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

Tyulyubayeva glossary

1	Alliteration	1.      is a device based on repetition of the same or similar sounds at close distance, which makes speech more expressive. It is frequently used in idioms.	blind as a bat; tit for tat ( = an eye for an eye); tit-bit (лако¬мый кусочек); (It is) neck or nothing {пан или пропал);	V.V Gurevich,  “English stylistics”, page 45
		2.      the repetition of consonants, usually-in the beginning of words, and assonance — the repetition of similar vow-els, usually in stressed syllables	silken sad uncertain rustling of each purple curtain…	Kukharenko V.A “A book of practice in stylistics”, page 6
		3.      is a phonetic stylistic device which aims at im¬parting a melodic effect to the utterance. The essence of this device lies in the repetition of similar sounds.	"The possessive instinct never stands still. Through florescence and feud, frosts and fires it follows the laws of progression." (Galsworthy)	1.         Galperin I. R “Stylistics” p114
		4.       repetition of consonants or vowels at the beginning of close located stressed syllables	Doom is dark and deeper than any sea dingle. (W.Auden) Apt Alliteration’s artful aid. (W.Auden)	I.V. Arnold “English stylistics”, p 148
		5.      The repetition of the initial consonants in two or more words.	a Monday morning meeting, the silver sweep of the sea.	Wales Katie, Stylistics, p14
		6.      intended repetition identical (or acoustically similar) sounds or sound combinations.		N. MOROKHOVSKY OF O. P. VOROBYOV, N. I. LIKHOSHERST OF Z. V. TYMOSHENKO, English Stylistics, p 49
2	assonance	1.      intended repetition of identical acoustically similar vowels in close sequence for the purpose of the sound and semantic organization of the statement	e.g. Nor soul helps flesh now // more than flesh	N. MOROKHOVSKY OF O. P. VOROBYOV, N. I. LIKHOSHERST OF Z. V. TYMOSHENKO, English Stylisticsб з 51
		2.      the repetition of similar vowels, usually in stressed syllables	My shoes show signs of wear and tear, the wear and tear of city life). helps soul (R.Browning)	Kukharenko V.A “A book of practice in stylistics”, p 6
		3.      the repetition of stressed vowels in a line or the phrase or on its end in the form of an incomplete rhyme		I.V. Arnold “English stylistics”, p 148
		4.      repetition of the same or similar vowels only, as in the phrase wear and tear		V.V Gurevich,  “English stylistics”, p 44
		5.  resemblance of sounds 2. partial rhyme created by the stressed vowel sounds		Т. A. Znamenskaya STYLISTICS OF  THE ENGLISH LANGUAGE, p 59
3	Cacophony	is a sense of strain or discomfort in pronouncing or hearing.		O.K. Denisova, L.P. Pozdnyak, English stylistics, p 22
		a sense of strain and discomfort in pronouncing or hearing	…silken sad uncertain rustling of each purple curtain…	Kukharenko V.A “A book of practice in stylistics”, p6
		a stylistic device in which harsh or unpleasant sounds are repeated. C – is usually result of ignorance or unawareness in writing, used by writers for emotional or emphasis effect.	Nor soul helps flesh now // more than flesh helps soul. (R.Browning)	Rhetoric and Anthology for College English,  Fletcher Flynn, Thomas G. McGuire, p 468
		Discordant and meaningless mixture of different sounds.		Elliot Eli Jackson Cacophony, p 2
		Language that is perceived as harsh, rough and unmusical. May be inadvertent through a lapse in the writer’s attention or skill.		M.H. Abrams, a glossary of literary terms, p 118
4	Direct onomatopoeia	1.      is a combination of speech-sounds which aims at imitating sounds produced in nature	(wind, sea, thunder, etc), by things (machines or taols, etc	Galperin I. R “Stylistics”, p 117
		2.      Imitating the sounds of nature, man, inanimate objects, the acoustic form of the word foregrounds the latter, inevitably emphasizing its meaning.	bubble, splash, rustle, purr, flop, babble, giggle, whistle	Kukharenko V.A “A book of practice in stylistics”, p6
		3.      use of words which phonetic structure reminds the subjects and the phenomena called in these words – the nature sounds, shouts of animals, the movements which are followed by any noise, the speech and various sounds with which people express the mood, will, etc.	hiss, powwow, murmur, bump, grumble, sizzle, ding-dong, buzz, bang, cuckoo, tintinnabulation, mew, ping-pong, roar	I.V. Arnold “English stylistics” p 147
