Usage of stylistic devices in the process of language acquisition

USAGE OF STYLISTIC DEVICES IN THE PROCESS
OF LANGUAGE ACQUISITION


Abstract
The role of literature, in particular the use of stylistic and literary elements in the language acquisition process of students, is discussed in this article. Furthermore, the field of stylistics is explained in terms of methodological concepts as well as stylistic device instances.
Keywords: literature, language, stylistics, stylistic devices, fiction
Literature in the language classroom is often frowned upon by teachers. The beliefs are also evident in the historical separation between the study of language and the study of literature, which has contributed to the limited position of literature in language classrooms. It cannot be denied that using literary texts as an instructional tool can be very beneficial. The current paper also discusses many approaches to teaching literature that give justification in the language classroom (LCR) based on the notion that literature is language and that language can be literary.
Because they are more than structure and structured masters, English teachers should focus their efforts on enabling students to build communication skills. It also implies that argument should be viewed in its entirety, in terms of both social and cultural contexts. Literature is undeniably a significant instrument for teaching language and correctness in the EFL classroom. It's also clear that EFL speakers are still trying to grasp the nuances, creativity, and flexibility that distinguish English standard and transaction types. Different discourse forms or classifications reveal distinct differences between literary and non-literary discourses. Short describes this as a boundary battle over territory between linguists and literary critics, and it illustrates the historic split between language and literature.
The truth is that the boundary between literature and language is a phony dualism, because literature may be literary as well. It's simple to locate examples of conventional commercial forms of speech that employ a wide range of literary styles. Commercials and headlines are common instances of discourses that export literary language.
Explicit use of stylistic devices like imagery, alliteration, registry, ellipsis, and rhythm is more common in literature than in transactional language. Widdowson is correct in claiming that the techniques for interpreting literary discourse are essentially the same for all types of speech. [3, p. 87] [3, p. 87]
Approaches to teaching literature: - Including literature in EFL, ESL, or LT classes is, of course, beneficial for the learners' language development.
Let us assert that language instruction is beneficial not just now, but throughout history. It's worth noting that literature is understood and remembered through the use of a language. Stylistics is a complicated and varied branch of linguistics. The full speech activity of a person is covered by the realm of its theory and practical implementation. In the diversity of society's and individual's lives in modern society. Stylistics formulates the principles of linguistic means utilization in relation to the tasks in front of speakers or authors It aids in the selection of words that are similar in meaning but not identical. linguistic means that are entirely identical and most appropriate in a given speech context.
Because language is in constant evolution, stylistics must account for historical changes in the language and rely on evidence from the language's history, lexicon, and grammatical structure in order to provide an accurate stylistic judgment of a linguistic phenomenon.
Linguistic stylistics is concerned with the stylistic properties of linguistic means and how they are used in various speech styles. Literary stylistics is the study of a writer's personal style, as well as the use of ideological and artistic material based on the work's ideological and artistic content, the author's goal, and the genre and subject matter.
The stylistics of speech examines individual real-world writings to see how they convey information, not just obeying the rules of grammar and stylistics, but also deviating from them. The literary style is useful in the fields of visual and verbal art, as well as all types of fiction. As a result, it is frequently referred to as the "language of fiction" in linguistics. The largest range of stylistic usage of common language methods distinguishes fiction language. It employs a variety of techniques, including vernacular, dialectic, jargon, antiquated words and forms, and neologisms, in addition to literary devices. As a result, it holds a unique place in the language's functional style system.
A work of fiction must be related with the author's entire body of work; it must be evident what characteristics of his period the author shown, how important the topics highlighted by him are, how typical the characters created by him are, and what common human problems the author poses. Every work has a significant amount of the creator's personality, but there is also something that transcends this individuality and reflects the spirit of the time, the historical experience of the era, and the experience of all mankind.
When evaluating, it's necessary to show where this or that character fits into the work's image system, what his viewpoints are, his range of interests, what's typical of him, and what characteristics are distinctive to him as a unique human personality. It's crucial to figure out how the writer uses art to expose the images of his heroes, such as how the character seems on the outside, in the way he dresses, speaks, and interacts with the environment. It's crucial to pay attention to what the author writes about the hero, how other characters perceive him, and how his speech portrays him.
A literary hero's image must be portrayed in all of his complexity, in various links with the environment, with life, and in the character's movement, evolution, and relationships with others. It is necessary to present the image in juxtaposition to other characters in order to fully reveal it. It is crucial to emphasize the most important lines along which the comparison will be conducted when comparing the characters. First and first, significant disparities in philosophical and life stances, opinions, and behavior must be demonstrated. In order to communicate your perspective when analyzing a literary work, you must first evaluate the author's attitude toward what is depicted, its conditionality, and the creative method of the image.
