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Ángel M. Ortega Rosa; abril 15, 2014

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Contents

Introducción/6

PART I .
lntroductiori to Sty/istiJ:s/8

Unit 1
Varieties of Language/9
Exercises 10

Unit 2 , . '~
Stylist1c Classification of the English Vocabulary/13 ?

Exercises 15

PART II
.Expt'flssivs Mssns snd Sty/istic tJsvicss/26

. Unit 3
Phonetic Exp~essive Means and Stylistic Devices/28
Exercises .' ........................... ·. • . . . . . . . . . . . . . . . . . . . . 29

Unit 4
Lexical.~xpresslve Means and Stylistic Devices/35
Exercises 38

Unit 5
Supraphrasal Units and Paragraphs/54
Exercises 55

Unit 6
Syntactic Expressive. Means and Stylistic Devices/59
·~. 95

PART'III
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Functione/ Sty/es of ~he English L'!nguege/90

'1 '
. \

Unit7
The Bellc:s-Lettres Style/91
Exercises • o o •• o o •••• o
. o ... o. o o. o ••• o •••.•• o. o •• o. o •••••• o
.• • • o 93

Unit 8
The Publicistic Style/128-
Exercises •••• o •• o o •• o ••••••••• o ••• o •• o o o •• ·•·• o o o •• o. o •• o. o •• 131
p,
:.f
Unit 9
The N~ws~a~i!~ Style/154
Exercises o o o o • o •
.
o_• • • •• ··: o o ••• o ••• o ••••• o
.
o o ••.•• o o ••• t: •...... . 156

Unit 10
The Scientific Prose Style/165
Exercises •••• o •• o. o. o ••••••••••••••• o o •• o. "'• o o •••••• o o •••• 166

Unit 11
The Official Document Style/172,
~ .~ .
'Exercises ~ ...· ... : . ..........................................·172 ..-: .. ·
::-.......

Bibliography/188

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Introducción

l1
1
El libro Exercises in Stylistics va dirigido a los -profesores y alumnos
de· la Licenciatura en Educación, Especialidad Lengua Inglesa, de
nqestros Institutos Superiores Pedagógicps. Este texto se ha elabo-
1
'1'>1. rado tratando de cpmplimentar varios objetivos. lii:~J>Ímf>.1'~l,._e&6l
lY de ~~~11I~6je~:eiui¡¡¡~p~J.a®;asm31aseSRpráGti'l!:liSi'y;¡¡;}0Si'S€-tl>"
l :Ji1il'~~~ÍS~~~tmí~mñplement0"lia!~XtÓ;ttQá.'l!r,
l fST«.-eF.la1i:a:-sTgtlf-a1lwr~~yliste~de1'1*"R.;il::®~l;lp~%ii},
que es eminentemente
teórico. El segundo, es el de facilitarles a profesores y alumnos lqs·
aspectos teóricos básicos esenciales, en forma resumida y simplifi~a­
da, y_, por últip1o, contribuir, por medio de las obras seleccionadas,
al desarrollo ideológico y estético de nuestro alumnado .
. :. - ofl~~-8!-~l~t-~~ühl'~-~ :-¡· .
·oductoria, trata sobre las dos varianfes de la lengua, 9ral y escrit ,
\.-- la :Ias~fiS!;~d~)._vocabulario inglés ~esde un punto de vista es¡
1 fstico.~ts~~~iratrata sobre los med10s expresivos y recursos es~
\ ¡ _f~t~cos~ d_e la le~g~a jnglesa ~~-,;~~c:;r,~o a los distint~s planos: _fo~
\ · tico, lexJCo y smtactJCo. Y ~~~~~~e.rªi:;trata sobre los diversos estilo~
_\ / ncionales en que se puede dividir la lengua inglesa, teniendo e~
-\ ¡, enta los objetivos que se persiguen en la comu~i~I~Wmedi~ '.
\¡ · tiw§~~altW'ek~uto-J;-.,pat::~gmd~Jst
11 Esto hace que el hbro con_ste de tres umdades fundamentales y diez
_ .

