Style as Conformity

Style as conformity can be seen as the first available option for a writer to
express himself. This is so because virtually all possible fields that a written
material can belong to have been established. Any style that is distinct is so as a
result of deviation. In fact, it is on the notion of style as conformity that the idea
of style as choice operates and then results in or brings out the possibility of
style as deviation. That is, a writer needs, first of all, to decide whether to conform
with the established style or to deviate. It is not in all situations that a writer
enjoys flexibility to deviate. Style as conformity is often strictly enforced in
certain fields or circumstances. This is often in academic/educational field as
regard students research projects. It is also found so in some professional
writings, where a considerable conformity to the established format or diction is
expected for a text to earn acceptability.

One major weakness of conformity to the established style is that it clips

creativity. But the moment a text accommodates or injects some creativity in the
style, it becomes marked as deviation from the norm.
 Norm an assemblage of stable means objectively existing in the language and
systematically used.

Norm is an invariant, which should embrace all variable phonemic, morphological, lexical,
and syntactic patterns with their typical properties circulating in the language at a definite
period of time.

Norm is a regulator that controls the set of variants (Makayev). The most characteristic and
essential property of norm is flexibility.

As soon as the feeling of the norm is instilled in the mind one begins to appreciate its
talented fluctuations. The norm may be perceived and established only when there are
deviations from it, it happens so to say against their background.

Labovs (1966) New York City study: Speech

community as the unit as the norm

The norm in Formal Linguistics

is the Ideal Speaker
The notion of Ideal Speaker
(Hearer) is less than ideal
The norm in Formal Linguistics
is the Ideal Speaker
The notion of Ideal Speaker
(Hearer) is less than ideal

Deviation_from_the_Norm_as_Method_and_St

STYLE a selection of non-distinctive features of language

NORM an assemblage of stable means objectively existing in the language
and systematically used

INDIVIDUAL STYLE a unique combination of language units peculiar to

a given writer which makes his works easily recognizable

The Main Terms, Categories and Notions of Stylistics.

To define the limits of stylistics it is necessary to state what we mean under its main term style.
This word is of Latin origin derived from the word stilus which meant a short sharp stick used by the
Romans for writing on wax tablets.

Now the word style is used in many senses that is why it has become a permanent source of
ambiguity. It may denote:
The correspondence between
An individual manner of making use of language
The set of rules how to write a composition sometimes style is associated with very simple
notions like style is the man himself (Buffon 18thc.)

Style is depth, said Darbyshire in 1971 A Grammar of Style; style is deviation- considered
Enkvist in his book Linguistic Stylistics published in the Hague in 1973.
All these definitions deal somehow with the essence of style that is summed up by the following
observations:

Style is a quality of language which communicates precisely emotions or thoughts or a system of

them peculiar to the author
A true idiosyncrasy of style is the result of an authors success in compelling language to conform
to his mode of experience (Middleton Murry)
Style is a contextually restricted linguistic variation (Enkvist)
Style is a selection of non-distinctive features of language(Bloomfield)
Style is simply synonymous with form or expression(Benedetto Croce)

In the broad sense we understand style as a feature adherent to music, clothes, architecture, painting,
historical epoch, etc.
Archibald Hill states structures, sequences and patterns which extend or may extend beyond the
boundaries of individual sentences define style.
The most frequently met definition of style belongs to Seymour Chatman: Style is a
product of individual choices and the patterns of choices among linguistic possibilities . Werner
Winter continues this idea by claiming that the style may be characterized by a pattern of recurrent
selections from the inventory of optional features of a language.

Summing up these numerous definitions we may single out the traits upon which most of the
scholars agree:

Style is a set of characteristics by which we distinguish one author from another

Style is regarded as something that belongs exclusively to the plane of expression and not to the
plane of content

Individual style implies the peculiarities of a writers individual manner of using language
means to achieve the effect he desires. The speech of any individual, which is characterized by
particular elements, is called an idiolect that reveals his breeding and education. A writer will try to
avoid showing his idiolect, instead he would leave room for genuine SD. Alexander Block once said
that the style of a writer is so closely connected with the content of his soul that the experienced eye
can see the soul through his style.
The components of individual style are the following:

composition of phrasal units

rhythm and melody of utterances
system of imagery
preference for definite stylistic devices and their correlation with neutral language media
interdependence of the language means employed by the author and those characteristic to his
personages.

