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Absence of exclamatory sentences, break-in-the narrative, other expressively charged
constructions.
Articles demonstrate more syntactical organization and logical ar-rangement of sentences.
Lexical features
Newspaper cliches and set phrases.
Terminological variety: scientific, sports, poetical, technical, etc.
Abbreviations and acronyms.
Numerous proper names, toponyms, anthroponyms, names of enter-prises, institutions,
international words, dates and figures.
Abstract notion words, elevated and bookish words.
In headlines: frequent use of pun, violated phraseology, vivid stylistic devices.
In oratory speech: words of elevated and bookish character, colloquial words and phrases,
frequent use of such stylistic devices as metaphor, alliteration, allusion, irony, etc. [36, 121].
Use of conventional forms of address and trite phases.
Compositional features
Text arrangement is marked by precision, logic and expressive power [36, 132].
Carefully selected vocabulary.
Variety of topics.
Wide use of quotations, direct speech and represented speech.
Use of parallel constructions throughout the text.
In oratory: simplicity of structural expression, clarity of message, argumentative power.
In headlines: use of devices to arrest attention: rhyme, pun, puzzle, high degree of
compression, graphical means. In news items and articles: strict arrangement of titles and subtitles,
emphasis on the headline.
Careful subdivision into paragraphs, clearly defined position of the sections of an article: the
most important information is carried in the opening paragraph; often in the first sentence.
REFERENCES:
1.
Карасик В.И. Языковой круг: личность, концепты, дискурс. 2-е изд. – Москва: Гнозис,
2004. – 390 с.
2.
Кубрякова Е.С. О тексте и критериях его определения // Текст, структура и семантика. –
Москва: 2001. – Т.1 – С. 72-81.
3.
Гальперин И.Р. Текст как объект лингвистического исследования. – Москва:
Издательство «Наука», 1981. – 139 с.
4.
Znamenskaya T.A. Stylistics of the English Language. – Moscow: 2006. –212p. Linguistic
communication and speech actshttp://www.critical-reading.Com.
ANALYZING EPITHETS: EXPLORING SEMANTIC AND STRUCTURAL
ASPECTS
PhD., doc. G.Djoldasova,
at Karakalpak State University
Sheripbayeva Shoira, Master of KSU
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Abstract:
The purpose of this study is to identify and analyze the semantic and structural
features of epithets to reveal its both differences and types. Moreover, this paper aims to analyze
various types of an epithet which is one of the most common types of literary devices and is an
artistic definition that creates a figurative, vivid picture of a concept or object.
Key words:
epithets, types of epithets, two-step epithets, phrase-epithets
An epithet in linguistics can only be a metaphor, which is simply a truncated or simplified
form of apposition. Sometimes an epithet appears in place of a person's name or is added to it,
acting as a kind of elevated sobriquet or nickname. Long-standing usage links an epithet to its
noun; some are not used in other contexts. An epithet is not always an adjective. When an epithet
is used for purely decorative purposes, such when "cloud-gathering Zeus" is used for something
other than summoning a storm, it becomes extremely noticeable."The epithets are ornamental in
the sense that they are neither specifically designed for the current context nor necessary for it.
They are quite useful, among other things, for completing a half-verse, as Walter Burkert has
pointed out. The Latin phrase epitheton necessarium refers to certain epithets that are necessary to
set the bearers apart, such as when used in place of ordinals following a prince's name, like Richard
the Lionheart (Richard I of England). The same epithet can be combined with several names, used
frequently, and in various contexts.
The epithet is composed of an attributive word, phrase, or even sentence that combines
logical and emotive meaning to describe an object and highlight some of its attributes, allowing
the reader to form their own opinion and assessment of the attributes. Since epithets are frequently
used in discussions of literary works by critics, academics, educators, and students, you are
probably just as familiar with them as you are with metaphors. An epithet describes a feature of
an object, real or imagined. Its primary characteristics are subjectivity and emotivism; the speaker
always choose the quality to qualify the object. Given that our speech is ontologically always tinted
by emotion, it is feasible to argue that in an epithet, the emotive meaning of the word is prioritised
over its denotational meaning. It makes sense that epithets, which provide many opportunities to
qualify every item from the author's partial and subjective point of view, have remained the most
often employed SD across the decades. These opportunities are invaluable in creative prose,
publicist style, and ordinary speech.Epithets become fixed with prolonged and frequent use. Folk
ballads are the source of many fixed epithets that have a strong folkloric connection (e.g., "true
love", "merry Christmas", etc.).The extensive and widespread usage of epithets explains their
highly diverse structure and semantics. Two main kinds should be distinguished semantically, with
affective (sometimes known as emotive proper) being the largest. These admonitions help to
express the speaker's emotional assessment of the thing. The majority of the dictionary-qualified
terms—such as "gorgeous," "nasty," "magnificent," "atrocious," and so on—can be utilised as
emotive epithets
.
The second group -figurative, or transferred, epithets-is formed of metaphors,
metonymies and similes (which will be discussed later) expressed by adjectives. E.g. "the smiling
sun", "the frowning cloud", "the sleepless pillow", "the tobacco-stained smile", "a ghost-like face",
"a dreamlike experience. In the overwhelming majority of examples epithet is expressed by
adjectives or qualitative adverbs (e.g. "his triumphant look" = he lookedtriumphantly).* Nouns
come next. They are used either as exclamatory sentences (You, ostrich!)or as postpositive,
attributes ("Alonzo the Clown", "Richard of the Lion Heart"). Epithets are used singly, in pairs, in
chains, in two-step structures, and in inverted constructions, also as phrase-attributes. Pairs are
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represented by two epithets joined by a conjunction or asyndetically as in "wonderful and
incomparable beauty" or "a tired old town". Two-step epithets are so called because the process of
qualifying seemingly passes two stages: the qualification of the object and the qualification of the
qualification itself, as in "an unnaturally mild day" (Hut.), or "a pompously majestic female".
