STYLISTIC PHONETICS VARIETIES of the language n WRITTEN

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STYLISTIC PHONETICS

STYLISTIC PHONETICS

VARIETIES of the language n WRITTEN VARIETY n ORAL VARIETY

VARIETIES of the language n WRITTEN VARIETY n ORAL VARIETY

GRAPHONS n Unusual, non-standard spelling of the word, showing peculiarity in pronunciation n Intentional

GRAPHONS n Unusual, non-standard spelling of the word, showing peculiarity in pronunciation n Intentional violation of the spelling in order to reflect the authentic pronunciation (territorial dialect, social dialect, individual features)

SOUND GRAPHONS Thith a bad pieth of bithnith. (a lisp) I ‘ope, you are

SOUND GRAPHONS Thith a bad pieth of bithnith. (a lisp) I ‘ope, you are right. (cockney – ‘ave, ‘at) Fyce, gyme, ply, sy, nyme, (ei – ai) Well, dey’s some use in a sign like dat, ‘kase it’s so fur ahead. (th- d/t)

GRAPHONS FOR EMPHASIS n Doubled letter – N-no! n Scanning – Im-pos-sible! n Italics,

GRAPHONS FOR EMPHASIS n Doubled letter – N-no! n Scanning – Im-pos-sible! n Italics, capitalization – I’ll NEVER do it!

TONE, MELODY n n n Exclamation mark - ! Question mark - ? Series

TONE, MELODY n n n Exclamation mark - ! Question mark - ? Series of dots - … Dash - Brackets – ( ) Inverted commas – “ “

AESTHETIC EVALUATION Spanish – to address God Italian – to address a mistress English

AESTHETIC EVALUATION Spanish – to address God Italian – to address a mistress English – to talk to birds German – to give commands to a horse

AESTHETIC EVALUATION n n n n /b, p, k, g, d, t/ - abrupt

AESTHETIC EVALUATION n n n n /b, p, k, g, d, t/ - abrupt /m, n, l/ - melodic i: - tender bl- – disgust (blasted, blamed, blessed) -sh – unpleasant (crush, hush, flush) -ash – deforming (crash, splash, smash) -ie – diminutive (Willie, birdie, Johnnie)

SOUND IMMITATION ONOMATOPOEIA – the acoustic picture of reality by phonetic means Cuckoo n

SOUND IMMITATION ONOMATOPOEIA – the acoustic picture of reality by phonetic means Cuckoo n Boom! n Crack, hiss, rustle, whisper n

MENTAL VERBALIZATION Turning non-human sounds (noises by animals, nature, industry, traffic) into human words

MENTAL VERBALIZATION Turning non-human sounds (noises by animals, nature, industry, traffic) into human words

PRACTICE 1. 2. 3. His collar was tight around his neck. He had put

PRACTICE 1. 2. 3. His collar was tight around his neck. He had put on weight, but he was feeling well thanks to the p-prescription to doctor Blight’s. Speaking about oysters. He’ll give ‘em you fresh. Whaddaya need?

PRACTICE 4. Don’t tell me you gave four hundred for that! I don’t know

PRACTICE 4. Don’t tell me you gave four hundred for that! I don’t know how they live! 5. Four – hundred – pounds, of English money! 6. The poor foreign dey-vil that made it. 7. My girls are always havin’ a musical lesson. 8. The chimes of the clock seemed to say: That’s a lot!

STYLISTIC PHONETICS II SYNTAGMATIC RELATIONSHIPS ALLITERATION Recurrence of an initial consonant in two or

STYLISTIC PHONETICS II SYNTAGMATIC RELATIONSHIPS ALLITERATION Recurrence of an initial consonant in two or more words which appear close enough to be noticeable

ALLITERATION Posthumour Papers of Pickwick Club n Sense and Sensibility n Pride and Prejudice

ALLITERATION Posthumour Papers of Pickwick Club n Sense and Sensibility n Pride and Prejudice n Last Leaf n Last but not the least, now and never, as cool as a cucumber n

ALLITERATION in Old English BEOWULF 102 Waes se grimma gaest Grendel haten, 103 maere

ALLITERATION in Old English BEOWULF 102 Waes se grimma gaest Grendel haten, 103 maere mearcstara, se fe moras heold, 104 fen ond faesten; fifelcynnes card 105 wonsaeli wer weardode hwile,

ASSONANCE n Recurrence of stressed vowels Sainted maiden, radiant maiden, Whom the angels name

ASSONANCE n Recurrence of stressed vowels Sainted maiden, radiant maiden, Whom the angels name Lenore.

