Проблема по языкам (переводам). Срочно закажу курсовую работу по языкам (переводам). Есть буквально 3 дня. Тема работы «Стилистические возможности глагольных конструкций на примере И.Шоу "Молодые львы"».
Стилистические возможности глагольных конструкций на примере И.Шоу "Молодые львы"
Chapter 1. Theoretical Aspects of the Study of Stylictic Potential of Verbal Forms
Chapter 2. Some examples of stylistic potential of verbal constructions.
2.1 The Historical Present
2.3 Stylistic potential of the continious forms of the
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Показать все. A Comprehensive Grammar of the English Language., London, 1992.
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The majority of English words are neutral. Neutral words do not have stylistic connotations. Their meanings are purely denotative. They are such words as table, man, day, weather, to go, good, first, something, enough. Besides neutral vocabulary, there are two great stylistically marked layers of words in English word-stock: literary vocabulary and colloquial vocabulary. Literary vocabulary includes bookish words, terms, poetic and archaic words, barbarisms and neologisms. Colloquial vocabulary embraces conversational lexis, jargonisms, professionalisms, dialectal, slangy and vulgar words. Neutral words form the lexical backbone of all functional styles. They are understood and accepted by all English-speaking people. Being the main source of synonymy and polysemy, neutral words easily pro
Показать всеduce new meanings and stylistic variants. Compare: mouse = 1) a small furry animal with a long tail; 2) mouse = a small device that you move in order to do things on a computer screen; 3) mouse = someone who is quiet and prefers not to be noticed.
Transposition of verbs is even more varied than that of nouns. It is ex-plained by a greater number of grammatical categories the meanings of which may be transposed. Most expressive are tense forms, mood forms and voice forms. One of peculiar features of English tense forms is their polysemantism. The same form may realize various meanings in speech. Deviation from the general (most frequently realized) meaning makes verbs stylistically coloured. Commonly, the present continuous tense denotes an action which takes place at the moment of speaking. But it may also denote a habitual action (John is constantly grumbling), an action which occupies a long period of time (Sam is wooing Mary now), and an action of the near future (Pete is starting a new life tomorrow). In such cases the present continuous tense becomes synonymous with the present or future indefinite. But there is a difference. While the sentence "John constantly grumbles" is a mere statement, the sentence "John is constantly grumbling" introduces the negative connota-tions of irritation, condemnation, regret, sadness and others. There is a rule that verbs of sense perception and mental activity are not used in the continuous tense forms. This rule is often broken by the speaker intentionally or subconsciously. In both cases verbal forms convey additional stylistic meanings of subjective modality (I am seeing you = lam not blind; I am understanding you = You need not go into further details; I am feeling your touch = So tender you are, etc. ). One of peculiar verbal transpositions is the change of temporary planes of narration when events of the past or future are described by present tense forms. Such transposition brightens the narration, raises its emotional tension, expresses intrigue, makes the continuity of events visual and graphic: It was yesterday and looked this way. The perpetrator comes to his victim, takes a long dagger out of his inner pocket and stabs the poor man right into his belly without saying a word. The man falls down like a sack, a foun-tain of blood spurting from the wound. Transposition is not the only way to make verbs expressive. A good many verbal forms are expressive in themselves. The imperative mood forms are not just commands, invitations, requests or prohibitions. They are a perfect means of rendering an abundance of human emotions. The sentence Just come to me now may contextually imply love or hate, threat or warning, promise or desire. A wide range of subjunctive mood forms offers a good stylistic choice of synonymous ways to verbalize one and the same idea. Compare the following synonymous pairs of sentences: It is time for me to go = It is time that I went; It is necessary for him to come = It is neces-sary that he come; We must go now not to be late = We must go now lest we be late; Let it be = So be it. The first sentence of each pair is stylistically neutral while the second sentence is either bookish or obsolescent. In many contexts passive verbal forms are more expressive than their active counterparts. Compare: A round table occupied the centre of the room = The centre of the room was occupied by a round table; They answered him zothing = He was answered nothing; They forgave him his rudeness = He was forgiven his rudeness.
So we can say that in a vocabulary most of the words are neuteral – only few are stylistically marked. But the use of the words causes the fact that the become stylistically marked. The verb has the biggest potential among the other parts of speech, due to the variety of its grammatical forms.
Thus, in the paper we turn our attention to the stylistic meanings associated with verbs, their tenses and aspect having already dealt with their grammar forms.
Topicality of our problem includes some points:
connotations of verbal system conveyed by verbal forms in different contextual situations including transpositions and emotional expressiveness;
lexico-grammatical categories in the peripheral field of aspect and expantion them in the light of stylistic potential;
idiomatic constructions with different meanings in contexts.
Verbal forms are used to express subtle stylistic nuances and impretions in spoken English, in distributions of light and shade of verbal paints; with the purposes to go over from one style to another.
The object of our study is the verb and its forms as a means of creating stalistically marked items. Скрыть
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