The omission of a word or words from a sentence

2. Syntactical sd with redundant elements

3. Inversion

Syntactical
stylistic devices with missing elements

Aposiopesis
stopping abruptly and leaving a
statement unfinished.

Aposiopesis “a stopping
short for rhetorical effect” (I.R.Galperin). Used mainly in the
dialogue or in the other forms of narrative imitating spontaneous
oral speech because the speaker’s emotions prevent him from
finishing the sentence (V.A.Kucharenko). e.g. You just come home or
I’ll … ; e.g. Good intentions, but …

Ellipsis.The omission of a word or a part of a sentence that follows
logically. Typical of oral speech.

Ellipsis a deliberate
omission of at least one member of the sentence. e.g. What! all my
pretty chickens and their dam at one fell swoop?
(W.Shakespeare);
e.g. In manner, close and dry. In voice, husky and low. In face,
watchful behind a blind. (Dickens);
e.g.
His forehead
was narrow, his face wide, his head large, and his nose all one
side. (Dickens).

Apokoinu is
the omission of coordinative or subordinative words. Typical of
spontaneous or illiterate speech.

apo-koinu constructions
(Greek
«with a common element»).
e.g. There was
a door led into the kitchen. (Sh. Anderson); e.g. He was the man
killed that deer. (R. Warren); e.g. There was no breeze came through
the door. (E.Hemingway); e.g. I bring him news will raise his
dropping spirits. (O. Jespersen)

1. Syntactical
   stylistic devices with redundant elements

Syntactical
SD:

1. Syntactical sd with missing elements

2. Syntactical sd with redundant elements

3. Inversion

Syntactical
SD with redundant elements

Asyndeton.
Consists of omitting conjunctions between words, phrases, or
clauses. In a list of items, asyndeton gives the effect of
unpremeditated (преднамеренный)
multiplicity, of an extemporaneous (импровизированный)
rather than a labored account.

Asyndeton is a deliberate
omission of conjunctions, cutting off connecting words. Helps to
create the effect of terse, energetic, active prose.
(V.A.Kucharenko). e.g.
Soames turned
away; he had an utter disinclination for talk, like one standing
before an open grave, watching a coffin slowly lowered. (Galsworthy)

Polysyndeton.
Is the use of conjunction between each word, phrase, or clause, and
it thus structurally the opposite of asyndeton. The rhetorical
effect of polysyndeton, however, often shares with that of asyndeton
a feeling of multiplicity, energetic, enumeration and building up.
Polysyndeton is a repeated use of conjunctions. Is to strengthen the
idea of equal logical/emotive importance of connected sentences(V.A.
Kucharenko). e.g.
By the time he had
got all the bottles and dishes and knives and forks and glasses and
plates and spoons and things piled up on big trays, he was getting
very hot, and red in the face, and annoyed. (A.Tolkien)

Anadiplosis (or catch
repetition).
Repeats the last word of one phrase, clause, or sentence at or very
near the beginning of the text. It can be generated in series for
the sake of beauty or to give a sense of logical progression (…a,
a…). e.g.: Pleasure might cause her read,
reading might make
her know, …

Anaphora.
Is the repetition of the same word or words at the beginning of
successive phrases, clauses or sentences, commonly in conjunctions
with climax and with parallelism (a…, a…). e.g.: Slowly and
grimly they advanced, not
knowing what lay
ahead, not knowing
what they find at
the top of the hill.

Epistrophe (also
called antistrophe or epiphora).
Forms the counterpart to anaphora, because the repetition of the
same word or words comes at the end of successive phrases, clauses,
or sentences (…a, …a). e.g.: I wake up and I’m
alone and I walk
round Warley and I’m
alone; and I talk
with people and I’m
alone and I look
at his face when I’m home and it’s dead. (J.Braine)

Symploce.
Combining anaphora and epiphora, so that one word or phrase is
repeated at the beginning and another word or phrase is repeated at
the end of successive phrases, clauses or sentences (a…b, a…b).
Eg. To think
clearly and rationally
should be a major goal for man;
but to think
clearly and rationally
is always the greatest difficulty faced by man.

Amplification.
Involves repeating a word or expression while adding more detail to
it, in order to emphasize what might otherwise be passed over. e.g.:
Pride – boundless
pride – is the
bone of civilisation.

Prolepsis.
Is the use of co-referential pronoun after a noun or a proper name.
Typical of spontaneous speech. e.g.: John,
he doesn’t like
loud music.