: / subunidades en total. Cada ·una de las unidades fundamentales tiene f..,

i una introducción; y para cada una ~e las subunidades se ha seguido
el siguiente formato:
1) Una introducción que ·resume los aspectos teóricos básicos.
2) Una serie de ejercicios de diversos tipos.:~..
. 3) Sugerencias para el trabajo independiente de los alumnos.

~~GV!r<pa~~i.d'ed;i--~~áFJEt~jm:Ei<awc:ílm-. Cada aspecto

tiene un buen número de ejercicios de reconocimiento y de produc-
ción. Estos ejercicios, en su mayoría, han sido trabajados en el aula
con anterioridad por los autores del libro y por otros profesores que
han impartido la asignatura. Para la ejercitación, se han seleccionado
 97 141-BCD-BOAH-BCRD
n;tayormente obras o fragmentos de obras que les son. conocidas a .)os
alumnos, por haberlas estudiado en las asignaturas de Práctica lnte~

- .
gral 4 y Literatura Inglesa. Esto se ha hecho con la· idea de lograr
una mayor vinculación entre ·las asignaturas y a la véz para facilitar <
el análisis estilís#co, ya que elere~eimitm~fri:Ü¡,jif1teii~ ..A·
~-~'<~<'
t'Sm~~gei.tma40XC!lol1a&d.a:distintQS!l!pafsesllcl=ai:'Jbt~m~~íliet~­
yelld~i~aty:Jl~~paíseSiMil~rip~~k<i~n@'ts~ encuentran
actualmente en busca de sus verdaderas rafees· culturales en el. proce-
so de descolonización. Con ello, esperamos contribuir .tanto al des a -
rrollo profesora!, cúltúral y estético de nuestro alumnado, como a -
su formación integral en lós principios del marxismo-leninismo..
Deseamos expresar nuest!"O reconocimiento a lá profesora Madeleine ·
Monte, por su ayuda en la preparación de los ejercicios y a !3: profe-
sora Adrienne Hunter, por habernos facilitado valiosa bibliografía.
Nuestro especial agradecimiento al profesor C~sar Va:línaña, por su
ayuda y asesoramiento. ·

: Los autores

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, . Part I ti
1:
l
.~

In~rodu~ioq _to Stylisti~st

·\

'¡

book deals mainly with the two aspects 'that form the ob-
ject of study of stylistics. However, we will also. work on aspects such
as varieties oflanguage and stylistic classification of the English vo-
cabulary which are necessary for the study and exerdsing óf expres-
sive means and styli:;;tic devices as well as fun~ional styles of lan-
guage. _., ":'fo!,
4. /

See l. R. Galperin, Srylistics, Highe~ School Publishing House, Moscow, 1981, p,

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VARIET~ES.. OF '~
LANGUAGE1

-~e, La.nguage may be classified in different ways. AcO?rding to the

a,im of communication, language is divided into various functíonal
_styles. According to the actual forro of tbe communication, language
may b~ cl~ssi~ed into two variet~es:.~. _ _ . · _.
Dtachromcally, the spoken vanety ts pnmary . . wr1tten ·
secondary. The spoken variety has a great advantage over the wrítten
because óf the use of the human voice and gestures .. This is. com~
pensated iJl. tbe written variety by a careful organization- and a more
careful séleé:tion of words .and constructions; · .
The differences between the twó varieties, greater or smaller,
'according to the periods of development of the English star1dard Ian:..
guage, are usually evident. Th~se differences in all th~ levels of lan- ·
guage -phonological, morphologica~ lexical and syntactic- may be
seen below. · · ·

Spoken Variety Wr.itten Variety

'1-

~~r:~-
Little use of contracted forros.
'.
grammar m~s.

