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e) Literary Coinages (Including Nonce-Words) Neologism - 'a new word or a new meaning for an established word.' Every period in the development of a language produces an enormous number of new words or new meanings of established words. Most of them do not live long. They are not meant to live long. They are coined for use at the moment of speech, and therefore possess a peculiar property —that of temporariness. The given word or meaning holds only in the given context and is meant only to "serve the occasion." However, such is the power of the written language that a word or a meaning used only to serve the occasion, when once fixed in writing, may become part and parcel of the general vocabulary. The coining of new words generally arises first of all with the need to designate new concepts resulting from the development of science and also with the need to express nuances of meaning called forth by a deeper understanding of the nature of the phenomenon in question. It may also be the result of a search for a more economical, brief and compact form of utterance which proves to be a more expressive means of communicating the idea. The first type of newly coined words, i.e. those which designate newborn concepts, may be named terminological coinages. The second type, i.e. words coined because their creators seek expressive utterance may be named stylistic coinages. Among new coinages of a literary-bookish type must be mentioned a considerable layer of words appearing in the publicistic style, mainly in newspaper articles and magazines and also in the newspaper style— mostly in newspaper headlines. Another type of neologism is the nonce-word – a word coined to suit one particular occasion. They rarely pass into the standard language and remind us of the writers who coined them. 3. Special colloquial vocabulary Colloquial words mark the message as informal, non-official, conversational. Apart from general colloquial words, widely used by all speakers of the language in their everyday communication (e. g. "dad", "kid", "crony", "fan", "to pop", "folks"). a) Slang There is hardly any other term that is as ambiguous and obscure as the term slang. Slang seems to mean everything that is below the standard of, usage of present-day English. Slang [origin unknown] - language peculiar to a particular group: as a: the special and often secret vocabulary used by a class (as thieves, beggars) and usu. felt to be vulgar or inferior: argot; b: the jargon used by or associated with a particular trade, profession, or field of activity; 2: a non-standard vocabulary composed of words and senses characterized primarily by connotations of extreme informality and usu. a currency not limited to a particular region and composed typically of coinages or arbitrarily changed words, clipped or shortened forms, extravagant, forced or facetious figures of speech, or verbal novelties usu. experiencing quick popularity and relatively rapid decline into disuse. - words or expressions that are very informal and are not considered suitable for more formal situations. Some slang is used only by a particular group of people (Macmillan). Slang words, used by most speakers in very informal communication, are highly emotive and expressive and as such, lose their originality rather fast and are replaced by newer formations. This tendency to synonymic expansion results in long chains of synonyms of various degrees of expressiveness, denoting one and the same concept. So, the idea of a "pretty girl" is worded by more than one hundred ways in slang. In only one novel by S. Lewis there are close to a dozen synonyms used by Babbitt, the central character, in reference to a girl: "cookie", "tomato", "Jane", "sugar", "bird", "cutie", etc. b) Jargonisms Jargonism is a recognized term for a group of words that exists in almost every language and whose aim is to preserve secrecy within one or another social group. Jargonisms are generally old words with entirely new meanings imposed on them. Most of the jargonisms of any language, and of the English language too, are absolutely incomprehensible to those outside the social group which has invented them. They may be defined as a code within a code, that is special meanings of words that are imposed on the recognized code—the dictionary meaning of the words. Thus the word grease means 'money'; loaf means 'head'; a tiger hunter is 'a gambler'; a lexer is 'a student preparing for a law course'. Jargonisms are social in character. They are not regional. In Britain and in the US almost any social group of people has its own jargon. The following jargons are well known in the English language: the jargon of thieves and vagabonds, generally known as cant; the jargon of jazz people; the jargon of the army, known as military slang; the jargon of sportsmen, and many others. Jargonisms, like slang and other groups of the non-literary layer, do not always remain on the outskirts of the literary language. Many words have overcome the resistance of the language lawgivers and purists and entered the standard vocabulary. Thus the words kid, fun, queer, bluff, fib, humbug, formerly slang words or jargonisms, are now considered common colloquial. They may be said to be dejargonized. c) Professionalisms Professionalisms are the words used in a definite trade, profession or calling by people connected by common interests both at work and at home. Professionalisms are correlated to terms. Terms, as has already been indicated, are coined to nominate new concepts that appear in the process of, and as a result of, technical progress and the development of science. In distinction from slang, jargonisms and professionalisms cover a narrow semantic field, for example connected with the technical side of some profession. Professional words name anew already-existing concepts, tools or