Стилистические средства выражения эмоционального состояния человека в современном английском языке.

In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them.”As we see, the hero’s speech is interspersed with crude colloquial vocabulary (crap, stuff), book-literary lexical units (truth, childhood, personal, occupy, etc.) and even scientific terms (hemorrhage)There is not much vulgar vocabulary in the novel, but slang with various disapproving meanings is often used. Reduced colloquial vocabulary and slang are used to express the characteristics of ordinary American schoolchildren speech; in situations related to the expression of emotional, expressive state, mood of the hero; in situations where the storyteller evaluates objects and phenomena of reality. Reality is interpreted by him, mainly negatively, so the assessment vocabulary has a reduced character.So, the narrator in the story “The Catcher in the Rye” uses colloquial words, slang most often as evaluative vocabulary. And since his condition can be defined as a state on the edge of the "abyss", his assessments, as a rule, are negative, his speech is emotional, expressive. This is facilitated by the use of colloquial vocabulary and slang.So, let us single out the main groups of language units found in the speech of the hero of the work.I. Conversational vocabulary and phraseological expressions:1. Actually colloquial vocabulary and phraseological expressions:kind of, regular, terrific, guy, stupid, or anything, and all, dorm, terrifically, boy, puke, drive crazy, mad about, up alley, corny, okay, terrific, stuff, pot of, pile of, buddy, phony, crazy, kill, terrible, goner, kid, moron, sore at, all right, fix up, crazy about, sort of, cut out, screw up, booze, sexy, gorgeous, old, nosy, no kidding, horse manureand etc.2. Unfriendly vocabulary and phraseological expressions:goddam, damn, the hell, like hell, the hell out (of), as hell, helluva (hell of a), just for the hell of it, not give a damn, for Chrissake, Jesus, shut up.II. Slang1. Actually slang: dough, hotshot, for the birds, bang, hit the ceiling, lousy, shoot the bull, dough, stiff, swell, stink, knock out, horse around, buck, up the creek, crumby, hound, stick around, babe, yap, tough, snow, aces, have all marbles, snotty, hot one, shack up, bud, be loaded, screwball, hot, gal, cop, old man, putrid, give the eye, beat it, give the freeze, flit.2. Slang marked "vulgar", "rude": crap, ass, half-assed, fat- assed, my ass, turd, bastard, fart, give smb. a feel, shoot the crap, give smb. the time, big stink, knockers, throw, fuck.Among the most frequent in the hero’s monologue, one can distinguish the following evaluative words and expressions related to: 1) colloquial speech: goddam, crazy, phony, lousy, terrific, moron, dope (dopey), hell; 2) ксленгу: bastard, crap, ass.I would especially like to dwell on the use of two tokens in Holden's speech – hell и ass.Colloquial vocabulary, phraseological units and slang in a teenager’s speech are used 1) to express the features of ordinary American schoolchildren’s speech, 2) in situations related to expressing an emotional, expressive state, the mood of a hero, 3) in situations when the narrator evaluates objects and phenomena of reality.However, in the final part of the novel, the hero tries to erase the vulgar inscription “Fuck you” from the wall of the school. This is an important episode for understanding the process of reconciliation of the hero with the world, which causes nausea and pain in him. “Somebody’d written‘ Fuck you ’on the wall. It drove me damn near crazy. <...> I hardly even had the guts to rub it off the wall with my hand, if you want to know the truth. <...