In discussing the problem of the individual style one should make it clear from the outset that this
problem constitutes the common ground for literature and literary stylistics the latter being the part
of poetics (the science of the composition of literary works and the system of aesthetic means used
in them).

The peculiarities of using EMs and SDs in poetry and emotive prose have given rise to such
interpretation of style as Deviation but from what?
In XXth century Saintsbury stated that the belles-lettres style is always a reaction against the
common language, to some extent it is a jargon, a literary jargon. This idea was the motto of the
literary trend of formalism, which appeared in 1920s. The result of this school was all kinds of
innovations introduce into the language which principally depart from the established norms
(Severianin, Mandelshtam and e.cummings) and inability of the reader to perceive the message.

All said brings up the problem of the norm from which the writer deviates in order to create his
individual style. There are different norms only special kinds of them are called stylistic norms, like
oral and written, norms of emotive prose and official language Even within one functional style
there exist different norms those of poetry, prose and drama.
Norm is an invariant, which should embrace all variable phonemic, morphological, lexical, and
syntactic patterns with their typical properties circulating in the language at a definite period of
time.

Norm is a regulator that controls the set of variants (Makayev). Its most characteristic and essential
property is flexibility Though it is very hard to draw a line of demarcation between the norm and its
violation ( director, ; e.cummings: footsteps on the sand of war, below a time, but the
ors and ifs) is quite acceptable.

Some people think that one has to possess what is called a feeling for the language in order to be
able to understand its norms and variations. But this feeling is deeply rooted in the knowledge
(often unconscious) of the language laws and history. As soon as the feeling of the norm is instilled
in the mind one begins to appreciate its talented fluctuations.

The norm may be perceived and established only when there are deviations from it, it happens so to
say against their background.

While studying style we come across the problem of language-as-a-system and language-in-action,
that actually reflects the opposition of language and speech (discourse), lange and parole.

All rules and patterns of language collected in the textbooks on grammar, phonetics and lexicology
first appear in languagein-action where they are generalized, then framed as rules
and patterns of language-as-a-system. The same happens with SDs. Born in speech they gradually
become recognized facts of language-as-a-system.
LECTURE 1 pdf

A very important notion is the distinction between

automatization and foregrounding in language.
Automatization refers to the common use of linguistic
devices which does not attract particular attention by
the language decoder, for example, the use of discourse
markers (e.g. well, you know, sort of, kind of) in
spontaneous spoken conversations. Automatization
thus correlates with the usual background pattern, or
the norm, in language useit encompasses those
forms and structures that competent language users
expect to be used in a given context of situation.
Foregrounded linguistic devices, on the other hand, are
usually not expected to be used in a specific context
and are thus considered conspicuousthey catch the
language decoders attention (e.g. the use of old-fashioned
and/or very formal words such as epicure,
improvident, and whither in spontaneous spoken conversations).
Foregrounding thus captures deviations
from the norm. It is obvious that what is considered as
automatized and foregrounded language use depends
on the communication situation at hand. In technical
fields of discourse, for instance, specialized vocabulary
items tend to be automatized (e.g. lambda marker
in molecular biology), but in everyday communication
become foregrounded devices.

A different, although conceptually similar, tradition

of linguistic stylistics was established by British linguists
in the 1930s and came to be called British
Contextualism. The most important proponents of
British Contextualism include John Rupert Firth,
M.A.K. Halliday, and John Sinclair. Their work is
characterized by a clear focus, firstly, on the social
context in which language is used and, secondly, on
the in-depth observation of natural language use. From
the point of view of British Contextualists, linguists
need to describe authentic language use in context and
should not confine themselves to invented and isolated
sentences. Additionally, linguistics is not considered
as an intuition-based study of abstract systems of form
as, for example, in the merely formal description of
autonomous syntactic rules (as in Chomskys
approach to language), but as the observation-based
and empirical analysis of meaning encoded by form.
This approach allows for insights into the immense
variation within language. It is a fact that depending
on the context of situation, all speakers use different
registers (i.e. different styles of language, depending
on the topic, the addressee, and the medium in a given
context of use). Note that there is, of course, a clear

correspondence between the concept of register and

the Prague Schools notion of functional dialect.
Although largely abandoned by mainstream linguists
in the 1960s and 1970s due to the prevailing
Chomskyan school of thought, it had already been
suggested by Firth in the 1950s that large collections
of text were a prerequisite for an empirical approach to
stylistic variation. Thus, it does not come as a tremendous
surprise that, among others, Sinclair set out to
develop computerized corpora that could be used as
empirical databases.

