The connection of S. with other branches of S. 1

Lit-re includes elements of all FS and subjects them to the estnatic function.
The distinctive features of the l-ge of lit-re:
1. the use of l.in non-lit-re has become atomotized, while in lit-re it becomes detualized or forgrounded, the opposition here b/w habitualization :: defamiliarization (familiarization)
By automatization (habit-n) we mean such a use of l., when the expression itself doesn’t attract attention. By forgrounding (defam-n) we mean the use of l. in such a way, that the use itself attracts attention and is perceived as uncommon, unusual, deautomatized, forgrounded.
Forgrounding – is the term translated by garvin from the Check term “актуализация”, used by the Prague school ling-ts. It means a figure against the background. In fact the notion of F. derives in the first place from the work of the Rus.formalist – notably Wirtok Shklovski (Шкловский) for whom the main function of art was to see the world in a new way through fam-n or ..... . If experience is habitual, perception becomes automatic.
Habitualization – is stateness (стабильность) of thought and l., lit-re employes uses of l., which dif-ze experience restoring freshness and aloteness.
Tomoshevski wrote “the old’s familiar must be spoken of as if it were new and unusual”. Mayakovski was fond of forgr-g: “раздувать из мухи слона и продавать слоновые кости”, “нервы расходились”.
2. So, lit-re brings new significants to things usual, ordinary, accepted as automatic background. The present life phenomena is a new light, to give a new and unexpected image of the familiar obj. Lit-re shows likeness in disimilar obj. and brings out contrast in objects simingly similar.
Ex. The train gasped and moaned to the stop.
Broken neck, broken hearts, broken lines and all because they won’t learn any l. but
broken l.
3. Things which are not equivalent in life are made equivalent in lit-re. Lit-re breakes many of the restrictions of the rules of the l. The elements incompatable in l. are brought together.
Ex. All the seen long; he’s hungry ribs and shoulders.
Мостовая стлалась все булыжней (Цветаева)
Мясомясая быкомордая орава (Маяковский)
4. There’re many convensions of lit-re. They’re so called “rules of laws of the game”.
5. Lit-re is char-zed by integrity. It’s highly organized and finished. The effect of literary work is determined by the sinthesis of all the elements into the whole.
Repetition. It’s hard to everestimate the significance value and importance of R. in art. It acquires harmony.
R. is the reiteration of some l-ge elements, which serves to emphasize, to acieve a harmonious presentation of ideas
Ex. Alone, alone, all, all alone,
Alone on a white, white sea (Callridge)
R. possesses considerable emotional force. The element repeated attracts the reader’s attention. It emparts additional m-ng (Scroodge went to bed again. And though it over and over and over - shows the durability).
R. may express iconically the durability or repeated action. So, it’s not only a repeated word, which may be repeated, but w-d-combinations, full s-ces, too. The repeated w-ds and s-ces may change their places (“Seam and gusset and band, band and gusset and seam, till over the butters I fall asleep and saw them on in a dream” – Th.Hood)
Traditionally rhetorics distinguishes 2 categories of verbal repetition:
- immediate repetition (come away, come away.)
- intermitant rep-n, when the reapeted iteams are separated by the w-ds
R. is a fundamental device if intensification, of rendering emotions to the narrative
Ex. Oh, my son Epsolop,
My son, my son Epsolop!
Would God I had died for thee
Or Epsolop, my son, my son! (Bible)
Accord. to the position occupied by the repeated unit, we distinguish the foll. types:
- ordinary: no fixed place of the repeated unit
- anaphora – the repetition of the 1^st w-ds of several successful s-ces or phrases
(Sonnet №61): a..., a..., a... .
- epiphora – the repetition of the final w-ds (It’s of ample use in nursary rhymes, ballads
and lumerics. It’s often confused with anticipatory use of personal pronouns)
...a, ...a, ...a:
Ex. Oh, it’s the fine life,
The life of gutter.
She has developed power, this woman – the wife of his (Galsworthy)
- framing: a...a, b...b.
- anadiplosis: ...a, a... .
- chain rep-n: ...a, a...b, b...c, c... .
- morphological rep-n: a morpheme is repeated – humorous effect
5. All expressive resourses of the l-ge are subdivided into:
- expressive means
- stylistic devices
Expressive means are those ling.forms and properties, that have the potential to make the utterance emphatic (expressive). This can be found on all levels: phonetic, graphical, morphological, syntactic and lexical. We find them in a l-ge as a system.
EM and SD have a lot of in common; but they are not completely synonimous. All SD belong to EM, but not all EM are SD (“girly, pigy” are EM, but not SD)
A stylistic device is a literary model in which semantic and structural features are blanded so, that it represents a generilized pattern. A SD is a concious and international intensification, which always conveys additional inf-n and is a char-c of the l-ge in action (speech) (The night has swallowed him up – metaphor).
EM have a greater degree of predictability than SD, which are only slightly or are not at all predictable. Em are means of intensification commonly used in speech.
The whole stock of stylistical revelant (значимый) l. means is traditionally subdivided into 2 classes: - tropes
- figures of speech
The terms and class-n have come to us from ancient rhetoric schools.
Tropes - (“tponos” – Greek) a turn, a change from literal to figurative m-ng. A deviation from logical usage to gain special effect.
Figures – (lat. “figura”) comprises two dif.spheres and fall into:

• 
  figures of construction or schemes (parallel constr-ns, anaphora, epiphora, conversion) are deviations from regular syntactical pattern to create some special effect;
  
• 
  figures of diction (alliteration, rhythm)
  

The distinction b/w them is sometimes obscure. There are a number of cases, when they are closely linked and tend to overlap (litotes, climax, zeugma).
A somewhat diff-t class-n, which is widely spread nowadays is called a Functional classification. Accord.to it all styl-ly relevant EM fall into figurative means (изобразит.ср-ва), which embrase all kinds of the trnsfer of m-ng. It may not be only: – w-ds, but
- w-combinations
- phonemes
- rhythm
- syntact.str-res
Expressive l-ge means, which don’t evoke images, but intensify the expressive power of an utterance through special arrangement of the w-ds and other means.
Modern classification. The present state of development of liguistics allows to give a new interpretation of accumulated (накопленные) facs.
Thus many ling-ts (Paulo, Arnold, Ahmonova) refer tropes to the paradigmatic level, because they may be regarded as paradigmatic units in the mind of the reader, because they may be based on the associations of a chosen w-d with others close to it in the m-ng (She is a beutiful loli of the valley). Schemes or figures of construction are regarded as syntagmatic unit, because they are based on the lineal char-re of speech on the influence of context (I kissed thee ere (before) I killed thee – Shakespeare).
Some ling-ts (Galperin) suggest one more stylistical opposition – the opposition b/w traditional sifnifiers ( and that is b/w normally fixed in the l-ge and doesn’t depend on context) and situational signifiers (that is what exist only in certain context: b/w usual and occasional).
This styl.oppsition is closely connected with the problem of the norm and its deviasions.
The stylistic approach to dif.aspects of a l-ge (voc-ry, grammar, sounds) determines the subdivision of stylistics into:

• 
  the styl.lexicology
  
• 
  the styl.semasiology
  
• 
  the styl.grammar (syntax...)
  
• 
  the styl.phonetics
  

Figures of const-n are studied in the styl. syntax; figures of dicion. – in the styl.phonetics; tropes are the subject of the styl.semasiology.
Semasiology is the science of m-ng and change of m-ng. The styl.semasiology is the science of styl-ly relevant change of m-ng. It studies expressive means on the basis of semantic interrelations and changes of m-ng in w-ds, w-combinations or sent-ces.
In tropes transferred m-ng is practically the interrelation b/w 2 types of lex.m-ng:

• 
  dictionary (logical, direct)
  
• 
  contextual contextual m-ng of the w-d is set up (противопост.) against the direct m-ng (Some of books should be tested, some – swallowed and very few – chewed and dejested)