Introduction Every writer has his ownstyle of writing. Trying to gain the definite stylistic effects the writer usesthe different stylistiс devices. Our work is devoted to the stylistic meanswhich Edward Morgan Forster uses in his novel “A Room with a view”, namely themeans to make the sentences more emotional. The aim of our work is to revealthe main stylistic means to express the emotional content.
The aim hasdefined the next tasks:
1. Togive some information about Edward Morgan Forster’s biography and his works.
2. Togive the definition of the notion “emotion”
3. Toreveal the main stylistic means to express the emotional content.
4. Tomake the practical research
The novel “ARoom with a View” is the practical material of our work.
The workconsists of introduction, two chapters and conclusion. In the first chapter wereveal the main stylistic means to express the emotional content of thestatement.
The secondchapter represents the immediate studying of E.M. Forster novel and informationabout him and his creative work. While making our work we used the works ofsuch linguists as Vinokur G.O., Suvorov S.P., Arnold I.V. and many others. Wehave translated all given examples from the novel “Little Dorrit”, so we haveused the works on the translation theory of Levitskaya T.R., Fiterman A.M.,Komissarov V.N., Alimov V.V., Shveytser A.D., Garbovskiy N.K., Dmitrieva L.F.and others. At the analysis of a practical material the English-Russian dictionaryof Мuller and explanatorydictionaries of publishing house of the Oxford university were used.
Chapter 1The emotion and the means of its expression in the works of fiction
1.1 Thenotion of the emotion
Every word hasdenotative and connotative meanings. The denotative meaning is the meaningwhich denotes the notion.
But the wordcan have the emotional component of the meaning if it expresses an emotion orthe feeling.
The emotion isa short feeling: joy, pleasure, trouble, anger.
The feelingexpress a longer aptitude: love, respect etc.
The pure signsof the emotion are the interjections. These words represent the special levelof the lexicology because they don’t have the notional and logical meanings.[1]
Theinterjections express the emotions in the common meaning. They don’t even showits positive or negative feature.
For example,the interjection “Oh” can express the joy and the sorrow. For example:
Oh, I am soglad!
Oh, I amsorry.
Oh, howunexpected!
The emotionalwords shouldn’t be confused with the words, which denote the emotions andfeelings:
Fear
Delight
Gloom
Cheerfulness
Annoy
The emotionalwords shouldn’t also be confused the emotional meaning of which depends on thereactions connected with the notion:
Death
Tears
Honour
Rain
From thelinguistic point of view these are the different groups. The relations betweenthe components inside the lexical meaning are more different than in theemotional words.
In many worksof fiction, for example, the abundance of the words connected with the raintransmits the feeling of the loneliness and sorrow. For example, ErnestHemingway, begins one of his stories by the description of the rain in anItalian town, where in the hotel only two Americans stay. The American womanfeels the loneliness and sorrow:
There wereonly two Americans stopping at the hotel. They did not know any of the people theypassed on the stairs on their way to and from their room. Their room was on thesecond floor facing the sea. It also faced the public garden and the warmonument. There were big palms and green benches in the public garden. In thegood weather there was always an artist with his easel. Artists liked the waythe palms grew and the bright colours of the hotels facing the gardens and thesea. Italians came from a long way off to look up to the war movement. It wasmade of bronze and glistened in the rain. It was raining. The rain dripped fromthe palm trees. Water stood in pools on the gravel paths. The sea broke inalong line in the rain and slipped back down the beach to come and break againin a long line in the rain. The motor cars were gone from the square by the warmonument…
The expressionof the emotion or feeling usually is connected with the desire to transmit thisemotion to other people. So, the accumulation of the “rainy” words is veryeffective.
1.2 Themeans of the expression of the emotions in the works of fiction
The authorsuse different means to express the emotions in their works. Let’s considerthem.
