had to be a good wife as well.
Anthony frowned. ‘I don’t really understand.’
Maggie buried her face in his shirt. It smelt reassuring. She smiled. ‘Never mind’.
1. Арнольд И. В. Лексикология английского языка. - М., 1976.
2. Арнольд И. В. Функциональная стилистика текста английского языка. -
М., 1999.
3. Еремина С. В. Структура курса лекций по лексикологии английского
языка для студентов, получающих дополнительную квалификацию
"Переводчик в сфере профессиональной коммуникации" //
Лингвометодические проблемы преподавания иностранных языков в
высшей школе: Сб. науч. тр. / Под ред. Л. И. Сокиркиной. - Саратов:
Изд-во Сарат. ун-та, 2005. - Вып. 1. - 152 с.
Тема 12. Стилистическое использование вариантных форм имен

существительных и имен прилагательных
Цель: изучение изобразительно-выразительных возможностей грамматики,
обучение практическим навыкам мотивированного использования языковых
средств.
Linguistic units, such as words, possess not only lexical meanings but also
grammatical ones that are correlated with extra-linguistic reality. Such
grammatical categories as plurality and singularity reflect the distinction between a
multitude and oneness in the real world. Such classifying grammatical meanings as
the noun, the verb or the adjective represent objects, actions and qualities that exist
in this world. However this extra-linguistic reality may be represented in different
languages in a different way. The notion of definiteness or indefiniteness is
grammatically expressed in English by a special class of words - the article. In
Russian it's expressed differently. Gender exists as a grammatical category of the
noun in Russian but not in English and so on.
A grammatical form, as well as a lexical unit possesses a denotative and a
connotative meaning. There are at least three types of denotative grammatical
meanings. Two of these have some kind of reference with the extra-linguistic
reality and one has zero denotation, i. e. there is no reference between the
grammatical meaning and outside world.
1. The first type of grammatical denotation reflects relations of objects in outside
reality such as singularity and plurality.
2. The second type denotes the relation of the speaker to the first type of
denotation. It shows how objective relations are perceived by reactions to the
outside world. This type of denotative meaning is expressed by such categories as
modality, voice, definiteness and indeflniteness.
3. The third type of denotative meaning has no reference to the extra-linguistic
reality. This is an intralinguistc denotation, conveying relations among linguistic
units proper, e.g. the formation of past tense forms of regular and irregular verbs.
Denotative meanings show what this or that grammatical form designates but they
do not show how they express the same relation. However a grammatical form
may carry additional expressive information, it can evoke associations, emotions
and impressions. It may connote as well as denote. Connotations aroused by a
grammatical form are adherent subjective components, such as expressive or
intensified meaning, emotive or evaluative colouring. The new connotative
meaning of grammatical forms appears when we observe a certain clash between
form and meaning or deviation in the norm of use of some forms. The stylistic
effect produced is often called grammatical metaphor.
The noun and its stylistic potential
The stylistic power of a noun is closely linked to the grammatical categories this
part of speech possesses. First of all these are the categories of number, person and
case.
The use of a singular noun instead of an appropriate plural form creates a
generalized, elevated effect often bordering on symbolization. The faint fresh
flame of the young year flushes From leaf to flower and from flower to fruit And
fruit and leaf are as gold and fire.
The contrary device - the use of plural instead of singular - as a rule makes the
description more powerful and large-scale.
The clamour of waters, snows, winds, rains... (Hemingway)
The plural form of an abstract noun, whose lexical meaning is alien to the notion
of number makes it not only more expressive, but brings about what Vinogradov
called aesthetic semantic growth.
Proper names employed as plural lend the narration a unique generalizing effect:
If you forget to invite somebody's Aunt Millie, I want to be able to say I had
nothing to do with it. There were numerous Aunt Millies because of, and in spite of
Arthur's and Edith's triple checking of the list. (O'Hara)
The category of case (possessive case) which is typical of the proper nouns, since
it denotes possession becomes a mark of personification in cases like the following
one: Love's first snowdrop Virgin kiss!
So, although the English noun has fewer grammatical categories than the Russian
one, its stylistic potential in producing grammatical metaphor is high enough.
Ответить на следующие вопросы:

1) Speak about the peculiar use of grammatical forms. Discuss the stylistic
value of grammatically incorrect forms, grammatical synonymy, use of forms
with a peculiar meaning, localization of forms, personification of common
nouns, animal metaphors and stylistic omission of articles.
Практическое задание 1. Проанализируйте следующий отрывок:
"Sit down, my fren," sed the man in black close; "yu miskomprehend me. I meen
that the perlitercal ellermunts are orecast with black klouds, 4 boden a friteful
storm."
"Wall," replide I, "in regard to perlittercal ellerfunts і don't know as how but what
they is as good as enny other kind of ellerfunts. But і maik bold to say thay is all a
ornery set and unpleasant to hav round. They air powerful hevy eaters and take up
a right smart chans of room."
The man in black close rusht up to me and sed, "How dair yu insult my neece, yu
horey heded vagabone? Yu base exhibbiter of low wax figgers - you woolf in
sheep's close," and sow 4th.
Практическое задание 2. Рассмотрите предложенные отрывки,

определите экспрессивно-выразительные средства и прокомментируйте
их функцию.
1. We were fellow strangers.
2. A bulldog two years old for sale. Will eat anything. Very fond of children
3. The man was killed last July after being mistaken for suicide bomber on the
London Underground.
4. Dorothy, at my statement, had clapped her hand over mouth to hold down
laughter and chewing gum.
5. All men are liable to error (John Lock), and he is no exception.
6. Welcome to Reno- the biggest little town in the world.
7. He got an inheritance and got into troubles.
8. My business went bankrupt that’s why now I spend more time with my
family.
9. Huck Finn is a good bad boy of the American literature.
10. She set eyes on him and the letter on fire.
11. What is the difference between a school master and an engine driver? One
trains the mind, and the other minds a train.
12. After that he looked at the two cops, who became very interested in the
hands in their laps.
13. He saved her life and three dollars in her pocket.
14. Now- one good turn deserves another- come to my house for dinner.
15. Mr President, I don’t know who’s providing your information, but he has a
vivid imagination.
16. The brain activity of a substance abuser is identical to that of a compulsive
shopper.
1. Арнольд И. В. Лексикология английского языка. - М., 1976.
2. Арнольд И. В. Функциональная стилистика текста английского языка. -
М., 1999.
3. Еремина С. В. Структура курса лекций по лексикологии английского
языка для студентов, получающих дополнительную квалификацию
"Переводчик в сфере профессиональной коммуникации" //
Лингвометодические проблемы преподавания иностранных языков в
высшей школе: Сб. науч. тр. / Под ред. Л. И. Сокиркиной. - Саратов: Изд-
во Сарат. ун-та, 2005. - Вып. 1. - 152 с.
Тема 13. Стилистическое использование вариантных форм имен

числительных, местоимений и служебных слов
Цель: формирование понятия о филологическом анализе текста,
оциолингвистические и прагматические аспекты стилистики.
Актуальность: изучение лексики данной тематики способствует
совершенствованию навыков устной речи на бытовом уровне, позволяет
развивать навыки повседневного общения.
The stylistic functions of the pronoun also depend on the disparity between the
traditional and contextual (situational) meanings. This is the grammatical metaphor
of the first type based on the transposition of the form, when one pronoun is
transposed into the action sphere of another pronoun.So personal pronouns We,
You, They and others can be employed in the meaning different from their
dictionary meaning. The pronoun you is often used as an intensifier in an
expressive address or imperative: Just you go in and win. (Waugh)
Possessive pronouns may be loaded with evaluative connotations and devoid of

any grammatical meaning of possession.Watch what you're about, my man!
(Cronin)
Pronouns are a powerful means to convey the atmosphere of informal or familiar

communication or an attempt to achieve it.It was Robert Ackly, this guy, that
roomed right next to me. (Salinger)
The verb is one of the oldest parts of speech and has a very developed
grammatical paradigm. It possesses more grammatical categories that any other
part of speech. All deviant usages of its tense, voice and aspect forms have strong
stylistic connotations and play an important role in creating a metaphorical
meaning. A vivid example of the grammatical metaphor of the first type (form
transposition) is the use of 'historical present' that makes the description very
pictorial, almost visible. The use of the auxiliary do in affirmative sentences is a
notable emphatic device: I don't want to look at Sita. I sip my coffee as long as
possible. Then I do look at her and see that all the colour has left her face, she is
fearfully pale. (Erdrich) So the stylistic potential of the verb is high enough. The
major mechanism of creating additional connotations is the transposition of verb
forms that brings about the appearance of metaphors of the first and second types.
Практическое задание. Рассмотрите предложенные отрывки,
определите экспрессивно-выразительные средства и прокомментируйте
их функцию.
1. Mankind, says a Chinese manuscript, which my friend was obliging enough
to read and explain to me, for the first seventy thousand ages ate their meat raw.
2. Sorry, I’m so very sorry, I’m so extremely sorry...
3. It was the best of times, it was the worst of times, it was the age of wisdom,
it was the age of foolishness ...
4. A good generous prayer it was.
5. Jon seized her hand in gratitude, and they sat silent, with the world well lost,
and one eye on the corridor.
6. Money is what he’s after, money.
7. My heart’s in the Highlands, my heart is not here,
My heart’s in the Highlands, a-chasing the deer...
8. Admirable butlers, tawny chow dogs, halls laid in black an white lozenges
with white blinds blowing, Peter saw through the open door and approved of.
9. This (his beard), his regular eyebrows, and the rich white and black and
brown of his complexion- confound his complexion, and his memory! - made me
think of him, in spite of my misgivings, a very handsome man.
10. How could Jon, with his heart of gold, leave his family?
11. Down dropped the breeze,
and the sails dropped down.
12. Women are not made for attack. Wait they must.
13. It would rain forever noiselessly. The water would rise inch by inch covering
the grass and shrubs, covering the trees and houses, covering the monuments and
the mountain tops.
Литература:
2011. – 520 с.
Тема 14. Фонетические выразительные средства