> But I rubbed it out anyway, finally. "This inscription for the hero symbolizes the vulgarity of reality. Holden imagines how she becomes an occasion for the vile story of a teenager, appears in all places where he is trying to hide, even on a gravestone. In the end, the hero concludes: “If you had a million years to do it in, you couldn’t rub out even half the“ Fuck you ”signs in the world. It's impossible. ”The quoted statement of the hero is one of the key in the novel. Holden realizes the senselessness of the struggle with common truths "on the fences", follows the path of sincerity in relations with people, overcoming communicative failures.So, as a practical study of the story by J. Salinger “The Catcher in the Rye” showed, the colloquial speech embedded in the mouth of the character of the work reflects his character, behavior and relationships with the world.Speech by Holden Caulfield is diverse: it consists of roughly colloquial (vulgar) vocabulary, slang, literary and book lexical units. Most often, in his speech, the hero uses the emphatic amplifier hell and vulgarism ass. With their help, he characterizes the objects surrounding him, phenomena and people, evaluates that adult world, which, in his opinion, is full of hypocrisy and hypocrisy. In statements (both internal and external), a negative assessment prevails, which is especially emphasized by the nature of speech.2.2. Morphological stylistic devices expressing human emotional stateStylistic morphology is interested in grammatical forms and grammatical meanings that are peculiar to particular sublanguages, explicitly or implicitly comparing them with the neutral ones common to all the sublanguages.Morphological stylistic devices as a deliberate shift in the fixed distribution of morphemes can be created by means of:a) the violation of the usual combinability of morphemes within a word, e.g. the plural of uncountable nouns (sands, waters, times), or the Continuous forms of the verbs of sense perception (to be seeing, to be knowing, to be feeling);b) the violation of the contextual distribution of morphemes, which is called form transposition.A very powerful stylistic means is morphological transposition (transfer of grammatical meaning, the use of a word not in its primary function but for the purpose of creating a certain stylistic effect). Transposition is the usage of certain forms of different parts of speech in non-conventional grammatical or lexical meanings.Transposition of pronouns1. Demonstrative – this, these, that, those may be used to express various shades of emotional meanings, attitudes, from admiration to contempt. (That beautiful sister of yours! These lawyers! ОхужэтаНастя!)2. Personal pronouns can express cold official relations, indulgence (снисхождение), arrogance (высокомерие), and sympathy: We are exceedingly charming this evening! (“we” is used instead of “you” to express condescending-approving (снисходительно -одобрительный) attitude of the speaker to the young girl.a) the plural of modesty. In scientific prose WE implies the author and his imaginary reader. The author's WE, or the plural of modesty, is used with the purpose to identify oneself with the audience or society at large (in order not to mention himself for the reason of modesty but associate himself with his recipients): Now, we come to the conclusion that...b) the plural of majesty. WE can be used with reference to a single person, the speaker (instead of the pronoun I). It is called the plural of majesty and is used in royal speech: By the Grace of Our Lord, We, Charles the Second...c) In literary texts (in prose fiction) YOU is used to involve the reader into the action, to make him participate in the events, to impart the emotions prevailing in the narration to the reader (You know).Transposition of nouns1. The use of singular noun instead of an appropriate plural form creates a generalized, elevated effect bordering on symbolization:The faint fresh flame of the young year flushesFrom leaf to flower and from flower to fruitAnd fruit and leaf are as gold and fire (Swineburn).2. The abstract noun (normally uncountable) used in the plural form (hyperbolic plural) makes the narration more expressive and brings about aesthetic semantic growth, e.g.: Still waters run deep. When sorrows come they come not single spies but in battalions.Transposition of adjectivesTransposition of adjectives turns them into nouns to make the utterance more expressive and tangible (осязаемый): “The Red and the Black”, Isolde the Slender.The grammatical category of comparison. When relative adjectives denoting qualities normally incompatible with the idea of degrees of comparison (such as colours, physical states, materials) are used in a comparative or a superlative degree, they acquire an evaluative force and become charged with a strong expressive power: pinker, greener; You cannot be deader than the