Plan introduction

The goal of the work: Stylistics in turn tries to study meaning in linguistic items and in texts. Stylistics takes meaning of the of a specific item, phrase, sentence, paragraph, or the whole texts as the ultimate goal. What is the purpose of stylistics? Stylistics examines the creativity in the use of language. It enhances the way we think about language and its uses. Thus the stylistic process, examining the creativity of language use, develops our understanding of literature.

1. Speech communication employs a host of expressive means ranging from linguistic to paralinguistic and extralinguistic features. It is the natural language, however, whose systematic variation on all levels of its structure (phonology, morphology, lexicology and syntax) offers the widest possibilities of suiting its use to fit communicative functions of discourses in various contexts. Thus linguistic expressive means, which are systematically identified and cetegorized by linguistic stylistics (stylolinguistics), lie at the core of stylistic variation. However, it should be noted that as stylistically relevant are considered those linguistic variations which perform similar or alternative communicative functions and which are, in fact, competitors within a particular paradigm or category. From this perspective, there are language units which occur in all types of texts due to their neutral stylistic value (hence stylistically neutral units, e.g., notional words, -s plural marker). On the other hand, other language units bear a stylistic marker already before they are actually used, and so they tend to occur only in some types of texts (hence stylistically marked units, e.g., terms, some foreign plural nouns, vulgarisms, participial constructions; these ´bearers´ of stylistic information which may come from any linguistic plane are also called stylemes, štylémy, cf. Mistrík 1993). Further, not all levels of language system offer equal possibilities of choice: the most differentiated level is the wordstock (synonymy and polysemy), and the fewest possibilities of selection are on the phonological plane (phonemic variations). The possibilities of stylistic variations are not unlimited and some authors maintain that the importance of style is often overestimated [⁴].
Phonetics/Phonology: The analysis of connected speech identifies the constructional units on the phonetic/phonological plane which are either segmental - phones (realizations of abstract phonemes) and syllables (basic rhythmical units), and suprasegmental (prosodic), which result from three types of sound variation (modulation): temporal (speed/rate, pause, rhythm), force (loudness, stress, emphasis) and tone (pitch, tune) modulation. Since the majority of the segmental phonological variation is offering no stylistically relevant options (it is primarily engaged in the differentiation of meaning, i.e., phonemes function as minimum functional units capable of distinguishing meaning), it is stylistically neutral. Certain phonemes and their combinations, however, may be subjectively perceived as cacophonic (disagreeable to the ear, dissonant, harsh, e.g., words having the /sl-/ cluster: sloppy, slime, or the nonsense word slithy by Lewis Caroll) or euphonic (pleasing to the ear, harmonious, e.g., lateral consonant /l/, as in lovely). The sound symbolism (i.e., a nonarbitrary connection between phonetic features of linguistic items and their meanings) is exploited also in non-poetic language (e.g., occurrence of close vowels in words denoting smallness: petite, teeny-weeny, open vowels in words denoting largeness: large, vast). Several poetic devices are based on the sound instrumentation of text and are, besides poetry, often utilized in discourse which is concerned with exploiting this language potential and connoting a certain atmosphere or mood, for example, public speeches, punning, jokes, children´s rhymes, commercials, product names, slogans, etc. (see Poetic f., 3.4): alliteration, assonance, consonance, (direct and indirect) onomatopoeia, (perfect, half, eye, masculine, feminine, triple, internal, end/terminal, etc.) rhyme, paronomasia, mimesis and synesthesia. These phonetic and phonological features used for expressive purposes are studied by phonostylistics.
Some suprasegmental phonemes, besides having a grammatical function (segmentation of syntactic units, signalling their pragmatic function), are open to stylistic exploitation, e.g., melody (tune, intonation), stress (prominence) and pause, while others have mainly stylistic function - rhythm, tempo (rate, speed), voice intensity (loudness) and timbre (voice quality: rich, soft, harsh, hoarse). When combined, they impress a distinguishing mark upon users of language by which, together with their physiological traits (face, posture), humans are recognized as individuals (i.e., ´voice signature´ which serves as an important recognizable to identify a phone caller, see also Individuality, 3.2.2). Also, an ´accent´ (i.e., a particular way of pronunciation, emphasis pattern and intonation characteristic of the speech of a particular person, group, or locality) identifies one as belonging to a particular region (e.g., Southern accent), social class (e.g., Cockney) or whether one is a native speaker or a foreigner (e.g., to speak with an accent) (9.3). The the three types of speech modulation (generally also called intonation) are important sources of stylistic variation[⁵]:
1.1 Temporal Modulation. As to the temporal modulation, of significant stylistic relevance is the manner of pronunciation of sounds, e.g., free vs. lazy movement of articulatory organs which produces clear vs. mumbled speech, or careful (slow) vs. careless (rapid) speech which is manifested, on the one hand, by clear enunciation of words (e.g., in theatre performances, pathetic or elevated public speeches) or, on the other hand, by reduction, assimilation, slurring (e.g., in casual, relaxed atmosphere: Sapning?=What´s happening? or dialectal (Pittsburghese) A: Jeet jet? B: No. Jew? = A: Did you eat yet? B: No. Did you?). Overly precise articulation which sounds stilted, affected and artificial contrasted with excessive assimilation bordering on intelligibility are the two extremes between which the majority of verbal encounters occur (but note the cases where precise and careful articulation is vital, as in air traffic control; cf. Noise, 3.1.3). The rate of one´s speech varies with the speaker´s type of personality, momentary emotional state, situation (casual vs. solemn), the addressee, the type of speech activity (sports commentary vs. saying a prayer) and the subject. Pause (along with stress, and tune) performs an important grammatical function of delimiting the syntactic (phrasal, clausal, sentential) units (silent pause), but also is a very effective speaking tool (a meaningful pause offers the listener time to assimilate the message; Myers et al. (1988) identifies as many as 11 types of silence). Filled pauses (hesitators: er, ehm), as a common feature of dysfluency in conversation, help the speaker plan what will follow or indicate incompleteness of his/her turn (see 4.2.1, 8.1). According to J.D.O´Connor, there are four pronunciation styles in English - declamatory, formal colloquial, colloquial, and familiar (cf. Urbanová and Chamonikolasová 2000). Deliberate and functional changes in tempo (agogics - slowing down or speeding up) of the speech may be skillfully used by speakers to increase effectiveness of their speeches.
1.2 Force Modulation is characterized by the presence of (word and/or sentence) stress which is often accompanied by paralanguage. The phenomenon of New English Gradation along with the tendency towards isochronicity, shape the marked rhythmical character of the English language. Of significant stylistic value is the stress pattern exploited in such instances of language use where it conforms to the accepted metrical rules (metre) and structure (poetry, advertising slogans, chants, jingles, etc.). Variation in loudness (amplitude) level is used to emphasize an idea[⁶].
1.3 Tone Modulation is reflected in changing pitch (relative height of speech sounds); the basic unit of intonation is the tone unit (or breath group intonation contour which is marked by pitch change and pause). Pitch is to a certain degree a physiological feature (e.g., women speak with a higher pitch), but its range may be functionally varied as to its a) height (higher than normal suggests solemnity, expressiveness, as in public speeches while lower height may indicate sadness), b) range (greater range in conversations or in emotionally charged utterances, lower range in official political talks, monotonous pitch level may signal speaker´s inhibitions, variation in pitch is effectively used by skilled orators), c) movement, or different types of tone, such as fall (signals completeness, determination and assurance), rise (signals questioning, hesitancy, doubt, incompleteness, surprise), level (has linking function), fall+rise (signals limited agreement, response with reservations), rise+fall (strong approval or disapproval, surprise, but also irony, sarcasm and subtle meanings). Falling tune is an important signal of the end of the turn constructional unit in dialogue (8.1). Tone fluctuation (intonation) performs attitudinal, accentual, grammatical and discourse functions (cf. Štekauer 1993). It should be noted that, in the flow of speech, the prosodic features are exploited simultaneously to produce a synergistic effect; for example, in expressing emotions (anger, fear), all three systems of modulation, such as speed, loudness, tone variation, voice quality along with paralinguistic means (facial expressions, gestures and posture) interact. Also, prosody correlates with the situational variables; for example, the level of loudness (whisper, soft voice, low volume, slight loudness, full voice) is a function of interpersonal distance (intimate, personal, social, official), audience size (dyad, small group, small audience, large audience), message type (secret, confidential, personal, non-personal, public) and style (intimate, personal, conversational, public conversational, public elevated) (cf. Ross 1989)⁷.