With corpus linguistics now a standard methodology,

stylistic analyses have reached an unprecedented
degree of explanatory adequacy and empirical accuracy.
For example, stylistic features that are beyond most
linguists scope of intuition, such as the nonstandard
use of question tags in English-speaking teenagers
talk, are now feasible in quantitative terms. More
importantly, there is no longer a bias toward foregrounded
phenomena that tend to catch the linguists
attention. A computer, in contrast, does not distinguish
between conspicuous and common phenomena and
provides an exhaustive array of all kinds of patterns,
depending solely on the search query. Thus, the fuzzy
concept of norm is about to be put on an empirical
footing since the accessible corpus norm represents
the norm of a language as a whole.

Stylistics is a linguistic branch that is immediately

relevant to foreign language teaching. This applies to
both linguistic and literary stylistics. Language learners
must know which linguistic devices are preferred
by native speakers in specific contexts. Without such a
linguostylistic competence, communication errors
may be made in interacting with native speakers, such
as using highly formal words in informal settings.
Also, learners must have command of text-typological
knowledge, which is important, for example, in writing
essays. As for literary texts, language learners
should acquire a firm understanding of those levels of
description where stylistic variation may occur (e.g.
by analyzing Hemingways syntactic simplicity and,
moreover, its function).
mukherjee2005_stylistics

Stylistics ppt
The norm is an abstract notion, an invariant which should embrace all variants with their most typical
properties.

Halperin: the norm is the invariant of phonetic, morphological, lexical and syntactical patterns,
circulating in language-in-action (speech) at a given period of time.

Characteristic property its flexibility.

Following the norm too rigorously pedantic style.

Neglect of the norm an attempt to violate the established patterns of the language.
 A constant process of gradual change in the forms of a language and in meaning.

=> it is very important to master the received standard of the given period

in order to comprehend the correspondence of this or that form to the recognized form
of the period.

The norm can be grasped when there is a deviation from it.

Skrebnev: the essence of stylistic perception consists in mental confrontation of what one hears
(or reads) with ones previous linguistic experience.
 I havent ever done anything

I aint never done nothing

Both norm. But:

1 literary,

2 uneducated speaker.

There are as many norms as there are sublanguages.

01 - Stylistics and its objectives

2. The notion of functional style. One and the same thought may be worded in more than one way. This
diversity is predetermined by coexist-ence of separate language subsystems, elements of which stand in
relations of interstyle synonymy. Compare: I am afraid lest John should have lost his way in the forest
(bookish) = I fear John's got lost in the wood (conversational). Such language subsystems are called
"functional styles". Functional style units are capable of transmitting some additional informa-tion about
the speaker and the objective reality in which communication takes place, namely the cultural and
educational level of the speaker, his inner state of mind, intentions, emotions and feelings, etc. The most
traditionally accepted functional styles are the style of official and business communication, the style of
scientific prose, the newspaper style, the publicistic style, the belletristic style, the conversational style.
The style a writer or speaker adopts depends partly on his own person-ality but very largely on what he
has to say and what his purposes are. It follows that style and subject matter should match each other
appropriately. Just how important it is to choose an appropriate style can be seen by examining the
following three sentences, which all say the same thing but in different ways: John's dear parent is going
to his heavenly home (bookish). John's father is dying (literary colloquial). John's old fella's on his way out
(informal colloquial). Though these sentences say the same thing, the style is very different in each.

The notion of norm. Norm may be defined as a set of language rules which are considered to be most
standard and correct in a certain epoch and in a certain society. It is next to impossible to work out
universal language norms because each functional style has its own regularities. The sentence "I ain't got
no news from nobody" should be treated as non-grammatical from the point of view of literary grammar
though it is in full accordance with special colloquial English grammar rules.