Цель: формирование понятия о фонетических выразительных средствах,
углубление знаний и практических навыков мотивированного использования
Phonetic Expressive Means and Stylistic Devices
The stylistic approach to the utterance is not confined to its structure and
sense. There is another thing to be taken into account which in a certain type of
communication plays an important role. This is the way a word, a phrase or a
sentence sounds. The sound of most words taken separately will have little or no
aesthetic value. It is in combination with other words that a word may acquire a
desired phonetic effect. The way a separate word sounds may produce a certain
euphonic effect, but this is a matter of individual perception and feeling and
therefore subjective.
This can easily be recognized when analyzing alliterative word combinations
or the rhymes in certain stanzas or from more elaborate analysis of sound
arrangement.
Onomatopoeia
Onomatopoeia is a combination of speech sounds which alms at imitating
sounds produced in nature (wind, sea, thunder, etc.) by things (machines or tools,
etc.) by people (singing, laughter) and animals. Therefore the relation between
onomatopoeia and the phenomenon it is supposed to represent is one of metonymy
There are two varieties of onomatopoeia: direct and indirect.
Alliteration
Alliteration is a phonetic stylistic device which aims at imparting a melodic
effect to the utterance. The essence of this device lies in the repetition of similar
sounds, in particular consonant sounds, in close succession, particularly at the
beginning of successive words: " The possessive instinct never stands still (J.
Galsworthy) or, "Deep into the darkness peering, long I stood there wondering,
fearing, doubting, dreaming dreams no mortals ever dared to dream before" (E. A.
Poe).
Rhyme
Rhyme is the repetition of identical or similar terminal sound combination of
words. Rhyming words are generally placed at a regular distance from each other.
In verse they are usually placed at the end of the corresponding lines.
Rhythm
Rhythm exists in all spheres of human activity and assumes multifarious
forms. It is a mighty weapon in stirring up emotions whatever its nature or origin,
whether it is musical, mechanical or symmetrical as in architecture. The most
general definition of rhythm may be expressed as follows: "rhythm is a flow,
movement, procedure, etc. characterized by basically regular recurrence of
elements or features, as beat, or accent, in alternation with opposite or different
elements of features" (Webster's New World Dictionary).
Практическое задание. Охарактеризуйте эмоциональный эффект от

использования в отрывках аллитерации, ассонанса и ономатопеи:
1. Streaked by a quarter moon, the Mediterranean shushed gently into the
beach. (I.Sh.)
2. He swallowed the hint with a gulp and a gasp and a grin. (R. K.)
3. His wife was shrill, languid, handsome and horrible. (Sc.F.)
4. The fair breeze blew, the white foam flew, the furrow followed free. (S.
C.)
5. The Italian trio tut-tutted their tongues at me. (T.C.)
6. "You, lean, long, lanky lath of a lousy bastard!" (O'C.)
7. To sit in solemn silence in a dull dark dock, In a pestilential prison, with a
life-long lock, Awaiting the sensation of a short, sharp shock From a cheap and
chippy chopper On a big black block. (W.C.)
8. They all lounged, and loitered, and slunk about, with as little spirit or
purpose as the beasts in a menagerie. (D.)
9. "Luscious, languid and lustful, isn't she?" "Those are not the correct
epithets. She is - or rather was - surly, lustrous and sadistic." (E.W.)
10. Then, with an enormous, shattering rumble, sludge-puff, sludge-puff, the
train came into the station. (A.S.)
11. "Sh-sh."
"But I am whispering." This continual shushing annoyed him. (A.H.)
12. Twinkle, twinkle, little star, How I wonder what you are. Up above the
world so high, Like a diamond in the sky. (Ch. R.)
13. Dreadful young creatures - squealing and squawking. (C.)
14. The quick crackling of dry wood aflame cut through the night. (Sl.H.)
15. Here the rain did not fall. It was stopped high above by that roof of green
shingles. From there it dripped down slowly, leaf to leaf, or ran down the stems
and branches. Despite the heaviness of the downpour which now purred loudly in
their ears from just outside, here there was only a low rustle of slow occasional
dripping. (J.)
2. Кухаренко В. А. Практикум по стилистике английского языка / Seminars
in Stylistics. – М.: Флинта: Наука, 2009. – 184 с.
Тема 15. Выразительные ресурсы графики

Цель: формирование понятия о выразительных ресурсах графики,
углубление знаний и практических навыков мотивированного использования
Практическое задание 1. Замените присутствующие в тексте графоны их
нормальной графической интерпретацией:
1. ” You remember him at all?” – “Just sort of. Little ole private? Terribly
unattractive” (S.)
2. “You’re one that ruint it.” (J.)
3. “You ast me a question. I answered it for you.” (J.)
4. “You’ll probly be sick as a dog tomorra, Tills.” (J.)
5. Marrow said: “Chawming climate out heah in the tropics, old chap.” (J.H.)
6. What this place needs is a woman’s touch, as they say in the pitchers.” (I.Sh.)
7.”You ain’t invited,”Doll drawled. “Whada you mean I ain’t invited?” (J.)
Практическое задание 2. Охарактеризуйте функцию использованных

графических изобразительных средств:
1. Piglet, sitting in the running Kanga's pocket, substituting the kidnapped Roo,
thinks:
this shall take
"If is I never to
flying really it." (M.)
2. Kiddies and grown-ups too-oo-oo We haven't enough to do-oo-oo. (R. K.)
3. "Hey," he said "is it a goddamn cardroom? or a latrine? Attensh -- HUT! Da-ress
right! DHRESS! (J.)
4. "When Will's ma was down here keeping house for him - she used to run in to
see me, real often." (S.L.)
5. He missed our father very much. He was s-l-a-i-n in North Africa. (S.)
6. "We'll teach the children to look at things. Don't let the world pass you by, I
shall tell them. For the sun, I shall say, open your eyes for that laaaarge sun....." (A.
W.)
7. "Now listen, Ed, stop that, now. I'm desperate. I am desperate, Ed, do you hear?"
(Dr.)
8. "Adieu you, old man, grey. I pity you, and I de-spise you." (D.)
9. "ALL our troubles are over, old girl," he said fondly. "We can put a bit by now
for a rainy day." (S.M.)
10. His voice began on a medium key, and climbed steadily up till it reached a
certain point, where it bore with strong emphasis upon the topmost word, and then
plunged down as if from a spring board.
2011. – 520 с.
Тема 16. Семантическое пространство текста и его анализ

Цель: формирование понятия о семантическом пространстве текста,
основные аспекты изучения семантики текста.
Микро- и макрофункциональная стилистика текста. Смысловая и
стилистическая интерпретация текста.
Текст и сверхфразовое единство. Стилистическая структура текста. Когезия и
когерентность.
Способы изложения в художественном тексте. Авторская речь, ее
композиционные формы. Персонажная речь: диалогическая речь, внутренняя
речь. Несобственно-прямая речь.
Интертекстуальность.
Образ автора. Авторская точка зрения и способы ее выражения.
Практическое задание. Провести структурно-смысловой анализ следующих

