Стилистический анализ научно-фантастического рассказа "Вино из одуванчиков" Рэй Брэдберри

СОДЕРЖАНИЕ
Введение
Основная часть
1. Жизненный путь Рэя Брэдбери
2. Характеристика творчества Рэя Брэдбери
3. Теоретическое обоснование для анализа текста
4. Стилистический анализ научно-фантастического рассказа «Вино из одуванчиков»
4.1. Фонетический уровень
4.2. Лексический уровень
4.3. Синтаксический уровень
Заключение
Список литературы
Приложение А

Total cost: twelve dollars and ten cents. Thirdly, her pains this very night. Her toe hurt from being run over. Her stomach was upset. Her back was stiff, her legs were pulsing with agony. Her eyeballs felt like wads of blazing cotton. Her tongue tasted like a dust mop. Her ears were belling and ringing away. Cost? She debated, going back to bed. Ten thousand dollars in personal suffering [11, 97].
With the help of hyperbole and simile the author creates humorous effect.
4.3. Syntactical level
One of the main stylistic devices on this level is repetition with the help of which important information is emphasized. For example:
And then there is that day when all around, all around you hear the dropping of the apples, one by one, from the trees [11, 104].
In the next sentences framing repetition is used:
“A Time Machine,” murmured Douglas. “A Time Machine.” [11, 69]
A Time Machine, by God, a Time Machine!” [11, 70]
Those are the things we do over and over and over and never think [11, 24].
It was this then, the mystery of man seizing from the land and the land seizing back, year after year, that drew Douglas, knowing the towns never really won…[11, 18]
In this example we see the catch repetition.
No! Douglas squeezed his mind shut. No! But suddenly . . .Yes, it’s all right! Yes! [11, 12]
In this sentence we see the combination of framing repetition and break-in-the-narrative with the help of which author shows Douglas’ intense emotions.
First part of this tablet is titled: RITES AND CEREMONIES. The first root beer pop of the year. The first time running barefoot in the grass of the year. First time almost drowning in the lake of the year. First watermelon. First mosquito. First harvest of dandelions [11, 24].
In the novel there are also parallel constructions which are used to make an impression on the reader. For example:
Elmira, I promise, Elmira, I swear, if you just live, if you don’t die, you hear me, Elmira, listen! [11, 102]
And he was gesturing up through the trees above to show them how it was woven across the sky or how the sky was woven into the trees, he wasn’t sure which.
Climax (gradation) is also used in novel for increasing tension: Outside, the streets were swept clean and empty of cars it or trucks or people [11, 134].
There was always and forever that indefinable place where the two struggled and one of them won for a season to possess a certain avenue, a deli, a glen, a tree, a bush [11, 17].
Sometimes in the novel we see rhetorical questions which make the reader to think over the question:
Who could say where town or wideness began? [11, 17]
Who could say which owned what and what owned which? [11, 17]
Asyndeton also helps to emphasize some information:
The town. The wideness. The houses. The ravine. Douglas blinked back and forth. [11, 18]
By the way of conclusion I'd like to emphasize that very often Bradbury combines all these stylistic devices.
From the analyses we conclude that the most numerous group in the novel “Dandelion wine” is lexical stylistic devices, namely metaphor, personification epithet and comparison. It’s because the whole novel is fulfill with life and R. Bradbury describes the world as a live organism all elements of which are interrelated.
Besides in our story there are three main plans in the novel: childish (by Douglas' eyes), author's (his reasoning) and outward (pictures of town's life, parables). And each of these plans is shown differently with the help of different stylistic devices. The first one is more adventurous, it's shown with the aid of dialogues between children, diary notes and dreams. That’s why prevails the usage of exclamation marks, elliptical sentences, interjections, slang words, pauses and dots. Author's plan is made with meditations and reasoning, that's why it contains inside dialogues, outward appearance of the hero (by other characters' eyes). The language is philosophical and contains lots of long sentences, rich epithets, different metaphors and some other stylistic devices. Outward plan consists of different parables and single stories. For example, the novel about The Lonely One and his victims is written in detective style of waiting, pursuit and fear, it's a typical “horror story” with lots of expression, short sentences. The novel about wrangle of Mrs. Goodwater and Elmira Brown, a high-strung woman, is a great example of witty satire. The novel about meetings of Bill Forrester and Helen Loomis is made like the poetry in the prose – its language is high, lightly sad.
Заключение
Рассмотрев теоретические предпосылки стилистического анализа произведения Рэя Брэдбери и проведя анализ, можно сделать следующие выводы:
Рэймонд Дуглас Брэдбери (22 августа 1920 года – 6 июня 2012) – выдающийся американский писатель. В настоящее время не существует единого названия жанра, в котором творит писатель, жанра, способного со всей полнотой охарактеризовать самобытность индивидуального стиля Р. Брэдбери, раскрывающего глубокий, но в то же время такой простой и понятный смысл мироздания на языке авторских метафор и сравнений. Таким образом, творчество писателя следует относить к «большой», внежанровой литературе.
