Tyulyubayeva

Stylistic morphology

Test

1. “The direct word order is changed either completely so that the predicate precedes the subject; or partially so that the object precedes the subject-predicate pair” is … [1]

1. Inversion;
2. Variability;
3. Synonymy;
4. Metaphor;
5. Metonymy;

2. The following sentence “Him I saw at last! (OSP)”  is a typical example of: [2]

1. Complete inversion;
2. Partial inversion;
3. Hyperbole;
4. Metaphor;
5. Zeugma;

3. … express a characteristic of an object, both exciting and imaginary. Its basic feature is its emotiveness and subjectivity. [3]

1. Pun;
2. Antonomasia;
3. Epithet;
4. Metaphor;
5. Oxymoron;

4. “The sunshine-in-the-breakfast-room smell” (J.B) is an example of: [4]

1. Single epithet;
2. Phrase epithet;
3. Inverted epithet;
4. Two-step epithet;
5. Transferred epithet;  

5. The proper name of a person who is famous for some reasons, is put for a person who having the same feature is …

1. Oxymoron;
2. Epithet;
3. Metaphor;
4. Antonomasia;
5. Hyperbole;

6. Find the example of figurative periphrasis:

1. To tie a knot - to get married;
2. My better half;
3. Crying silence;
4. a shadow of a smile;
5. -Did you miss my lecture? -Not, at all;

7. “He caught a ride home to the crowded loneliness of the barracks”, in this sentence, “crowded loneliness” is …[5]

1. Oxymoron;
2. Periphrasis;
3. Metaphor;
4. Pun;
5. Zeugma;

8. There are … types of climax: [6]

1. Three: logical, emotive, quantitative;
2. Two: Logical, emotive;
3. Four: Quantitative, logical, anticlimax, emotive;
4. Five: Logical, emotive, anticlimax, quantitative, figurative;
5. All  answers are wrong;

9. The uniqueness of ... lies in its specific “double negative” structure and in its weakening only the positive evaluation:

1. Periphrasis;
2. Litotes;
3. Hyperbole;
4. Understatement;
5. Oxymoron;

10. The following sentence

“Living is the art of loving.

Loving is the art of caring.

Caring is the art of sharing.

Sharing is the art of living” is a type of … repetition:

1. Epiphora;
2. Framing;
3. Chain;
4. Anaphora;
5. Ordinary;

References

1 - Podavets O.D. “English stylistics” p. 39

2 - Podavets O.D. “English stylistics” p. 39

3 - V.A. Kukharenko “A practice of stylistics”, p53

4 - V.A. Kukharenko “A practice of stylistics”, p 54

5 - V.A. Kukharenko “A practice of stylistics”, p 37

6 - V.A. Kukharenko “A practice of stylistics”, p 87

7 - V.A. Kukharenko “A practice of stylistics”, p 93

8 - V.A. Kukharenko “A practice of stylistics”, p 73

Answers

1 A

2 B

3 C

4 B

5 D

6 A

7 A

8 A

9 B

10 C

Tyulyubayeva

Test

Stylistic phonetics

1. … is the use of words whose sounds imitate those of the signified object or action, such as "hiss", "bowwow", "murmur", "bump" and many more. [1]

A) euphony; B) Onomatopoeia; C) assonance; D) Alliteration; E) Rhyme;

2. The following words "bubble", "splash", "rustle", "purr", "flop", "babble" are the typical example of [2]

A) Direct onomatopoeia; B) Indirect onomatopoeia; C) Rhythm; D) Alliteration; E) Rhyme;

3. According to Gurevich V.V., "Rhyme" is …

A)  the repetition of identical or similar terminal sound combinations of words; [3]

B)  created by the repetition of the same sounds in the last stressed syllable of two (or more) lines in a stanza. [4]

C)  another feature that distinguishes verse from prose and consists in the acoustic coincidence of stressed syllables at the end of verse lines. [5]  

D) the repetition of identical/similar ending sound combinations. [6]

E) produced by regular alternation of stressed and unstressed syllables. [7]

4. Alliteration is …

A) a device based on repetition of the same or similar sounds at close distance, which makes speech more expressive; [8]  

B) the repetition of similar vowels, usually in stressed syllables; [9]

C) a sense of strain and discomfort in pronouncing or hearing; [10]  

D) created by the repetition of the same sounds in the last stressed syllable of two (or more) lines in a stanza; [11]  

E) the basic formal theory of poetry; [12] ;

5. There are … most recognizable  English metrical pattern: [13]  

A) three: iamb, dactyl, choree;

B) four: iamb, schoree;dactyl; amphibrach;

C) five: iamb, schoree, dactyl, amphibrach, anapaest;

D) two: amphibrach, iamb;

E) six: complete, incomplete, vowel, iamb, dactyl, choree;

6. According to the position of the rhyming lines they can be:  [14]

A) adjacent  (a a b b), crossing ( a b a b), ring a b b a) ;

B) full, incomplete, compound;

C) homonymous, absorbing, tautological;

D) masculine, feminine, dactylic;

E) terminal, internal;

7. There are … types of graphon: [15]  

A) 4; B) 3; C) 5; D) 6; E) 2;

8.  The following word "Im-pos-sible" is an example of:  

A) Multiplication; B) Hyphenating spelling;  C) Capitalization; D) Substitution of sounds; E) Italics;

9. The following example "Doom is dark and deeper than any sea dingle" (W.Auden) illustrates: [16]  

A) Assonance; B) Consonant alliteration; C) Rhyme; D) Onomatopoeia; E) Rhythm;

10. Cacophony is …

A)  a sense of strain and discomfort in pronouncing or hearing;

B) a harmonious combination of sounds that create a pleasing effect to the ear;

C)  the proximity of sounding of contextually connected words;

D)  the basic formal theory of poetry;

E)  the art, practice or theory of poetic composition;

Answers:

1 B

2 A

3 B

4 A

5 C

6 A

7 C

8 B

9 B

10 A

References:

1 -  V.A. Kukharenko "A book of practice in stylistics", p.11;

2 -  V.A. Kukharenko "A book of practice in stylistics", p.11;

3 -   Galperin I. R “Stylistics” p 117;

4 -  V.V Gurevich, “English stylistics, p 495 ;

5 - Т. A. Znamenskaya STYLISTICS OF THE ENGLISH LANGUAGE p 62;

6 -   Гафиатулина Ю.О., 2004 ENGLISH STYLISTICS p 28;

7 -   V.V Gurevich, “English stylistics”,p 46;

8 -  Podavets O.D. "English stylistics", p 24;

9 -  Kukharenko V.A “A book of practice in stylistics”, p 6;

10 -  Kukharenko V.A “A book of practice in stylistics”, p6;

11 -  V.V Gurevich, “English stylistics, p 49

12 - Podavets O.D. p 23

13 -  Podavets O.D., p.27

14 -  Podavets O.D. p29;

15 - Podavets O.D. p 20;

16 -  I.V. Arnold “English stylistics”, p 148