Phrase-epithets always produce an original impression. Cf.: "the sunshine-in-the-breakfast-room
smell. Their originality proceeds from rare repetitions of the once coined phrase-epithet which, in
its turn, is explained by the fact that into a phrase-epithet is turned a semantically self-sufficient
word combination or even a whole sentence, which loses some of its independence and self-
sufficiency, becoming a member of another sentence, and strives to return to normality. Inverted
epithets. They are based on the contradiction between the logical and the syntactical: logically
defining becomes syntactically defined and vice versa. E.g. instead of "this devilish woman",
where "devilish" is both logically and syntactically defining, and "woman", also both logically and
syntactically defined, W. Thackeray says "this devil of a woman". Here "of a woman" is
syntactically an attribute, i.e. the defining, and "devil"-the defined, while the logical relations
between the two remain the same as in the previous example "a woman" is defined by "the devil".
Classification of Epithets
From the point of view of their compositional structure epithets may be divided into:
1) simple (adjectives, nouns, participles): e.g. He looked at them in animal panic.
2)compound: e.g. apple - faced man.
3) sentence and phrase epithets: e.g. It is his do - it - yourself attitude.
4) reversed epithets - composed of 2 nouns linked by an of phrase: e.g. "a shadow of a smile.
Semantically according to I. Galperin:
1) associated with the noun following it, pointing to a feature which is essential to the objects
they describe: dark forest; careful attention.
2) unassociated with the noun, epithets that add a feature which is unexpected and which
strikes the reader: smiling sun, voiceless sounds.
Example: On the bottom of the huge and glassy lagoon was much pearl shell, and from the
deck of the schooner, across the slender ring of the atoll, the divers could be seen at work.
There is used simple epithet "glassy" to show that the water in this lagoon was pure.
An epithet is a word or phrase which one uses to characterize something or someone. It
highlights a prominent characteristic of a person or a thing by adding a word or a phrase, which
can either precede or follow the term it is describing. The word was taken from a Greek word“
epitheton,” which means “added.” As the root of the word suggests, it adds information to the
word it is describing. Epithets can be used for many different reasons. One reason is to create
poetic imagery and to portray the eminent characteristic of the characters. Homer is well known
for using numerous epithets in his epic to describe the people and the gods. Many names
throughout history had epithets to describe them and their characteristics, such as “Ivan the
Terrible.” Another reason is to add more information about the person or the object. An epithet
can simply be a job title such as “Doctor A,” or “President B.” Last reason to use epithet is to
follow etiquette and to show reverence. Though the terms are not so often used today, “Your
Highness” or “Your Grace” show examples of epithets that are considered to be etiquette; failing
in addressing them appropriately could be considered to be extremely rude.
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REFERENCES:
1. Corbett E.P.J,1969. Rhetorical Analysis of Literary Works. London, Oxford University press.
2. Cruse D.A, 2011.Meaning in Language.an Introduction to Semantics and Pragmatics. Oxford.
Oxford university press.
3. Galperin I.R,1971.Stylistics.Moscow.
4. Kukharenko V.A, 1986. A Book of Practice in Stylistics. Moscow.
5. Tursunova L.A., 1973. Structural Types and Stylistic Functions of Epithet in the language of
Fiction of the 20th century. Moscow.
CREATING AUDITORY IMAGERY IN PROSE
Erimbetova Elza Kudaynazarovna
assistant teacher of the English Linguistics Department,
Karakalpak state university
Imagery is a literary device (i.e. a writing technique) that uses descriptive language to
create a mental image of a place, idea, or experience. It appeals to the reader's senses (sight, sound,
touch, taste, and smell).
We consider
imagery as a tool used by writers to fully engage the reader
in the story. It can evoke certain feelings or emotions. make us sympathize with a character, or let
us experience the world from a character's point of view.
Our mental image in our head is completely unique to us. Other people may imagine the
same people, objects, ideas etc. but how their mental image of these will differ from person to
person. The vividness and detail of this mental imagery will also differ; some people may
experience rich, vivid images whilst others experience duller, less detailed images.
There are five different types of imagery, each describing the sense that the imagery is
appealing to. These are:
Visual imagery (what we 'see' in our mental image)
Auditory imagery (what we 'hear' in our mental image)
Tactile imagery (what we 'touch' or 'feel' in our mental image)
Gustatory imagery (what we 'taste' in our mental image)
Olfactory imagery (what we 'smell' in our mental image)
A writer can use multiple types of imagery across the full text to fully engage the reader
and create a full, sensory experience.
In this article, we will discuss auditory imagery examples, i.e. what we 'hear' on the basis
of contexts taken from the novel “A Dance with Dragons” by George R. R. Martin which was
published in 2011.
Auditory imagery refers to the mental images or representations that are created in a
person's mind when they hear sounds or words. It is a type of mental imagery that involves the
sensory experience of hearing [1,253].
Descriptive language can create a mental image of sounds, even when there is no external
stimulus (i.e. no 'real-life sound'). This could be music, voices, or general noises that we hear.
Imagine the following sounds: the chirping of birds, glass shattering onto the floor, waves
crashing onto the shore, the bark of a dog, complete silence, and your friend calling your name.
Writers can use auditory imagery examples to transport the reader to the setting of their story. This