Критики относят произведения автора к коротким рассказам неразвлекательного характера, которые содержат короткие зарисовки, сводящиеся к остродраматическим, психологическим моментам. Они построены на диалогах, монологах, размышлениях героев произведений.
За свою литературную деятельность писатель удостоен большого количества наград.
Стилистика как наука появилась в XIX веке, большее же развитие получила в XX веке. Объектом изучения стилистики является функционирование отдельных элементов языковой системы, отдельных подсистем языка и всей языковой системы в целом.
В нашей работе мы разграничиваем понятия стилистического приема и стилистической фигуры. Под стилистическим приемом понимаем способ организации стилистически значимого высказывания (текста) при помощи тех или иных средств языка с целью определенного воздействия на читателя (слушателя).
Стилистическая фигура – также способ организации стилистически значимого высказывания, но это способ, в основе которого лежит модель, заданная в языке и построенная по принципу отклонения от нормы. Существование этой модели и позволяет представить фигуру схематически.
Под стилистическим средством понимается языковая единица, обладающая стилистическим значением и в силу этого служащая материалом для построения того или иного стилистического приема.
Также мы в нашей работе придерживаемся классификации стилистических приемов и фигур И.Р. Гальперина, которая базируется на уровнях языка. Автор выделяет: фонетические, лексические и синтаксические стилистические приемы и средства.
Проведя стилистический анализ романа, мы видим, что наиболее численными средствами в нем являются метафора, персонификация, эпитет и сравнения. Это объясняется тем, что переполнена жизнью. В произведениях Р. Брэдбери неодушевленные предметы не только обретают жизнь, но и становятся равноправными участниками событий.
Использование стилистических средств в произведении зависит от плана выражения романа. Так, в романе «Вино из одуванчиков» есть три основных плана: детский (глазами Дугласа), автора (его рассуждение) и внешний (картины жизни города, притчи). Первый из них более приключенческий, это показано с помощью диалогов между детьми, дневниковых записок и мечтаний. Вот почему используются восклицательные предложения, эллиптические предложения, междометия, жаргонные слова, паузы. План автора переполнен рассуждениями, поэтому он содержит в себе монологи, внешний вид героя (глазами других персонажей). Язык философский и содержит много длинных предложений, богатых эпитетов, метафор и персонификаций. Внешний план состоит из различных притч и одной истории.
Список литературы
Абрамов В.Н. О понятиях “средство” и “прием” в современной стилистике // Статус стилистики в современном языкознании. Тезисы докладов. – Пермь, 1990. – С. 197-198.
Арнольд И.В. Стилистика. Современный английский язык: Учебник для вузов. — 4-е изд., испр. и доп. — М.: Флинта: Наука, 2002. — 384 с.
Гальперин И.Р. Очерки по стилистике английского языка. – М.: Издательство литературы на иностранных языках, 1958. – 460 с.
Макаренко Е.А., Богданова О.Г. Стилистика английского языка: Учебное пособие. – Ставрополь: Изд-во СГПИ, 2008. – 92 с.
Никитина С.Е., Васильева Н.В. Экспериментальный системный толковый словарь стилистических терминов. Принципы составления и избранные словарные статьи. – М., 1996. – 172 с.
Официальный сайт Р. Брэдбери. [Электронный ресурс]. Режим доступа: http://raybradbury.ru/
Сайт сохраняем знания. [Электронный ресурс]. Режим доступа: http://www.livelib.ru/author/15152
Худоногова Г.А. О соотношении понятий “стилистический прием”, “стилистическая фигура”, “стилистическое средство”. [Электронный ресурс]. Режим доступа: http://library.krasu.ru/ft/ft/_articles/0070491.pdf
Энциклопедия Кругосвет. [Электронный ресурс]. Режим доступа: http://krugosvet.ru/enc/kultura_i_obrazovanie/literatura/BREDBERI_RE_DUGLAS.html
[Электронный ресурс]. Режим доступа: http://www.sparknotes.com/lit/dandelion/themes.html
R. D. Bradbury Dandelion Wine. [Электронный ресурс]. Режим доступа: http://marimarister.files.wordpress.com/2011/10/bradbury-ray-dandelion-wine.pdf
Приложение А
Al – alliteration
C – comparison
E – epithet
M – metaphor
Pers – personification
O – onomatopoeia
Coll. – colloquial
Apos. – aposiopesis Ex – exclamation
P – parallelism
R – repetition
Ell – elliptical sentences
Cl – climax
E. conj – conjunction with emphatic function
D – detachment
R
E.conj
E
E
E, M
R
Coll.
Coll.
Ell
Coll.
M
Pers,Al
C, Ell
D,Coll.
E
D
M
E
D, M
Apos
E
Ell, R
C, P
E. conj
E
E
E
E
E.conj,D
M
M
Pers
Al
M
M, P
M
Ex, Ell
M
M
M
M
C
Cl
E
Coll., R
Coll., R
E
C
E
E
E
Coll., R
Al
E
C The town, then, later in the day.
And yet another harvest.
Grandfather stood on the wide front porch like a captain surveying the vast unmotioned calms of a season dead ahead. He questioned the wind and the untouchable sky and the lawn on which stood Douglas and Tom to question only him.
