Стилистический анализ henry James Washington Square

" The narrator tells us that the doctor perceives this "epigram" as a "surprise," because "stubbornness, in imperfect minds, does not usually choose this mode of expression." The Doctor does not realize that Catherine is smarter than he thinks; he decides that she is defiant. The themes of inheritance and filial duty (in the context of father and daughter) resonate with the tragic Shakespearean king Lear. The doctor's language hints at the play, with its threats never to forgive Catherine. The doctor threatens to renounce Catherine, to erase her from her will. Catherine shouts "about natural horror" in the run-up to the loss of her father, but after chapter 14 we were ready for the doctor's casual discussion of such terrible topics. He has nothing against talking about his family breaking up; it is this very frivolous and presumed behaviour that causes this "natural horror." Of course, the symbolic closure of the door to the office makes clear that there will be no reconciliation between father and daughter. Slooper sees the drama as a form of "entertainment" but "comical," though he thinks Catherine will remain stubborn. It is unclear what entertainment, other than verbal fights, the doctor will open. He is unaware of the pain he inflicts on his family, and therefore does not ease his anxiety. Entertainment is not the word that comes to mind when one just called his only daughter «ungrateful, cruel child» - if she should marry the wrong man. Catherine goes to become this child and give her father the «biggest pain of her life». Or at least so says the doctor. That Sloper doesn’t perceive his own vulnerabilities. He refers to this «greatest pain» as the threat he poses to Catherine: He hurts Catherine, suggesting that she might hurt him. He doesn’t realize that, in fact, he can and will experience much pain towards the end of the novel. My respect for Catherine does not stem solely from the narrator's compliments: the fact that Catherine juxtaposes the doctor's poor logic with her own epigrams does not serve to Catherine's merit, but to discredit the doctor. The doctor measures himself with epigrams - he is beaten at his own game. Catherine measures herself by virtue, honesty, devotion. The doctor's warning that Catherine "will be an ungrateful, cruel child" seems so absurd. Just as King Lear misunderstood his true daughter as a false and treacherous daughter, Sloper angers a daughter who loves him dearly. Catherine will not become a child to go to the doctor, and she will never learn to be ungrateful or cruel. But at the doctor's own insistence, Catherine will learn to respect and love him less.Dr. Sloper confronts Lavinia, his own sister, in chapter 19, and he warns her that "treason is a crime. See how you are punished." Lavinia's response that Sloper sounds like a "great autocrat" confirms the allusion to King Lear - a man who has gone mad, insane with thoughts of conspiracy, distrust and betrayal. It's as if Dr. Sloper is deliberately destroying his family ties. He perceives himself to be so different from Lavinia that he wonders if he is her brother - and tells her as much. In a particularly violent scene, Sloper suggests that if Katherine falls ill from her melancholy, then he is an outstanding physician capable of restoring her health. Lavinia pauses, then replies that the doctor has already lost two members of his family - Sloper's own response, confirming that he could still lose another.The image of a "surgeon's lancet" (surgical knife) is used to describe the cutting "terribly insightful gaze" the doctor gives his sister. There is a great irony in the fact that the doctor is the main destructive force of the novel. Whatever Morris's plans, the doctor's over-exaggeration and tyrannical suppression keeps Morris from revealing himself. And it is likely that Morris will not be as bad as the doctor predicted. Lavinia's words, of course, suggest that Catherine might die of grief. The narrator prevents this idea from taking root: it is just another one of Lavinia's imaginative fancies. Catherine wakes up strong as ever - though for effect, she should perhaps pretend to be ill and wounded (according to her aunt). Catherine's heart is breaking, but she is "strong and solid and dense." What is foreshadowed is the fact that Catherine "would live to a great age - longer than might be generally convenient." The irony here is that Catherine is strong enough to live a life of suffering. She faces the impossible task of reconciling an impossible father with a less-than-decent fiancé.The opening scene of Chapter 21 attests to Mrs Almond's growing disgust with her brother. She finds him cruel and "cold-hearted." This fact is supported by Lavinia Morris' own admission that she did not consider her brother an "Orthodox Christian," citing his potentially "violent" nature. There is no pretense that