Article.
Viktoriya Andrushenko УДК 81’42 SYNTACTICAL-STYLISTIC DEVICES AS EMOTIVE-EXPRESSIVE
COHESIVE FACTORS OF THE BELLES-LETTRES STYLE TEXT STRUCTURE ORGANIZATION The syntactical means as stylistic expressive-cohesive
devices of the belles-letters style text structure formation are traced. The
manifestationof the stylistic means on the syntactical level due to coherence
category realization within the supra-phrasal unity is considered. The functions of stylistic markers as expressive-emotive
intensifiers and activators of implicit deeper meanings codified within the
belles-letters style text unity are analyzed. Keywords: stylistic means, syntactical cohesive
devices, coherence category, supra-phrasal unity, structural emotive patterns,
implicit deeper meanings. The specificity of
the internal belles-letters style text system research, its formal
materialization and contensive filling (V. Dressler, M. Halliday,
I. Halperin, R. Hasan, O. Moskalskaya, E. Selivanova,
H. Solhanyk, A. Zahnitko, etc.) determined by the list of the
coherence category realization linguistic means
(cohesion / coherence) allow to trace both structural and semantic
peculiarities of the cohesive belles-letters style text whole organization
within the supra-phrasal unity (SPU). The existed attempts of the text
structure analysis concerning its stylistic means and devices manifestation on
the syntactical level are lack of their interpretation as strong formal
cohesive factors of the text unity, on the one hand, as well as their being the
most prominent expressive identifiers and explicators of the
emotive-communicative and contensive-informative layers of the text structure,
on the other hand. Thus, the purpose
of the study is to qualify the stylistic devices manifested on the syntactical
level as significant cohesive formal markers and determinant expressive
representatives of the belles-lettres style text structural and sense-emotive
organization. The analysis of this issue demands the consideration of the
following tasks: 1) to trace the cohesive
structural stylistically marked patterns determined by the grammatical type of
the coherence category representation within the belles-lettres style
supra-phrasal unities; 2) to identify the syntactical stylistic means and devices as primary
expressive indicators and major emotive explicators of the dynamic content
development of the analyzed belles-letters style text whole and its deepest
implicit-informative and sense-communicative ties. The novelty of the research is defined by the necessity to distinguish
stylistic devices as principal cohesive expressive grammatical-syntactical and
communicative-informative factors of the belles-letters style text unity
formation. According to
A. Hill, the connection between sentences within a text boundaries is
provided with the different stylistic means such as ellipsis, syntactical
parallelism, interrogative sentences, gradation, etc. (quoted by
[Селіванова 2010: 468]), that are mostly realized on the syntactical
level. At that, the
problem of distinguishing stylistic devices as both cohesive
syntactical-grammatical and emphatic-expressive markers of the belles-lettres
style text unity is immediately related to these two basic principles – either
symmetric or asymmetric – of the belles-lettres style text structure formation.To
E. Berehovskaya’s mind, the differentiation of all the means of the
coherence category representation within the belles-lettres style text
structure is carried out in regard with the two main principles: symmetric (lexical repetition, lexical
(syntactical) parallelism, etc. which enhancing the expressivity of a text
continuum cause the stability, fixation, consistency and logical development of
its organizational formal-contensive structuring) and asymmetric (they are inversion, ellipsis, rhetorical question,
parcelling, segmentation, etc. which intensify the emotionality of a text
and provoke its tension functioning in a reversed order, giving the impression
of a structural chaos and thus breaking the state of a syntactical placidity
within a phrase by means of a language symmetry deliberate destruction) ones
[Береговская 2003: 90]. Therefore, there is
a strong necessity to define the essence of a phenomenon ‘a stylistic device’
(SD) according to I. Halperin’s interpretation: ‘It is a conscious and
intentional intensification of some typical structure and / or
semantic property of a language unit (neutral or expressive) promoted to a
generalized status and thus becoming a generative model’ [Гальперин 1981: 30]
and that statement formulated by V. Kukharenko: ‘The language is viewed as
the code to shape the information into the message, and the supplier of the
information, respectively, as the encoder’ [Кухаренко 2000: 10]. The
latter gives all the grounds to consider SDs as a special language code that
helps the reader to catch the conceptual idea of the text codified in it by
means of the linguistic markers determined by the coherence category
realization on different language levels. Thus, taking into consideration
I. Halperin’s definition of a stylistic device, E. Berehovskaya’s
approach to the differentiation of all the linguistic means of the coherence
category representation within the belles-lettres style text unity in
accordance with the symmetric and asymmetric vectors and V. Kukharenko’s
assertion concerning the nature of SDs as a specific emphatic-emotive language
code with the help of which it is possible not only to trace the principles of
the belles-lettres style text whole structural formation, but to elicit its
essential conceptual-informative and implicit-contensive sense ties which are
strongly intensified and activated being expressed by these SDs
correspondingly, we, in our turn, regard SDs to be a prominent cohesive
emphatic-emotive grammatical-structural factor, referring to its most
expressive manifestation just on the syntactical level, as well as a
sense-informative activator of the implicit deeper relations within the
belles-lettres style text unity formal-contensive organization. As a result, the
symmetric realization of SDs on the syntactical level is represented by lexical
and syntactical parallel repetitions (they are also different types of the
lexical repetition – whether synonymic, antonymic, derivational, hyponymic,
rephrasing or thematic). One of the most
emphatic symmetric SDs is lexical repetition (or lexical
parallelism), used when the speaker is under the stress of strong
emotion: She wanted to help him. He made
a call upon her pity and tenderness that no one had ever made before,
and the pity was not so much derogatory of him as maternal in her. Her pity
could not be of the common sort, when the man who drew it was so much man as to
shock her with maidenly fears and set her mind and pulse thrilling with strange
thoughts and feelings (London 2004: 59) (the structural-formal