instruments, and have the typical properties of a special code. The main feature of a professionalism is its technicality. Professionalisms are special words in the non-literary layer of the English vocabulary, whereas terms are a specialized group belonging to the literary layer of words. Professionalisms are not known to simple people. d) Dialectal words Dialectal words are those which in the process of integration of the English national language remained beyond its literary boundaries, and their use is generally confined to a definite locality. We exclude here what are called social dialects or even the still looser application of the term as in expressions like poetical dialect or styles as dialects. Dialectal words are normative and devoid of any stylistic meaning in regional dialects, but used outside of them, carry a strong flavour of the locality where they belong. DW has application limited to a certain group of people or to certain communicative situations. e) Vulgar words or vulgarisms Vulgarisms are: 1) expletives and swear words which are of an abusive character, like 'damn', 'bloody', 'to hell', 'goddam' and, as some dictionaries state, used now, as general exclamations; 2) obscene words. These are known as four-letter words the use of which is banned in any form of intercourse as being indecent. The function of expletives is almost the same as that of interjections, that is to express strong emotions, mainly annoyance, anger, vexation and the like. They are not to be found in any functional style of language except emotive prose, and here only in the direct speech of the characters. f) Colloquial coinages (words and meanings) Colloquial coinages (nonce-words), unlike those of a literary-bookish character, are spontaneous and elusive. Not all of the colloquial nonce-words are fixed in dictionaries or even in writing and therefore most of them disappear from the language leaving no trace in it. Unlike literary-bookish coinages, nonce-words of a colloquial nature are not usually built by means of affixes but are based on certain semantic changes in words that are almost imperceptible to the linguistic observer until the word finds its way into print. Kucharenko V.A. A book of practice in Stylistics pp. 25-28, questions, ex. 1, 2, 4. Lecture 3 Phonetic Stylistic Devices and Graphical Means. 1. Onomatopoeia 2. Alliteration 3. Rhyme 4. Rhythm 5. Graphical Means The stylistic approach to the utterance is not confined to its structure and sense. There is another thing to be taken into account which, in a certain type of communication plays an important role. This is the way a word, a phrase or a sentence sounds. The sound of most words taken separately will have little or no aesthetic value. A word may acquire a desired phonetic effect only in combination with other words. The way a separate word sounds may produce a certain euphonic effect, but this is a matter of individual perception and feeling and therefore subjective. However there exist psychological works on the theory of sound symbolism. They checked the associations, which the tested people have with the definite sounds. Statistics shows that their answers coincide very often. Verier St Woolman, one of the founders of the theory of sound symbolism claimed that a certain sound when pronounced clearly and strong has special meaning and feeling. For example the sound [d], when repeated often may produce an effect of something evil, negative and wicked. The sound of a word, or more exactly the way words sound in combination, often contributes something to the general effect of the message, particularly when the sound effect has been deliberately worked out. This can easily be recognized when analyzing alliterative word combinations or the rhymes in certain stanzas or from more elaborate analysis of sound arrangement. The aesthetiс effect of the text is composed not only with the help of sounds and prosody, but with the help of sounds and prosody together with the meaning. The sound side of the belles-letters work makes a whole with rhythm and meaning and can’t influence the reader separately. To influence aesthetically the sound part of the text should somehow be highlightened. An author can increase an emotional and aesthetic effect of his work through choosing the words, their arrangement and repetitions. Let’s see what phonetic SDs can secure this function. 1. Onomatopoeia Onomatopoeia is a combination of speech sounds which aims at imitating sounds produced in nature (wind, sea, thunder, etc. – splash, bubble, rustle, whistle) by things (machines or tools, etc. - buzz) by people (singing, laughter, yawning, roar, giggle) and animals (moo, bleat, croak - frog). Therefore the relation between onomatopoeia and the phenomenon it is supposed to represent is one of metonymy: that is it can be used in transferred meaning – tintinnabulation-the sound of bells There are two varieties of onomatopoeia: direct and indirect. Direct onomatopoeia is contained in words that imitate natural sounds, as thud, bowwow, ding-dong, buzz, bang, ‘cuckoo. These words have different degrees of ‘imitative quality. Some of them immediately bring to mind whatever it is that produces the sound. Others require some imagination to decipher it. e.g. And now there came the chop-chop of wooden hammers. Indirect onomatopoeia is a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense. It is sometimes called "echo writing". Indirect onomatopoeia demands some mention of what makes the sound, as rustling of curtains in the following line. And the silken, sad, uncertain rustling of each purple curtain. An example is: And the silken, sad, uncertain rustling of each purple curtain" (E. A. Poe), where the repetition of the sound [s] actually produces the sound of the rustling of the curtain. Indirect onomatopoeia is sometimes effectively used by repeating words which themselves are not onomatopoetic but they contribute to the general impact of the utterance: in the poem Boots by R. Kipling soldiers’ tread is shown - We’re foot-slog-slog-slog-sloggin’ over Africa – Foot-foot-foot-foot –sloggin’ over Africa. (Boots – boots – boots – boots – moovi’ up and down again!) Onomatopoeia helps to create the vivid portrayal of the situation described, and the phonemic structure of the word is important for the creation of expressive and emotive connotations. 