Лингвостилистический анализ художественного текста является одним из многих аспектов формирования англоязычной коммуникативной компетенции студентов факультета иностранных языков. Очевидно, что на занятиях в рамках практического курса английского языка невозможно овладеть всеми компонентами лингвостилистического анализа в полной мере. Таким образом, речь идет лишь об элементах лингвостилистического анализа художественного текста. Подчеркнем еще раз образовательную и личностно-формирующую функции данного аспекта обучения.

Предлагаемые авторами данного пособия рекомендации не претендуют на исключительность. Они носят примерный характер и представляют собой основу, базу для дальнейшего совершенствования интерпретационных умений обучаемых.

Поскольку задания на лингвостилистический анализ художественного текста выполняются студентами на английском языке, большая часть рекомендаций также сформулирована по-английски.

Примерная схема лингвостилистического анализа художественного текста

Предлагаемая ниже схема лингвостилистического анализа текста строится в соответствии с дедуктивным подходом, требующим движения от общих характеристик к более частным особенностям текста. Важно помнить, что анализируя текст, не следует ограничиваться простым перечислением его лингвистических особенностей, лексических, грамматических, синтаксических приемов, использованных автором. Вначале нужно попытаться определить эффект, создаваемый произведением, а затем проанализировать, каким именно образом, какими средствами автору удалось достичь именно такого эффекта.

1. The general information about the text (the source it was borrowed from, the title, the author, the history of the text etc).

E.g. The text under analysis presents/ features an extract taken from the story… written by…

2. The type of narrative the text features (narration, description, persuasion etc). State the type of the narrator in the text.

3. A brief summary of the text.

4. The composition of the text (exposition, complication, climax, denouement). Mention some significant peculiarities of the composition of the text: say if it is simple, complicated or complex (many protagonists and plot-lines); scenic or dynamic.

5. Analyze the categories of the space (the setting and the atmosphere created) and the time in the text and ways of their representation; relations between the story-time and the discourse time; the usage of tenses in the narration (if applicable).

6. The vein the story is written in (ironic, tragic, matter-of-fact, etc.).

7. The theme of the story ( the main idea or moral of the story).

8. The characters of the story. State the relationship of the characters to the plot (do they play a major part in the events of the story or do they have a minor role?); the degree to which they are developed (are they complex characters or are they one-dimensional?); their growth in the course of story (do they remain the same throughout the story or do significant changes in their personalities take place?), the relations between the characters. Point out methods of character drawing. Does the character’s name have any importance, relevance or associations? Stylistic devices which contribute to the specific mood of the story; your own perception of characters and events, conflicts , ideas, etc.

9. Discuss the peculiarities of the author’s style: the syntactical, lexical, incidentally morphological and phonetic peculiarities of the text under analysis, the purpose of their employment by the author (for example, the use of slang, baby talk, etc. to reproduce the idiolect of this or that character; the use of alliteration, paronomasia, etc.). Analyze most significant expressive means and stylistic devices employed by the author. You should not boil down your analysis to the enumeration of all the stylistic devices you can spot in the text. This is the common error among students to write off a long list of stylistic devices. Always speak about the function of this or that stylistic device or expressive means, what sense it imports and what impression produces. You may follow the order «factual information -> expressive means -> sense» or «factual information -> sense -> expressive means».

10. Analyze the text in terms of intertextual connections it may possess.

11. Your idea about the title of the text.

12. Comment on the author's skill and the literary merits of the text in general. Formulate your personal impression from the text.

2.2 ВИДЫ ПОВЕСТВОВАНИЯ • TYPES OF NARRATIVE

First - person narration

 The story is told by an “I”, who may be the main character in the novel or a minor character in the novel, an observer of events that happen to others. (An example of this is Nick in F.S.Fitzgerald’s “The Great Gatsby”, etc.).

 There are some aspects of the first-person narration that are very important for readers.

 • We feel very close to the narrator because we have access to the narrator’s mind and feelings. Empathy - putting oneself in someone else’s place - is something we are enabled to experience in the first-person narration.

 • Seeing into the heart and mind of the narrator allows the author to explore mental growth and change.

 • We can know the world from a viewpoint other than our own. It may be that this is one of the attractions of the first-person narration.

 When we follow a character through his or her life we can see how they adjust to the experience. It is sometimes said that we know the first-person narrator better than any other characters. This is often the case, but it is not always true. There are some characters presented through the third-person narrator whom we know very well. This is particularly true of the novels of G. Eliot and H. James.

Third-person narration

 In the novels written in the third person, two main points of view are normally used: the omniscient point of view and the limited point of view.

The omniscient point of view means that the narrator knows everything about the events and the characters and knows all their thoughts and motives. But how much of all this does the narrator chooses to reveal? There is a lot of room for variety here. These are the two extremes but there are possible variations in between:

An intrusive narrator explicitly tells the reader things, commenting on the characters.

An objective narrator simply shows things, without commenting or explaining: he is more like a camera.

The limited point of view means that, although the narrator tells the story in the third person, he confines himself to the impressions and feelings of one character in the novel: he presents only one point of view of events. The effect of this can be similar to that created by a first-person narrator.