The notion of form. Form is a term which refers to the recognizable shape of a text or a speech act. This
shape may be either physical or ab-stract. It is physical in writing and abstract in spoken communication.
Written forms are novels, stories, articles, poems, letters, posters, menus, etc. Spoken forms are
conversations, TV and radio commentaries, announcements, ser-mons, jokes and anecdotes, etc. The term
"form" is used in linguistics and in literary criticism as a technical term. It is used when considering the
shape, the construction, or the type of speech or writing. An awareness of form can help to produce more
efficient communication.

3. The notion of text. Text literally means "a piece of writing". Charles Dickens' novel "Bleak House" is a text. A letter
from a friend is a text. A caption to a picture is a text. A painting by Picasso can also be conditionally called a text. The
term "text" is most used in linguistics and literary studies, where it was originally used as a synonym for "book", but it
could just as easily be a poem, a letter, or a diary. This term is now in general use in other branches of the humanities
such as cultural studies and film studies, where its meaning becomes "the thing being studied". In these other fields it
could also be a video film, an advertisement, a painting, or a music score. Even a bus ticket may be called "a text". The
term "text" is used so as to concen-trate attention on the object being studied, rather than its author.

The notion of context. Types of context. A linguistic context is the encirclement of a language unit by other language
units in speech. Such encir-clement makes the meaning of the unit clear and unambiguous. It is especially important in
case with polysemantic words. Microcontext is the context of a single utterance (sentence). Macrocontext is the
 context of a paragraph in a text. Megacontext is the context of a book chapter, a story or the whole book. An
extralingual (situational) context is formed by extralingual con-ditions in which communication takes place. Besides
making the meaning of words well-defined, a situational context allows the speaker to economize on speech efforts
and to avoid situationally redundant language signs. The com-mands of a surgeon in an operating room, such as
"scalpel", "pincers" or "tampon", are understood by his assistants correctly and without any addi-tional explanations
about what kind of tampon is needed.

Extralingual context can be physical or abstract and can significantly affect the communication. A conversation
between lovers can be affected by surroundings in terms of music, location, and the presence of others. Such
surroundings form a physical context. A dialogue between colleagues can be affected by the nature of their
relationship. That is, one may be of higher status than the other. Such nature forms an abstract context. Historical
accounts are more easily understood when evoked in the context of their own time. Such context is called temporal or
chronological. There would be a psychologi-cally advantageous context within which to tell one's spouse about that
dent-ed bumper on the new car. Such context may be called psychological.

1-40-1047

1. The concept of norm in stylistics.

The norm is the invariant of the phonemic, morphological, lexical and syntactical patterns circulating in
language-in-action at a given period of time.

Variants of these patterns may sometimes diverge from invariant, but they never exceed the limits set by
the invariant lest it should become unrecognizable or misleading.

Norm is a set of rules and restraints. Norm is a psychological and social phenomenon (not only a system
of signs)

A.E.Darbyshire: The norm is a linguistic abstraction, an idea thought up by linguists and existing only in
their minds.

Norm can become less rigid. Basic to all rules are grammar rules.
The notion of norm always presupposes a recognized or received standard. There is no universally
accepted norm of the standard literary language. There are different norms.

The norm is regarded by some linguists as a regulator which controls a set of variants, the border of
variations and also admissible and inadmissible variants (E.A.Makayev)

One of the most essential characteristics of the norm is its flexibility. A too rigorous adherence to the
norm brands the writers language as pedantic, no matter whether it is a question of speech or writing.
To draw a line of demarcation between facts that illustrate the flexibility of the norm and those which
show its violation is not so easy. Some people think that one has t possess what is called a feeling for
the language. It is deeply rooted in the unconscious knowledge of the laws according to which a
language functions.

2. Deviation of the norm.

Deviation is a stylistic means it compels attention: for an element to be noticed it has either to be
REPEATED or UNPREDICTABLE

Deviation is a symbol. In stylistics it is important to know how to create a certain effect

Function of stylistic means is to DRAW ATTENTION. The chain of predictability should be broken.