фрагментов. Определите виды содержащейся в тексте информации.
1. As various aids to recovery were removed from him and he began to speak
more, it was observed that his relationship to language was unusual. He mouthed.
Not only did he clench his fists with the effort of speaking, he squinted. It seemed
that a word was an object, a material object, round and smooth sometimes, a golf-
ball of a thing that he could just about manage to get through his mouth, though it
deformed his face in the passage. Some words were jagged and these became
awful passages of pain and struggle that made the other children laugh. Patience
and silence seemed the greater part of his nature. Bit by bit he learnt to control the
anguish of speaking until the golf-balls and jagged stones, the toads and jewels
passed through his mouth with not much more than the normal effort. (W.G1.)
2. As the women unfolded the convolutions of their stories together he felt more
and more like a kitten tangling up in a ball of wool it had never intended to unravel
in the first place; or a sultan faced with not one but two Scheherezades, both intent
on impacting a thousand stories into the single night. (An.C.)
3. "Is anything wrong?" asked the tall well-muscled manager with menacing
inscrutability, arriving to ensure that nothing in his restaurant ever would go amiss.
A second contender for the world karate championship glided noiselessly up
alongside in formidable allegiance. (Js.H.)
4. As Prew listened the mobile face before him melted to a battle-blackened skull
as though a flamethrower had passed over it, kissed it lightly, and moved on. The
skull talked on to him about his health. (J.)
5. Scobie turned up James Street past the Secretariat. With its long balconies it has
always reminded him of a hospital. For fifteen years he had watched the arrival of
a succession of patients; periodically, at the end of eighteen months certain patients
were sent home, yellow and nervy and others took their place - Colonial
Secretaries, Secretaries of Agriculture, Treasurers and Directors of Public Works.
He watched their temperature charts every one - the first outbreak of unreasonable
temper, the drink too many, the sudden attack for principle after a year of
acquiescence. The black clerks carried their bedside manner like doctors down the
corridors; cheerful and respectful they put up with any insult. The patient was
always right. (Gr.Gr.)
6. Her voice. It was as if he became a prisoner of her voice, her cavernous, sombre
voice, a voice made for shouting about the tempest, her voice of a celestial
fishwife. Musical as it strangely was, yet not a voice for singing with; it comprised
discords, her scale contained twelve tones. Her voice, with its warped, homely,
Cockney vowels and random aspirates. Her dark, rusty, dipping, swooping voice,
imperious as a siren's. (An.C.)
7. In a very few minutes an ambulance came, the team was told all the nothing that
was known about the child and he was driven away, the ambulance bell ringing,
unnecessarily. (W.G1.)
8. This area took Matty and absorbed him. He received pocket money. He slept in
a long attic. He ate well. He wore a thick dark-grey suit and grey overalls. He
carried things. He became the Boy. (W.G1.)
9. We have all seen those swinging gates which, when their swing is considerable,
go to and fro without locking. When the swing has declined, however, the latch
suddenly drops to its place, the gate is held and after a short rattle the motion is all
over. We have to explain an effect something like that. When the two atoms meet,
the repulsions of their electron shells usually cause them to recoil; but if the motion
is small and the atoms spend a longer time in each other's neighbourhood, there is
time for something to happen in the internal arrangements of both atoms, like the
drop of the latch-gate into its socket, and the atoms are held. (W.Br.)
2011. – 520 с.
Тема 17. Алгоритм выполнения лингвостилистического анализа

текста
Цель: формирование понятия о лингвистическом анализе текста, углубление
знаний и практических навыков анализа текста.
Схема стилистического анализа текста по Н.С. Болотновой:
1) стиль, подстиль и жанр текста;
2) сфера общения и ситуация, на которую текст ориентирован;
3) основные функции текста (общение, сообщение, воздействие);
4) характер адресата с учетом стилистических особенностей текста;
5) тип мышления, отраженный в тексте: конкретный; обобщенно-
абстрагированный, образный и др.;
6) форма (письменная, устная), тип речи (описание, повествование,
рассуждение и их возможное сочетание), вид речи (монолог, диалог,
полилог);
7) стилевые черты, характерные для текста с учетом его стилистической
маркированности;
8) языковые приметы стиля, отраженные в тексте;
9) образ автора и цель его текстовой деятельности;
10) индивидуально-авторские стилистические особенности текста на уровне
отбора языковых средств и их организации, включая стилистические
приемы.
Практическое задание 1. Провести лингвостилистический анализ текста.

On the fateful morning of his fortieth birthday, in a room full of butterflies, the
zamindar Mirza Saeed Akhtar watched over his sleeping wife, and felt his heart fill
up to the bursting-point with love. He had awoken early for once, rising before
dawn with a bad dream souring his mouth, his recurring dream of the end of the
world, in which the catastrophe was invariably his fault. He had been reading
Nietzsche the night before - "the pitiless end of that small, overextended species
called Man" - and had fallen asleep with the book resting face downwards on his
chest. Waking to the rustle of butterfly wings in the cool, shadowy bedroom, he
was angry with himself for being so foolish in his choice of bedside reading matter.
He was, however, wide awake now. Getting up quietly, he slipped his feet into
chappals and strolled idly along the verandas of the great mansion, still in darkness
on account of their lowered blinds, and the butterflies bobbed like courtiers at his
back. In the far distance, someone was playing a flute. Mirza Saeed drew up the
chick blinds and fastened their cords. The gardens were deep in mist, through
which the butterfly clouds were swirling, one mist intersecting another. This
remote region had always been renowned for its lepidoptera, for these miraculous
squadrons that filled the air by day and night, butterflies with the gift of
chameleons, whose wings changed colour as they settled on vermilion (lowers,
ochre curtains, obsidian goblets or amber finger-rings. In the amindar's mansion,
and also in the nearby village, the miracle of the butterflies had become so familiar
as to seem mundane, but in fact they had only returned nineteen years ago, as the
servant women would recall. They had been the familiar spirits, or so the legend
ran, of a local saint, the holy woman known only as Bibiji, who had lived to the
age of two hundred and forty-two and whose grave, until its location was forgotten,
had the property of curing impotence and warts. Since the death of Bibiji one
hundred and twenty years ago the butterflies had vanished into the same realm of
the legendary as Bibiji herself, so that when they came back exactly one hundred
and one years after their departure it looked, at first, like an omen of some
imminent, wonderful thing. After Bibiji's death - it should quickly be said - the
village had continued to prosper, the potato crops remained plentiful, but there had
been a gap in many hearts, even though the villagers of the present had no memory
of the time of the old saint. So the return of the butterflies lifted many spirits, but
when the expected wonders failed to materialize the locals sank back, little by
little, into the insufficiency of the day-today. The name of the zamindar's mansion,
Peristan, may have had its origins in the magical creatures' fairy wings, and the
village's name, Titlipur, certainly did. But names, once they are in common use,
quickly become mere sounds, their etymology being buried, like so many of the
earth's marvels, beneath the dust of habit. The human inhabitants of Titlipur, and
its butterfly hordes, moved amongst one another with a kind of mutual disdain. The
villagers and the zamindar's family had long ago abandoned the attempt to exclude
the butterflies from their homes, so that now whenever a trunk was opened, a batch
of wings would fly out of it like Pandora's imps, changing colour as they rose;
there were butterflies under the closed lids of the thunderboxes in the toilets of
Peristan, and inside every wardrobe... (S.R.)
Практическое задание 2. Провести лингвостилистический анализ текста.
They were dusty and Rawlins was unshaven and they smelled of horses and sweat
and woodsmoke. Some men sitting in chairs at the back of the store looked up
when they entered and then went on talking.
They stood at the meatcase. The woman came from the counter and walked behind
the case and took down an apron and pulled a chain that turned on the overhead
lightbulb.
You do look like some kind of desperado, John Grady said.
You dont look like no choir director, said Rawlins.
The woman tied the apron behind her and turned to regard them above the white
enameled top of the meatcase. What'll you boys have? she said.
They bought baloney and cheese and a loaf of bread and a jar of mayonnaise. They
bought a box of crackers and a dozen tins of vienna sausage. They bought a dozen
packets of koolaid and a slab end of bacon and some tins of beans and they bought
a five pound bag of cornmeal and a bottle of hotsauce. The woman wrapped the
meat and cheese separate and she wet a pencil with her tongue and totted up the
purchases and then put everything together in a number four grocery bag.
Where you boys from? she said.
From up around San Angelo.
You all ride them horses down here?
Yes mam.
Well I'll declare, she said.
When they woke in the morning they were in plain view of a small adobe house. A
woman had come out of the house and slung a pan of dishwater into the yard. She
looked at them and went back in again. They'd hung their saddles over a fence to
dry and while they were getting them a man came out and stood watching them.
They saddled the horses and led them out to the road and mounted up and turned
south.
Wonder what all they're doin back home? Rawlins said.
John Grady leaned and spat. Well, he said, probably they're havin the biggest time
in the world. Probably struck oil. I'd say they're in town about now pickin out their
new cars and all.
Shit, said Rawlins.
They rode.
You ever get ill at ease? said Rawlins.
About what?
I dont know. About anything. Just ill at ease.
Sometimes. If you're someplace you aint supposed to be I guess you'd be ill at
ease. Should be anyways.
Well suppose you were ill at ease and didnt know why. Would that mean that you
might be someplace you wasnt supposed to be and didnt know it?
What the hell's wrong with you?
I dont know. Nothin. I believe I'll sing.
He did. He sang: Will you miss me, will you miss me. Will you miss me when I'm
gone
You know that Del Rio radio station? he said.
Yeah, I know it.
I've heard it told that at night you can take a fencewire in your teeth and pick it up.
Dont even need a radio.
You believe that?
I dont know.
You ever tried it?
Yeah. One time.
They rode on. Rawlins sang. What the hell is a flowery boundary tree? he said.
You got me, cousin.
They passed under a high limestone bluff where a creek ran down and they crossed
a broad gravel wash. Upstream were potholes from the recent rains where a pair of
herons stood footed to their long shadows. One rose and flew, one stood. An hour
later they crossed the Pecos River, putting the horses into the ford, the water swift
and clear and partly salt running over the limestone bedrock and the horses
studying the water before them and placing their feet with great care on the broad
traprock plates and eyeing the shapes of trailing moss in the rips below the ford
where they flared and twisted electric green in the morning light. Rawlins leaned
from the saddle and wet his hand in the river and tasted it. It's gypwater, he said.
(C.M.)
английский язык. – 5-е изд., испр. и доп. – М.: Флинта: Наука, 2012. – 384
с.
3. Болотнова Н.С. Филологический анализ текста. – М.: Флинта: Наука, 2014.
– 520 с.
4. Кухаренко В. А. Практикум по стилистике английского языка / Seminars in
Stylistics. – М.: Флинта: Наука, 2012. – 184 с.
МИНИCTEPCTBO ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение
высшего образования
«СЕВЕРО-КАВКАЗСКИЙ ФЕДЕРАЛЬНЫЙ УНИВЕРСИТЕТ»
МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ ПО ОРГАНИЗАЦИИ