The writersvery often use the epithets. The epithet is a lexical and syntactical trope. Itcan function as an attribute, an adverb and an address. For example: A silverylaugh (attribute) To smile cuttingly (adverb) My sweet (address) The epithetsmust have the expressive connotations because thanks to these connotations wecan know the attitude of the author towards the subject or the person. Thereare the tautological, explanatory and metaphorical epithets.[2]The tautological epithet is the epithet which emphasizes the main feature of thenotion. For example: The sable night Wide sea Fair sun The explanatory epithetshows the most important feature of the notion, but it does not mean that thisfeature is inherent in the whole class. For example: A grand style Unvaluedjewels Vast and trunkless legs of stone The metaphorical epithet indicates theresemblance or dissimilarity. There are, for example, the animisticmetaphorical epithets, when the author gives the men’s characteristic to theinanimate objects: An angry sky The howling storm There are also theanthropomorphous metaphorical epithets when the men’s characteristic andactions are given to the animals or the objects: Laughing valleys Surly sullenbell As we said above, the novel “Little Dorrit” abounds in the epithets.Let's consider them. A blazing sun upon a fierce August was no greater rarityin Southern France then, than at any other time. Палящее солнце в жгучем августе было не редкостью дляюга Франции в то время. We see that Charles Dickens uses in this sentence the tautologicalepithets blazing sun and fierce August. These epithets underline the mainfeatures of the sun and of the August. The fair little face, touched withdivine compassion, as it peeped shrinkingly through the grate, was like anangel's in the prison. Красивоемаленькое личико, с оттенком божественного сострадания, как если бы оновыглядывало сквозь решётку, было похоже на лик ангела в тюрьме. A sullen girl! Her rich black hair was all about her face. Угрюмая девчонка!Её роскошные чёрные волосызакрывали её лицо. It was a Sunday evening in London,gloomy, close and stale. Был воскресный вечер в Лондоне, мрачный, душный и зловонный. Melancholy streets in a penitentialgarb of soot, steeped the souls of the people who were condemned to look atthem out of windows, in dire despondency. Унылые улицы в покаянном одеянии из сажи погружали в страшноеотчаяние души людей, которые были обречены смотреть на них из окон. In these examples theepithets are explanatory –
The fairlittle face
sullen girl
penitentialgarb
andmetaphorical –
divinecompassion gloomy, close and stale
Melancholystreets The explanatory epithets (fair, sullen, penitential) indicate the maincharacteristic namely of this subject and this person. The metaphoric epithetsindicate usually the men's characteristic which are applied to objects: Thethunder and lightning had long ago passed over, but the rain was furious. Гром и молния давно уже прекратились,но дождь был свирепым.
Oh, fie, fie,my dear, that's folly.
О, стыдно, моя дорогая,это безумно. Aswe can see, in these examples the adjectives function as the epithets mainly,but there are also the sentences where the nouns have this function: Amy, mylove, you know Mr. Clenmann ever better than I have the happiness of doing. Эмми, любовь моя, ты знаешь МистераКленмана даже лучше, чем я имею счастье знать. “Selfish brutes!” said the girl,sobbing and heaving between the whiles. “Not caring what becomes of me! Leavingme here hungry and thirsty and tired, to starve, for anything they care! Beasts! Devils! Wretches!” «Эгоисты, грубияны!» сказала девушка, рыдая и вздыхая временами. «Имплевать, что со мной происходит! Оставить меня здесь голодную и уставшую, безводы! Они ни о чём не беспокоятся! Звери! Дьяволы! Негодяи!» The words “Beasts!Devils!Wretches!” are used as a metaphor, but we will consider them below. We can see,also, many cases of the repetitions using. The repetitions is the stylisticmeans which is used in English oftener than in Russian. The stylisticrepetition is the repetition of a word or word combination in one sentence,paragraph or the whole text. The number of the repetitions can be different,but they must be noticed by the reader.[3] The main function of therepetition is the emotional or the strengthening one. There are manyrepetitions in the novel “Little Dorrit” which have different stylisticmeanings. Let’s consider them:
Let's considerthe next examples. You seem to come like my own anger, my own malice, my own –whatever it is – I don't know what it is. Кажется, вы появляетесь подобно моей злости, моей ненависти,моей… ещё Бог знает чего – я не знаю, что это. What has my life been? Fag and grind,fag and grind, turn the wheel, turn the wheel! Чем была моя жизнь? Работа и работа, работа и работа,крути колесо, крути колесо! Go away from me, go away from me! Идите прочь от меня, идите прочь от меня! In these examples thefunction of the repetition is the emotional one. To show its emotionalcharacteristic we can also give such translations as: What has my life been?Fag and grind, fag and grind, turn the wheel, turn the wheel! Чем была моя жизнь? Работа, работа, бесконечнаяработа, крути и крути колесо! Go away from me, go away from me! Идите прочь от меня, да идите же! The authors also use such stylistic device as the comparison. Thecomparison helps the author to make the novel's style more expressive. Thecomparison helps also make the narration more emotional. For example, CharlesDickens uses widely this device: Mr.Plornish's father is a poor little oldgentleman, like a worm-out bird. Отец Мистера Плорниш бедный маленький старый джентльмен,похожий на измученную птицу. Mrs. Plornish was as proud of her father's talents as shepossibly could have been if they had made him Lord Chancellor. Миссис Плорниш была так гордаталантами своего отца, как если бы ему дали за них чин Лорд-канцлера. Thank you, sir, she's notquite as well as we could wish. Спасибо, сэр, ей не так хорошо, как бы нам хотелось бы. And so, like the countrymouse in the second year of a famine, come to see the town mouse. И таким образом, это подобнодеревенской мыши после года голодной жизни, пришла навестить городскую мышь. He is as sweet as honey,and I am as dull as ditch-water. Он милый и приятный, словно мёд, а я невыносимо скучный. Quick as lightning, Mr.Pancks, who, for some moments, had had his right hand in his coat pocket,whipped out a pair of shears. Быстрый как молния, мистер Пэнкс, который временами держал правую руку вкармане пальто, выхватил пару ножниц
The stylisticdevice of the metaphor is also used to make the statements emotional. In thiscase we may say about the zoonymic metaphors. The zoonymic metaphor is theappliance of the words of the second class to the persons. The words of thesecond class are the name of animals, birds and fantastic creatures. Usually,these words get the metaphorical, emotional or even offensive meaning. Thisfact is easy to note comparing the literal and metaphoric meanings of suchwords as ass, bear, beast, bitch, bookworm, donkey, duck, kid, monkey, mule,pig, shark, snake, swine, tabby, toad, wolf, worm, angel, devil, lamb, imp,sphinx, witch.[4] Let’s give an example from the“Little Dorrit” of Charles Dickens: “Selfish brutes!” said the girl, sobbingand heaving between the whiles. “Not caring what becomes of me! Leaving me herehungry and thirsty and tired, to starve, for anything they care! Beasts! Devils! Wretches!” «Эгоисты, грубияны!» сказала девушка, рыдая и вздыхая временами. «Имплевать, что со мной происходит! Оставить меня здесь голодную и уставшую, безводы! Они ни о чём не беспокоятся! Звери! Дьяволы! Негодяи!»
The verbalcategories can also express the emotion. The transposition is one of the mostimportant means of the expression. It is well known that the Present IndefiniteTense is used to tell about the past events. This tense is known also as thePresent Historic Tense. The linguists Brugmann and Jespereson give also theterm “The Present Dramatic Tense”. The Present Dramatic Tense makes the artillusion. The past events are told as they take place before the readers’ andthe listener’s very eyes.[5]
The durativeforms of the Present, Past and Future tenses are often used in the cases whenthey should be in the indefinite form.
The durativeforms are more emotional. They can express the fleeting irritation of theinterlocutors. For example, in the dialogue below the emotional character ofthe scene is determined by the verbal forms using:[6]
Ruth: You’reburning yourself out. And for what?...
George: Youdon’t even begin to understand – you’re no different from the rest. Burningmyself out! You bet I’m burning myself out! I’ve been doing that for so manyyears now – and who in hell cares?
The durativeform is used here for the actions which reveal the character of the personage.