Austin is a violent man who effectively distances himself from other characters. Slooper's decision to tour Europe is a fact that has escaped Lavinia's imagination: yet she bounces back with a somewhat perverse consolation - she tells Morris that the possibilities are "endless." Lavinia's bad advice was a motive in previous chapters, but now the stakes are up. Morris begins to understand the danger of relying too much on Lavinia's words. While others. Sloper and Catherine are in Europe, Lavinia becoming closer to Morris: she realizes that if Dr. Sloper would disinherit Catherine, it would not contribute to Lavinia's share. She becomes more "treasonous" putting Morris' desires above obligations to family. When Mrs. Almond accurately perceives that Morris is not a good husband for Catherine, Lavinia dismisses the idea. Lavinia has fallen in love with Morris, it would seem. Ironically, she forgets that her own niece will actually have to marry the man. Lavinia seems to simply want an arrangement that will keep Morris in her own life. It's tragic - pathetic and insulting at the same time. Lavinia, it seems, is doomed to enjoy only side pleasures - she is not one of the lovers, not one of the travelers. The image of the home as a symbol of hearth, family, connectedness is canceled while Dr. Sloper is around. Consistently, the heat of fire is used as the opposite image. On at least three occasions we are told that Dr. Sloper is as cold as fire is warm. Lavinia was abandoned by her brother and her niece also left. Lavinia repopulates the empty house with Morris and other guests as she commits "treason" and defends the interests of others over the interests of the family. In chapter 25, Lavinia welcomes Catherine back home. Katherine is somewhat angered by Lavinia's reports of the time she spent with Morris. Lavinia assumes to know Morris better than Katherine. In the previous chapter, we found the epigram "luck accompanies bold." In chapter 22, the narrator tells us that "Providence was especially on the side of smart people, and smart people were known for not putting their bones at risk." Both of these comments refer to Morris, a person both active and passive. Active, he is ready to take risks and impose himself on others. Passive, it relies on others for the toughest tasks and depends on luck or providence to make sure things work out. The narrator's ironic voice reveals that Morris was a lowly being. He considers Catherine "unattractive" and potentially "beggar." Morris is the hero knight in the images he sells to Lavinia and Catherine. But in the middle of the novel, when things start to go awry, Morris looks more like a character from Jane Austen's novel: in his attempts to make a fortune through marriage (here is a change in gender roles), Morris catches a snag. The fact that Dr. Sloper would disinherit Catherine complicates Morris's decision. Like Dr. Sloper, Morris hopes that "math" leads him to the "shortest path" around the "natural path" of solving his situation. He does not want to marry Catherine without a guarantee that he will receive all her wealth, including what the Doctor is currently threatening to withhold. Dr. Slouper reduces the conflict to "geometry." Both he and Morris hope to think their way through. Neither man proves competent enough to fully accomplish his task. The topic of law is further developed beyond the images of arbitrariness and treason. Catherine has come under a curse, and even Morris finds her position pathetic, as Catherine believes she "broke the sacred law." Catherine has a very developed sense of moral judgment, which she demonstrates at the end of chapter 22. This scene is a continuation of earlier "study" scenes. Dr. Sloper wants to take Catherine to Europe to separate her from Morris. Catherine literally understands her father's language and believes that she is separated from him (her father). She admits that "if I live with you, I must obey you," and the doctor's half-hearted agreement is turned upside down when Catherine continues: "But if I do not obey you, I should not live with you - enjoy your kindness and protection." Catherine will rather leave the tyrant's house than commit treason. This is a logical continuation of the doctor's words, but it is a tactical flaw. A tyrant needs a subject. The Doctor will not be satisfied with Catherine leaving the house; he wants her to obey his rule. He has a "sudden feeling that he underestimated his daughter" and insults her idea as "very bad taste" and tells her to "keep it to yourself." While Dr. Slouper is in Europe, his office becomes a kind of refuge for Morris, who visits him regularly while Slouper is away. This is a critical moment in the novel. Catherine freed herself from the doctor's ideas. She followed his logic to the end, and when the doctor rejects his own logic, Catherine has no reason to keep the doctor's arguments in high esteem. She is