2. Alliteration and assonance Alliteration is a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words: " The possessive instinct never stands still (J. Galsworthy) or, "Deep into the darkness peering, long I stood there wondering, fearing, doubting, dreaming dreams no mortals ever dared to dream before" (E. A. Poe). Alliteration is also used to name the repetition of first letters: Apt Alliteration’s artful aid.(Charles Churchill). Alliteration has a long tradition in English poetry as Germanic and Anglo-Saxon poems were organized with its help. (Beowulf) Assonance is the repetition of similar stressed vowels within the line or stanza. “… Tell this soul, with sorrow laden, if within the distant Aiden, I shall clasp a sainted maiden, whom the angels name Lenore… (E. A. Poe)” Alliteration, like most phonetic expressive means, does not bear any lexical or other meaning. However it supplies the utterance with a certain nuance of the meaning [d]. That’s why alliteration is regarded as a musical accompaniment of the author’s idea, supporting it with some vague emotional atmosphere which each reader interprets for himself. Alliteration heightens the general aesthetic effect of the utterance when it has connection with sense. Now it’s used only as a subsidiary device. Its role is an expressive one – alliterated words indicate the most important concepts. It’s often used in emotive prose, newspaper headlines, titles, proverbs and sayings: Sense and Sensibility; Pride and Prejudice; safe and sound; part and parcel etc. 3. Rhyme Rhyme is the repetition of identical or similar terminal sound combination 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. Identity and similarity of sound combinations may be relative. Thus, the first criterion is the identity of sound. Form this point of view we distinguish between full rhymes and incomplete rhymes. The full rhyme presupposes identity of the vowel sound and the following consonant sounds in a stressed syllable (heart – part, flood-blood). Incomplete rhymes are divided into two main groups: vowel rhymes (ассонансы) and consonant rhymes (консонансы). In vowel rhymes the vowels of the syllables in corresponding words are identical, but the consonants may be different as in (advice-compromise). In consonant rhymes, on the contrary, consonants are identical and disparity in vowels, as in (wind-land, grey-grow). The second criterion: morphological characteristics. Compound (broken) rhymes - when one word rhymes with a combination of words; or two or even three words rhyme with a corresponding two or three words, as in "better – forget her". The peculiarity of rhymes of this type is that the combination of words is made to sound like one word - this device will inevitably give a colloquial and sometimes a humorous touch to the utterance. Compound rhyme may be set against what is called eye - rhyme, where the letters and not the sounds are identical, as in love - prove, flood - brood, have - grave. It follows that compound rhyme is perceived in reading aloud, eye - rhyme can only be perceived in the written verse. III the way the rhymes are arranged within the stanza: couplets – when the last words of 2 successive lines are rhymed – aa; cross rhymes – перекрёстные - abab; framing or ring rhymes – опоясывающие - abba. IV according to their position: e.g. internal rhyme – the rhyming words are placed not at the ends of the lines but within the line: “I bring fresh showers for the thirsting flowers.” (Shelley) The rhyme has 2 functions, which are realized simultaneously: disserving (it breaks the line into 2 distinct parts, making the reader to pause) and consolidating (consolidates the ideas expressed in 2 parts). 4. Rhythm Rhythm is the alternation of stressed and unstressed syllables, more or less regular. As a SD rhythm is a combination of the ideal metrical scheme and its variations governed by the standard. It exists in all spheres of human activity and assumes multifarious forms. It stirs up emotions whatever its nature or origin, whether it is musical, mechanical or symmetrical as in architecture. It’s not only a regular pattern of sounds or movements; it’s also any regular pattern in nature or in life. Rhythm can be perceived only provided that there is some kind of experience in catching regularity of alternating patterns. Rhythm has a great importance not only for music and poetry, but also for prose. In prose rhythm is closely connected with the metre, i.e. different metrical patterns. The rhythm of prose is based on the succession of images, themes and other big elements of the text; repetition, parallel constructions, chiasmus- перекрестный/ реверсированный повтор, similar syntactical patterns. The unit of measure here is not a syllable but a structure, a word-combination, a sequence of phrases, sentences and supra-phrasal units. Rhythm intensifies the emotions. It contributes to the general sense, helps to get the flow of thoughts and humour of the author. In poetry it conveys the mood, emotions and feelings, sharpens the thought of the author and his characters. Rhythm adds specific importance to some ideas and feelings, it helps to create reality in text. It has expressive, symbolic and graphic functions. It can imitate movement, behaviour and even setting. It foregrounds some particular words, thoughts, ideas, feelings, and vice versa obscures others, thus adding a per’spective to the text. |