dead (E. Hemingway).The use of comparative and superlative forms with other parts of speech conveys a humorous colouring, e.g.: He was the most married man I've ever met.Violation of grammatical norms of forming degrees of comparison (e.g- the use of synthetical forms with longer adjectives instead of analytical ones) in a literary text serves to reveal the speaker's ruffled emotions (his overemotional state): "Curioser and curioser!" cried Alice (L. Carroll).Verb transpositionsThe verb possesses more grammatical characteristics than any other Part of speech. All deviant usages of tense, voice and aspect forms have strong stylistic connotations and play an important role in creating a metaphorical meaning.1. Тhe most vivid example of grammatical transposition is the so-called Historical (or Dramatic) Present (the use of present forms in order to express actions which took place in the past) The aim is to join different time systems — that of the characters, of the author and of the reader, all of whom may belong to different epochs.Writers (Ch. Dickens) often present past events as if they were in the present.2. The auxiliary verb do/does/did in combination with a main-verb is a frequent emphatic device in colloquial speech, e.g.: I do know him; He does look pale; Do let's go to the theatre. Do stop calling me Billy in public! You don’t say! 3. The use of Present Continuous into the sphere of Indefinite creates a lot of connotations, may express:1) conviction, determination, persistence: Well, she is never coming here again, I tell you that straight (S. Maugham);2) impatience, irritation: — I didn't mean to hurt you.— You did. You are doing nothing else (B. Shaw);3) surprise, indignation, disapproval: Women kill me. They are always leaving their goddamn bags out in the middle of the aisle (Salinger).Variation of morphemes:· The usage of archaic, colloquial or low-colloquial forms to create certain stylistic connotations. Grammatical archaisms make the utterance solemn and high-flown: taketh, giveth, hath, couldst, thou, thee, etc.· The usage of contracted forms to create natural character of speech: is not (neutral) – isn’t (colloquial), ain’t (low- colloquial).Stylistically coloured morphemes are characteristic of certain type of speech. For example, prefixes super-, supra-, hyper-, omni- create bookish connotations, suffixes –y/ie – colloquial (deary, auntie, birdie, girlie).Stylistic effect of emphasis can be created due to repetition of morphemes:She unchained, unbolted and unlocked the door.2.3. Syntactical stylistic devices expressing human emotional stateThe author of the story, in various syntactic constructions that characterize the hero’s inner speech, uses the hell emphatic amplifier (or, occasionally, his euphemistic equivalent of heck). These designs are used:● in comparisons: touchy as hell, old as hell, charming as hell, sad as hell, cold as hell, dirty as hell, mad as hell, rusty as hell, playful as hell, bourgeois as hell, descriptive as hell, beautiful as hell, bale like hell, shiver like hell, chatter like hell, etc .;● in merged verb phrases (collocations) to strengthen the prepositional adverb; get the bell out, clear the hell out, bang the hell out, slide way the hell down, way the bell off, stand way the hell up, etc .;● in combination with the verb to give the expression the opposite meaning: the hell he did - “hell, he did it”: like hell it is - “well, yes,” “what else”, “hell with two”, etc .;● combined with interrogative pronouns: where the hell, when the hell, what the heck, what the bell, how the bell, etc .;● in negative constructions: hope to hell not, etc .;● instead of reinforcing turns of an adverbial nature with the verb: it annoyed hell out of old Ackley; that annoyed bell out of me; my Gladstones kept banging hell out of my legs; it fascinated hell out of her; it scared boll out of old Phoebe; that, depressed the hell out of me, etc .;● in phraseological combinations: beat hell out of somebody - “smash someone to smithereens, win a complete victory”; just for the hell of it - “just like that”, etc .;● as an exclamation: hell, if I ...; hell, no! etc.In his speech, the hero often uses the roughly vernacular word ass, which is used:● in the direct sense: freezing my ass off; neither of us felt like