САМОСТОЯТЕЛЬНОЙ РАБОТЫ ПО ДИСЦИПЛИНЕ
«ФУНКЦИОАНЛЬНАЯ ФУНКЦИОНАЛЬНАЯ СТИЛИСТИКА
ТЕКСТА ТЕКСТА»
Специальность 45.05.01 Перевод и переводоведение

Специализация Лингвистическое обеспечение военной
деятельности
Квалификация специалист
Форма обучения очная
Ставрополь, 2017
СОДЕРЖАНИЕ
1. Введение……………………………………………………………………...3
2. Общая характеристика самостоятельной работы студента при изучении
дисциплины……………………………………………………………...………5
3. Цель и задачи самостоятельной работы…………………………………….6
4. План-график выполнения самостоятельной работы……….……………....8
5. Контрольные точки и виды отчетности по ним………….…………….…..10
6.Методические рекомендации по изучению теоретического
материала………………………………………………………………………..10
7. Методические указания (по видам работ, предусмотренных рабочей
программой дисциплины)………………………………………………………11
8. Список литературы, использованной при составлении методических
рекомендаций……………………….……………………………………………20
1. Введение
Методические рекомендации к самостоятельной работе студентов по
дисциплине «Функциональная функциональная стилистика текста текста»
разработаны в соответствии с рабочей программой дисциплины по
специальности 45.05.01 – Перевод и переводоведение, специализации –
Лингвистической обеспечение военной деятельности, Лингвистическое
обеспечение межгосударственных отношений.
Современная стратегия профессионального образования направлена на
формирование и развитие личности будущего специалиста, обладающего
творческой индивидуальностью. В программу реализации модели будущего
специалиста закладывается не только приобретение научных знаний,
необходимых для будущей профессиональной деятельности, но и овладение
профессиональной культурой, умениями и навыками, определяющими
профессиональное мастерство, профессионализм.
Основная задача высшего образования заключается в формировании
творческой личности специалиста, способного к саморазвитию,
самообразованию, инновационной деятельности. В этом плане
самостоятельная работа студентов (СРС) является не просто важной формой
образовательного процесса, а должна стать его основой. Это предполагает
ориентацию на активные методы овладения знаниями, развитие творческих
способностей студентов, переход от поточного к индивидуализированному
обучению с учетом потребностей и возможностей личности.
Организация самостоятельной работы направлена на развитие умения
учиться, формирование у студента способности к саморазвитию,
творческому применению полученных знаний, способам адаптации к
профессиональной деятельности в современном мире.
Самостоятельная работа выполняет познавательную, обучающую и
воспитывающую функции, т.е. расширяет и углубляет полученные на
занятиях знания, развивает умения и навыки по изучению литературы,
воспитывает самостоятельность, творчество, убежденность. Психолого-
педагогический фактор предполагает учет психологических качеств,
необходимых для плодотворного осуществления самостоятельной работы
студентов со специальной литературой, а также воспитание социальных
личностных качеств, требующих для этой работы. В число последних
включается и приобретенная способность к самосовершенствованию путем
отбора, переработки и усвоения информации.
Такая деятельность требует наличия соответствующих качеств.
Важнейшими из них являются познавательная самостоятельность, т.е.
стремление и умение своими силами овладеть знаниями и способами
деятельности и применять их на практике, и интеллектуальная активность,
т.е. потребность знать как можно больше в сфере своей специальности. В
процессе самостоятельной работы со специальной литературой
совершенствуются качества личности. Положительно мотивированная и
организованная самостоятельная работа способствуют воспитанию волевых
свойств личности, а также развивает мышление, память, внимание,
способности.
Формы работы студента предполагают не только работу на
практических занятиях, но и самостоятельную учебную работу, которая
заключается в подготовке домашних заданий, подготовке к круглым столам,
подготовке мультимедийных презентаций. При изучении дисциплины
организация СРС представляет собой единство трех взаимосвязанных форм:
1. Внеаудиторная самостоятельная работа;

2. Аудиторная самостоятельная работа, которая осуществляется под
непосредственным руководством преподавателя;
3. Творческая, в том числе научно-исследовательская работа.
2. Общая характеристика самостоятельной работы студента при

изучении дисциплины
Самостоятельная работа студента в рамках дисциплины
«Функциональная функциональная стилистика текста текста» понимается
как планируемая учебная работа, выполняемая во внеаудиторное
(аудиторное) время по заданию и при методическом руководстве
преподавателя, но без его непосредственного участия.
Самостоятельная работа направлена на формирование следующих
компетенций:
Индекс Формулировка:
ПК-15 способностью применять методику ориентированного поиска
информации в справочной, специальной литературе и
компьютерных сетях
3. Цель и задачи самостоятельной работы

Целью самостоятельной работы студентов в процессе изучения
дисциплины «Функциональная стилистика текста» являются:
1) формирование общекультурных и профессиональных компетенций,
для подготовки специалистов, способных осуществлять коммуникацию с
представителями англоязычных стран и культур, использующих английский,
и русский языки в широких сферах международной, политической,
экономической, общественной, научной и культурной жизни;
2) развитие языковых, интеллектуальных, познавательных, творческих
и организаторских способностей студентов;
3) поддержание интереса к учению, совершенствование уже
имеющихся теоретических знаний и практических навыков;
4) систематизация и закрепление полученных теоретических знаний и
практических умений студентов;
5) углубление и расширение теоретических знаний;
6) формирование умений использовать нормативную, правовую,
справочную документацию и специальную литературу, использование
словарей (в том числе технических);
7) формирование самостоятельности мышления, способностей к
саморазвитию, самосовершенствованию и самореализации;
8) развития исследовательских умений.
Самостоятельная работа представляет собой планируемую,
организационно и методически направляемую преподавателем деятельность
студентов по освоению дисциплины и приобретению профессиональных
навыков, осуществляемую за рамками аудиторной учебной работы
студентов.
В соответствии с целью выдвигаются следующие задачи:
1) способствовать формированию компетенций, связанных с
профессиональной деятельностью (овладение фонетическими,
грамматическими и лексико-семантическими аспектами изучаемого
иностранного языка), так и к связанным с ней аспектам профессиональной
работы ознакомить студентов с межкультурными особенностями общения в
различных ситуациях повседневного общения;
2) сформировать умения самостоятельного изучения учебно-
методической литературы и творческого применения полученных знаний на
практике;
3) способствовать формированию и развитию творческого языкового
мышления для решения различного вида коммуникативных задач;
4) систематизировать и закрепить полученные теоретические знания и
практические умения студентов;
5) развить познавательные способности и активность студентов:
творческую инициативу, самостоятельность, ответственность и
организованность;
6) сформировать и развить навыки ведения самостоятельной работы и
овладения методикой исследования при решении разрабатываемых в учебной
деятельности проблем и вопросов;
7) повысить уровень подготовленности к самостоятельной работе в
соответствии с выбранным научным направлением в условиях современного
состояния науки и культуры.
4. План-график выполнения самостоятельной работы
Код реализуемой Вид деятельности Итоговый продукт Средства и Объем
компетенции студентов самостоятельной технологии часов
работы оценки
ПК-15, Изучение литературы по Конспект Собеседование 24
темам 1-16
ПК-15 Подготовка к Индивидуальное Собеседование 24

