Functional styles of the english language реферат

Обновлено: 08.07.2024

Название работы: Functional Styles

Предметная область: Иностранные языки, филология и лингвистика

Описание: Therefore functional style of language is a historical category. Thus the FS of emotive prose actually began to function as an independent style after the second half of the 16th century; the newspaper style budded off from the publicistic style; the oratorical style has undergone considerable fundamental changes and so with other FSs The development of each style is predetermined by the changes in the norms of standard English. The BellesLetters Style We have already pointed out that the belleslettres style is a generic term for three.

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Основы теории изучаемого языка Стилистика английского языка

An FS is a patterned variety of literary text characterized by the greater or lesser typification of its constituents, supra-phrasal units (SPU), in which the choice and arrangement of interdependent and interwoven language media are calculated to secure the purport of the communication.

Each FS is a relatively stable system at the given stage in the development of the literary language, but it changes, and sometimes considerably, from one period to another. Therefore functional style of language is a historical category. There are many instances to prove this. Thus, the FS of emotive prose actually began to function as an independent style after the second half of the 16th century; the newspaper style budded off from the publicistic style; the oratorical style has undergone considerable fundamental changes, and so with other FSs,

The development of each style is predetermined by the changes in the norms of standard English.

It is also greatly influenced by changing social conditions, the progress of science and the development of cultural life in the country. For instance, the emotive elements of language were abundantly used in scientific prose in the 18th century. This is explained by the fact that scientists in many fields used the emotional language instead of one more logically precise and convincing, because they lacked the scientific data obtainable only by deep, prolonged research. With the development of science and the accumulation of scientific data, emotive elements gave way to convincing arguments and "stubborn" facts.

The English literary language has evolved a number of FSs easily distinguishable one from another. They are not homogeneous and fall into several variants all having some central point of resemblance, or better to say, all integrated by the invarianti.e. the abstract ideal system.

The Belles-Letters Style

1. The language of poetry, or simply verse.

2. Emotive p г о s e, or the language of fiction.

3. Т'he language of the drama.

Each of these substyles has certain common features, typical of the general belles-lettres style, which make up the foundation of the style, by which the particular style is made recognizable and can therefore be singled out. Each of them also enjoys some individuality. This is revealed in definite features typical only of one or another substyle. This correlation of the general and the particular in each variant of the belles-lettres style had manifested itself differently at different stages in its historical development.

According to I.R. Galperin, this is a generic term for three substyles: the language of poetry; emotive prose (the language of fiction); the language of the drama. Each of these substyles has certain common features, and each of them enjoys some individuality. The common features of the substyles are the following:

The aesthetico-cognitive function (a function which aims at the cognitive process, which secures the gradual unfolding of the idea to the reader and at the same time calls forth a feeling of pleasure and satisfaction which a reader experiences because he is able to penetrate into the author's idea and to form his own conclusions).
Definite linguistic features :
Genuine, not trite, imagery, achieved by purely linguistic devices.
The use of words in different meanings, greatly influenced by the lexical environment.
A vocabulary which will reflect to a certain degree the author's personal evaluation of things or phenomena.
A peculiar individual selection of vocabulary and syntax.
The introduction of the typical features of colloquial language to a full degree (drama), to a lesser degree (in prose), to a slight degree (poetry).

The belles-lettres style is individual in essence. This is one of its most distinctive properties.

The language of poetry is characterized by its orderly form, which is based mainly on the rhythmic and phonetic arrangement of the utterances. The rhythmic aspect calls forth syntactic and semantic peculiarities. There are certain restrictions which result in brevity of expression, epigram-like utterances and fresh, unexpected imagery. Syntactically this brevity is shown in elliptical sentences, in detached constructions, in inversion, etc.

Emotive prose shares the same common features, but these features are correlated differently than in poetry. The imagery is not so rich as in poetry; the percentage of words with contextual meaning is not so high. Emotive prose features the combination of the literary variant of the language, both in words and in syntax, with the colloquial variant. But the colloquial language in the belles-lettres style is not a simple reproduction of the natural speech, it has undergone changes introduced by the writer and has been made "literature-like". In emotive prose there are always two forms of communication present - monologue (the writer's speech) and dialogue (the speech of the characters). Emotive prose allows the use of elements from other styles as well. But all these styles undergo a kind of transformation under the influence of emotive prose. Passages written in other styles may be viewed only as interpolations and not as constituents of the style.