Hypophora.
Consists of raising one or more questions and then proceeding to
answer them, usually at some length. A common usage is it ask the
question at the beginning of a paragraph and then use that paragraph
to answer it.

Rhetorical question (or
erotesis). Differs
from hypophora in that it is not answered by the writer, because its
answer is obvious or obviously desired, and usually just a ‘yes’
or ‘no’. It is used for effect, emphasis or provocation, or for
drawing a conclusionary statement from the facts at hand. e.g. For
if we lose the ability to perceive our faults, what is the good of
living on?

1. Types
   of repetition

Repetition
is an expressive means of language used when the speaker is under
the stress of strong emotion. It shows the state of speaker. As a SD
repetition is recurrence of the same word, word combination, phrase
for two and more times. According to the place which repeated unit
occupies in the sentence (utterance), repetition is classified:

anaphora:
the beginning of two or more successive sentences (clauses) is
repeated – a.., a..,a… The main stylistic function of anaphora
is hot so much to emphasize the repeated unit as to create the
background textile non-repeated unit, which, through its novelty,
becomes foreground.

epiphora:
the end of two or more successive sentence (clauses) is repeated-
..a,…a,…a. The main function of epiphora is to add stress to the
final words of the sentences.

framing:
the beginning of the sentence is repeated in the end, thus forming
the “frame” for the non- repeated part of the sentence
(utterance)-a..a. The function of framing is to elucidate the notion
mentioned in the beginning of the sentence.

catch
repetition(anadiplosis or linking or reduplication) the end of
one clause (sentence) is repeated in the beginning of the following
one -…a,a… it makes the whole utterance more compact and
complete. Framing is most effective in singling out paragraphs.

chain
repetitionpresents several successive anadiplosis- ..a,a…b,
b…c, c. The effect is that of the smoothly developing logical
reasoning.

ordinary
repetitionhas no definite place in the sentence and the
repeated unit occurs in various positions- …a, …a…, a…/
ordinary repetition emphasizes both the logical and emotional
meanings of the reiterated word.

successive
repetitionis a string of closely following each other
reiterated units- ..a,a,a… this is the most emphatic type of
repetition which signifies the peak of emotions of the speaker.

Synonym
repetition. The repetition of the same
idea by using synonymous words and phrases which by adding a
slightly different nuance of meaning intensify the impact of the
utterance.: there are two terms frequently used to show the negative
attitude of the critic to all kinds of synonym repetition: a)
pleonasm
– the use of more words in a sentence than are necessary to
express the meaning; redundancy of expression; b)tautology-defined
as the repetition of the same statement; the repetition of the same
word or phrase or of the same idea or statement in the other words;
usually as a fault of style

1. Syntactical
   stylistic devices: parallelism, chiasm; inversion and its types

Parallel
constructions
may be
viewed as a purely syntactical type of repetition for here we deal
with the reiteration of the structure of several successive
sentences (clauses), and not of their lexical «flesh».
True enough, parallel constructions almost always include some type
of lexical repetition too, and such a convergence produces a very
strong effect, foregrounding at one go logical, rhythmic, emotive
and expressive aspects of the utterance. The necessary condition in
parallel constructions is identical or similar structure in two or
more sentences or parts of a sentence. Parallel
constructions are
often backed up by repetition of words (lexical repetition) and
conjunctions and prepositions (polysyndeton). Parallel
constructions
can be
partial and complete. Partial
parallel arrangement
is the repetition of some arts of successive sentences or clauses.
Complete
parallel arrangement,
also called balance, maintains the principal of identical structures
throughout the corresponding sentences. There are two main functions
of parallel
constructions:
semantic
(suggest equal semantic significance of the component parts) and
structural
(rhythmical
design to these component parts).

Reversed
parallelism is called chiasmus.
The
second part of a chiasmus is, in fact, inversion of the first
construction. Thus, if the first sentence (clause) has a direct word
order — SPO, the second one will have it inverted — OPS. Like
parallel
constructions chiasmus contributes to the rhythmical quantity of the
utterance, and the pause caused by the change in the syntactical
pattern may be likened to a caesura in prosody.

Inversion
which
was briefly mentioned in the definition of chiasmus is very often
used as an independent SD in which the direct word order is changed
either completely so that the predicate (predicative) precedes the
subject; or partially so that the object precedes the
subject-predicate pair. Correspondingly, we differentiate between
partial
and a
complete
inversion. The
stylistic device of inversion should not be confused with
grammatical inversion which is a norm in interrogative
constructions. Stylistic inversion deals with the rearrangement of
the normative word order. Questions may also be rearranged: «Your
mother is at home?» asks one of the characters of J. Baldwin’s
novel. The inverted question presupposes the answer with more
certainty than the normative one. It is the assuredness of the
speaker of the positive answer that constitutes additional
information which is brought into the question by the inverted word
order. Interrogative constructions with the direct word order may be
viewed as cases of two-step (double) inversion: direct w/o —»
grammatical inversion —» direct w/o.