The reasoning must be backed up by a system of proof, including the work's material and quotations. It is not necessary to examine every scene in which the hero appears; instead, focus on the important episodes that highlight the character's main characteristics and the diversity of his image. Every word has a nominative meaning in the English language. It aids in the connection of speech to reality and the expression of ideas. Most words are part of an associative array and have a secondary symbolic meaning, which is usually figurative. Poets and authors use such lexical properties to produce works of fiction, and this phenomena is known as stylistic devices.
Words or turns of phrase with a metaphorical, allegorical connotation are known as stylistic devices. Devices have a vital role in creative thinking. The employment of devices in creative speech develops new combinations of words with new meanings, enriches speech with new shades of meaning, transmits that meaning, the shade of meaning that the speaker requires, and expresses his appraisal of the phenomenon to the specified phenomenon. Stylistic devices are common in everyday speech, but tropes are especially common in artistic and literary creation because they assist the writer to individualize and appraise the phenomena he is discussing. Metaphor, metonymy, personification, hyperbole, simile, and other stylistic elements are examples.
Onomatopoeia is a word that imitates the sound it represents. Some examples include crunch, zap, tick-tock, and whoosh. .When a writer imbues animals or objects with human characteristics, this is known as personification. For instance, my car took the gasoline in a single mouthful. The cat burst out laughing. The front page of the newspaper glared at me. The recurrence of the same consonant sound in words that are close together is known as alliteration. Peter Piper chose a jar of pickled peppers as an example. Sally is a beach vendor who sells seashells. Symbolism is defined as the use of an object or activity that has a deeper significance than its plain meaning. Pink represents the fight against breast cancer, the Statue of Liberty represents freedom, white represents purity, black represents death, and red represents blood or love. Paradox exposes something real that appears to be contradictory at first. Examples: He was a brave coward. When you win all the time, you lose.
A clear exaggeration or overstatement is known as hyperbole. For instance, I'm so hungry that I could eat a horse! Understatement makes a concept seem less essential than it is. Einstein, for example, was a brilliant man. A simile is an expression that uses the words "like" or "as" to compare one item to another. He ran as if he were a cat, lightly and quietly. Her gloomy attitude dissipated as fast as a late-afternoon rainfall. Without utilizing the terms "like" or "as," a metaphor is a comparison of two dissimilar things. For instance, he stood like a statue, waiting to hear the news. She was a mother hen, trying to look after everyone in her vicinity.
An allusion is a passing mention of a well-known historical or literary character or event. I'm going to gather some animals and build an ark if it doesn't stop pouring. I'm going to start calling my sister Old McDonald because she has so many pets.
When a writer uses imagery, he or she is invoking the five senses. For instance, the odor reminded him of rotting tomatoes. The fence was uneven, like a set of baby teeth erupting from the gums. (Another simile!) An idiom is a phrase that has a different meaning than the words themselves. I felt cold feet before my speech = I was nervous; my boss gave me the green light = my boss said yes; draw the curtains = close the curtains; turn off the lights = turn off the lights.
An oxymoron is a word that combines two opposing concepts. A quiet conflict, a generous cheapskate, and dark sunshine are all examples. A euphemism is a nice word or phrase that is substituted for a more direct, uncomfortable, or embarrassing word or phrase. For example, pass away means to die; vertically challenged means to be short; let go means to be dismissed; and pre-owned means to be used. Dysphemism is an unfavorable word or phrase substituted for one that is intentionally too direct, unpleasant, or embarrassing. Snail mail is the same as postal mail; pig is the same as a cop; worm food is the same as a dead person.
An expression that has lost its strength or originality due to overuse is referred to as a cliche. Examples include talking at a breakneck speed, being as quiet as a mouse, and being as simple as pie. Pun is a witty wordplay that frequently has two meanings. When a clock is hungry, it will go back four seconds. A man broke into the corner store and stole a case of soap. He got away without a scratch. When an author repeats a term or phrase for emphasis, it is known as repetition. For instance, do you recall the time you gave me your car and I dented it? I was afraid you'd murder me, but you didn't. Remember when I failed to warn you that the dance was formal and you showed up in your slacks? I was afraid you'd despise me... You, on the other hand, did not.
In terms of literature, it is apparent that language acquisition has something special to offer. As Hanauer claims, it combines attention to context with attention to design. [4, p] .170] We have evidence that it is motivating and engaging, and we understand why this is the case in settings where students show resistance to reading. We understand its meaning for the learner, and we're beginning to see how important the teacher's learning assignment is for the development of language learning in this sense, as well as for the success of literary comprehension. It is evident that sufficient supervision and continuous scaffolding are essential.
Overall, we are beginning to appreciate the teacher's position in this field, which is allowing us to begin to grasp how to train instructors who are competent and confident in dealing with the issues that arise while using literature in the language classroom.


References:
1. Short, M., B. Busse & P. Plummer. Investigating student reactions to a webbased stylistics
courses in different national and educational settings. In Watson & Zyngier (eds.), 2007. –
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2. Carter, R. & J. McRae (eds.). Language, literature and the learner. Harlow: Addison Wesley
Longman Ltd, 1996. – p. 234
3. Widdowson, H. Practical stylistics. Oxford: Oxford University Press, 1992. – p. 105
4. Hanauer, D. (). Attention-directed literary education: an empirical investigation. In Watson &
Zyngier (eds.), 2007. – p. 169–