		4. is contained in words which imitate natural sounds.	Ding-dong, tin-tin;	O.K. Denisova, L.P. Pozdnyak, English stylistics, p 20
		5. the pattern of sound are created to represent the real word without the intercession of grammatical and lexical structures.	e.g. Then with enormous, shattering rumble, sludge-puff, sludge-puff, the train came into the station. (A.Saxton)	Stylistics: A Resource Book for Students, Paul Simpson, p 169
5	Euphony	.a harmonious combination of sounds that create a pleasing effect to the ear		Т. A. Znamenskaya STYLISTICS OF  THE ENGLISH LANGUAGE, p 60
		harmony of the statement, first of all, poetic text, sometimes as optimum coordination of the sound and semantic parties of the statement		N. MOROKHOVSKY OF O. P. VOROBYOV, N. I. LIKHOSHERST OF Z. V. TYMOSHENKO, English Stylistics, p47
		When vowels and consonants taken separately. It results from the correlation of the meaning of the utterance with its sound		Galperin I. R “Stylistics” p 117
		a sense of ease and comfort in pronouncing or hearing		Kukharenko V.A “A book of practice in stylistics” p 6
		from Gk “well-sound”, used in literary criticism to mean pleasing sound.		Wales Katie, Stylistics p 138
6	foot	is the main unit of rhythm in poetic speech.		V.V Gurevich,  “English stylistics”, p 47
		The arrangements of qualitatively different syllables are the units of the metre, the repetition of which makes verse.		Galperin I. R “Stylistics”p 239
		Used in traditional metrics and introduced by Gascoigne (1575) to refer to a unit or division of a line of verse containing a stressed syllable.		Wales Katie, Stylistics p 156
		Rhythmical arrangements of stressed or unstressed syllables are unit of the metre, the repetition of which makes verse.		Podavets O.D. English stylistics, p27
		The basic unit of analysis and it refers to the span of stressed and unstressed syllables that forms a rhythmical pattern.		Paul Simpson, Stylistics: a book for student, p 15
7	Graphon	intentional violation of the graphical shape of a word (or word combination) used to reflect its authentic pronunciation, to recreate the individual and social peculiarities of the speaker, the atmosphere of the communication act.		Kukharenko V.A “A book of practice in stylistics” p 6
		stylistically the relevant distortion of spelling norm reflecting individual or dialect violations of phonetic norms		I.V. Arnold “English stylistics”
		intentional misspelling to show deviations from received pronunciation: individual manner, mispronunciation, dialectal features		Т. A. Znamenskaya STYLISTICS OF THE ENGLISH LANGUAGE
		—is characteristic of prose only and is used to indicate blurred, incoherent or careless pronunciation, caused by temporary (tender age, intoxication, ignorance of the discussed theme, etc.) or by permanent factors (social, territorial, educational status, etc.).	"You remember him at all?" "Just, sort of. Little ole private? Terribly unattractive	N. S. KUZNETSOVA, N. A. SHAYDOROVA WORKSHOP ON ENGLISH STYLISTICS
		from Greek γράφω – “I am writing”) – the intentional word/word combination graphical shape violation used to reflect authentic pronunciation. Graphon is an extremely concise but effective means of supplying information about the speaker’s origin, social and educational background, physical or emotional condition, and the author’s sarcastic attitude to him.	. Thackeray’s character, butler Yellowplush, says sellybrated instead of celebrated and jewinile instead of juvenile.	Гафиатулина Ю.О., 2004 ENGLISH STYLISTICS p 14
8	Indirect onomatopoeia	a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense	“And the silken, sad, uncertain, rustling of each purple curtain“(E.Poe)	Galperin I. R “Stylistics” p 124
		which is a combination of sounds making the sound reflection of the meaning.		Гафиатулина Ю.О., 2004 ENGLISH STYLISTICS p 19
		demands some mention of what makes the sound as the rustling in the line above.		Podavets O.D. English stylistics p 277
		is sometimes very effectively used by repeating words which themselves are not onomatopoeitic.		Wales Katie, Stylistics