1. Semantic
   figures of co-occurrence – figures of inequality: specifiers,
   climax, anti-climax.

Syntagmatic
semasiology deals with stylistic functions of relationship of names
in text. It studies types of linear arrangement of meanings,
singling out, classifying, and describing what is called “figures
of co-occurrence” (or figures of replacement). There are 3 types
of semantic interrelations: figures of
identity, figures
of inequality, figures of contrast.

Clarifying
(specifying) synonyms (synonymous
repetition used to characterize different aspects of the same
referent). E.g:
You undercut sinful, insidious hog.

Climax
(gradation of emphatic growing in strength, in Greek means
“ladder”).- consists of arranging words, clauses, or sentences
in the order of increasing importance, weight or emphasis. E.g:
What differences if it rained, hailed blew, snowed, cycloned?

Anti-climax
(back gradation – instead of a few elements growing in intensity
without relief there unexpectedly appears a weak or contrastive
element that makes the statement humorous or ridiculous). E.g.:
the woman who could face the very devil himself or a mouse – goes
all to pieces in front of a flash of lightning.

1. Phonographical
   stylistic devices

SD
based on the opposition of meanings of phonological and/or graphical
elements of the language are called phonetical and graphical
stylistic devices.

Onomatopoeia
— the
use of words whose sounds imitate those of the signified object or
action, such as «hiss», «bowwow», «murmur»,
«bump», «grumble», «sizzle» and many
more. Poetry abounds in some specific types of sound-instrumenting,
the leading role belonging to alliteration
— the
repetition of consonants, usually-in the beginning of words, and
assonance
— the
repetition of similar vowels, usually in stressed syllables. They
both may produce the effect of euphony
(a sense of
ease and comfort in pronouncing or hearing) or
cacophony (a sense
of strain and discomfort in pronouncing or hearing). To create
additional information in a prose discourse sound-instrumenting is
seldom used. In contemporary advertising, mass media and, above all,
imaginative prose sound is fore grounded mainly through the change
of its accepted graphical representation. This intentional violation
of the graphical shape of a word (or word combination) used to
reflect its authentic pronunciation is called graphon.
:
mispronunciations
in the speech of uneducated people (“peepul”, “jewinile”),
amalgamated
forms
(“gimme” (give me), “gonna” (going to), mispronunciations
which
show the physical defects of the speakers: stumbling, lisping;
graphical
changes
used to convey the intensity of the stress, emphasizing and thus
foregrounding the stressed words, i.e. all changes of the type
(italics,
capitalization),
spacing of the graphemes (hyphenation,
multiplication)
and of lines (verse lines organized in “steps”). Rhyme
is the repetition of identical or similar sound combinations of
words. Rhythm—
the flow of speech presents an alternation of stressed and
unstressed elements; the pattern of interchange of strong and weak
segments is called rhythm.

1. Stylistic
   phraseology. Stylistic differentiation of phraseological units.
   Usual and occasional phraseological units, their stylistic function

Phraseological unit–
is a system of words a meaning of which can’t be guessed from the
meaning of its components (Koonin).

Each phr.unit is
characterized by a certain degree of cohesion.

Phr.units are characterized
by the following feature’s: 1. Stability; 2. Semantic integraty;
3. Ready-made structure which can’t be changed or substituted.

Professor Screbnev
differentiate

1.
Formal/bookish phr.units: Eg. The
knight of the Quill = a writer; A heart of oak = brave, courageous;
Achilles hill – ахилесова пята

2.
Neutral phr.units are units which are
devoid of any emotiveness: Eg. By hook or by crock – всеми
правдами и
неправдами; For good and for all
– раз и
навсегда

3.
Familiar colloquial phr.units: Eg.
Have bats in one’s belfry – быть
не в своем
уме; A pretty kettle of fish –
веселенькая история;
To rain cats and dogs – неприятности
валятся; To be one’s cups –
быть навеселе,
подвыпившим; Small fry –
мелкая сошка

4.
Slangish phr.units: Eg. To drop off
the hooks – сорваться с
петель, умереть;
To kick the bucket – дать дуба;
To hop the twig – загнуться,
дать дуба