sitting around on our ass all night; snapping his soggy old, wet towel at people’s asses, etc .;● figuratively: a nice old guy that didn't know his ass from his elbow; something that gives me a royal pain in the ass, etc .;● as an exclamation: lovely my ass: strange my ass, etc .;● as word-building elements: in a half-assed way; back-asswards, etc.Another of the most frequent tokens in Holden's monologue is the goddam token. In most cases, it is used by the narrator for a negative assessment of objects unpleasant to him, phenomena of American reality. Analysis of the use of this adjective allows you to list those realities of American life that cause the protest of the hero. These are Elkton Hills elite schools, military schools, school secret societies (secret fraternity), school classes (class), traditional football matches in schools (game), teachers (schoolteacher), plaid jackets indicating for membership in elite schools (checkered vests), members of the school society of intellectuals (intellectuals), book club (Book-of-the-Month Club), youth parties (party), radio shows (mystery program), films (movies), concerts in Radio City entertainment center (first show at Radio City Music Hall), theater performances (play), rink in Radio City (rink), money (money), expensive Cadillac cars, Broadway, hotels, elevators, restaurant rooms (bars), waiters (waiter), police officers (litter), senior officers (general), courts (trial), taxis (cab), buses (bicycles), bicycles (bicycles), curbside curbs, sidewalks (side of the street), Hollywood (Hollywood), cemeteries (cemetery).As you can see, almost everything that surrounds Holden can be defined by him as “damned” (“goddam”). R.D. Orlova so explains the high frequency of using stylistically reduced vocabulary in relation to ordinary subjects: “Everything that he speaks about, and he speaks about almost everything, is“ disgusting ”,“ damn ”,“ damned ”. All together, indiscriminately, in one heap: Broadway, cinema, park, theater tickets. Even innocent skates - and those "vile". He transfers to things that which is disgusting to him in people, human relations”[9, p. 294). The realities of American life surrounding the hero make him want to express his thoughts in this way. In Holden's mind, apparently, there is an associative connection of "other" people, the "other" world with abusive expressions.ConclusionHaving studied the theoretical material on the research problem, we established the presence of two approaches to the classification of styles - deductive and inductive. The deductive approach involves the allocation of functional styles based on the functions of the language and on the basis of the sphere of use of the language. In accordance with the second, inductive, approach, two historically developed spheres of communication are distinguished - oral and written. In this regard, distinguish between spoken and written speech, which are considered as styles of speech. The writing style, in turn, is divided into the scientific style and the style of fiction. In colloquial speech, the colloquial and colloquial familiar styles stand out.However, if we take into account extralinguistic factors that are directly related to the essence of the language, then styles are forms of social consciousness that they are divided according to the types of social activity (science, law, art, etc.), which determine the “sphere of communication” and specific to each form consciousness type of thinking. In this case, the following styles are distinguished: scientific (scientific-professional), official-business, journalistic, literary and book (artistic) and colloquial with its two varieties - literary and colloquial.At present, linguists associate with style, in the broadest and most general sense of the word, the idea of ​​such properties of a linguistic unit and text that make it possible not to simply transmit information, but to implement it in the best way, expressively. Thus, the style is associated with the qualities of speech (as well as of a separate linguistic unit), its expressiveness, marking, and the most appropriate means of expression and organization of speech for communicating in a particular sphere and situation. So, the subject of stylistics research is the expressive possibilities and