		(echo-writing) is a combination of sounds which makes the sounds of the utterance an echo of its sense.	Ding-dong, tin-tin, bow-bow	O.K. Denisova, L.P. Pozdnyak, English stylistics, p 20
9	Onomatopoeia	is a combination of speech-sounds which aims at imitating sounds produced in nature Combinations of speech sounds of this type will inevitably be associated with whatever produces the natural sound.	(wind, sea, thunder, etc), by things (machines or taols, etc), by people (sighing, laughter, patter of feet, etc) and by animals.	Galperin I. R “Stylistics”. P #3, page 113
		Is the use of words, which denote some phenomenon by imitating its real sounding.	by animals: buzz (sounds of bees); hiss (snakes); bow-wow (dogs); mew/miaow and purr (cats); hoink (pigs); baa-baa (sheep); cackle (chickens); quack (ducks); cuckoo; caw (crows); moo (cows). It may also be imitation of other natural noises: bubble (буль¬кать);	V.V Gurevich “English stylistics”, page 45
		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.	“hiss”, “bowwow”, “murmur”, “bump”, “grumble”, “sizzle”	Kukharenko V.A “A book of practice in stylistics”, page 6
		the formation of a word by imitat¬ing the natural sound; the use of words whose sounds reinforce their meaning or tone, esp. in poetry		Т. A. Znamenskaya STYLISTICS OF THE ENGLISH LANGUAGE p 61
		From Greek “name-making”, the lexical process of creating words which actually sound like their referent.	“bang, crash cuckoo;	Wales Katie, Stylistics  p 244
		using words which phonetic structure reminds the subjects and the phenomena called in these words – the nature sounds, shouts of animals, the movements which are followed by any noise, the speech and various sounds with which people express the mood, will, etc.	e.g. ... “where white horses and black horses and brown horses and white and black horses and brown and white horses trotted tap-tap-tap tap-tap-tappety-tap over cobble stones” S.O.Keisey	I.V. Arnold “English stylistics”
10	paronomasia	The proximity of sounding of contextually connected words		I.V. Arnold “English stylistics” p 147
		Using words similar in sound but different in meaning with euphonic effect		Т. A. Znamenskaya STYLISTICS OF  THE ENGLISH LANGUAGE p 24
		a small group as they have much in common both in the mechanism of their formation and in their functioning. is more		Kukharenko V.A “A book of practice in stylistics”, p 24
		independent. There need not necessarily be a word in the sentence -te which the pun-word refers. This does not mean, however, that the pun IFTntireTy free. Like any other stylistic device, jt must depend on a context		Galperin I. R “Stylistics” p148
		This is a stylistic device that plays upon two different meanings of the word — the direct and the figurative meanings, thus creating		V.V Gurevich,  “English stylistics”, p 30
11	Prosody	1.      the science or art of versification, including the study of metrical structure, stanza form, etc.  The stress patterns of an utterance		Т. A. Znamenskaya STYLISTICS OF  THE ENGLISH LANGUAGE, p61
		2.      is the basic formal theory of poetry		Podavets O.D. p 23
		3.      The various compositional forms of rhyme and rhythm are generally studied under the terms versification		Galperin I. R “Stylistics”, p 238
		4.      From Latin “accent” since the 15th century traditionally been defined as the study or rules of versification or metrics.		Wales Katie, Stylistics, p 323
		5.      All the changes which are often lumped together as accentual differences. They includes: pitch, duration, amplitude.		Prosodic Systems and Intonation in English,  David Crysta, p 56
12	Rhyme	is the repetition of identical or similar terminal sound combinations of words. Rhyming words are generally placed at a regular distance from each other. In verse they are usually placed at the end of the corresponding lines.	worth—forth; tale—tool— Treble—trouble; flung—long.	Galperin I. R “Stylistics” p 117
		is created by the repetition of the same sounds in the last stressed syllable of two (or more) lines in a stanza.	When the lamp is shattered (female rhyme) The light in the dust lies dead; (male rhyme) When the cloud is scattered, (female) The rainbow's glory is shed, (male)            (P.B. Shelley)	V.V Gurevich,  “English stylistics, p 49