coherence of the sentences within the SPU boundaries is provided with the
expressive lexical parallel repetition represented by the lexeme pity that activates the deeper sense of
the main characters’ tender, tremulous and affectionate attitude to each
other). Moreover, lexical
repetition (parallelism), in regard with the placement of a repeated component
either at the beginning or at the end of a sentence, may be distinguished as
follows: Anaphoric repetition: Poetry, however, was his solace, and he read
much of it, finding his greatest joy in the simpler poets, who were more
understandable. Poetry, like music, stirred him profoundly, and though
he did not know it, he was preparing his mind for the heavier work that was to
come (London 2004: 57) (the lexical anaphoric repetition poetry determines the structural
cohesion of the sentences within the SPU as well as their emphatic
meaningful-contensive integrity that grounds on the protagonist’s greatest
desire to succeed in writing as a career). Epiphoric
repetition: It was true, it was an unusual kiss.
There had been no quick, vigorous lip-pressure such as should accompany any kiss.
It was the kiss of a tired woman who had been tired so long that she had
forgotten how to kiss (London 2004: 43) (the cohesive
grammatical-informative combination of the sentences of the SPU is witnessed by
the emotive epiphoric word-lexeme kiss
which reveals the tragedy of hard-working people who almost forget what it
means to be a human being deathly exhausted with a constant toil). Another variety of
repetition that tends to intensify the impact of an utterance and functions as
an important cohesive grammatical-semantic marker of the text structuring is a synonymic
one: Strength! Strength was
what she needed, and he gave it to her in generous measure. And when he had
gone, she would return to her books with a keener zest and fresh store of energy
(London 2004: 70) (the structural-communicative interrelation of the
sentences within the one SPU is based on the repetition of the synonymic
lexemes strength – energy as the
activators of the implicit deeper meaning of the vital necessity for each person
to love and to be loved). In order to
strengthen the given information and to attract the recipient’s attention the
author is usually inclined to use antithesis as a prominent stylistic
emotively and expressively coloured device by contrasting some significant for
the context concepts: But Martin could
not come down from the height. Not even the bestiality of the allusion
could bring him back to earth (London 2004: 97) (the antonymic
opposition of the two lexemes height –
earth provides, on the one hand, the formal cohesion between the elements
of the analyzed SPU and their contensive integrity within the latter
boundaries, on the other hand, that is determined by the covert meaningful
sense of a person’s boundless happiness when being in love). Though, the SD
which really predominates in the belles-lettres style text structure is a syntactical
parallel construction (mostly complete) represented by an identical,
similar syntactical structure in a close succession of two or more sentences
within the SPU: Every page of every book
was a peep-hole into the realm of knowledge. His hunger fed upon what he read,
and increased. Also, he did not know where to begin, and continually
suffered from lack of preparation. The commonest references, that he could see
plainly every reader was expected to know, he did not know (London
2004: 48) (the parallel complete construction he did not know serves as a cohesive grammatical marker of the two
sentences within the SPU on the syntactical level that intensifies the main
character’s emotional state of mind based on nothing but the understanding of
his own illiteracy and ignorance). Another
SD that grounds on parallel (anaphoric) rhetorical questions appears to be rather
important from the structural and informative points of view: It was their ignorance that astounded him. What
was the matter with them? What had they done with their educations? (London
2004: 230) (the anaphoric parallel rhetorical constructions of both
sentences within the SPU are organized structurally by means of the special
question word what actualizing at the
same time the protagonist’s negative feelings and emotions aroused by the
ignorance of the students who he considered to be rather well-bred and
educated). It is evident that
the conceptual-informative content of the belles-letters style text structure
provides the development of the text unity continuum with the tendency to the
emotive-psychological narration of the events (the intensification,
development, resolution of inner conflict) that are often expressively and
emotively marked being represented by the destruction of the typical cohesion
forms on the syntactical level as a textual-formative factor. It is all about the tendency of the coherence category indicators
realization to the asymmetry manifested by incomplete syntactical
constructions: incomplete sentences
(IS) proper and contextual,
parcelled, abandoned, segmented and elliptical
ones [Загнітко 2001: 72]. The reason for its representation is the
emotive tension provoked by the main characters’ inner-psychological state that
causes the sense-emotive expressive dominants functioning in the belles-lettres
style text unity with the tendency to syncretism within the actual syntax
boundaries – the increase of the quantity of syntactically and logically
incomplete phrases; the destruction of the SPU integrity, etc. [Загнітко
2001: 72]. This well-grounded
thought coincides with the other scholars’ considerations: ‘… segmentation,
parcelling, incomplete sentences appear to be the expressivity intensification
and the new information actualization (rheme) means’ [Бобрикова 2008: 14]
or ‘… incomplete constructions (ellipsis, parcelling, syncope, segmentation,
contextual incompleteness) are tightly connected with the lexical-syntactical
environment of the text which they are based on in the plane of content as well
as in the plane of expression, and beyond which they are deprived of the meaning
being not recognized adequately from the formal point of view’ [Бабенко
2005: 190]. Just IS (parcelled, abandoned, segmented and elliptical) are regarded to be specific markers of the cohesion typical forms
destruction that function as prominent emotive representatives of the sense
intensification of the belles-lettres style text formation and basic
expressive-emphatic activators of its most significant implicit-informative
ties. Thus, the
characteristic of parcelling is a conscious separation by the author of the
fragment from the basic part, the intention to actualize the parcelling with
the emotional-influential and intensifying-emphasized informative aim
[Бобрикова 2008: 13]: Life was to
him like strong, white light that hurts the tired eyes of a sick person.