Language of the drama is entirely dialogue. The author's speech is almost entirely excluded except for the playwright's remarks and stage directions. But the language of the characters is not the exact reproduction of the norms of colloquial language. Any variety of the belles-lettres style will use the norms of the literary language of the given period. The language of plays is always stylized, it strives to retain the modus of literary English.

The publicistic style of language became a separate style in the middle of the 18 th century. Unlike other styles, it has two spoken varieties, namely the oratorical substyle and the radio and TV commentary. The other two substyles are the essay (moral, philosophical, literary) and journalistic articles (political, social, economic). The general aim of publicistic style is to influence the public opinion, to convince the reader or the listener that the interpretation given by the writer or the speaker is the only correct one and to cause him to accept the expressed point of view.

Publicistic style is characterized by coherent and logical syntactical structure, with an expanded system of connectives and careful paragraphing. Its emotional appeal is achieved by the use of words with the emotive meaning but the stylistic devices are not fresh or genuine. The individual element is not very evident. Publicistic style is also characterized by the brevity of expression, sometimes it becomes a leading feature.

The SDs employed in the oratorical style are determined by the conditions of communication. As the audience rely only on memory, the speaker often resorts to repetitions to enable his listeners to follow him and to retain the main points of his speech. The speaker often use simile and metaphor, but these are generally traditional, because genuine SDs may be difficult to grasp. This style is evident in speeches on political and social problems of the day, in orations and addresses on solemn occasions, as public weddings, funerals and jubilees, in sermons and debates and also in the speeches of counsel and judges in courts of law.

Political speeches fall into two categories: parliamentary debates, and speeches at rallies, congresses, meetings and election campaigns.

Sermons deal mostly with religious subjects, ethics and morality; sometimes nowadays they take up social and political problems as well.

Orations on solemn public occasions are typical specimens of this style and not a few of their word sequences and phrases are ready-made phrases or cliches.

The essay is rather a series of personal and witty comments than a finished argument or a conclusive examination of the matter. As a separate form of English literature the essay dates from the close of the 16th century. The essay was very popular in the 17th and 18th centuries. In the 17th century essays were written on topics connected with morals and ethics, while those of the 18th century focused attention on political and philosophical problems.

In comparison with oratorical style, the essay aims at a more lasting, hence, at a slower effect. Epigrams, paradoxes and aphorisms are comparatively rare in oratory, as they require the concentrated attention of the listener. In the essay they are commoner, for the reader has opportunity to make a careful and detailed study both of the content of the utterance and its form.

Journalistic articles. Irrespective of the character of the magazine and the divergence of subject matterwhether it is political, literary, popular-scientific or satirical, all the already mentioned features of publicistic style are to be found in any article. The character of the magazine as well as the subject chosen affects the choice and use of stylistic devices. Words of emotive meaning, for example, are few, if any, in popular scientific articles. Their exposition is more consistent and the system of connectives more expanded than,-say, in a satirical article.

The language of political magazine articles differs little from that of newspaper articles as described in the chapter on Newspaper Style (see below). But such elements of publicistic style as rare and bookish words, neologisms (which sometimes require explanation in the text), traditional word-combinations and parenthesis are more frequent here than in newspaper articles.

Functional styles (FS) are the subsystems of language, each subsystem having its own peculiar features in what conce vocabulary means, syntactical constructions, and even phonetics. The appearance and existence of FS is connected with the specific conditions of communication in different spheres of human life. FS differ not only by the possibility or impossibility of using some elements but also due to the frequency of their usage.

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According to Galperin: Functional Style is a system of interrelated language means serving a definite aim in communication. It is the coordination of the language means and stylistic devices which shapes the distinctive features of each style and not the language means or stylistic devices themselves. Each style, however, can be recognized by one or more leading features which are especially conspicuous. For instance the use of special terminology is a lexical characteristics of the style of scientific prose, and one by which it can easily be recognized. FS appear mainly in the literary standard of a language.

In the English literary standard the following major FS are distinguished:

1. the belles-lettres functional style,

2. the publicistic functional style,

3. the newspaper functional style,

4. the scientific prose style,

5. the official documents functional style.

Each FS is subdivided into a number of substyles.

1. The belles-lettres functional style has the following substyles:

b) emotive prose;

2. The publicistic functional style:

c) articles in newspapers and magazines;

3. The newspaper functional style:

a) brief news items;

b) advertisements and announcements;

d) the editorial

4. The scientific prose style:

a) exact sciences;

b) humanitarian sciences;

c) popular- science prose;

5. The official documents functional style:

a) diplomatic documents;

b) business letters;

c) military documents;

d) legal documents.