Professor I.V. Arnold
classifies phr.units into

1.
Usual p.units that are fixed in the
dictionaries; 2. Occasional p.units
that is creation of different authors. They are contextual
predetermined. They appeared as a result of some change in usual
units. These changes are the following: a.
Prolongation. Eg. To be born with a
silver spoon in one’s mouth (usual p.unit) – родится
под счастливой
звездой: Little George was born
with a silver spoon in a mouth which
was curly and large (prolongation). b.
Substitution. Eg. All the world and
his wife (usual p.unit) – всё
светское общество:
all the world and his mistress
(substitution) were at the party. c.
Insertion (вклинивание).
Eg. To turn one’s nose at sb. (usual p.unit) – смотреть
с высока:
She turned her well-shaped
(insertion) nose at him.

Professor Koonin
differentiate phr.units:

1.
Stylistically neutral are units which
are devoid of any emotiveness: Eg. By hook or by crock – всеми
правдами и
неправдами; For good and for all
– раз и
навсегда; 2.
Emotive phr.units contain some kind of
attitude towards this and that subject. Eg. As welcome as flower in
may; 3. Expressive phr.units
are characterized by some degree of expressiveness. Eg. He is dead
nuts on this girl = he is full of love; 4.
Stylistically marked phr.units are
those which are referred either to the formal or non-literary
informal styles (jargon, slang, vulgarisms, etc.). Eg. The debt of
nature = death; A Gordian knot = complicated problem; To go to
Canossar = публично покаяться,
унизится; 5.
Elevated phr.units: Eg. To breath
one’s last – до самой
смерти; To fiddle while Rome burns –
пир во
время чумы.
Within elevated phr.units he (Koonin) distinguishes: a) Archaic
(the iron in one’s soul – душевные
муки, to play upon advantage –
обманывать, надувать)
and b) Poetic phr.units
(of high account – имеющий
ценность, most and the least –
все без
исключения); 6.
Foreign phr.units (barbarisms). Eg. A
la carte – по заказу,
a la mode – по моде,
beaumonde – бомонд, высший
свет, ad patress – к
праотцам, ad verbum – слово
в слово.

All sorts of proverbs and
sayings may undergo some changes.

L.A. Barkova made a research
in which she studied pragmatic effect of using phr.units in
commercial advertisements: eg. The other side of the medal (usual
p.unit) – the other side of the metal (ads.), so far so good
(usual p.unit) – sofa so good (ads.).

1. Narratology
   as a branch of linguistics. Types of narration and main
   compositional forms

Naratology-special
branch of linguistics, which deals with narrative of text. The roots
of modern naratology can be found in the narrative theory of Russian
formalist such as M.Bachtin, Lotman, Tomashevskiy, Schlovskiy, Propp
– the fathers of naratology. Naratology as a special science
combines linguistics an literary. It was formed in the last, but now
its acknowledged and being developed in different countries. The
term “naratology” was proposed by Todorov by its etymology the
word “narrative” stands back to the word (latin verb) “narrare”
(“to tell” to give an account “of”, which in its term goes
back Indo-European “gna” (knowledge). Narrative-the recounting
of one or more real fiction events presented in the chronological
order. Narrative is basically a story of happenings of event either
real or imaginary which the narrator consider interesting or
important. Types of narration.
The author’s narrative:
unfolded plot, personages of given characteristic, the time and
place of action. The authorial narrative supplies the reader with
direct information about author preferences and objections believes
and contradictions. A) entrusted narrative is used in an afford to
make the text more plausible, to impress the reader with the facts
of authenticity of the described events. The write entrust some
fictions character with the task of dealing story. The writer
himself that hides behind the figure of the narrator. Dialogue:
personage express their mind in the utter speech. In their exchange
of remarks the participants of the dialogue, other people and their
action expose them self to. One of the significant forms of the
personage self-characterization-dialogue, which allows the author to
show him in the process. Interior
speech of personage- its allows the
author and the readers to peep into inner world of the character, to
observe his idea and view: a) interior monologue- a rather lengthy
peace of text dealing with the main topic of the character thinking,
offering past, future actions; b) short in-sets- presents immediate
mental and emotional reactions of the personage to the remark or
event by characters; c) stream of consciousness technic- specially
popular with their representative of modernism in contenting
literature. The author tries to portray the purely associated
character. Represented speech (reported
speech)-serves to show either the
mental production of the character thinking: a) represented uttered
speech; b) represented inner speech. The
main narrative compositional forms. If
its semantic of the text that its taken as foundation of
classification 3 narrative forms traditionally analyzed in poetics
and stylistics: narrative proper
(the unfolding of the plot is concentrating, dynamic form of the
text), description (supplies
the details of appearance of people and things of the place and time
of action — static), argumentation
(offers causes and effects of the personages behavior, his
considerations about moral, ethical, ideological or other issues).
Its rather seldom that any of their compositional forms is used in a
pure uninterrupted way.

Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]

• #
• #
• #
• #
• #
• #
• #
• #
• #
• #
• #

Techniques
> Use of language >
Figures of speech > Ellipsis

Method |
Example |
Discussion | See also

Description

Ellipsis is omission of words from a sentence or phrase without losing the
essential meaning.

Example

John, that way; Jane, there. (vs. ‘John go that way;
Jane stay there.’).

Good meeting. (vs. ‘It was a good meeting)

When ready. (vs. ‘You can start when you are ready’)

Discussion

There is a lot of redundancy in language and it can be surprising how much
can be left out without losing much meaning, particularly when there are
contextual clues as to the real meaning.

Sluicing ellipsis is the removal of the end of a sentence, typically
when it would mean repeating previous words, such as She ran, but I don’t
know why, which should more correctly She ran, but I don’t know why she
ran.

Verb-phrase ellipsis is the removal of a verb and associated words,
such as I like it. You too?, which should be I like it. Do you like it
too?

Noun-phrase ellipsis is removing nouns and associated words, such as
I have six dogs, whilst Mike has two. (Mike has two dogs, of course).

Absolute ellipsis is where a significant amount of of information is
omitted, such as Caesar’s last words ‘Et tu, Brute‘.

Relative ellipsis is where a missing word is supplied by the context,
for example I’m the small supplier. He’s the big, or where there is a
reference back to a previous item using words like ‘it’ or ‘he’.

An ellipsis that omits all verbs from a sentence is called scesis onamaton.
For example Me Tarzan, you Jane.

Ellipsis can be deliberately nudged into ambiguity to cause
confusion and hence
attention or
distraction.

Ellipsis comes from the Greek meaning ‘to leave’.

Classification: Omission.

See also

Confusion principle,
Enthymeme

• #1

Hi,

I want to explain a feature in my language to a foreigner. In our language, we drop as many words as possible in speaking. Mainly we would drop the subject, the object, the conjunction from a sentence if the context is clear. This feature doesn’t exist in English. Like

A: Call me when you return home. (Full sentence)
B: Call when return home. (spoken sentence)

You see we would drop words from sentence A.
What is the correct word to describe sentence B?

1.Sentence B is a contracted sentence.
2.Sentence B is a clipped sentence.
3.Sentence B is a shortened sentence.
4.Sentence B is a condensed sentence.
or something else?

Thank you in advance.

elroy

Moderator: EHL, Arabic, Hebrew, German(-Spanish)

• #2

Sentence B is a sentence with

elision

.

• #3

Sentence B is a sentence with

elision

.

Thanks for your response. I’m afraid you’re misunderstanding my point. It’s not that we omit a sound or a syllable in a sentence. We drop the whole word such as a conjunction, I, you, me etc. As I said in the post, English doesn’t have this feature.

• #4

You are correct: in contrast to some others (like Thai?), English is not a Pro-drop language — Wikipedia (a language that usually «drops» pronouns when they are «unnecessary»).

elroy

Moderator: EHL, Arabic, Hebrew, German(-Spanish)

• #5

I understood you perfectly: “elision” expresses what you want to say. (And English does have this feature, but that’s not the topic of this thread.)

• #6

In English, we can drop some words/pronouns but elision is not the same as calling English a «pro-dropping» language. «I’ll call (you) when I return home» in a context where the listener knows that they will be the one receiving the call, but we would never say «Call when return home».

In contrast, non-pro-drop is an areal feature of many northern European languages (see Standard Average European), including French, (standard) German, English[6] and Emilian.[7] (From the link above)

elroy

Moderator: EHL, Arabic, Hebrew, German(-Spanish)

• #7

elision is not the same as calling English a «pro-dropping» language.

No one said it was. I said that “elision” describes what’s going on in Sentence B, and that English has elision too.

• #8

English has elision (writers can omit some words, and readers know what words were dropped and assume the words’ meaning is in the sentence, even though the word isn’t).

But the rules about which words can be omitted are different in English and in Thai.

One word that is often dropped is «that» in this use:

He said «I will pay for it.»
He said that he will pay for it.
He said he will pay for it.