1
See Galperiri, op. cit. ~P- 35-41.
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 100 141-BCD-BOAH-BCRD
. .
' . Written Variery
Spoleen Variery
~R"~
~..t., ....
(The most striking) 1
Colloquial words and phrases. · Bookish words and phrases. ·
1'
Intensifying words. 1"
Interjections.
Vulg~risms. ·
1
-~

~
Fill~:ups or empty words.
1li
.[.
jj

. ' i t\'
Ellipsis. Complicated sentence units
String of short sentences with Abundance of all kinds . of
~
i:,
t·
no connecto~;s or with and ~· connectives. ~
_Unfinishel!\ sentences. :;·,·. ·
Statement word-order in.ques- .·
~! }t
tions. · ·
Repetition of subject. •
Emotive syntactic .$tructures.
'
i
t
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-~<
EXERCISES í:
'. j
. if.
_Exercise 1. After reading the excerpts below, do the following: t
>
g
a) identify each as belonging to the oral or the written variety of l
.Janguage. Mention the features that account for your. choice, .
b) change one of those you identÍfy as belonging to the oral variety
into the written variety. ·
..
'·
'·
'1!
1. His father and Billy carne in. Jody knew. from. the sound on the ,.~
floor that both of them were w~aringflat-heeled shoes, but he peered t
•
under the table to make sure. His father tumed off the oil lamp, for l
r
the day had arrived, and he looked stem and disciplinary,' but Billy ~
¡
Buck didn'tJlook at Jody at all. He avoided the shy questioning eyes
of the hoy and 'soaked a w\1ole piece of toast in his coffee. t!
l:o-'•'.
(Frori{'"The ~ed Pony" by J .. Steinbeck) ..,~

~l, '2. Why, I'p1 half horse myself, you see my ma died when I was bom, 1
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ánd being my óld man was a government packer in the mouritains

and no cows around. most of the time, w}1y, he just. gave m:e mostly
mare's milk and horses know that. _- - · ,
~ ....

(from '~The Red Pony" by J. Steinbeck)

3. Pa ;s ~ot 'in his. bed and. Hatty says he' s _been gone froin. the ,hou~e
most all night. I went ,out in the field, and all around the barn, but
I couldn't find~ a trace of him anywhere. ·
Them fattening hogs always get enough to eat. There' s not a .one of
them that 'don't weigh sev:en hundred pounds now, and they' re get:.
ting bigger every day. Besides taking all that's thrown to them, they
make a lot of meals off the chicken~ that get in there to peck around. ·
(From ''Kneel to the Rising Sun" by E. Caldwell)

4. Sphinx, says the. story, was a monstei cotpbining Í:Ílany shapes in

one. She had the face and voice of a virgin~ the wing~ of a bird, the
claws of a griffin. She dwelt on the tidge of a mountain near Thebes
and infe'sted the roads, lying in ambush for travellers, whom she
would suddenly attack and !ay hold of; and when she had mastered
them, she~rbpounded to them certain dark and perplexing riddles,
which she was thought"to have obtained from the Muses_.
The fable is an elegant and· a wise one, invented appareritly in allu-
siqn to Science, especially in its ~pplication to practica! life. Scienée
being the wonder of the ignorant and unskillful, may b~e not absurdly
called a monster. In figure and aspect it is a represented as many-
shaped, in allusion to the immense variety of matter with which it
deals. 1t is said to have the face and voice of a woman, in respect of
its. _beauty and facility of utterante. ~ings are added beca use the
sciences and the discoveries of science spread and fly abroad in a in-
stant; the comrriunication of knowledge being like that of one candle
w:ith another which lights up at once. Claws, sharp and hooked,_ are
ascribed to it with great elegance, because the axioms and arguments
of science penetrate and hold fast the mind, so thaÍ: it has no means
of evasion or escape, as nails driven deep in. Again, all knowledge
may be regarded as having its station on the heights of mountains,
for it is deservedly esteemed a thing su,blime and lofty, which looks
clown upon ignorance as from an eminence, and has moreover a spa-
cious prospect on every side, such as we ftnd on hill-tops.
_(From ."The Sphinx" by F. 'Bacon)
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- Unit 2

STYLJSTIC CLASSIF/CATION
OF THEENGLISH VOCABULARY1
~.