практическому занятию задание
по темам 1-16
Итого за 9 семестр 48
Итого 48
При выполнении самостоятельной работы студент должен пройти

следующие этапы:
 определение цели самостоятельной работы;
 конкретизация познавательной (проблемной или практической) задачи;
 самооценка готовности к самостоятельной работе;
 выбор адекватного способа действия, ведущего к решению задачи;
 планирование работы (самостоятельной или с помощью преподавателя) над
заданием;
 осуществление студентом в процессе выполнения самостоятельной работы
управленческих актов: слежение за ходом самой работы, самоконтроль
промежуточного и конечного результатов работы, корректировка на основе
результатов самоконтроля программы выполнения работы.
При изучении дисциплины предусматриваются следующие формы
самостоятельной работы студента:
 самостоятельное изучение основной и дополнительной
литературы по дисциплине с конспектированием по разделам;
 работа с электронными ресурсами в сети Интернет;
 конспектирование и реферирование первоисточника и научно-
исследовательской литературы;
 подготовка к семинару-круглому столу;
 подготовка мультемедийной презентации;
 подготовка доклада.
5. Контрольные точки и виды отчетности по ним

Контроль самостоятельной работы проводится преподавателем в
аудитории. Предусмотрены 2 контрольные точки: в виде собеседования и в
виде теста.
Фонды оценочных средств, позволяющие оценить уровень
сформированности компетенций, размещен в УМК дисциплины
«Функциональная стилистика текста» на кафедре теории и практики
перевода
ТЕСТОВЫЕ ЗАДАНИЯ
I вариант
I. Определите стилистические средства в следующих примерах:
1. God damn my wife! She is an excellent woman.
2. Her family is one aunt about a thousand years old.
3. A great thunderstorm of sound gushed from the walls.
4. And the boys took their places and their books.
5. He knows how to kill a snake. He doesn’t rush to do it. He

takes his time and does the job well.
6. No wonder his father wanted to know what Bosinney

meant, no wonder.
7. It was a lovely city, a beautiful city, a fair city, a veritable

gem of a city.
8. She made a lot of noise banging the ice-cube tray in the

stainless steel sink.
II. Дайте определение следующим понятиям: функциональный

стиль, метафора, апозиопезис.
III. Правильно сгруппируйте элементы правой и левой колонки:

1.
Flapper Нейтральное слово
Maiden Разговорное
Young girl Литературное
2.
Rate of interest Поэтизм
Steed (horse) Выходящее из употребления слово
Thee Архаизм
Losel Термин
En passant Неологизм
Showmanship Варваризм
3.
Bread-basket (stomach) Разговорное новообразование
Tiger hunter (gambler) Профессионализм
Tin-fish (submarine) Вульгаризм
Lass Слэнг
Bloody Жаргонизм
Weatherlogy Диалектное слово
IV. Выберите правильный вариант:

1. Функциональная стилистика текста декодирования это:
А) функциональная стилистика текста от автора

Б) функциональная стилистика текста восприятия
В) функциональная функциональная стилистика текста
2. Понятие “норма” включает:
А) только литературный стандарт

Б) только функциональные стили
В) литературный стандарт, функциональные стили и диалекты
3. Стилистическая функция языковых элементов
А) определяется в контексте
Б) является компонентом узуальной коннотации слова
4. При выдвижении (актуализации) происходит нарушение
А) системы языка
Б) нормы
5. Тропы это:
А) изобразительные средства языка

Б) выразительные средства языка
В) метафоры
6. Фигуры речи это:

В) все виды синтаксических повторов
7. Существование функционального стиля художественной литературы
А) признается всеми учеными

Б) не признается всеми учеными
В) признается некоторыми учеными
8. Слэнг это:
А) просторечие
Б) подстиль разговорного стиля
В) особый слой лексики и фразеологии в рамках разговорного стиля
9. Классификация функциональных стилей английского языка
А) не знает исторических различий

Б) не отличается от соответствующих классификаций в других языках
В) в настоящее время не является спорной проблемой
Г) во многом является спорной проблемой
10. Определите, к какой лексической группе относится подчеркнутое слово
I wandered lonely as a cloud

That floats over vales and hills
А) общепринятая книжная лексика
Б) общепринятая разговорная лексика
В) поэтизмы
Г) диалектные слова
11. Определите вид тропа
The punctual servant all work (в значении «The sum»)

А) перифраза
Б) литота
В) ирония
Г) эпитет
12. Выберете пример, иллюстрирующий стилистический прием «метонимия».
А) How many a tale your music tells!
Б) It attracted genuine interest of the press.
В) I wandered lonely as a cloud.
Г) The nightingale’s high note is heard.
13. Выберите пример, иллюстрирующий антономасию.
А) That dinner was his Waterloo.
Б) And gentle winds and waters near make music to the lonely ear.
В) He fights as the weary of his life.
Г) How shine it like a comet of revenge.
14. Основные компоненты коннотации:
А) экспрессивный, эмоциональный, оценочный;
Б) экспрессивный, эмоциональный, оценочный, стилистический;
В) морфологический, лексический, синтаксический;
Г) узуальный и окказиональный.
15. Несколько метафорически употребляемых слов, создающих единый образ.
А) развернутую метафору;
Б) композиционную метафору;
В) грамматическую метафору;
Г) метонимию.
II вариант
I. Определите стилистические средства в следующих примерах:
1. Where this girl was a lioness, the other was a panther – lithe and quick.
2. The man looked a rather old forty-five, for he was already going grey.
3. Absorbed as we were in the pleasures of travel – and I in my modest pride at being the
only examinee to cause a commotion – we were over the Old Bridge.
4. He acknowledged an early-afternoon customer with a be-with-you-in-a-minute nod.
5. Newspapers are the organs of individual men who have jockeyed themselves to be party
leaders, in countries where a new party is born every hour over a glass of beer in the
nearest café.
6. Failure meant poverty, poverty meant squalor, squalor led… to the smells and
stagnation of B. Inn Alley.
7. Women are not made for attack. Wait they must.
8. There comes a period in every man’s life, but she is just a semicolon in his.
IV. Дайте определение следующим понятиям: стилистический прием,

эвфемизм, ирония.
V. Правильно сгруппируйте элементы правой и левой колонки:
1.
Retire Нейтральное слово
Go away Разговорное
Get out Литературное
2.
Morpheme Поэтизм
Devouring element (fire) Выходящее из употребления слово
Palfrey (small horse) Историзм
Yeoman Термин
Kolkhoz Неологизм
Freckledom Иностранное слово
3.
The cat’s pyjamas (the correct thing) Разговорное авторское новообразование
Man and wife (knife) Профессионализм
Block-buster (a bomb) Вульгаризм
Lad Слэнг
Damn Жаргонизм
Hateships Диалектное слово
IV. Выберите правильный вариант:

1. Функциональная стилистика текста декодирования это:
А) функциональная стилистика текста от автора
Б) функциональная стилистика текста восприятия
В) функциональная функциональная стилистика текста
2. Понятие “норма” включает:
А) только литературный стандарт
Б) только функциональные стили
В) литературный стандарт, функциональные стили и диалекты
3. Стилистическая функция языковых элементов
А) определяется в контексте
Б) является компонентом узуальной коннотации слова
4. При выдвижении (актуализации) происходит нарушение
А) системы языка
Б) нормы
5. Тропы это:
В) метафоры
6. Фигуры речи это:
В) все виды синтаксических повторов
7. Существование функционального стиля художественной литературы
А) признается всеми учеными
Б) не признается всеми учеными
В) признается некоторыми учеными
8. Слэнг это:
А) просторечие
Б) подстиль разговорного стиля
В) особый слой лексики и фразеологии в рамках разговорного стиля
9. Классификация функциональных стилей английского языка
А) не знает исторических различий
Б) не отличается от соответствующих классификаций в других языках
В) в настоящее время не является спорной проблемой
Г) во многом является спорной проблемой
10. Определите вид тропа
The hall applauded.
А) гипербола;
Б) метафора;
В) антономасия;
Г) метонимия.
11. Выберите пример, иллюстрирующий стилистический прием «сравнение».
А) The sum grew round that very day.
Б) This fellow should have fewer words than a parrot.
В Time let me hail and climb golden in the heydays of his eyes.
Г All the moon long I heard horses flashing into the dark.
12. Определите вид тропа.
Then they came in. Two of then, a man with long fair moustaches and a silent dark man…
Definitely, the moustache and I had nothing in common.
А) метафора;
Б) литота;
В) метонимия;
Г) гипербола.
13. Определите вид тропа.
It must be delightful to find oneself in a foreign country without a penny in one’s pocket.
А) гипербола;
Б) ирония;
В) литота;
Г) антитеза.
14. Основные компоненты коннотации:
А) экспрессивный, эмоциональный, оценочный;
Б) экспрессивный, эмоциональный, оценочный, стилистический;
В) морфологический, лексический, синтаксический;
Г) узуальный и окказиональный.
15. Троп, основанный на ассоциации по смежности, например, употребление названия
материала вместо названия предмета, который сделан из этого материала («copper» в
значении «мелкие деньги»), называется:
А) метафорой;
Б) эпитетом;
В) метонимией;
Г) синекдохой.
Контрольная точка №2
Дайте определения следующих стилистических приемов:

Синекдоха –
Метонимия –
Аллитерация-
Литота –
Эпитет –
Метафора –
Обособление –
Инверсия –
1. Назовите виды повторов, которые Вы знаете:
-
-
-
-
3. Укажите, какие функции могут выполнять в тексте стилистические приемы
(не менее 3)



Определите, какие приемы присутствуют в данных отрывках и укажите

их функциональную специфику:
1. Out came the thin, butter-yellow watch again, and for the twentieth – fiftieth
– hundredth time he made the calculation
.
2. His voice is far, far too kind. The crotchets and quavers are dancing up and
down the stave like little black boys on a fence. Why is he so . . . She will
not cry – she has nothing to cry about . . . (Mansfield 1920: 140-141). – Его
голос слишком, слишком мягок. Ноты начинают танцевать у нее
перед глазами, как маленькие черные мальчики на заборе. Почему он
так … Нет, она не заплачет, не от чего ей плакать… (Мэнсфилд
1926: 91-92).
3. “Ah-Aah! sounded the sleepy sea… The sheep ran forward in little pattering
rushes; they began to bleat, and ghostly flocks and herds answered them
from under the sea. “Baa! Baaa!”... (Mansfield 1922: 2-3). – «А-аа! –
вздыхает сонное море. … Овцы бегут вперед маленькими топочущими
волнами. Они начинают блеять, и прозрачные отары и стада
отвечают им из глубины моря: «Бэ-э! Бэ-э» (Мэнсфилд 1958: 100-
111).
4. But the dusk came slowly, spreading like a slow stain over the water»
(Mansfield 1922: 213). – Но сумерки медленно ползли, темной тенью
расплываясь по воде» (Мэнсфилд 1926: 34).
5. «After I had recognized you today – I had to take such a leap – I had to take
a leap over my whole life to get back to that time» (Mansfield 1920: 236). –
«Когда я вас сегодня увидел и узнал, мне пришлось сделать огромный
прыжок, прыжок через всю жизнь, чтобы вернуться к тому времени»
(Мэнсфилд 1958: 165).
6. In the past when they had looked at each other like that they had felt such a
boundless understanding between them that their souls had, as it were, put
their arms round each other and dropped into the same sea, content to be
drowned, like mournful lovers (Mansfield 1920: 235). – Когда им
случалось обмениваться подобными взглядами в прошлом, они
чувствовали такое безграничное взаимопонимание, что их души, так
сказать, заключали друг друга в объятия и бросались в море, радуясь
тому, что идут ко дну вместе, словно несчастные любовники»
(Мэнсфилд 1958: 164).
7. But as the door shut, anger – anger suddenly gripped her close, close,
violent, half strangling her (Mansfield 1920: 264). – Не успела Мари
закрыть за собой дверь, как Моникой внезапно овладела ярость –
буйная, подступающая к горлу ярость» (Мэнсфилд 2005: 212).
8. But her words, so light, so soft, so chill, seemed to hover in the air, to rain
into his breast like snow (Mansfield 1922: 229). – Но ее слова, казалось,
носились в воздухе и падали в его душу, как снег (Мэнсфилд 1926: 48).
9. She was young, brilliant, extremely modern, exquisitely well dressed,
amazingly well-read in the newest of new books, and her parties were the
most delicious mixture of the really important people and ... artists – quaint
creatures, discoveries of hers, some of them too terrifying for words, but
others quite presentable and amazing (Modern English Short Story 1961:
126). – Она была молода, блестяща, необычайно современна,
безупречно одета, потрясающе осведомлена обо всех новейших
книгах, и на ее вечерах собиралось восхитительно разнородное
общество: с одной стороны – люди действительно влиятельные, с
другой – всякая богема, странные существа, ее «находки». Иные из
них были просто кошмарны, а некоторые – вполне пристойны и
забавны» (Мэнсфилд 2005: 34).
10. "Tuk-tuk-tuk," clucked cook like an agitated hen (Mansfield 1922: 216). –
«Ко-ко-ко! – кудахтала кухарка, как испуганная курица» (Мэнсфилд
2005: 111).
11. It was dull, stifling; the day drooped like a flag (Mansfield 1922: 164). –
Было жарко, душно; день вяло повис, словно полотнище флага»
(Мэнсфилд 1958: 313).
12. Like lightning he drew out his cigar-case and offered it to old Captain
Johnson (Mansfield 1922: 216). – С быстротой молнии он вынул
портсигар и протянул его капитану Джонсону (Мэнсфилд 1926: 37).
13. There was Mrs. Hammond – yes, yes, yes – standing by the rail and smiling
and nodding and waving her handkerchief (Mansfield 1922: 216). – Вот
стоит миссис Гаммонд – да, да, да! – стоит у перил и улыбается, и
кивает головой, и машет платком (Мэнсфилд 1926: 37).
14. Reginald's heart swelled with tenderness, but it was her voice, her soft
voice, that made him tremble (Mansfield 1922: 123). – Сердце
Реджинальда таяло от нежности к ней, при каждом звуке ее мягкого
голоса он весь трепетал (Мэнсфилд 1958: 260).
15. There was Madame behind the counter, round, fat, white, her head like a
powder-puff rolling on a black satin pin-cushion (Mansfield 1920: 267). –
За кассой сидела «мадам» – круглая, толстая, белая. Ее голова
напоминала пуховку для пудры, положенную на черную сатиновую
подушечку для булавок (Мэнсфилд 1958: 214).
16. It was long and low built, with a pillared veranda and balcony all the way
round. The soft white bulk of it lay stretched upon the green garden like a
sleeping beast… A strange beautiful excitement seemed to stream from the
house in quivering ripples (Mansfield 1920: 10-11). – Он был длинный и
низкий, веранда с колоннами и балкон окружали его со всех сторон. Он
лежал в зеленом саду мягкой белой громадой, словно спящее
животное. Казалось, дом излучает непонятную тревожную радость
и ее трепещущие волны льются в сад (Мэнсфилд 2005: 161).
17. I believe that people are like portmanteaux – packed with certain things,
started going, thrown about, tossed away, dumped down, lost and found, half
emptied suddenly, or squeezed fatter than ever, until finally the Ultimate
Porter swings them on to the Ultimate Train and away they rattle . . . Not
but what these portmanteaux can be very fascinating. (Mansfield 1920: 71).
– По моему, люди похожи на чемоданы: из набивают всякой всячиной,
везут, бросают, кидают, швыряют один на другой, теряют, находят,
вдруг наполовину опустошают, потом опять набивают до отказа,
пока в конце концов Последний Носильщик не запихнет их в Последний
Поезд – и они помчатся неведомо куда … И все-таки порой эти
чемоданы привлекают меня. (Мэнсфилд 2005: 227-228).
6. Методические рекомендации по изучению теоретического

материала
Так курс предусматривает 15 часов лекций, на которых преподаватель-
лектор освещает основные вопросы теоретических основ предмета, а также
предлагает список рекомендованной литературы, студенту, прежде всего,
необходимо ознакомиться с предложенными преподавателем
теоретическими источниками, составить конспект, а также подготовиться к
собеседованию.
Для повышения эффективности самостоятельной работы студент
должен уметь работать в поисковой системе сети Интернет и использовать
найденную информацию при подготовке к занятиям. Поиск информации
можно вести по автору, заглавию, виду издания, году издания или
издательству. Также в сети Интернет доступна услуга по скачиванию
методических указаний и учебных пособий, подбору необходимой
литературы. Также при подготовке к занятиям активно используются
электронные словари и базы данных.
Вопросы к экзамену по дисциплине «Функциональная стилистика