The PresentContinuous is used also in speech to express the surprise, distrust andindignation. Moreover, the Present Continuous Tense can be repeated:
Burning myselfout! You bet I’m burning myself out! There is also the example the I.Shaw work“The young Lions”:
Everybody’sbeing so damned considerate.
Let’sconsiderate the example from the play of J.Osborne “Look back in Anger”: Jimmy:One day when I’m no longer spending my days running a sweet-stall, I may writea book about us all. In this sentence there are two cases of the expressiveness– lexical and grammatical. The word combination to spend one’s days and thedurative form using are very expressive. If the irony and the dissatisfactionare expressed by the repeating, the interrogative form is combined with thespecial intonation: You’re not really suggesting that…are you? You are nottrying to convince me that…? The indignation is expressed by the imitation ofthe distrust. The listener pretends that he can’t believe his ears. Theconnotation of the verbs’ forms depends on the context. Sometimes, the PresentContinuous Tense became more polite and gentle than the Present IndefiniteTense. For example, the kind Mrs, Elliot says politely: I’d better show you theway. He’s not feeling so good today. All considered cases of the transpositionhave the emotional expressiveness. But the transposition can also have thefunctional and stylistic character. In the speech of the personages we can findout the colloquial forms I, he, we ain’t. For example, these forms are widelyused in the novel of Charles Dickens “Little Dorrit”: He is a fine littlefellow, ain’t he, sir? Онмилый парнишка, не так ли сэр? «Разве я не надавил на них?»- возразил МистерПэнкс. «Что мне ещё надо делать?» The form aint’t is the reducedform of are not. But in the dialogues the meaning of this form is larger: itcan substitute such forms as am not, is not, have not. We can also find outsuch colloquial forms as has, is, was which are used with the subject in theplural form: Times has changed. The transposition can be both double (when itconcerns the tenses and the number) and single (when it concerns only the tenseor the number). For example: Josie Well, I’m doing it, aren’t I? or Percy: …Butwhat about me? I’m going to look a proper bloody fool, aren’t I? The perfectforms of the verbs in the colloquial speech are characterized by the omissionof the auxiliary verb: You are done me a hill turn: you done me hout of acontrac (B.Show) Sometimes, the Participle II coincides with the Past Simpleform. This fact results in the homonymy or even in the junction of these forms.
The modalverbs are important for the stylistic because they transmit the aptitude of thespeaker towards to the information: doubt, negation, etc. The verbs can, may,must, ought, shall, will as the modal particles just, only have to be takenmuch attention. To understand this phenomena completely, let’s considerate theshall using in the poem of D.Thomas And Death Shall Have No Dominion. First ofall, we would like to present this poem:
And Deathshall have no dominion.
Dead men nakedthey shall be one
With men inthe wind and the west moon;
When theirbones are picked clean and the clean bones gone,
They shallhave stars at elbow and foot;
Though they gomad they shall be sane,
Though theysink through the sea they shall rise again;
Though loversbe lost love shall not;
And Deathshall have no dominion. The title of the poem forms its main theme. This is theheated argument of the poet with the Death. The sentence And Death Shall HaveNo Dominion is repeated twice – at the beginning and at the end of the poem.This repetition picks out the main idea of the poem and the other sentencesbecome the development of this idea. Let’s considerate the first strophe inwhich the author says that the man joins with the nature after his death. Theman’s situation at the moment of the death is very tragic but this tragedy willbe overcome. The Death has no power over the man. It is well known that shallis not only the modal verb. In the modern English shall is the auxiliary verbof the Future Indefinite Tense. As a rule, shall keeps its modality when it isused in the Future
IndefiniteTense with the pronouns you, he, she, it, they.
But this ruleis not kept strictly. In this poem shall is repeated eight times and by thisfact it receives expressiveness and shows many modal opportunities. The poem islooks like the prediction and solemn promise. The special distribution in thecontext lets shall to express strongly the duty and the persistence. Theexpressiveness of shall in this poem is supported by the rich convergence.Besides the repetitions, there are the parallel constructions in the sixth,seventh and eithth lines and the antithesis of the light and the dull. Forexample: mad – sane, sink – rise.