During every conscious moment life blazed in a raw glare around him and upon
him. It hurt. It hurt
intolerably (London 2004: 363) (the emotional expressive narrative of
the text message is witnessed by the presence of the parcelled parallel structures
It hurt – It hurt intolerably that
intensify the prominent meaning of the whole SPU – the fighting attempt to
overcome the desire to survive by the person who is about to commit suicide). Elliptical sentences
predetermining the absence of the main parts of a sentence – either subject or
predicate – emphasize the emotive filling of the imparted context and indicate
the implicit conceptual-informative meanings contained in it: How different was her palm! He thrilled
deliciously at the remembrance. Like a rose-petal, he thought; cool
and soft as a snowflake (London 2004: 40) (the elliptical postpositive
sentences represented just by one simile with the omission of the main parts of
a sentence explicate the implicit deep meaning of the protagonist’s admiration
for the girl as a fairy, divine, goddess). One of the
wide-spread destructive-asymmetric means of the belles-lettres style text
structure formation is stylistic inversion that aims at
attaching logical stress or additional emotional colouring to the surface
meaning of the utterance [Гальперин 1981: 204] by means of indirect
word-order (either the placement of the object at the beginning of the
sentence, the attribute in postposition, the predicative before the subject or
the adverbial modifier at the beginning of the sentence, etc.): The bubbles rubbed and bounded like tiny
balloons against his cheeks and eyes as they took their upward flight. Then came
pain and strangulation (London 2004: 367) (the
stylistically inversed predicate came
in relation to the subjects pain and strangulation reveals the implicit
conceptual idea of the considered belles-lettres style text unity – the
character’s torments and misery, which he experienced all his life, do not even
leave him at the moment of his death). In conclusion, it
should be pointed out that symmetric-asymmetric SDs such as lexical,
syntactical parallel repetition (parallel (anaphoric) rhetorical
questions), stylistic inversion, ellipsis, parceling, etc. are considered
to be strong cohesive grammatical-syntactical markers of the belles-lettres
style text unity organization as well as its most emphatic, emotive and
expressive means from the stylistic point of view functioning as special
linguistic codifiers of the essential implicit deeper meanings and senses which
the conceptual-communicative idea of the belles-lettres style text whole is
based on. Thus, the
consideration of the coherence category formal markers representation on the
syntactical level within the belles-lettres style text unity structuring as
strong stylistic emotive-expressive devices witnesses the possibility to
penetrate into the most deepest covert senses of the analyzed belles-lettres
style text whole, to realize its conceptual content and to catch the main idea
conveyed due to various stylistic-syntactical patterns. The problem of
structural formation and contensive filling of the belles-lettres style text
unity determines the necessity of enlarging upon the prominent markers of its
organization by means of their exploring on all the linguistic levels and
examining from the stylistic, semantic, pragmatic points of view.
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London : Macmillan and Company Edition, 2004. – 367 pp. Простежено синтаксичні засоби як стилістично-експресивні зв’язувальні
чинники формування художньотекстової структури. Розглянуто вияв стилістичних
засобів на синтаксичному рівні реалізацією категорії зв’язності в межах
надфразної єдності. Проаналізовано функції стилістичних маркерів як
експресивно-емотивних інтенсифікаторів та активаторів імпліцитно-глибинних
смислів, що закодовано в рамах художньотекстового утворення. Ключові слова: стилістичні засоби, синтаксичні зв’язувальні чинники,
категорія зв’язності, надфразна єдність, структурно-емотивні зразки,
імпліцитно-глибинні смисли.
Available 2 September 2013. |