- He who attempts to tease the cobra

- Is soon a sadder he and SOBRA (O.Nash)

The 2 unpredictable elements: SOBRA (gram. Unpredictable) > SOBERER > repetition

Some deviations, if they are motivated, may occur here and there in the text. Through constant
repetitions such deviations may become legitimate variants of the norm and establish themselves as
members of a language system.
One of the most characteristic and essential properties of the norm is its flexibility. The extremes are
apparent, but border cases are blurred. Thus, footsteps on the sand of war (E.E.Cummings) or below
a time are clearly violations of the accepted norms of word-building or word-combinations.

But silent thunder, the ors and ifs and the like may from one point of view be regarded as a practical
application of the principle of flexibility of the norm and from another as a violation of the semantic
and morphological norms of the English language.

There is a constant process of gradual change taking place in the forms of language and their meaning at
any given period of time.

3. Variation of the norm. Hierarchy.

The problem of norm has many solutions and aspects. The most important is the RELATIVE and
PROBABILISTIC nature of the norm, as a deviation from one norm can correspond to a norm of
secondary order: the presence of a deviation is identified on the basis of probabilistic prognosis

The linguistic competence can be defeated in a qualitative or quantitative way.

e.g. Those eyes the greenest of things blue

The bluest of things grey (Swingburn)

The superlative degree, the exclamatory sentences; the repetition

Hierarchy of norms:

- Standard (national standard) English [literary written] is more strict; Genre-normes

- Modified standard (pronunciation) former British colonies where the British somehow modified
the pronunciation
- Regional varieties (Am., Australian, New Zealand, Indian Englishes), Estuary English is a bit simpler
than BBC English peculiarities at all language levels. National norm with specific features at all
levels.
- Local Dialects (Cockney) working class

Charles Dickens Pickwick Club servant who speaks Cockney. A lot of grammar violations.
Functional (acc. to the subject matter, situation of communication)

- written or oral
- individual norm
- genre norm
- text norm each text creates its variations acc. to USER or USE

4. Functional Styles.

Language fulfills different functions to meet various needs. There are different classifications according
to the purpose of communication (function). No uniform classification

Main apples of discord are: The style of fiction (I.R.Galperin) and neutral style (I.V.Arnold). Neutral style
is an abstraction, a kind of background.

The Prague School:

- the style of fiction

- publicist style
- scientific style (official documents)
- colloquial style

N.Amosova (Leningrad school)

- colloquial (literary colloquial, familiar colloquial, professional slang, argo)

- bookish (poetic style, style of scientific prose, official style)

I.R.Galperin

- Belles-Letres Style [corresponds to the style of fiction] (poetry, emotive prose, drama)

- Publicist style (oratory and public speeches, essays)

- Scientific prose

- Official documents

- Newspaper style
Thesis: function styles theory is a historical category. In the 18 th century there were very few
newspapers. The appearance of Newspaper style reflects the essays style. Some styles merge.

A functional style of a language is a system of interrelated language means which serves a definite aim in
communication.

5. Stratification of vocabulary.

The English vocabulary could be classified from a stylistic point of view. Words that are preferably used in
one functional style are said to have a stylistic reference (connotation). Words can be grouped together
on the basis of their common stylistic reference:

- purely literally
- suitable for literary and colloquial
- purely colloquial
- on the border-line
- slang
- obscene <argo/cant

Three main layers: - the literary

- the neutral
- the colloquial

Neutral words, which form the bulk of the English vocabulary, are used both in literary and colloquial
language. Neutral words are the main source of synonymy and polysemy. The most neutral words are of
monosyllabic character. This phenomenon has led to the development of conversion as the most
productive means of word-building.

Common literary words are chiefly used in writing and in polished speech. One can always tell a literary
word from a colloquial

Coll. Neut. Lit.

Kid child infant

Daddy father parent

Chap fellow associate

Get out go away retire

Go on continue proceed

It goes without saying that these synonyms are not only stylistic but ideographic as well. The main
distinction between synonyms remains stylistic. Colloquial words are always more emotionally coloured
than literary ones.

Both literary and colloquial words have upper and lower level. The line of demarcation between
common literary and neutral and between common colloquial and neutral on the other side are blurred.
The process of interpenetration of the stylistic strata becomes HERE most apparent.

The neutral vocabulary may be viewed as the invariant of the Standard English vocabulary. Common
colloquial vocabulary is a part of Standard English.