now "freed" because she was following the debt. A trip to Europe is a waste of time and money if the goal is to make Catherine forget Morris. Catherine believes it would be a hoax to accompany her father on the trip when she is not going to change her mind about Morris. Catherine's combination of honesty and power leads her to the conclusion that she must tell her father that his strategy has failed, so perhaps he must reconsider it. Of course, after six months of travelling, Catherine confirms that she is determined. When the doctor extends the trip, there is no change to Catherine's decision. By the time she comes home, Catherine gives up any hope of converting her father, and she decided to sacrifice her inheritance and marry Morris. Predictably, this plan is met with significant opposition from Morris and Aunt Lavinia, as they counted on the fate of others. In his turn Dr. Sloper will eventually go to Catherine. The use of understatement at the end of Chapter 26 essentially reveals Catherine's fate. This is a critical moment in the novel. Catherine freed herself from the doctor's ideas. Catherine has returned from Europe ready to make plans for her life as a married woman. In these chapters, Catherine's world, her plans and her prospects finally unravel. Dr Sloper’s attitude toward Catherine’s breakup suggests that he values truth over happiness. He takes pleasure in being right; it hardly matters to him that Catherine suffers emotionally. Again, we see that Dr Sloper’s actions are causing controversy in his family. Slopper becomes alienated from his daughter and both of his sisters. Aunt Katherine Almond presents an image of a «fall» when describing Katherine’s plight, adding that she will need to «unwind carpets» to soften Katherine’s fall. This is an emotional response that can be expected from a family member, and Dr Sloper’s sisters are shocked and alarmed by his inability to act like a father. Aunt Almond and Aunt Pennyman wonder if Katherine will survive? Is Katherine strong enough to survive the collapse of her engagement?Throughout the novel, Catherine was portrayed as a responsible, mature, balanced double of Aunt Lavinia. For Aunt Lavinia, the end of Catherine's engagement is the end of her own romance. Lavinia did everything in her power to keep Morris and Catherine together, but the romance she represented is not sustainable in reality. Just as Catherine saw her hopes collapse, Lavinia saw her imaginary romance crumble. Both Catherine and Morris regret taking Lavinia's advice. Dr. Slooper warns Lavinia to "beware of the deluded fortune hunter," referring to Morris. Words etc. Sloper is foreshadowed by Morris' angry threat to sue Lavinia for believing he could marry Catherine and get rich.Morris feels that Lavinia betrayed him. Catherine feels the same way that Lavinia betrayed her. Lavinia found it difficult to develop his «drama» and at the same time fulfill his obligations to Morris and especially to Catherine. Lavinia accidentally reveals Morris' low intentions before the young man reveals himself to Katherine. Lavinia thinks she was saying «too early», and Katherine asks if Lavinia spoke too soon or too late. Lavinia does not speak with the intention of reducing Catherine’s pain. Instead, Lavinia concentrates on her role in the drama. She walks around the Sloper house with a «unexploded bomb» in her hands. Lavinia sympathizes with Catherine. However, the «aesthetic disappointment» of Lavinia is the fact that Catherine did not suffer more and made a big scene of her suffering. Both Morris and Dr. Sloper has hurt Catherine and Catherine has a lot to learn. Upon returning, Catherine comes to mind that she should not have trusted Aunt Lavinia the way she did. But for now, much of the damage has already been done. In her relationship with Morris, Catherine remained too timid. Only when Morris becomes clearly not delighted with the marriage, Catherine expresses her dissatisfaction with his relative lack of interest and preparation. When Morris finally leaves Catherine, she realizes that he is going to abandon her, and she is not influenced or comforted by Morris's half-hearted insistence that she will see him again. At that point, Catherine learned to understand Morris's language. In a conversation with Lavinia, Catherine can determine when her aunt simply repeats what Morris told her to say. And at the end of chapter 30, Catherine's "I don't believe it" is not the naive resolution she would have said earlier in the novel.The topic of money power is developing thanks to the already familiar counter position - temptation and naivety. Catherine does not believe in human meanness, insidiousness. She hasn't come across them in life yet. Therefore, she contradicts her father, defending, in his opinion, the imaginary merits of Townsend: «He is kind, and generous, and true”, said poor Catherine, who had not suspected hitherto the