XIII Международная студенческая научная конференция Студенческий научный форум - 2021

Repetition is an expressive means of language used when the speaker is under the stress of strong emotion. It shows the state of mind of the speaker, as in the following passage from Galsworthy: “Stop!”—she cried, “Don’t tell me I don't want to hear; I don’t want to hear what you’ve come for, don’t want to hear.”

Repetition is classified according to compositional patterns. If the repeated word (or phrase) comes at the beginning of two or more consecutive sentences, clauses or phrases, we have anaphora. If the repeated unit is placed at the end of consecutive sentences, clauses or phrases, we have the type of repetition called epiphora.

Among other compositional models of repetition is linking or reduplication (also known as anadiplоsis). The structure of this device is the following: the last word or phrase of one part of an utterance is repeated at the beginning of the next part, thus hooking the two parts together.

Repetition may also be arranged in the form of a frame: the initial parts of a syntactical unit, in most cases of a paragraph, are repeated at the end of it, as in: “Poor doll's dressmaker! How often so dragged down by hands that should have raised her up; how often so misdirected when losing her way on the eternal road and asking guidance. Poor, little doll's dressmaker”, (Dickens)

This compositional pattern of repetition is called framing. The semantic nuances of different compositional structures of repetition have been little looked into. But even a superficial examination will show that framing, for example, makes the whole utterance more compact and more complete. Framing is most effective in singling out paragraphs.

Among other compositional models of repetition is linking or reduplication (also known as anadiplоsis). The structure of this device is the following: the last word or phrase of one part of an utterance is repeated at the beginning of the next part, thus hooking the two parts together. The writer, instead of moving on, seems to double back on his tracks and pick up his last word.

Another variety of repetition may be called synonymical repetition. This is the repetition of the same idea by using synonymous words and phrases which by adding a slightly different nuance of meaning intensify the impact of the utterance.

There are two terms frequently used to show the negative attitude of the critic to all kinds of synonymical repetitions. These are pleonasm and tautology.

Climax is repetition (lexical or syntactic) of elements of the sentence, which is combined with gradual increase in the degree of some quality or in quantity, or in the emotional colouring of the sentence: A smile would come into Mr. Pickwick’s face: the smile extended into a laugh: the laugh into a roar, and the roar became general. (Dickens)

A gradual increase in significance may be maintained in three ways: logical, emotional and quantitative.

Logical сlimax based on the relative importance of the component parts looked at from the point of view of the concepts embodied in them. This relative importance may be evaluated both objectively and subjectively, the author’s attitude towards the objects or phenomena in question being disclosed.

Emotional climax is based on the relative emotional tension produced by words with emotive meaning.

Quantitative climax is an evident increase in the volume of the corresponding concepts.

The opposite device is called anticlimax, in which case the final element is obviously weaker in degree, or lower in status than the previous; it usually creates a humorous effect: Music makes one feel so romantic — at least it gets on one’s nerves, which is the same thing nowadays. (Wilde)

Ellipsis is a typical phenomenon in conversation, arising out of the situation. We mentioned this peculiar feature of the spoken language when we characterized its essential qualities and properties. But this typical feature of the spoken language assumes a new quality when used in the written language. It becomes a stylistic device 231 inasmuch as it supplies suprasegmental information. An elliptical sentence in direct intercourse is not a stylistic device.

Theoretical accounts of ellipsis can vary greatly depending in part upon whether a constituency-based or a dependency-based theory of syntactic structure is pursued.

Ellipsis, when used as a stylistic device, always imitates the common features of colloquial language, where the situation predetermines not the omission of certain members of the sentence, but their absence. It would perhaps be adequate to call sentences lacking certain members “incomplete sentences", leaving the term ellipsis to specify structures where we recognize a digression from the traditional literary sentence structure.

Asyndeton is derived from the Greek word asyndeton, which means “unconnected.” It is a stylistic device used in literature and poetry to intentionally eliminate conjunctions between the phrases, and in the sentence, yet maintain grammatical accuracy. This literary tool helps in reducing the indirect meaning of the phrase, and presents it in a concise form. It was first used in Greek and Latin literature.

Asyndeton may also express other logical connections between parts, thus corresponding to various connectors: ‘There’s no use in talking to him, he’s perfectly idiotic!’ said Alice desperately. (L. Carroll) (reason: “ because”)

List of references:

Galperin I.R. English Stylistics. Moscow: USSR, 2014. 333 p.

Galperin I.R. Stylistics. M.: Higher School, 1977: 333 р.

Gurevich V.V. English Stylistics. Moscow: Flinta: Nauka, 2008 p.

https://literarydevices.net/asyndeton/

https://en.wikipedia.org/wiki/Ellipsis_(linguistics)

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