The stylistic function of the different strata of the E vocabulary depends not so much on the inner
qualities of each of the groups, as on their interaction when they are opposed to one another.

Certain set expressions have been coined within literary English and their use in ordinary speech will
inevitably make the utterance sound bookish. In accordance with, with regard to, to speak at great
length, to lend assistance, to draw a lesson

Special literary vocabulary:

a) terms
b) poetic and high literary words (are called upon to sustain the special elevated
atmosphere of poetry)
c) Archaic, Obsolescent and Obsolete words
d) Barbarisms (words of foreign origin which have not entirely been assimilated into the
English Language) and Foreignisms
e) Literary Coinages

Special Colloquial vocabulary:

 a) slang the special vocabulary used by any set of persons of a low or disreputable character;
language of a low vulgar type
b) jargonisms (old words with entirely new meanings imposed on them)
c) professionalisms
d) dialectal words
e) vulgarisms
f) colloquial coinages

bileti_durow-500

Norm and Variation in Language. The dynamic character of norm. The static aspect ( the system
of language units) and dynamics ( language functioning). Language norm in its dynamic aspect as
socially and historically determined result of speech activity, fixing traditional realizations of the system
and creating new language facts, revealing connections with the potential capacities of the language
system and the existing patterns. Variation of language units: variants within the limits of the norm as
the basis of stylistic choice: synonymic means of the language. stylistic variation of the word ( allo-
lexemes). Functional nature of norm \V.V.Vinogradov\. The conformity of expression to the literary
standard is the function of communicative-stylistic validity of the utterance, functional style, jenre.
Functional validity of a language unit, as the most important criterion in establishing the conformity of
the unit to the norm... as language is a means of communication and communication always has a
purpose \A.A.Leontiev\. The principle of communicative validity the basis of assigning the norm \ .G.
Kostomarov, A.A.Leontiev\. Literary standard as the model variant of the national language, the result of
reasonably applied rules, i.e. norm Literary language the sum total of all the realizations of the
language system adopted by the society at a certain stage of its development and thought of as correct
and model \N.N.Semenuck\. Basic oppositions revealing normative co-relations in the language:

system : norm : individual speech

national norm : dialect

neutral style : colloquial style : bookish style

literary standard ( correct speech) : low colloquial speech \I.V.Arnold\

Written and oral forms of literary standard. Orthographic and orthoepic norms of the language. Variants
of literary language ( literary language used by two or several peoples, e.g. the British and American
variants of the English language. Stylistic norm Stylistic and speech mistakes. Orthographic, punctuation,
orthoepic, lexical, grammar norms of the English language.

Language Norm and Speech Culture: normative, communicative and aesthetic levels of speech
culture. Normative level - conformity with the orthographic, punctuation, orthoepic, lexical, grammar
norms of the language. Communicative level - purposeful usage of the language means within the
limits of the language norm and the norm of the functional style for the sake of realizing a
communicative task, the formation of a communicative strategy. Communicatively relevant deviations
from the norm of the language. Stylistically relevant deviations. The aesthetic level of speech culture
the use of language means in the aesthetic function as a rule in publicist style and fiction. Principles and
rules of communicative interaction. Theory of social convention. X.Grices maxims. Speech etiquette.
Formal and informal communication. Speech communication in different situation and spheres of human
activity. Oratory. Oratorical devices. Rhetorics as the science of oratorical canons and devices.

--------------------------

Territorial Differentiation of the English Language. Dialectology as the science, investigating

differentiation of the language of an ethnic community, revealed in opposition of the more or less
unified literary standard and dialects which differ from each other; as well as professional and other
dialects of the language and reflect its inner differentiation. Dialects in the history of the English
language. 4 dialects of Old English: Northumbrian, Mercian, Wessex and Kent ( 7-11 centuries); 3
dialectal areas in Middle English the northern, central and the eastern ( 12-15 centuries). London
dialect as the basis of the formation of the English language ( also in the paragraph Literary Language).
Dialectal geographical areas. The notion of isogloss ( area of the use of a dialect). Dialectography or
linguistic geography ( mapping of linguistic phenomena, isoglosses). The development of dialects in
modern English. Received Pronunciation and non-RP accents of England: Southern accents (Greater
London, Cockney, Surray, Kent, Essex, Herfordshire, Buckinghamshire); East Anglia accents (Lincolnshire,
Norfolk, Suffolk, Cambridgeshire, Bedfordshire, Northamptonshire, Leicestershire); South-West accents
(Gloucestershire, Avon, Somerset, Wiltshire), Northern and Midland accents (Northern, Yorkshire,
North-West, West Midland accents). Convergent language development and loss of dialects in Modern
English