We haveconsidered the main means to express the emotions. The next chapter is devotedtoo the analysis of the emotional statements in the E.M.Forster’s novel.
Chapter 2.The emotional statements in the E.M.Forster’s novel “A room with a view”
emotionepithet forster trope
2.1 Somewords about E.M.Forster
Edward MorganForster was born in London in 1879, attended Tonbridge school as a day boy, andwent on to King’s College, Cambridge, in 1879. With King’s he had a lifelongconnection and he was elected to an honorary fellowship in 1946.
E.M. Forsterhad honorary degrees conferred on him by many universities.
E.M. Forsterused to declare that his life as a whole was not dramatic and he wasunfailingly modest about his achievements. Interviewed by the B.B.C. on hiseightieth birthday he said:
“I have notwritten as much as I’d like to… I write for two reasons: partly to make moneyand partly to win the respect of people whom I respect… I had better add that Iam quite sure I am not a great novelist.”
Eminentcritics and the general public have judged otherwise; in Penguins alone “APassage to India” has sold well over three quarters of a millions copies.
In addition tohis five famous novels and collection of short stories, E.M. Forster publishedabout fourteen other works. They include two biographies; two books aboutAlexandria, the result of his sojourn there in the First World War, when he waswith the Red Cross: a film script; and with Eric Crozier, the libretto forBritten’s opera Billy Budd.
A sixth novel,Maurice, written in 1914, which E.M. Forster would not allow to be publishedduring his lifetime, has also been published in Penguins.
Edward MorganForster died in 1970.
2.2 Theanalysis of the novel “A room with a view”
The novel “Aroom with a view” is interesting from the point of view of the emotionalcontent of the words.
For example,we found out many examples with the interjections. We can even say that thisnovel abounds in the interjections. The interjections in this novel expressboth the positive and negative emotions:
“Oh, but thatis the word of a craven! And no, you are not, not, not to look at yourBaedeker. Give it to me; I shan’t let you carry it.”
«О, но это слова труса! Инет, вам не надо, не надо, не надо смотреть на вашего Бэдкера. Дайте это мне; я не позволю вам это нести.»
“Oh, goodgracious me!” said Lucy, suddenly collapsing and again seeing the whole of lifein a new perspective.”
«О, Боже мой!» — сказалаЛюси, внезапно упав духом и снова пересмотрев всю жизнь в новой перспективе»
“Oh, dear MissHoneychurch, you will catch a chill!”
«О, дорогая миссХаничёрч, вы простудитесь!»
“Oh, let mecongratulate you! Said Miss Bartlett. “After your despair of yesterday! What a fortunate thing!”
«О, позвольте мнепоздравить вас!» — сказала мисс Бартлетт. «После вашего вчерашнего отчаяния!Какой счастливый случай!»
“Aha! MissHoneychurch, come you here! I am in luck. Now, you are to tell me absolutely everythingthat you saw from the beginning.”
«Ага! Мисс Ханичёрч,идите сюда! Мне везёт. Теперь, вы должны рассказать мне абсолютно всё, что вывидели с самого начала.»
“Tut! Tut!Miss Lucy! I hope we shall soon emancipate you from Baedeker.
«Ах, ты! Мисс Люси! Янадеюсь, что скоро освобожу вас от Бэдкера.
“Oh, do keepquiet, mother! I had to say no when I couldn’t say yes.”
«Ох, мама, успокойся! Мненадо было сказать «нет», когда я не мог сказать «да».
“Oh, Cecil!”she exclaimed – “oh, Cecil, do tell me!”
«О, Сесилия!» — воскликнула она. – О, Сесилия, расскажи мне!»
“Oh, for areal man! We are only two women, you and I. Mr Beebe is hopeless. There is MrEager, but you do not trust him. Oh, for your brother!...”
«О, ради настоящегочеловека! Мы всего лишь две женщины, ты и я. Мистер Биб безнадёжен. Есть ещёМистер Игэр, но ты не доверяешь ему. О, ради твоего брата!»
