in Stylistics 3rd Full · Peter Verdonk Stylistics · Кухаренко В. А. Kukharenko V. A. A Book of Practice in Stylistics · Types of Stylistics · Galperin. English Stylistics has 38 ratings and 2 reviews. The textbook discusses the general problem of style, gives a stylistic classification of English vocabul. About I.R. Galperin: Ilya Romanovich Galperin ( – ) was a notable linguist, professor of the Moscow State Linguistic University.. I.R. Galperin.

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Inna rated it really liked it Mar 14, The same idea is expressed by G.

In other words, style is regarded as something that be longs exclusively to the plane of expression and not to the plane ‘of content. This can be explained by the fact that semantic changes and particularly syntactical ones are rather slow in process and they reject any sudden imposition of innovations on the code already in action.

The phenomena then being collected and classified are hallowed into the ranks of the units of language-as-a-system. In this gapperin it is worth referring to Flaubert’s notion on style. According to the observations of many a literary critic, the style of modern literary works is much more emotionally excited, ‘disheveled’, incoherent than that of Dickens, Thackeray, Galsworthy.

They forget that regular deviations from the norm gradually establish themselves stylisttics variants of the norm; the more so because, as has been stated, ‘deviations’ of a genuinely stylistic character are not deviations1 but typified and foregrounded natural phenomena of language usage, though sometimes carried to the extreme.

Interaction of Logical and Emotive Meanings Paradoxical though it may seem, the norm can be grasped, nay, established, only when there are deviations from it.


The stream of information grows larger every month. The two objectives of stylistics are clearly discernible as two separate fields of investigation. In them there is no effect of strain.

English Stylistics

Language-as-a-system may figuratively be depicted as an exploiter of language- in-action. But stylistics must also investigate the. It is a concept which must be expressed by means of a formula, and it is a concept about that which is left of uses of language when all stylistic qualities have been taken away from them.

When the feeling of the norm, which grows with the knowledge of the laws of the language, is instilled in the mind, one begins to appreciate the beauty of justifiable fluctuations. It follows then that the term ‘style’, being ambiguous, needs a restricting adjective to denote what particular aspect of style we intend to deal with. There are no discussion topics on this book yet. They introduce various patterns which are almost undecodable and consequently require special devices for grasping the messages.

All of them4 point to some integral significance, namely, that style is a set of characteristics by which we distinguish one author from another or members of one subclass from members of other subclasses, all of which are members-of the same general class. The analogy is, of course, conventional, but it helps to understand the uniqueness of the writer’s idiosyncrasy.

But “silent thunder”, “the ors and ifs” and the like may from galprein point of view be regarded as a practical application of the principle of flexibility of the norm and from another—as a violation of the semantic and morphological norms of the English language. This, -needless to say, presupposes a perfect knowledge of the invariants of the norms. Somehow it fails to embrace such phenomena in text structure where the ‘individual’ is reduced to the minimum or stylistcis done away with entirely giving preference to non-individualistic forms in using language means.

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In this connect ion Middleton Murry writes:.

I.R. Galperin (Author of English Stylistics)

It places the whole problem on a solid foundation of objective-criteria, namely, the interdependence of optional and obligatory features.

Stylistics must take into consideration the “output of the act of communication”. Compositional Patterns of Syntactical Arrangement The second field, i.

The teaching process aims at lucidity of expression. The generative grammars, which appeared as a reaction against galperij linguistics, have confirmed that the task of any grammar is to limit the scope of investigation of. However, it is well known that the search for adequate expression often takes an enormous amount of time and mental effort. They are too many and too heterogeneous to fall under one more or less satisfactory unified notion. Open Preview See a Problem? It has now been more or less definitely outlined.

[Galperin] Stylistics(Book Fi org) | Екатерина Горбачевская –

The notion of the norm mainly refers to the literary language and always presupposes a recognized or received s t a n d a r d. Preview — English Stylistics by I. Stylitsics language of a writer is sometimes regarded as alien to lingvo-stylistics.

Variants of these patterns may sometimes diverge from the invariant stylixtics they never exceed the limits set by the invariant lest it should become unrecognizable or misleading. Language and style as embellishment are regarded as separate bodies.