Lexical Stylistic Devices

foreign languages

DONE BY: Serik Markhabat
Mustafinova Anel’

denoting phenomena that serves to create additional expressive, evaluative, subjective

connotations.

We wanted to speak about Interaction of Dictionary and Contextually meanings.

of speech which makes an implicit, implied or hidden comparison

between two things or objects that are poles apart from each other but have some characteristics common between them.

quality to our conversations and to the characters of the

fiction or poetry. Metaphors are also ways of thinking, offering the listeners and the readers fresh ways of examining ideas and viewing the world.

to their degree of unexpectedness. Thus metaphors which are absolutely

unexpected, i.e. are quite unpredictable, are called genuine metaphors. Those which are commonly used in speech and therefore are sometimes even fixed in dictionaries as expressive means of language are trite metaphors, or dead metaphors.

genuine, based on some fresh analogy between two things.()

trite, the original figurative meaning of which has been forgotten due to the overuse ( blind as a bat, as sick as a dog)

He had a fish face , and Judas eye

.

Particulars, you mealy-mouthed snoozer.
Who, sleeps and dozes and naps. A man who can not do anything.

Puma”

By O Henry

She made a good, mild, Colorado-claro wife

The king shouted in such a tremendous voice that the ratters on the prairie would run into their holes under the pricly pear

“Last Leaf” by O. Henry

So far as

it may filter through my efforts

Ties that bound her to friendship and to earth

It is a figure

of speech that replaces the name of a thing with the name of something else with which it is closely associated.

Metonymy is created by a different semantic process. It based on contiguity of objects.

work. (“The Oval Office” is a metonymy as it stands

for people at work in the office.)

I have read Abai (Here is Abai is metonymy, it means I have read a book of Abai)

We are at Gagarina now. (Gagarina is metonymy, it means we are Gagarina street now)

in which words are used in such a way that

their intended meaning is different from the actual meaning of the words.

In simple words, it is a difference between the appearance and the reality. It’s also based on the realization of two logical meanings dictionary and contextual but, the two meanings stand in opposition to each other.

The exact word whose contextual meaning is quite opposite to its dictionary meaning is called verbal irony. But in many cases we may feel the ironic effect, but we cannot identify the exact word in whose meaning we can see the contradiction between the said and the implied. The effect of irony in such cases is created by a number of statements, by the whole of the text. This type of irony is called sustained.

on a banana peel and the next thing you know,

you slipped too.

The butter is as soft as a marble piece.

“Oh great! Now you have broken my new camera.”

small group because they have much in common both in

the mechanism of their formation and their function:
paronomasia,
zeugma,
violation of phraseological units,
semantically false chains,
nonsense of non-sequence.
The effect of these stylistic devices is humorous. They are called play on words or pun. Pun is the humorous or ludicrous use of a word in more than one sense.

but different in meaning. Co-occurrence of paronyms is called paronomasia.

“When I am dead, I hope it may be said: ‘His sins were scarlet, but his books were read’.

grammatical relation of two adjacent words in the context, one

metaphorical and the other literal in sense. Zeugma is highly characteristic of English prose of previous and contemporary centuries: “He lost his hat and his temper”. Polysemantic verbs have a practically unlimited lexical valency. They can be combined with nouns of most varying semantic groups. They may be used with two or more homogeneous members, which are not connected semantically:”He took his hat and his leave”. (Ch. Dickens); “Medora took heart, a cheap hall bedroom, and two art lessons a week from professor Angeline.” (O.Henry).

but they are semantically disconnected we deal with semantically false

chains. This is a variation of zeugma. As a rule, it is the last member of the chain that falls out of the thematic group. Doing so it produces humorous effect: “A Governess wanted. Must possess knowledge of Rumanian, Russian, Italian, Spanish, German, Music and Mining Engineering.”
Punning can be realized on most levels of language hierarchy. Non-sequence rests on the extension of syntactical valency. It results in joining two semantically disconnected clauses into one sentence: “Emperor Nero played the fiddle so they burnt Rome.” Two disconnected statements are linked together by cause / effect relations.

is used instead of a common noun or vice versa.