PARONOMASIA n Words similar in sound but different in meanings Never-raven Politics-poultry People –pupil

PARONOMASIA n Words similar in sound but different in meanings Never-raven Politics-poultry People –pupil Defeat-defend Shirt- skirt

RHYTHM - alteration of stressed and unstressed syllables, forming a pattern n n PROSE-

RHYTHM - alteration of stressed and unstressed syllables, forming a pattern n n PROSE- no stable recurrence POETRY – regular interchange of stressed and unstressed syllables

RHYTHM The FOOT is the smallest basic recurrence of two or three syllables with

RHYTHM The FOOT is the smallest basic recurrence of two or three syllables with identical stress pattern within one line THE METRE A number of feet in a verse line

TYPES OF FEET DISYLLABIC PATTERNS: 1) Stressed + unstressed – TROCHEE Duty, evening, honey,

TYPES OF FEET DISYLLABIC PATTERNS: 1) Stressed + unstressed – TROCHEE Duty, evening, honey, pretty 2) Unstressed + stressed – IAMBUS Mistake, prepare, enjoy, behind

TYPES OF FEET TRISYLLABIC PATTERN: 1) Stressed+unstressed – DACTYL 2) Unstressed+unstressed – AMPHIBRACH (umbrella,

TYPES OF FEET TRISYLLABIC PATTERN: 1) Stressed+unstressed – DACTYL 2) Unstressed+unstressed – AMPHIBRACH (umbrella, returning, continue) Unstressed+unstressed+stressed – ANAPAEST 3) (wonderful, dignity, certainly) (understand, interfere, disagree)

EXAMPLE I Men of England, wherefore plough For the lords who lay ye low?

EXAMPLE I Men of England, wherefore plough For the lords who lay ye low? Wherefore weave with toil and care The rich robes your tyrants wear (Shelley)

EXAMPLE II There went three kings into the east, Three kings both great and

EXAMPLE II There went three kings into the east, Three kings both great and high, And they had sworn a solemn oath: John Barleycorn should die. (R. Burns)

EXAMPLE III Take her up tenderly, Lift her with care, Fashion’d so slenderly Young

EXAMPLE III Take her up tenderly, Lift her with care, Fashion’d so slenderly Young and so fair. (Hood)

EXAMPLE IV I sprang to the stirrup and Doris and he, I galloped, Dick

EXAMPLE IV I sprang to the stirrup and Doris and he, I galloped, Dick galloped, we galloped all three. (Browing)

EXAMPLE V I am monarch of all I survey From the central all round

EXAMPLE V I am monarch of all I survey From the central all round to the sea. (Pope)

IRREGULARITY IN POETRY FREE VERSE – without rhythm Arise, arise! There is blood on

IRREGULARITY IN POETRY FREE VERSE – without rhythm Arise, arise! There is blood on the earth ACCENTED VERSE – abundance in stress Work! While the cock is crowing aloof! POETIC PROSE (short lines)

RHYME 1) Rhyming syllables are stressed – MALE, masculine, singular (dreams-streams, obey-away, understand-hand) 2)

RHYME 1) Rhyming syllables are stressed – MALE, masculine, singular (dreams-streams, obey-away, understand-hand) 2) Rhyming syllable are unstressed – FEMALE, feminine, double (duty-beauty, carry-merry) 3) Rhymes in trisyllabic words – DACTILIC, triple (tenderly-slenderly, favourite – savour it)

RHYME The position of rhyming lines: 1) ADJACENT – AABB 2) CROSSING – ABAB

RHYME The position of rhyming lines: 1) ADJACENT – AABB 2) CROSSING – ABAB 3) RING - ABBA

IRREGULARITIES IN RHYME 1) 2) EYE-RHYME – similar spelling, different sounds (supply-memory, flood- wood)

IRREGULARITIES IN RHYME 1) 2) EYE-RHYME – similar spelling, different sounds (supply-memory, flood- wood) INNER-RHYME (internal) – final syllable + inner syllable with one line (I’m the daughter of earth and water) 3) BLANK VERSE – without rhyme

THE STANZA /STROPHE BALLAD STANZA – 4 lines, abcb Now Robin Hood is to

THE STANZA /STROPHE BALLAD STANZA – 4 lines, abcb Now Robin Hood is to Nottingham gone, With a link a down a day, And there he meta silly old woman Was weeping on the way.

STANZA HEROIC COUPLET – 2 lines, aa, bb, cc Whan that Aprille with his

STANZA HEROIC COUPLET – 2 lines, aa, bb, cc Whan that Aprille with his shoures soot The droghte of March hath perced to the roote

STANZA SPENSERIAN – 9 lines, ababbcbcc OTTAVA RIMA – 8 lines, abababcc SONNET –

STANZA SPENSERIAN – 9 lines, ababbcbcc OTTAVA RIMA – 8 lines, abababcc SONNET – 14 lines (4 -4 -2 -2 -2)

STYLISTIC ANALYSIS PHONETIC LEVEL n n n Graphons Emphatic intonation Punctuation marks Aesthetic evaluation

STYLISTIC ANALYSIS PHONETIC LEVEL n n n Graphons Emphatic intonation Punctuation marks Aesthetic evaluation of sounds Onomatopoeia Verbalisation of extralingual sounds

n n n Alliteration Assonance Paronomasia Rhythm, meter Rhyme

n n n Alliteration Assonance Paronomasia Rhythm, meter Rhyme