STYLE

Lecture 2

1 The notion of style

The main notions

Style – variation in language use, whether literary or non-literary.

Register – those systemic variations in linguistic features common to particular non-literary situation e.g., advertising, legal language, sports commentary.

Style-shifting – variation of style according to medium and degree of formality.

Definition

Style – a distinctive set or sum of linguistic

features that seem to be characteristic of register, genre or period, etc.

Author’s style – the set of features, peculiar to, or characteristic of an author, his or her language habits or idiolect.

Each – the same stock, but – choice!

Choice in style

Style – in terms of choice: the selection of features partly determined by the demands of

genre, form, themes, etc.

All utterances have a style, even if they might seem relatively “plain” of unmarked: a plain style is itself a style.

2. Classification of functional styles

Definition of functional style Prof. V. Vinogradov’s and

I. Halperin’s view: a functional style is a system of coordinated and interrelated,

interconditioned language means intended to fulfill a specific function and aiming at a definite effect.

Functional styles

are products of a certain concrete task set by the sender of the message.

appear mainly in the literary standard of a language.

Taken together all the FSs make up the entire system of language: each FS = neutral language means +

specific elements.

Prof. Skrebnev’s view:

language contains an indefinite number of sublanguages,

each subL. contains all the signs of language, but it serves a specific sphere of communication.

Each subL. consists of units of 3 classes:1. absolutely specific units

2. semi-specific units

3. common (neutral) units (enter into all sublanguages).

FS is the sublanguage specificity – all that is specific in a sublanguage belongs to style.

The problem of classification Is the colloquial style a FS or does it

belong to oral speech? Is there a specific poetic style? How many FSs are there in a

language?

Any classification -> simplification and is conventional and arbitrary.

Changes in FSs

Each FS is a relatively stable system at a given stage of the development of the language.

But it changes from one period to another, influenced by changing social conditions, the progress of science and culture, the development of language.

Classifications

Prof. Budagov: 1. the language of science +2. the language of emotive literature.

Prof. Naer - 3 mega styles catering for: 1. the sphere of professional and business

communication;2. the sphere of mass communication;3. the sphere of aesthetic communication.

The major universally accepted FSs:

1. The language of belle-lettres the language of poetry the language of emotive prose the language of drama

2. The publicistic style the language of oratory the language of essays feature articles in newspapers

3. The newspaper style brief news items newspaper headings notices and advertisements

4. The style of scientific prose:

the language of the humanities; the language of the exact

sciences; popular science prose.

5. The style of official documents:

the language of diplomatic documents

the language of legal documents

the language of military documents

6. The colloquial style - ?

Scientific prose properPopular science prose

The style of scientific prose

General characteristics

The purpose – to prove a hypothesis, to create new concepts, to disclose laws, to describe different phenomena

=> the language means of the style are objective, precise, unemotional and devoid of individuality.

Generalized forms of expression, new words are often coined.

Lexical features

the excessive use of terms; literary and neutral words mainly in

their direct meanings; complete absence of standard

colloquialisms, dialect, slang or vulgar words;

comparatively limited vocabulary; smaller range of word-building patterns, selective use of pronouns (I – we).

Terms

- a word used in a branch of science in its direct referential meaning to name a certain scientific concept.

Greek and Latin words and forms (datum – data, formula – formulae),

abbreviations (TB),

polysemantic words – avoided.

Syntactic features

Structures prompted strictly by logical thinking: On the one hand, … on the other hand… Firstly …, secondly … The former …, the latter …

Participial constructions – before the modified word.

Complex sentences prevail over compound sentences.

Trends within scientific prose science prose proper

all of the above popular scientific prose

the author has to bring his idea home, he uses comparisons with things known

to the reader, metaphors which would illustrate his

point, but: their function – purely

communicative.

Summary

1. The use of terms.

2. The absence of any contextual meanings.

3. The logical sequence of utterances.

4. A developed and varied system of connectives –

to indicate the interrelation between sentences.

5. The use of quotations and references.

6. The frequent use of footnotes.

7. The impersonality of writing – mainly revealed in

the frequent use of passive constructions.

8. The frequent use of the following words: suppose, assume, presume, conclude, infer, point out, etc.

•the language of poetry•the language of emotive prose•the language of drama

The belle-lettres style

Function

Halperin: the main function – aesthetic-cognitive.

The reader is made to see the writer’s vision of the world,

to participate in the act of creation,

to experience the pleasure derived from the form.

Linguistic features

1. Genuine imagery achieved by linguistic stylistic devices.

2. The use of words in contextual meanings.

3. The individual choice of vocabulary – reflects the author’s personal evaluation of things.

4. A peculiar individual selection of syntax – reflects the author’s frame of mind.

5. The inclusion of elements from other styles, especially from the colloquial style.

The language of emotive prose

changes from author to author; the imagery is not so rich as it is in

poetry; combination of the literary variant of

the language (both in words and syntax) with the colloquial variant;

two forms of communication: monologue (the writer’s speech) and dialogue (the speech of the

characters).

The language of drama

almost entirely dialogue, but – stylized; the author’s speech – the playwright’s

remarks and stage directions.

16th century plays – iambic pentameter, rhymed or unrhymed (dramatic poetry);

late 18th century – revival of drama: individualization of each character’s speech , language – a stylistic type of the spoken

variety.

Characteristic features of drama1) redundancy of information:

the necessity to amplify the utterance for the sake of the audience;

2) the spoken language tends to curtail utterances, but – not so extensive as it is in actual dialogues;

3) the monologue in plays is never interrupted;4) a succession of questions

(never in ordinary conversation);

5) the language of plays is already purposeful (the sequence of sentences reflects the sequence of thought and is directed by the playwright).

The language of poetry

Classical poetry – normative, it was regulated by rigid rules: common words were banished, special lofty, elevated vocabulary was

prescribed; the pronouns of the 2nd person singular

(thou, thine, thyself).

The language of poetry

Modern poetry – nearer to colloquial speech,

but – traditions in the rhythmic and phonetic arrangement of the utterance: syntax and semantics comply with the

restrictions imposed by the rhythmic pattern semantics: brevity of expression, epigram-like

utterances and fresh unexpected imagery; syntax: elliptical, fragmentary sentences,

detached constructions, inversion, asyndeton, etc.

Component patterns of rhythm1) alternation of stressed and unstressed

syllables;

2) equilinearity (equal number of syllables in each line);

3) a natural pause at the end of the line(the line – a more or less complete semantic unit);

4) identity of stanza pattern;

5) established pattern of rhyming.

The language of poetry

Modern versification sometimes deviates from these rules, free verse borders on prose.

The most important feature of the poetic substyle – its volume of emotional colouring.

Emotiveness is compressed and substantial.