“I should sayso. Don’t sit in that chair; young Honeychurch has left a bone in it.”
“Pfui!”
“Я должен сказать так. Несадитесь на этот стул. Молодая Ханичёрч оставила на нём кость.»
«Тьфу!»
In some ofthese examples the interjections are combined with the repetition. As we saidabove, the stylistic repetition is the repetition of a word or word combinationin one sentence, paragraph or the whole text. The number of the repetitions canbe different, but they must be noticed by the reader.
We would liketo cite some examples of the emotional repetition:
“A smell! Atrue Florentine smell! Every city, let me teach you, has its own smell.”
«Запах! Настоящийфлорентийский запах! Позвольте мне сказать вам, что каждый город имеет свойсобственный запах!»
“Lost! Lost!My dear Miss Lucy, during our political diatribes we have taken a wrongturning.”
«Пропали! Пропали! Моядорогая Мисс Люси, во время наших политических обсуждений мы принялинеправильную сторону» “Oh, but that is the word of a craven! And no, you are not, not, not to look at your Baedeker. Giveit to me; I shan’t let you carry it.”
«О, но это слова труса! Инет, вам не надо, не надо, не надо смотреть на вашего Бэдкера. Дайте это мне; я не позволю вам это нести.»
We consideralso necessary that many emotional statement are used with the exclamationmark. The exclamation mark is used in these statements to strengthens theemotional meaning of the sentences, even if the word hasn’t the emotionalconnotation.
In thetheoretical part we have said that the epithets can also be emotional. So, inthe novel the author makes use of the epithets:
“Oh, but thatis the word of a craven! And no, you are not, not, not to look at yourBaedeker. Give it to me; I shan’t let you carry it.”
«О, но это слова труса! Инет, вам не надо, не надо, не надо смотреть на вашего Бэдкера. Дайте это мне; яне позволю вам это нести.»
“Oh, let me congratulate you! Said Miss Bartlett. “After your despair of yesterday! What a fortunate thing!”
«О, позвольте мнепоздравить вас!» — сказала мисс Бартлетт. «После вашего вчерашнего отчаяния!Какой счастливый случай!»
“The damnedfool!”, she exclaimed.
«Проклятая дура!» — воскликнула она. “How could I have been such a fool?” she cried angrily.
«Как я могла быть такойдурой?» закричала она со злостью.
“Oh my dear,”she cried gaily, “how marvelous!”
«О, мой дорогой,» — весело закричала она – «как это чудесно!»
The stylisticdevice of the metaphor is used also in the novel. But we should note that theseare the zoonymic metaphors. These are the examples of the zoonymic metaphorsused by E.M.Forster:
“Poor lamb!”she said to herself.
«Бедный ягнёнок!» сказалаона самой себе.
“You bloodyswine, how dare you talk to me like that?”
«Ты проклятая свинья, какты смеешь разговаривать со мной подобным образом?»
Let’s givealso the examples of the device of comparison which make the statementsemotional:
“I’ve beenthinking of the past and I’m as blue as the devil”
«Я думал о прошлом и я всильном унынин»
“When you camein just now, like a whirlwind”, she said, “I thought you looked twenty yearsyounger.
«Когда вы только чтовошли, подобно урагану», — сказала она, «Я подумала, что вы выглядете надвадцать лет моложе»
“I feel like atwo-year-old.”
«Я чувствую себя какдвухлетний ребёнок»
“Whatnonsense! You know I’ve got more money than I know what to do with”
«Что за ерунда! Тызнаешь, я зарабатываю больше денег, чем знаю, что с ними делать»
E.M.Forstermakes use one of the syntactical devices of the emotion expression. It’s theinversion. These are the examples of the inversion:
“A smell! Atrue Florentine smell! Every city, let me teach you, has its own smell.”
«Запах! Настоящийфлорентийский запах! Позвольте мне сказать вам, что каждый город имеет свойсобственный запах!»
In thissentence the characters at first pronounce the object which impresses her.