текста английского языка»:
1.The object of stylistics.
2. Modern linguistic trends of stylistics.
3. The concept of style in the language.
4. Stylistics and other linguistic disciplines.
5. Stylistic classification of the English vocabulary.
6. The peculiarities of the spoken and written varieties of the language.
7. Standard English vocabulary, its groups and features.
8. Special literary vocabulary, its main groups and features.
9. Special colloquial vocabulary, its main groups and features.
10. Dialectal words, their groups and stylistic functions. Vulgar words and
their stylistic functions.
11. Archaic words and neologisms, their stylistic functions.
12. Slang, its groups and stylistic functions.
13. Expressive means and stylistic devices and their difference.
14. The classification of stylistic devices. The main groups of stylistic
devices.
15. Metaphor, its types and stylistic functions.
16. Metonymy, its types and stylistic functions.
17. Antonomasia and synecdoche as special types of metonymy, and their
stylistic functions.
18. Epithet, its types and stylistic functions.
19. Hyperbole and understatement and their stylistic functions.
20. Pun, zeugma, semantically false chains, and their stylistic functions.
21. Ellipsis, apokoinu construction, detached constructions and their stylistic
functions.
22. Inversion and chiasmus, their types and stylistic functions.
23. Aposiopesis and suspense, and their stylistic functions.
24. Repetition and parallel constructions, their types and stylistic functions.
25. Syntactical types of connection, and their stylistic functions.
26. Transposition of syntactical structures: rhetorical questions and litotes.
27. Represented speech, its types and stylistic functions.
28. Climax and anticlimax, their stylistic functions.
29. Oxymoron and antithesis, their stylistic functions.
30. Simile and its types. The similarity between metaphor and simile.
31. Periphrasis, its types and stylistic functions.
32. Phonetic stylistic devices and their functions.
33. Graphical stylistic devices and their functions.
34. The classifications of functional styles.
35. The problem of colloquial style.
36. The Belles-Lettres Style and its linguistic features.
37. The subtypes of the Belles-Lettres Style.
38. The general characteristics of the publicist style. Oratory and speeches.
39. The general characteristics of the publicist style. Essays and articles.
40. Newspaper style, its definition and typical features.
41. Genres of the newspaper style.
42. The style of official documents: the language of legal documents.
43. The style of official documents: the language of diplomacy.
44. The style of scientific works and its features.
ПРИМЕРЫ ПРАКТИЧЕСКОГО ЗАДАНИЯ К ЭКЗАМЕНУ

1. Define the following stylistic devices.
1. That winter was hot for Jane. 2. The dashy night rides down the sky And
ushers in the morn 3. When a guest at a Hollywood wedding was asked what he
was giving the couple, he replied: “I’ll give them about three month”. 4. I feel on
the top of the world, I feel like million dollars. 5. For several days he took an hour
after his work to make inquiry taking with him some examples of his pen and inks.
2. Define the following stylistic devices
1. The heat danced over the corn, and, pervading all, was a soft, insensible
hum, like the murmur of bright minutes holding revel between earth and heaven 2.
The little waves, with their soft white hands Efface the footprints in the sands. 3.
She had acquired the reputation of a perfectly virtuous woman, whom the tongue
of scandal could not touch, and now it looked as though her reputation was a
prison that she had built round herself. 4. And so to his son he said good-bye. That
good-bye had lasted until now. 5. In rude health and small omnibuses, with
considerable colour in their cheeks, they arrived daily from the various termini.
7. Методические указания (по видам работ, предусмотренных

рабочей программой дисциплины)
Конспект лекций, представляющий собой краткое представление
содержания на базе рекомендованной лектором учебной литературы,
включая информационные образовательные ресурсы (электронные учебники,
электронные библиотеки и др.).
Семинар-круглый стол. Подготовка к семинару-круглому столу
начинается с распределение форм участия и функции студентов в семинаре-
круглом столе. Студентами осуществляется определение круга проблем и
вопросов, подлежащих обсуждению; подбор основной и дополнительной
литературы к теме семинара – круглого стола, а также дальнейшее изучение
литературы.
Подготовка мультимедийной презентации
Для подготовки презентации рекомендуется использовать: PowerPoint,
MS Word, AcrobatReader.
Последовательность подготовки презентации:
1. Четко сформулировать цель презентации: вы хотите свою аудиторию
мотивировать, убедить, заразить какой-то идеей или просто формально
отчитаться.
2. Определить каков будет формат презентации: живое выступление (тогда,
сколько будет его продолжительность) или электронная рассылка (каков
будет контекст презентации).
3. Отобрать всю содержательную часть для презентации и выстроить
логическую цепочку представления.
4. Определить ключевые моменты в содержании текста и выделить их.
5. Определить виды визуализации (картинки) для отображения их на слайдах
в соответствии с логикой, целью и спецификой материала.
6. Подобрать дизайн и форматировать слайды (количество картинок и текста,
их расположение, цвет и размер).
7. Проверить визуальное восприятие презентации.
К видам визуализации относятся иллюстрации, образы, диаграммы,
таблицы.
Иллюстрация – представление реально существующего зрительного
ряда.
Образы – в отличие от иллюстраций – метафора. Их назначение –
вызвать эмоцию и создать отношение к ней, воздействовать на аудиторию. С
помощью хорошо продуманных и представляемых образов, информация
может надолго остаться в памяти человека.
Диаграмма – визуализация количественных и качественных связей. Их
используют для убедительной демонстрации данных, для пространственного
мышления в дополнение к логическому.
Таблица – конкретный, наглядный и точный показ данных. Ее основное
назначение – структурировать информацию, что порой облегчает восприятие
данных аудиторией.
Практические советы по подготовке презентации
• готовьте отдельно: печатный текст + слайды + раздаточный материал;
• слайды – визуальная подача информации, которая должна содержать
• минимум текста, максимум изображений, несущих смысловую нагрузку,
выглядеть наглядно и просто;
• текстовое содержание презентации – устная речь или чтение, которая
• должна включать аргументы, факты, доказательства и эмоции;
• рекомендуемое число слайдов 10-12;
• обязательная информация для презентации: тема, фамилия и инициалы
• выступающего; план сообщения; краткие выводы из всего сказанного;
список использованных источников;
• раздаточный материал – должен обеспечивать ту же глубину и охват, что
и живое выступление: люди больше доверяют тому, что они могут унести с
собой, чем исчезающим изображениям, слова и слайды забываются, а
раздаточный материал остается постоянным осязаемым напоминанием;
раздаточный материал важно раздавать в конце презентации; раздаточный
материалы должны отличаться от слайдов, должны быть более
информативными.
Доклад. Тема доклада должна быть согласованна с преподавателем и
соответствовать теме учебного занятия. Материалы при его подготовке,
должны соответствовать научно-методическим требованиям вуза и быть
указаны в докладе. Необходимо соблюдать регламент, оговоренный при
получении задания. Иллюстрации должны быть достаточными, но не
чрезмерными.
Работа студента над докладом-презентацией включает отработку
умения самостоятельно обобщать материал и делать выводы в заключении,
умения ориентироваться в материале и отвечать на дополнительные вопросы
слушателей, отработку навыков ораторства, умения проводить диспут.
Докладчики должны знать и уметь: сообщать новую информацию;
использовать технические средства; хорошо ориентироваться в теме всего
семинарского занятия; дискутировать и быстро отвечать на заданные
вопросы; четко выполнять установленный регламент (не более 10 минут);
иметь представление о композиционной структуре доклада и др.
Структура выступления
Вступление помогает обеспечить успех выступления по любой
тематике. Вступление должно содержать: название, сообщение основной
идеи, современную оценку предмета изложения, краткое перечисление
рассматриваемых вопросов, живую интересную форму изложения,
акцентирование внимания на важных моментах, оригинальность подхода.
Основная часть, в которой выступающий должен глубоко раскрыть
суть затронутой темы, обычно строится по принципу отчета. Задача основной
части – представить достаточно данных для того, чтобы слушатели
заинтересовались темой и захотели ознакомиться с материалами. При этом
логическая структура теоретического блока не должны даваться без
наглядных пособий, аудиовизуальных и визуальных материалов.
Заключение – ясное, четкое обобщение и краткие выводы, которых
всегда ждут слушатели
Темы рефератов
1. Стиль официальных документов, его разновидности и основные
лексико-синтаксические характеристики.
2. Стиль деловой корреспонденции.
3. Стиль официальных документов.
4. Стиль юридических документов
5. Стиль научной прозы.
6. Проблема научной терминологии.
7. Газетный стиль и его жанровые разновидности.
8. Язык газетных заголовков.
9. Язык поэзии, прозы и драмы.
10. Эссе как форма ораторской речи.
11. Литературно-книжная лексика: термины, поэтизмы, архаизмы,
варваризмы, неологизмы.
12. Современный английский сленг.
13. Проблема выбора слова.
14. Неологизмы и окказионализмы и их стилистическая функция.
15. Понятия метафоры, сравнения и метонимии.
16. Поговорки, пословицы, сентенции и аллюзии.
17. Устойчивые словосочетания в речи.
18. Особенности разговорного синтаксиса.
19. Инверсия как стилистический прием.
20. Авторские фонетические средства.
21. Стилистические функции звукоподражания.
22. Способы изложения в художественном тексте.
23. Авторская речь, ее композиционные формы.
24. Несобственно-прямая речь.
25. Образ автора. Авторская точка зрения и способы ее выражения.
Тематика курсовых работ