		is a kind of phonetic echo found in verse: more precisely, a phonemic matching.		Wales Katie, Dictionary of Stylistics, p 346
		is another feature that distinguishes verse from prose and consists in the acoustic coincidence of stressed syllables at the end of verse lines.	Take her up tenderly, Lift her with care, Fashion'd so slenderly Young and so fair. (Hood)	Т. A. Znamenskaya STYLISTICS OF THE ENGLISH LANGUAGE p 62
		(from Greek ρυθμός – “proportionality”) – the repetition of identical/similar ending sound combinations.	might – right	Гафиатулина Ю.О., 2004 ENGLISH STYLISTICS p 28
13	Rhythm	in poetic speech is produced by regular alternation of stressed and unstressed syllables.	Why do you cry, Willie ?            f'uu|'uu) Why do you cry?        ('uu|') Why, Willie, why, Willie,            ('uu|'uu) Why, Willie, Why?     ('uu|')	V.V Gurevich,  “English stylistics”,p 46
		is a flow, movement, procedure, etc., characterized by basically regular recurrence of elements or features, as beat, or accent, in alternation with opposite or different elements or features.		Webster's New World Dictionary,
		a combination of the ideal metrical scheme and the variations of it, variations which are governed by the standard		Galperin I. R “Stylistics” p 116
		is described as the perceptual pattern of accented or stressed and unaccented or unstressed syllables in a language.	Weep – sleep;	Wales Katie, Stylistics, p 348
		(from Greek ρυδμός – “proportionality”) – the measured flow of stressed and unstressed syllables in poetry; and the repetition of similar structural units in prose.		Гафиатулина Ю.О., 2004 ENGLISH STYLISTICS p29
		a regular recurrence of elements in a system of motion: the rhythm of speech, dancing music, etc. 2. an effect of ordered movement in a work of art, literature,		Т. A. Znamenskaya STYLISTICS OF THE ENGLISH LANGUAGE p62
14	versification	the important feature is the same number of syllables in different lines, whether stressed or unstressed.  is often characterized by certain Irregularities in the metre, e.g. a combination of one-syllable and two syllable feet.	Pease porridge hot      ( ' I ' u 1 ' 1) Pease porridge cold,   ( ' I ' и I ' I) Pease porrjdge in the pot ( ' I ' и | ' и I ') Nine days old. (I'll)	V.V Gurevich,  “English stylistics”, p 46
		the art of versification by the rules developed on the basis of laws of this language and practice of poets; and instrumentation — set of ways of selection and a combination of the sounds giving to the statement (most often to the poetic text) a certain sound system, and from here — emotional and expressional coloring		N. MOROKHOVSKY OF O. P. VOROBYOV, N. I. LIKHOSHERST OF Z. V. TYMOSHENKO, English Stylistics p 47
		.the art, practice or theory of poetic composition 2. the form or style of a poem; metrical structure		Т. A. Znamenskaya STYLISTICS OF THE ENGLISH LANGUAGE P 62
		In asmuch as English verse is mostly based on rhythmical arrangement and rhyme. Both rhythm and rhyme are objective qualities of language and exist outside verse		Galperin I. R “Stylistics” 116
		The rules according to which a sonnet is formed, belong to one more sub code		N. S. KUZNETSOVA, N. A. SHAYDOROVA WORKSHOP ON ENGLISH STYLISTICS
15	Sonnet	1.      is a short poem or a stanza, complete in itself, with unity of substance and a fixed form. It consists of 14 lines generally of iambic pentametre rhyming according to a conventionally fixed scheme (often ababcdcdefef gg).	SONNET XXVII William Shakespeare	N. S. KUZNETSOVA, N. A. SHAYDOROV, WORKSHOP ON ENGLISH STYLISTICS, p48
		2.      composed of fourteen iambic pentameters with the following rhyming scheme: ababcdcdefefgg, that is, three quatrains with cross rhymes and a couplet at the end.		Galperin I. R “Stylistics, p 245
		3.      Is a stanza which at the same time is a complete poem in itself. Is a verse of 14 line. The rhyming must be strictly observed.		Podavets O.D. English stylistics, p 32
		4.      Resembles the stanza in that it consists of an integrated unit of metre and rhyme.		Stylistics, Richard Bradford, p 19
		5, Is a lyric poem of 14 lines of equal length, traditionally in iambic pentameter.		Creative Writing and Stylistics: Creative and Critical Approaches, Jeremy Scott, p 193