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

participles (present and past)

4. Another form of an E is combining a phrase or a whole s-ce into an attribute.
Ex. She had a wide, cool, go-to-hell mouth.
She was in one of her why-did-I-ever-marry-you moods.
Such E-s are called phrase E-s or loose compounds. They help in a rather consise (сжатая) form to express the emotional attitude tawards the object or phenomenon. They are extremely char-c of English. They may be used for humorous or satiric purposes.
Another str-ral type of E, which is peculiar Eng. is called riversed E.
Ex. “A monster of a dog”.
It is based on the illogical synt. relations b/w the modified noun stands in the position of the modifier (“pepper of a man”, “his moon of a face”). The change in the position gives the modified noun high emotional colouring. Such E-s are compressed similes (A very idiot of a cattle).
E-s may be diff-t not only in str-re, but in the manner of application. Most often one w-d or E are used (The fat boy chuckled joyesly)
Sometimes E-s are used in pairs (The Old Year was going to pass gently and calmly away). Sometimes there are pilling of E-s. Such chains of E-s give a many-sided representation of an object or phenomenon.
E-s are usually used in preposions, when used in post-positions they create a special emotional colouring to the utterance (“deep, steady grey eyes”). E-s may become tritted, hakned (избитый) through long and frequent use (“deep feeling, bright smile”). They may stick to the defined w-ds and as such are called fixed or traditional folklor, which is char-sed by such E-s as “golden hair”, “sweet smile”.
There are ability and flexibility of the E, which make it one of the most widely and frequently used stylistic devices.
Personofication – is a troup, in which inanimate objects or abstract ideas are endowed (наделены) with human qualities. It’s gram-ly expressed by the pronouns: thou, he, she, they. Besides pr-ns the marks of P are capital letters. P may take a form of address: objects or ideas are addressed as living persons, sometimes it may be an address to an absent and usually deciesed (dead) person. This type is called Apostrophy.
Ex. Blow, blow, thou, winter wind.
Свет мой зеркальце, скажи!
Functions:

• 
  makes the discription more bynamic
  
• 
  helps to create the general mood
  
• 
  serves to present the writer’s vision of the world to reflect his phylosophy
  
• 
  sometimes it creates the epictone of narration. It makes the abstraction tangable.
  

7. In reality and lit-re (which is the reflection of reality) texts often contain a mixture of registers, dialects, sociolects, discourses, which are voven together. Thus, we can speck about hiteroglossia or interdiscoursivity. In life, in each situation, we choose the register or the functional style, which is appropriate. Disregarding conventions of this time may lead to embaracement or abusement.

There is an unspoken role, limiting this or that functional style or register to this or that sphere of com-n or situation. But rules are made to be broken.
Patterns of mixing styles or registers (this device is partialy linguistic and partialy logical. It may be based on:

• 
  the incongruity of stylistic aspects of elements – w-ds
  
• 
  the situation, described; l-ge, employed (The cabman dashed his hat upon the ground rackless disregarded of his own private property. – colloqial and official registers)).
  

1. high-flown and low-flown elements. Archaic or elevated l-ge is naturally invested with
dignity and solamnity(торжественность), which come from its association with a
noble literary achivements of the past. But the step from the sublying to the rediculous
is very short. So, when there is an incongruity (возвышение) of the tone and povity of
emotion, triviality of the subject matter, it produces a comical effect
Ex. - The nymphs are departed
Departed have no adress.
- “Lessons Of War” by H.Reed
2. poetic and business style
Ex. 2 письма:
- Дорогая Любаня! Когда же наша свадьба?.. Твой Вася.
- Уважаемый Василий! Можно приступить к решению вопроса о бракосоче-
тании…
3. poetic and neutral (“Oldingtone”)
4. colloquial elements introduced into formal style may produce a general toning down
Ex. Religious convictions are such an easy excuse for being nusty.
5. terminology or business discourse introduced into poetic one → comical effect
6. interlective and colloquial patterns
7. sometimes the incongruity lies not so much in mixing dif.registers, but in the relation
b/w the l-ge. The result is a comical effect:

• 
  when the subject matter contradicts the softness of the l-ge (J.K.Jerome “3 Men In a Boat”)
  
• 
  the discreapency b/w the object described and the informality of voc-ry. It results either in comical or ironical effect or sometimes it may create a pathetic colouring (Marley was dead, to begin with. There was no doubt. As dead as a door nail)
  

Interdiscoursivity
Discourse is an exchange of m-ng in the interpersonal context. Traditionally. D is divided into: - written

• 
  spoken
  

Spoken one is often considered to be less planned but more spontanious and open for the intervention of the receiver. However, there are some kinds of the spoken D, f.ex. public speech, which are carefully and fully structured and have typical features of written D. Some kinds of written D have much in common with spoken D. So a more fundamental dif-ce lies b/w formal (planned)D, both written and spoken, and informal, which is associated with oral speech.
Successful production and understanding of D is based not only on the knowledge of l-ge, but also involves prexistant knowledge of the world. Such world and social knowledge (background) is crusial for com-n. We certain mental presentations of typical situations, which are called knowledge str-res or schemata (scripts). They enable us to predict the contence of the particular situation described in the D. This ability allows us to dif.D types depending on our purpose. In lit-re, dif. types of D may be invaded into the narrative, into the receiving text. Interdiscoursivity and this phenomenon result in dif. effects.
Int-ty is determined by the social and cultural peculiar of the epoc or period.
The 18^th c. is the age of enlighment of the development of science and it found its expression in the invasion of the scientific and phylosophical D, into the narrative prose. The aims of these D invasions were different:

• 
  to create versimilitude (правдоподобие)
  
• 
  the aims of parody or satire (the overuse of scientific D in the situations, which don’t require it) (Stern “Tristam Shandy”)
  

The int-ty of this century finds this expression in the use of scientific voc-ry, phraseology, figures, etc. and also in allusions to famous scientists, quotations, phylosophical tritises.
In the 19^th c. (the Vict. age), the sourses of int-ty are biology and sociology, which invade the narrative D (Th.Hardy “Nature Becomes a Ch-re”). The life of people is predetermined by nature.
The lit-re of the 20^th c. is char-sed by following types of D:

• 
  mass culture
  
• 
  cinematography
  
• 
  mass media
  
• 
  rock/pop culture
  

The most important of them is cinematograohy which influenced not only the l-ge (allusions to film stars, etc.), but also the making up of lit-re works. The effect of montsge, flashbacks, blowups, closeups, etc.
Another example of int-ty is protocol prose. One of the types of int-ty of our country is the introduction of meta-ling. D, lit-re critism into lit-re; the metaphor is a curse of civilisation...
Dif. writers can employ dif. types of int-ty (A.Hailey “The Final Diagnosis”)