means of different levels of the language system, their stylistic values ​​and colors, as well as patterns of language use in different areas and communication situations, and as a result of this - a kind of speech organization specific to each doy sphere. A special role is given to stylistic expressive means in the artistic (literary and book) and colloquial styles of speech. In English, these styles are clearly differentiated. The literary and book style consists of dissimilar elements belonging to other styles of speech, including the conversational style. The conversational style most often includes vocabulary of social dialects and, above all, slang and jargon.A vivid example of the manifestation of colloquial speech registers in fiction is the story of J. Salinger “The Catcher in the Rye”. The speech of the protagonist of the work, on behalf of which the narration is conducted, is diverse. But, basically, it consists of crudely vernacular (vulgar) vocabulary, slang. Most often, in his speech, the hero uses the emphatic amplifier hell and vulgarism ass. With their help, he characterizes the objects surrounding him, phenomena and people, evaluates that adult world, which, in his opinion, is full of hypocrisy and hypocrisy. A negative assessment prevails in the statements (both internal and external), although at times he evaluates his surroundings positively. Colloquial vocabulary helps Holden Coldfield evaluate events and the environment, people. She brings expressiveness and brightness to the hero’s speechReferencesАрнольд И. В. Стилистика современного английского языка: стилистика декодирования. – М., 1990.Арнольд И.В. Стилистика современного английского языка. Л.: Просвещение, 1981. – 295 с. Ван Дейк. Т.А. Анализ новостей как дискурса / Т.А. ван Дейк. Язык. Познание. Коммуникация. М., 1989.Вежбицкая А. Понимание культур через посредство ключевых слов. / Пер. с англ. А. Д. Шмелева. – М.: Языки славянской культуры, 2001.Гальперин И.Р. Очерки по стилистике английского языка.- М.: Издательство литературы на иностранных языках, 2002. - 462с. Гальперин И.Р. Информативность языковых единиц. М., 1974.Гуревич В.В. Стилистика английского языка. (на англ.языке) М.: Флинта, Наука, 2005. – 72 с. Знаменская Т. А. Стилистика английского языка: основы курса: Учебное пособие. – М.: Эдиториал УРСС, 2002.Разинкина Н.М. Функциональная стилистика. М.: Высшая школа, 1989. –182 с. Кузнец М.Д. Стилистика английского языка.м.: Учпедгиз, 1969. – 173 с. Кухаренко В. А. Практикум по стилистике английского языка: Учебное пособие для студентов спец. факультетов ун-тов (на англ. яз.). – М.: «Высшая школа», 1986.Кухаренко В.А. Интерпретация текста. Л., 1979.Наер В.Л. Уровни языковой вариативности и место функциональных стилей. Научная литература: язык, стиль, жанр. М., 1985.Наер В.Л. Неконвенциональные, стилистически релевантные приемы и способы организации высказывания. Стилистические аспекты дискурса. /Сб. науч. трудов МГЛУ, Вып.451, М, 2000.Наер В.Л. Стилистика и прагматика. М., 2002.Прохорова В.И., Сошальская Е.Г. Стилистический анализ (StylisticAnalysis). М., 1976.Проблемы стилистической маркированности / Сб. наун. тр. МГПИИЯ им. М.Тореза. Вып. 356. М., 1990.Риффатер М. Критерии стилистического анализа / Новое в зарубежной лингвистике. Вып. 9. М., 1981.Разинкина Н.М. Об устойчивости функционального стиля / Вопросы языкознания. М., 1986, №4.Скребнев Ю.М. Основы стилистики английского языка: Учебник для институтов и фак. иностр. яз. (на англ. яз.). – М.: «Высшая школа», 1994.Текст: аспекты изучения семантики, прагматики и поэтики. / Сб. статей. – М.: Эдиториал УРСС, 2001.Шевченко Г.В. Стилистика английского языка: Уч. пособие для ст-товвысш. уч. заведений, обучающихся по спец-ти 033200 (050303) – ин. яз. – Армавир: РИЦ АГПУ, 2006. – 136 с.Швейцер А.Д. Контрастивная стилистика // ИЯ. М., 1993.17.Шаховский В.И. Стилистика английского языка: учебное пособие. – М.: Издательство ЛКИ, 2008. – 232 с.Galperin I.R. Stylistics. Изд 3-е. М.: Высшаяшкола, 1981.- 334 с.KukharenkoV.A. SeminarsinStyle. M., 1971.Language and understanding. – Oxford University Press, 1985.MaughamW.S. ThePaintedVeil. – М.: Международные отношения, 2012. – 248 с. Salinger J.D. The Catcher in the Rye. – М. Каро, 2014. – 288 с.Short M. Exploring the Language of Poems, Plays and Prose. L., 1996.