The ~ord stock ~f a language m~y be consldered a system made

up of independent but interrelated elements. This systematic nature
. make!!_ it possible to classify or to group the vocabulary according to
different bases. For purdy s~ylistic purposes, the English vocabulary
may be divided into three main groups or layers: neutra~ literary and
, . colloquial. '
The Neutral layer:

t~~mg~~~miJmm~~@jdu~m!gwm!J~ This layer is the most

The Literary layer: has a bQqkish character and is relatively ~f~Bl~l .

layer is frequently limited to a definite language
The colloquial layer: 4

a lively character. This layer is riristable/

Miliili. . .

diagram).
nr ....,..., layer has the following subdivisions:
l!t!:~(j- Words used tci name a notion characteristic of sorne
Terms:
special field of knowledge, industry or culture. ·
Ex. photolysis, hyperglycemia, jusgestium · ,
. tp_óei#
Poetic atid highly
and highly literary wfirds.r Elevated, m~stly archaic or very
!itetáry.words:
rarely used wotds. ·They form an insignificant layer of the vocabu~
lary. .

1
~ee Galperin, op. cit~ pp~ 70-121;
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103 141-BCD-BOAH-BCRD

Ex. poetic neutral

steed horse
rend tear
terms
poetic and highly 1 li-
terary words
Special archaisms
barbarisms
Literary foreignisms
literary coinages
:¡

Common
Neutral
Neutral: Standard English
Common

Colloquial
slang
jargon
pf~fessionalfsms
Special dialectal words
vulgarisms
colloquial coinages
'M.rckqismsf- W ords that have either dropped out of the lan-
Archaisms:
guage altogether or that are in the process of disappearing because
they .are rarely used. This group overlaps with -t~e poetic and highly
literary words.
Barbansms t W ords of foreign origin that form. part of the lan-
Barbarisms:
guage, although they have not been completely assimilated ..
Ex. coup d' etat - salon
Foreignisms: ~ Words that do not form part of the· English lan-
, ·FQ.reignisms
guage. They are either italicized or underlined.
Ex. I canf}Ot work hard any more, señora .
Literary coinages:
_ Lifertzry coinagei¡,- Words made up for one particular occasion.
They don't usually become .part of the word-stock of the language.
Ex. She gave me the queerest, lenowingest 1 look.
1
When the examples are within a sentence the word that serves as illustration is
italicized.

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The special colloquial layer •has the following subdivisions:

The special
. Slang:
1'/11- Language of a highly colloquial typé considered as be-
low the level of standard educated speech and consisting either of .
new words or qf current words with new meanings. ··
Ex. broad (woman} dig (like)
lfJtUfr
Jargon: Group of words ~ab~'i~i:s¡¡,t_oáptesér:v:em;ecr,ecy&.W,it}¡p.
:imro~tltetmSQ.crah!gtóup:- They are generally. old words with
new meanings, ·~&.''
Ex. (money)
loaf
Professionalisms: Wb~-us-e-dtima~definite~traders:~re5fes'SiolWay

Dialectal words: iW.m\9~~m~~y.qp.@w.d:t~~u.ndaries;;af.

~l!!"~tobacco), . . . ("\Vindow)
~'-
Vulgarisms: Coarse words used in highly colloquial emotive
ianguage. ·
There are two types:
1. ~~~~. ~d ~ar words of an abusive character.
1.-Explectives:
· Ex. damn, bloody, hell · .
2. i):Jm§el:felftr'as
2.-Obscene words: (sometimes called "four-letter words" because of
their form~ · ·· ·
RlftliJWqizJdf(ti1mc&)
Colloquial coinages -; Words coined for one particulartc-
casion like literary coinages; but llnlike the latter, colloquial coinages
are spontaneous and disappear quickly leaving no trace.
"Where have you ·been, big shot?"
"Don't big shot me."