“Grandpa, are they ready? Now?”
Grandfather pinched his chin. “Five hundred, a thousand, two thousand easy. Yes, yes, a good supply. Pick ’em easy, pick ’em all. A dime for every sack delivered to the press!”
“Hey!”
The boys bent, smiling. They picked the golden flowers. The flowers that flooded the world, dripped off lawns onto brick streets, tapped softly at crystal cellar windows and agitated themselves so that on all sides lay the dazzle and glitter of molten sun.
“Every year,” said Grandfather. “They run amuck; I let them. Pride of lions in the yard. Stare, and they burn a hole in your retina. A common flower, a weed that no one sees, yes. But for us, a noble thing, the dandelion.”
So, plucked carefully, in sacks, the dandelions were carried below. The cellar dark glowed with their arrival. The wine press stood open, cold. A rush of flowers warmed it. The press, replaced, its screw rotated, twirled by Grandfather, squeezed gently on the crop.
“There . . . so . . .”
The golden tide, the essence of this fine fair month ran, then gushed from the spout below, to be crocked, skimmed of ferment, and bottled in clean ketchup shakers, then ranked in sparkling rows in cellar gloom.
Dandelion wine.
The words were summer on the tongue. The wine was summer caught and stoppered. And now that Douglas knew, he really knew he was alive, and moved turning through the world to touch and see it all, it was only right and proper that some of his new knowledge, some of this special vintage day would be sealed away for opening on a January day with snow falling fast and the sun unseen for weeks or months and perhaps some of the miracle by then forgotten and in need of renewal. Since this was going to be a summer of unguessed wonders, he wanted it all salvaged and labeled so that any time he wished, he might tiptoe down in this dank twilight and reach up his fingertips.
And there, row upon row, with the soft gleam of flowers opened at morning, with the light of this June sun glowing through a faint skin of dust, would stand the dandelion wine. Peer through it at the wintry day—the snow melted to grass, the trees were reinhabitated with bird, leaf, and blossoms like a continent of butterflies breathing on the wind. And peering through, color sky from iron to blue.
Hold summer in your hand, pour summer in a glass, a tiny glass of course, the smallest tingling sip for children; change the season in your veins by raising glass to lip and tilting summer in.
“Ready, now, the rain barrel!”
Nothing else in the world would do but the pure waters which had been summoned from the lakes far away and the sweet fields of grassy dew on early morning, lifted to the open sky, carried in laundered clusters nine hundred miles, brushed with wind, electrified with high voltage, and condensed upon cool air. This water, falling, raining, gathered yet more of the heavens in its crystals. Taking something of the east wind and the west wind and the north wind and the south, the water made rain and the rain, within this hour of rituals, would be well on its way to wine.
Douglas ran with the dipper. He plunged it deep in the rain barrel. “Here we go!”
The water was silk in the cup; clear, faintly blue silk. It softened the lip and the throat and the heart, if drunk. This water must be carried in dipper and bucket to the cellar, there to be leavened in freshets, in mountain streams, upon the dandelion harvest.
Even Grandma, when snow was whirling fast, dizzying the world, blinding windows, stealing breath from gasping mouths, even Grandma, one day in February, would vanish to the cellar.
Above, in the vast house, there would be coughings, sneezings, wheezings, and groans, childish fevers, throats raw as butcher’s meat, noses like bottled cherries, the stealthy microbe everywhere.
Then, rising from the cellar like a June goddess, Grandma would come, something hidden but obvious under her knitted shawl. This, carried to every miserable room upstairs-and-down would be dispensed with aroma and clarity into neat glasses, to be swigged neatly. The medicines of another time, the balm of sun and idle August afternoons, the faintly heard sounds of ice wagons passing on brick avenues, the rush of silver skyrockets and the fountaining of lawn mowers moving through ant countries, all these, all these in a glass.
Yes, even Grandma, drawn to the cellar of winter for a June adventure, might stand alone and quietly, in secret conclave with her own soul and spirit, as did Grandfather and Father and Uncle Pert, or some of the boarders, communing with a last touch of a calendar long departed, with the picnics and the warm rains and the smell of fields of wheat and new popcorn and bending hay. Even Grandma, repeating and repeating the fine and golden words, even as they were said now in this moment when the flowers were dropped into the press, as they would be repeated every winter for all the white winters in time. Saying them over and over on the lips, like a smile, like a sudden patch of sunlight in the dark.
Dandelion wine. Dandelion wine. Dandelion wine. Ell
Ell
C
Pers
Ell,Coll.
Cl, Ell
E, R
Ex
Ex
E, R
M, E
E
E
Pers
Coll., M
E. conj D, Ell
R
M, R
O
M, Pers
D
M
R
M
M
E
M
E, Al
Al
R
C
E.conj,R
E
E, Al
M
E
E
E
E
Cl
R
Coll.
Ex
E
Al
Al
C
C, E
Coll.
E. conj
M
M
M
M
M
M
Pers
E
R
R, E
R, R
R
R
2