Social Differentiation of the English Languages. The notion of norm and variation of language.
Social differentiation: literary language, its variants, ideodialects and ideostyles ( individual variants of
the language), class, caste, professional differentiation :scientific and technical dialects. Professional and
trade dialects ( dialects of hunters, fishermen, chess players, students, schoolchildren). Slang and cant as
the reflection of professional differentiation and social position. Slang and its social functions
( community function, social identification, Dialectics in interpreting the unity of the national language
as the immediate objective substance, and as a generalization revealed in particular, multiple
reproductions and perceptions in certain communities, recurrent in utterances \ A.D.Scweitzer,
L.B.Nikolsky\.

Functional Stylistics ( also in the paragraph Stylistics as a Linguistic Science) Functional-stylistic

differentiation of the language. Language norm and the norm of a functional style.

Functional Style. Speech systems of functional styles. Functional styles as styles of language
and speech. The notion of register ( identical to that of the notional style) , as series of situational
factors, determining the use of specific formal language means \G.Leech\. General classification of
functional styles. Linguistic and extra-linguistic factors in the classification of functional styles. The role
of extra-linguistic factors in style studies ( the Prague Linguistic Circle). Style forming factors of a
functional style. Universal, normative-stylistic character of the style-forming factor of a functional style

(emotiveness, evaluation, rationality, imagery, logic, exactness) and their difference in accordance with
the purport of a functional style. Functional analysis of the style-forming factors of a functional style \ V.
Shneider\..

Problems of the Functional Styles Classification. Reasons for recognizing the style of fiction \ the belles-
lettres style \ : pros and cons. Cons: the language of fiction is multi-stylistic, not closed, it integrates
other functional styles of the language, has no specific language markers; the aesthetic function the
language of fiction which is expressed in special use of language means with the division of styles into
artistic and non-artistic or the treatment of the belles-letters style outside the system of functional
styles; in Russian it is not included in the domain of literary language due to a specific character of the
literary language and the formation of the latter a under the influence of the language of fiction
( V.D.Bondaletov, L.Y.Maksimov, N.A.Mezhersky, A.K.Panfiliv, D.N.Schmelev\. Pros: the language of fiction
cannot be beyond the existing system of functional styles as in spite of its multi-stylistic properties it
uses only part of the inventory of the elements and units of the other styles but doesnt express its
speech systemic character and their use in the aesthetic function is very specific; it has the unity of a
stylistic speech system, in spite of the authors individuality ]V.V.Vinogradov, I.V.Arnold,
R.A.Budagov,I.R.Gaplerin, B.N.Golovin, A.K.Dolinin,, E.G.Risel\. So if functional styles should be treated
as norms of speech composition there are no objections to treating the belles-letter style as one of the
functional styles, in spite of its stylistic heterogeneity, the style of any text has different stylistic
meanings. If we suppose that a functional style is identified on the basis of the sphere of
communication and its main function, its complexity and heterogeneity shouldnt present an
obstacle \ A.K.Dolinin\.

Reasons for singling out the newspaper style in the system of functional styles \I.V.Arnold\. Newspaper
style as a subsystem of publicist style \M.N.Kozhina\. Newspaper and publicist sub-styles of the so-
called

informational style
Functional style as a historical category. The style of poetry in the English language in the epoch of
classicism (17th -18th centuries) with special norms of poetic language the choice of vocabulary,
morphological forms and syntactic construction. The priority of abstract, bookish, high-flown words
( ardours, glories abundance of stylistic devices, archaic grammatical forms (thee, thy, doth, etc.),
perfect regularity of rhyming, rhythmic, metre, syntactic, compositional and other formal patterns
dependence on the canon. Aesthetism, priority of exquisite taste, sensible and noble ideals
proclaimed in the poem Poetic Art by Niccolo Bualo. The spread of French classical traditions in Great
Britain.

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Style1