The case of antonomasia of the first type is when the nominal meaning of a proper name is suppressed by its logical meaning, or the logical meaning acquires the new nominal component. It substitutes an epithet, or descriptive phrase, or official title for a proper name: “He is the Napoleon of crime.” (C.Doyle). It is close to metonymy. Sometimes a proper name is used to express a general idea: “He took little satisfaction of telling each Mary, shortly after she arrived, something…” The second type of antonomasia is when a common noun serves as an individual name: “There are three doctors in an illness like yours. I don not mean only myself, my partner and the radiologist, who does x-rays, the three I am referring to are Dr.Rest, Dr.Diet and Dr.Fresh Air.” (D. Cusack). The third type of antonomasia is presented by the so-called “speaking names”. Their origin from common nouns is obvious: “Mr.Smith”, “Mr.Brown”, “Lady Teazle”, “Mr.Surface” (Sheridan ”The School of Scandal”). The double role of the “speaking names is to name and to qualify. Sometimes it is preserved in translation: Miss Languish -Мисс Томней ; Mr.Backbite - Мистер Клеветаун; Mr.Credulous - Мистер Доверч; Mr.Snake -Мистер Гад (Sheridan. “The Rivals”).

quality of a person, thing, idea or phenomenon. It serves

to emphasize a certain property or feature. Epithet is of special significance in different kinds of poetry. Each epoch and each genre has its own stock of traditional epithets. Sometimes they are called fixed: “green wood”, “merry men”, “true love”, “yellow hair”. The choice of epithets is one of the primary characteristics of a poet’s style:
　　　　　　　　　　　　“The flowing Spring leads Sunny Summer,
　　　　　　　　　　　　 And yellow Autumn presses near,
　　　　　　　　　　　　 Then in its turn comes gloomy Winter
　　　　　　　　　　　　 Till smiling Spring appears.” (R.Burns).
Semantically we differentiate two main groups: affective (or emotive proper) - this is the biggest group - and figurative (or transferred). Emotive epithets serve to convey the emotional evaluation of the object by the speaker. Most of the qualifying words can be used as affective epithets (“gorgeous”, “nasty”, “magnificent”, atrocious”).
Figurative epithets are metaphors, metonymies and similes which are expressed by adjectives:
”the smiling sun”, “the frowning cloud”, “the sleepless pillow”, “a ghost-like face”, “a dreamlike experience”. These epithets are based on similarity of characteristics of two objects, or nearness of the qualified objects, or their comparison.

through evident exaggeration. Like epithet it relies on the foregrounding

of the emotive meaning: “Here is the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand”. (W.Shakespear).
Hyperbole is aimed at exaggerating of quantity or quality. When it is directed the opposite way we deal with understatement. Understatement. means representing things as less, or less strongly, than may be done truthfully. It is considered by many as an essential attribute of English humour: “I am rather annoyed” = “I am infuriated”; “The wind is rather strong” = “There is a gale blowing outside”. These examples are typical of British polite speech.

an epithet or attributive phrase in contradiction to the noun

which it denotes. The syntactic and semantic structures come to clashes. Oxymoron is a combination of two semantically contradictory notions. The speaker’s (writer’s) subjective view is expressed through the members of the word combination:
“Loving hate! Serious vanity!”;
“His humble ambition, proud humility
His jarring concord and his discord dulcet”. (W.Shakespear).
Originality and specificity of oxymoron becomes especially evident in non-attributive structures. They are also used to express semantic contradiction: “the streets damaged by improvement”; “silence was louder than the thunder”.
Oxymoron rarely becomes trite. Their components repulse each other and oppose repeated use. There are few colloquial oxymorons. They show a high degree of the speaker’s emotional involvement in the situation: “awfully pretty”.