resources of her eloquence. “And his fortune – his fortune that he spent – was very small!» The final chapters give permission for the plot. Catherine Slope began the novel as a character in the background, even though the plot line revolved around her. Basically, the «Washington Square» revolves around the psychological, emotional and spiritual development of Catherine Slope. Constantly looking down, the character was just there. Katherine’s character is the most evolved character in the whole novel. She blossomed into a smart strong woman from an apathetic meek girl. Abandoned by two men in her life, her father and Katherine’s fiancé remain devastated. Realizing his father’s selfishness and the bridegroom’s hypocrisy, Catherine rises above it. It is all but a lack of character and sensitivity, but it is believed that it remains in that state as all is expected of it.Henry James describes Catherine's personality as ordinary and unremarkable, but leaves her room to grow by the end of the novels. Although in the process of fully becoming, her affection has been trampled and broken by the two men in her life, she forgives them both, which in itself is a reflection of Catherine's quality of character. Living her life as a victim of circumstances influenced by factors beyond her control, such as her mother's death or lack of social skills, Catherine's appearance may not have changed, but she became a woman with a strong consciousness. Catherine goes mad, commits suicide, or dies of a broken heart (all popular conclusions to the story of the "jubilant" lover), but in her experience she is certainly stunned. She rejects all other jerks, including several eligible bachelors. When Morris returns after nearly twenty years of unsuccessful adventures in love and business, Katherine rejects Morris. Dr. Sloper goes to the grave with the certainty that Katherine intends to marry Morris and also enjoy her inheritance. Katherine's rejection of Morris confirms the doctor's inability to accurately understand his own daughter.ЗАКЛЮЧЕНИЕЦелью нашейработыбылопроведениестилистическогоанализарассказа Генри Джеймса.Для выполнения цели нашей работы нами были выполнены следующие задачи:мы изучили теоретическую информацию о функциональных стилях в литературе, а также о выразительных и стилистических средствахпроанализировали рассказ «Washington Square».В ходе выполнения нашей работы мы узнали, что существует пять функциональных стилей: разговорный, научный, художественный, газетно-публицистический и официально-деловой.Наиболее характерной чертой художественного стиля является его образность. Для создания образов автор использует различные образные средства языка, как например метафору, метонимию, гиперболу, литоту и т. д., а также фигуры речи — антитезу, оксюморон и другие.Художественный стиль воздействует на воображение и чувства читателя, передаёт мысли и чувства автора, использует всё богатство лексики, возможности разных стилей, характеризуется образностью, эмоциональностью, конкретностью речи. В проанализированном нами рассказе мы нашли примеры таких языковых приемов и средств языка, как метафора, ирония, повтор, множество эпитетов.Помимо выполненного нами стилистического анализа мы сделали словарь (см. Приложение 1), а также выделили примеры языковых приемов и средств языка в отрывке анализируемого текста (см. Приложение 2)СПИСОК ЛИТЕРАТУРЫАкимова, Г.Н. Экспрессивные свойства синтаксических структур Предложение и текст: семантика, прагматика и синтаксис / Г.Н. Акимова. - Л. : Изд-во Лен. Унив., 1988. - 127 с.Арнольд И.В. Стилистика современного английского языка. - М.: Флинта: Наука, 2002. - 384 с.Ахманова, О.С. Словарь лингвистических терминов / О.С. Ахманова. - М. : Наука, 1969. - 73 с.Васильев А.Н. Стилистический анализ языка художественного произведения.—М.,1966Виноградов, В.В. Стилистика. Теория поэтической речи. Поэтика / В.В. Виноградов. - М. : Просвещение, 1988. - 127 с.Гальперин И.Р. Очерки по стилистике английского языка. - М.: Издательство литературы на иностранных языках, 1958. - 460 с.Знаменская, Т.А. Стилистика английского языка / Т.А. Знаменская. - М. : Едиториал, 2004. - 208 с.Комиссаров, В. Н. Лингвистические модели перевода / В.Н. Комиссаров. - М. : Наука, 1972. - 267с.Наер В.Л. Функциональные стили английского языка. - М., 1981. - 458 с.Скребнев Ю.М., Кузнец М.Д. Стилистика английского языка. - государственное учебно-педагогическое издательство Министерства Просвещения РСФСР, 1960. - 175 с.Скребнев Ю.М. Очерк теории стилистики. — Горький, 1975Функциональные стили языка. URL: https://studfile.net/preview/4283175/page:4/Стилистические приемы и выразительные средства в английском языке. URL: http://www.english-source.ru/english-linguistics/discourse-analysis/136-stylistic-devices-and-expressive-meansHenry James. Washington square. Macmillan and CO., Limited St. Martin’s Street, London, 1921. URL: https://www.gutenberg.org/files/2870/2870-h/2870-h.htm