The Belles-Lettres Style, its Substyles and its Peculiarities

The Belles-lettres style has its own specific function to inform the reader and to impress the reader aesthetically.

- genuine imaginative means and SDs;

- the use of words in its contextual meaning;

- the individual choice of vocabulary which reflects the author's personal evaluation;

- a peculiar individual selection of syntax;

- the introduction of elements of other styles;

Poetry is characterized by:

its orderly form which is based mainly on the rhythmic and phonetic arrangement of the utterances;

brevity of expressions,

fresh unexpected imagery;

emotional coloring promoted by synonyms,epithets,metaphors,similies,etc;

specific means of syntactical connection;

the synthesis of formal and informal English.

Emotive prose. Emotive prose is a combination of the literary variant of the language and the colloquial one, which is presented by the speech of the characters which is stylized that means it has been made "literature like" and some elements of conversational English were made use of. Emotive prose allows the use of elements of other styles but the author changes them and fulfils a certain function. SDs used: in emotive prose style are represented speech, detached constructions, gap - sentence link.

Drama is the language of plays which mainly consists of dialogues. The author's speech is in the form of stage remarks. Any presentation of a play is an aesthetic procedure. The language of a play has the following peculiarities:

- it is stylized (retains the modus of literary English);

- it presents the variety of spoken language;

- it has redundancy of information caused by necessity to amplify the utterance;

A FS is a social and historical category, and it is a variety of a literary language that is born out of a social need and fulfills a certain pragmatic function (i.e. communicative task). I.R.Galperin gives the following definition of a FS: “A FS is a patterned variety of literary text characterized by the greater or lesser typification of its constituents, supra-phrasal units (SPU), in which the choice and arrangement of interdependent and interwoven language media are calculated to secure the purport of the communication”.

Оф - официально-документальный, H - научный, П-т - профессионально-технический, Г - газетный, П - публицистический, X - стиль художественной литературы, Р - религиозный.

The scheme reflects the fact that the styles overlap, as there are no clear-cut borderlines between them. V.L.Nayer also states the tendency to roughening of the whole FSs system of modern English. As a result of this tendency, groups of styles integrate, thus forming three basic communicative spheres: the sphere of professional and business communication, the sphere of mass communication, the sphere of artistic communication. These spheres he calls “Mega styles”, while FSs correspond to “macro styles” and “micro styles” are represented by further subdivision of FS into substyles and genres. Quite schematically we can show it as follows:

mega styles	macro styles	micro styles
substyles	genres
juridical
Professional and	official	diplomatic
business communication	formal
scientific proper
scientific	educational
scientific popular
professionally-technical	descriptions
instructions
newspaper
Mass communication	publicist	essays
speeches
religious style	sermon
hagiography
Artistic communication	poetry
belles-lettres style	prose
drama

Belles-letters style is bookish literary language. It has its own substyles: prose, drama, and poetry. The language of literature being a complex phenomenon has many literary schools of different periods, many individual styles. That is why it is difficult to make out the distinguishing features of that style. This style is quite different from other styles. In the language of literature there are many examples of other styles. Literature is a mixture of other styles, which is explained by its function - aesthetics. Creating truthful pictures of life, portraying characters, a writer makes use of all available means of national language. He uses words from all the layers of the vocabulary and elements of various styles, but in a peculiar way, aiming at a certain stylistic effect. The speech of the writer reflects the literary norm of his period. The language of the characters is not the exact reproduction of natural speech. Colloquial speech is stylized, shaped, according to the laws of the literary work. The writer always makes use of all the typical features of colloquial spoken varieties. He must keep the range of possible deviations of his literary work, genre, and purpose. He always stylizes. The degree of stylizing depends on the writer himself; on his ideas. When elements of a functional style are used in emotive prose, they are stylized, as they serve the needs of expressiveness. Lexical meanings are used in a peculiar way. A wide use of all sorts of stylistic devices makes the information imaginary. Complexity of the phenomenon of imaginative literature leads to the variety of approaches to the style. The style of a literary work is considered to be unique whole of both verbal and super-verbal components. It is essential that the analysis of style should not be separated from the content. The literary text is a complete, undivided structure, all elements of the text are equally conductive to the understanding of the whole. Linguo-stylistics meets literary stylistics in this style, and all varieties of the national language and functional styles interact with one another.

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