1. Стилистическая функция смешения стилей (на примере произведений
английской и американской литературы XVIII-XX вв.).
2. Стилистическое функционирование фразовых глаголов в
современных англоязычных текстах.
3. Крылатые слова и выражения в современном газетно-
публицистическом стиле.
4. Типы и функции интертекстуальных включений в романе (роман по
выбору).
5. Лингвостилистические особенности современного английского
романа для подростков (на примере автора/авторов по выбору).
6. Использование метафоры в произведении Дж. Голсуорси.
7. Языковые средства юмора у Дж. К. Джерома.
8. Экспрессивные средства языка рекламы.
9. Использование фразеологических единиц в произведении Э.
Колдуэлла.
10. Изображение речи американских подростков в повести Дж.
Сэллинджера «Ловец во ржи».
11. Сокращения в американской (британской) прессе.
12. Сопоставительный анализ языка и стиля «качественной» и
популярной британской прессы.
13. Сопоставительный анализ языка и стиля британской и американской
прессы.
14. Изображение разговорной речи в романе С. Моэма «Театр».
15. Язык и стиль английских сентенций.
16. Разложение фразеологических единиц как прием в «Саге о
Форсайтах» Дж. Голсуорси.
17. Языковые средства выражения подтекста в произведениях Э.
Хемингуэя.
18. Форма подтекста в произведениях Гр. Грина.
19. Изображение речи мужчин и женщин в пьесе Дж. Осборна «Оглянись
во гневе».
20. Стилистическая специфика мужской и женской речи в романе «Путь
наверх» Дж. Брейна.
21. Образ автора в документальном фильме М.Мура «Фаренгейт 9/11»
8. Список литературы, использованной при составлении
методических рекомендаций
Рекомендуемая литература.
1. Основная литература:
Английский язык
английский язык. – 5-е изд., испр. и доп. – М.: Флинта: Наука, 2012. –
384 с.
2011. – 520 с.
Немецкий язык
1. Брандес, М. П. Функциональная стилистика текста текста.
Теоретический курс: учебник / М. П. Брандес. – М. : Прогресс-
Традиция : ИНФPА-М, 2011. – 413 с.2.
2. Махова, Э. Ф., Практическая функциональная стилистика текста
немецкого языка: учебное пособие для студентов 4-5 курсов по
специальности «Иностранный язык» / Э. Ф. Махова, Т. В. Неустроева;
ГОУ ВПО «Урал. гос. пед. ун-т»; Ин-т иностранных языков. –
Екатеринбург, 2012. – 266 с.
2. Дополнительная литература:
Английский язык
1. Алексеева И.С. Введение в переводоведение. – СПб.: Филологический
факультет СПбГУ; М.: Издательский центр «Академия», 2006. – 352 с.
2. Алексеева И.С. Текст и перевод. Вопросы теории. – М.:
Международные отношения, 2008. – 184 с.
3. Болотнова Н.С. Коммуникативная функциональная стилистика текста
текста. – М.: Флинта: Наука, 2009. – 384 с.
4. Казакова Т.А. Художественный перевод. Теория и практика. – Спб.:
«ИнЪязиздат», 2006. – 544с.
5. Липгарт А.А. Основы лингвопоэтики. – М.: КомКнига, 2006. – 168с.
6. Разинкина Н.М. Функциональная стилистика текста английского
научного текста. – М.: «Книжный дом «ЛИБРОКОМ», 2009. – 216с.
7. Солодуб Ю.П. Теория и практика художественного перевода. – М.
Издательский центр «Академия», 2005. – 304 с.
8. Трофимова О.В. Публицистический текст: Лингвистический анализ. –
М.: Флинта: Наука, 2010. – 304с.
9. Тюпа В.И. Анализ художественного текста. – М.: Издательский центр
«Академия», 2008. – 336 с.
Немецкий язык
1. Богатырева, Н.А., Ноздрина, Л.А. Функциональная стилистика текста
современного немецкого языка.- М., 2008.
2. Гончарова, Е.А., Шишкина, И.П. Интерпретация текста. - М., 2006.
3. Наер, Н.М. Функциональная стилистика текста немецкого языка. - М.,
2006.
4. Dale Elena Novotny. Stilistik der deutschen Sprache.Lehrmittel für die
Studenten der deutschen Philologie. - Klaipeda, 2008.
3. Методическая литература:
Отсутствует
4. Интернет-ресурсы:
1. http://netenglish.ru/ychebnitem77.html - электронная версия учебника: I.R.
Galperin English Stylistics
2. http://www.multitran.ru/ - англо-русский и русско-английский словарь
3. http://www.durov.com/estyle.htm - сайт содержит учебные материале по
лингвистике английского языка
4. http://www.classes.ru/grammar/30.Ocherki_po_stilistike_angliyskogo_yazyka/ -
учебная литература по лингвистике
5. http://www.ids-mannheim.de/prag/soziostilistik/jugend.html Проблемы стиля в
медийном и непосредственном общении молодежи - Stilbildung und
Variationspraxis in der medialen und unmittelbaren Kommunikation von
jugendkulturellen sozialen Welten

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МИНИCTEPCTBO ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ ФЕДЕРАЦИИ

Федеральное государственное автономное образовательное учреждение

МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ ПО ВЫПОЛНЕНИЮ

Специальность 45.05.01 Перевод и переводоведение

Практическое задание 1. Обсудить следующие вопросы на английском

Практическое задание 2. Сделать следующие задания:

2. Прочитайте два текста письма-жалобы. Какое из них Вы находите

Transaction ref: FR6104 Star Dear Sir/Madam

Yours faithfully, Best wishes,

Please collect the parcel from : Madam

Тема 2. Текст как объект стилистического анализа

Практическое задание 1. Проанализируйте предложенный текст.

Тема 3. Классификация функциональных стилей

Практическое задание. Определите функциональный стиль данного

9. My Lord, February 7th, 1755

10. Liverpool, 17th July 19...

11. Speech of Viscount Simon of the House of Lords:

12. ENEMY OF THE PEOPLE

16. US FIRM QUITS BISCUIT RACE

18. PREPARING A BUSINESS PLAN

19.United States Department of Agriculture

Тема 4. Выразительные средства языка и стилистические приемы

Практическое задание 1. Найдите в данном отрывке выразительные

Практическое задание 2. Определите, какие приемы присутствуют в данных

Тема 5. Лексические стилистические приемы: метафора, виды метафор;

The relation between dictionary and contextual meanings may be maintained

Практическое задание 1. Проанализируйте использование метафор в

Практическое задание 2. Найдите в отрывках случаи использования

Тема 6. Лексические стилистические приемы: сравнение, антономазия,

Simile. The intensification of some feature of the concept is realized in a

Практическое задание 1. Какие речевые средства и стилистические

Тема 7. Функционально-стилевое расслоение лексики: диалектизмы,

Практическое задание. Найти и охарактеризовать использование в тексте

Тема 8. Синтаксические фигуры: инверсия, повторение, обособление

Цель: совершенствование умения определять в тексте синтаксические

Syntactical Stylistic Devices Based on Peculiar Syntactical Arrangement

Практическое задание. Найти и охарактеризовать использование в

Тема 9. Синтаксические фигуры: параллельные синтаксические

Практическое задание: Найти и охарактеризовать использование в тексте

Тема 10. Синтаксические фигуры: анафора, эпифора, антитеза,

Antithesis is a SD based on the author's desire to stress certain qualities of

Практическое задание 1. Выделите смысловой центр и укажите

Практическое задание 2. Прокомментируйте длину, структуру,

Тема 11. Стилистическое использование фразеологизмов

A phraseological unit (PU) is “a block longer one word, yet functioning as

Практическое задание. Найти в следующем тексте фразеологические

Тема 12. Стилистическое использование вариантных форм имен

Ответить на следующие вопросы:

Практическое задание 2. Рассмотрите предложенные отрывки,

Тема 13. Стилистическое использование вариантных форм имен

Possessive pronouns may be loaded with evaluative connotations and devoid of

Pronouns are a powerful means to convey the atmosphere of informal or familiar

Тема 14. Фонетические выразительные средства

Практическое задание. Охарактеризуйте эмоциональный эффект от

Тема 15. Выразительные ресурсы графики

Практическое задание 2. Охарактеризуйте функцию использованных

Тема 16. Семантическое пространство текста и его анализ

Практическое задание. Провести структурно-смысловой анализ следующих

Тема 17. Алгоритм выполнения лингвостилистического анализа

Практическое задание 1. Провести лингвостилистический анализ текста.

МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ ПО ОРГАНИЗАЦИИ

Специальность 45.05.01 Перевод и переводоведение

1. Внеаудиторная самостоятельная работа;