EXERCISES
Exercise 1. After reading the excerpts below, do the following:
a) fmd from the spoken variety:
-contracted forms
-:-violations of grammar rules
-swear words and vulgarisms
-colloquial words or phrases
-fill~ups or empty words ·
. ·.. -ellipsis .
-emotive syntactic structllres
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 105 141-BCD-BOAH-BCRD

b ). find a paragraph with sorne characteristics of the written variety

óf language · ·
e) ·classify the bulk of· the vocab1:1lary u sed in the paragntph yo u se-
lected · .
-
d) find ·examples of.
- common literary word~ .
·- special literary viords such as barbarisms and foreignisms
l;
1.
. That evening we were sittfng in the front room of Ma. Schrik- ·
. ker' s place when the door opened and this hoy carne in. He was tall
and youngand thin as a billiard cue .and had beautiful red gold hair
.comb~d in a high pompadour, and a pink-white skin. He looked very 1}.

·young aiid handsome and a little like- one of those johns you ·see on '
the ·screen. '·'
'''
We were drinking sorne. of Ma. Schrikker's wine and taking our
time ahout it because we had nowhere else to go that evening.
· _ She wás fat and dark and jolly and always had a .wekome smile
for everyhody, especially when they were customers.· Although I
'thought her joviality was stinlulated by anticipation·of a rise in sales
•, every time somehody arrived, because there were times when she
was a real menace.
. "How you keeping, pally?" Arthur ~sk<i~ the hoy. He .!\vas a l.ittle
drunk from the red and that made him friendlier than ever.
-.,:,;_ --:-· ·:

"Fine", the hoy said shyly.;~"I'in ·fine".

"W;~ll", Arthur said. "Have a glass of wine, pal."
Arthur smiled at the hoy and then turning to the door to the . '
'back of the house called, "Ma, another hottle of the red. Asseblief '
Pleás~. Another one of the red." · ·
"I heard you", the woman's voice growled from the back. "Do
you think Tm deaf?''
"No", Arthur replied. "Who said you was deaf? But send aho-
ther red, man. And let the girl bring it. ·The lighty here is. anxious to
.see her. He is ·an awake hoy, a real smart jub, I like him".' ·: ,
"Gwam", Ma Schrikker said, "You think you funny, mas".·
"Charles Chaplin", Arthur grinned. ·
Ju~t then the girl carne in carcying the hottle of wine on a tray
and Arthur said: "Hitr's sy. Here she is. Your hoy waits for you". And
lookip.g at th.e girl I saw the deep blush under the sinoo,!h heautiful
skin. Her skin was the color of amber wine, and ·she had dark brown
eyes, bright aQ.d soft, ·and around her _oval face her hair was very
black and curly. The soft, full lips smiled shyly as she blushed. She
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did not look at the boy, but knew that he was there, and looking at
him in turn I could see the deep flush of his own face and the gentle
lowering of the eyelids as he watched her.
She placed the tray on the table and turned away and Arthur
laughed. "No, man. Where can you go with the boy here and all.- Sit
down, boWt". Arthur lifted his glass in the direction of the boy ·and
girl and announced:
"To the bride and groom. May all your trou�les be little ones."
I
I
"Stop it", the girl said and the looked at Arthur.
"Stop watter?" Arthur asked blankly. "Stop the wedding? There
must be. a wedding."
Hc(got up as if.he was going to propose a toast, but sat down
again when his legs wouldn't hold him.
"Hell, cut it out, man," I told him. "Let's make finish and blow."
"What'd I do?" he asked, "Now what did I do, man?" He swayed
on his feet. I put a hand under his arm. "I reckon we better blow,"
I said "]a", Ma Schrikker said. "He had enough. You better take him
home."·
"Hell, .1 isn't so drunkt Arthur said. "Let me go, man."
"You awright?" I asked.
"Sure, man • why not?" "What the hell?" he complained. "What
'0

they ,get so funny about?"

"You know that white boy can't marry the girl, even though he
may love her. It isn't allowed."
'1esus", Arthur said in the dark. '1esus, what the hell." .,i,
'
(From "A Glass of Wine" by A. La Guma)

17