2. Stylistics is a branch of applied linguistics concerned with the study of style in texts, especially, but not exclusively, in literary works. Also called literary linguistics, stylistics focuses on the figures, tropes, and other rhetorical devices used to provide variety and a distinctness to someone's writing. It is linguistic analysis plus literary criticism. According to Katie Wales in "A Dictionary of Stylistics," the goal of " most stylistics is not simply to describe the formal features of texts for their own sake, but in order to show their functional significance for the interpretation of the text; or in order to relate literary effects to linguistic 'causes' where these are felt to be relevant.[⁸]"
Studying a text closely helps to unearth layers of meaning that run deeper than just the basic plot, which happens on the surface level.
Elements of Style in Literature:
Elements of style studied in literary works are what is up for discussion in any
literature or writing class, such as:
Big-Picture Elements

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  Character development: How a character changes throughout the story 
  
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  Dialogue: Lines spoken or internal thoughts
  
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  Foreshadowing: Hints dropped about what's going to happen later 
  
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  Form: Whether something is poetry, prose, drama, a short story, a sonnet, etc.
  
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  Imagery: Scenes set or items shown with descriptive words 
  
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  Irony: An occurrence that's the opposite of what's expected 
  
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  Juxtaposition: Putting two elements together to compare or contrast them 
  
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  Mood: The atmosphere of a work, the attitude of the narrator 
  
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  Pacing: How quickly the narration unfolds 
  
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  Point of view: The narrator's perspective; first person (I) or third person (he or she) 
  
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  Structure: How a story is told (beginning, action, climax, denouement) or how a piece is organized (introduction, main body, conclusion vs. reverse-pyramid journalistic style) 
  
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  Symbolism: Using an element of the story to represent something else 
  
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  Theme: A message delivered by or shown in a work; its central topic or big idea
  
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  Tone: The writer's attitude toward the subject or manner with choosing vocabulary and presenting information, such as informal or formal
  

Line-by-Line Elements

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