Let’s give theexamples of the inversion:
“Lost! Lost!My dear Miss Lucy, during our political diatribes we have taken a wrongturning.” «Пропали!Пропали! Моя дорогая Мисс Люси, во время наших политических обсуждений мыприняли неправильную сторону»
Conclusion
We havestudied the theoretical works on the stylistics and have made the research ofthe novel “A Room with a View”.
Every word hasdenotative and connotative meanings. The denotative meaning is the meaningwhich denotes the notion.
But the wordcan have the emotional component of the meaning if it expresses an emotion orthe feeling. The pure signs of the emotion are the interjections. These wordsrepresent the special level of the lexicology because they don’t have thenotional and logical meanings.
Theinterjections express the emotions in the common meaning. They don’t even showits positive or negative feature.
For example,the interjection “Oh” can express the joy and the sorrow.
The authorsuse different means to express the emotions in their works. Let’s considerthem.
The writersvery often use the epithets. The epithet is a lexical and syntactical trope. Itcan function as an attribute, an adverb and an address.
The emotionalmeaning of the statement can be transmitted by the repetition. The stylisticrepetition is the repetition of a word or word combination in one sentence,paragraph or the whole text. The number of the repetitions can be different,but they must be noticed by the reader. The verbal forms can also transmit theemotional meaning.
The durativeforms of the Present, Past and Future tenses are often used in the cases whenthey should be in the indefinite form.
The durativeforms are more emotional. They can express the fleeting irritation of theinterlocutors. The analysis of the E.M.Forster’s novel “A room with a View”showed that the author widely uses the interjections which in this novelnegative and positive. E.M. Forster uses also the repetition. In some emotionalstatements the interjections go on with the exclamation mark and the repetitionwhich make the sentence very emotional.
List of the used literature
1. Арнольд И.В. Стилистика. Современныйанглийский язык. – М.: Издательство «Флинта», 2005.
2. Бархударов Л.С., Рецкер Я.И. Курс лекций по теорииперевода. – М.: Издательство МГПИИЯ, 1968.
3. Будагов Р.А. Литературные языки и языковые стили. –М.: Издательство «Высшая школа», 1967.
5. Васильева Н.В.,Виноградов В.А., Шахнарович А.М. Краткий словарь лингвистических терминов. –М.: Издательство «Русский язык», 1995.
6. Виноградов В.В. Отеории художественной речи. – М.: Издательство «Высшая школа», 1971.
7. Гальперин И.Р.Очерки по стилистике английского языка. – М.: Издательство литературы наиностранных языках, 1958.
8. Гарбовский Н.К.Теория перевода. – М.: Издательство Московского университета, 2004.
9. Голуб И.Б.Стилистика русского языка. – М.: Издательство «Рольф»; «Айрис-пресс», 1997.
10. Дмитриева Л.Ф. идр. Английский язык. Курс перевода. – Ростов-на-Дону: Издательство «МарТ»,2008.
Клименко Е.И. Традиции и новаторствов английской литературе. – Л.: Издательство ЛГУ, 1963. 11. Клименко Е.И.Проблемы стиля в английской литературе первой трети 19 века. – Л., 1959.
12. Комиссаров В.Н.Современное переводоведение. Курс лекций. – М.: Издательство ЭТС, 1999.
13. Кузнец М.Д.,Скребнёв Ю.М. Стилистика английского языка. – Л.: Учпедгиз,1960.
14. Левицкая Т.Р.,Фитерман А.М. Проблемы перевода. – М.: Издательство «Международные отношения,1976.
15. Разинкина Н.М.Функциональная стилистика. – М.: Издательство «Высшая школа», 2004.
16. Рецкер Я.И.Теория перевода и переводческая практика. – М.: Издательство «Международныеотношения», 1974.
17. Фёдоров А.В. Языки стиль художественного произведения. – М.: Издательство «Художественнаялитература, 1963.
18. Фёдоров А.В.Очерки общей сопоставительной стилистики. – М.: Издательство «Высшая школа», 1971.
Швейцер А.Д. Перевод и лингвистика. – М.: ВоениздатМинистерства Обороны, 1973. List of the used dictionaries