Stylistic figures. Stylistic figures Stylistic figure in poetry crossword puzzle 7 letters

Antithesis (from Greek. antithesis) – a figure based on a sharp contrast of images and concepts (“Thick and thin”, “ice and fire”).

Oxymoron(oxymoron) poignant-stupid - a combination of words with opposite meanings (“Living corpse”, “it’s fun to be sad... elegantly naked”).

Gradation(gradatio - gradual elevation) the arrangement of words that are close in meaning as their emotional meaning increases (“I don’t regret, I don’t call, I don’t cry”).

Parallelism(parallelos - walking next to) - a figure representing a homogeneous syntactic structure of a sentence or its parts.

Chiasmus– reverse parallelism (“Love was without joy, separation will be without sadness”).

Anaphora(anaphora) – unity of command (“I swear by the first day of creation, / I swear by its last day”).

Epiphora(epiphora) – repetition of words or expressions at the end of syntactic phrases .

Ring - repetition of words or phrases at the beginning and end (“You are my Shagane, Shagane!”) of a stanza or poem.

Compositional joint. A line or sentence ends with a word or phrase that is repeated at the beginning of the previous line.

Refrain – periodic repetition of a word or expression.

Anacoluthon(anakoluthos - incorrect, inconsistent) - syntactic inconsistency of parts or members of a sentence (as carelessness or a means of expressiveness). Example: “The Neva all night / Was rushing to the sea against the storm, / Not overcoming their violent foolishness” (instead of “her”).

Ellipsis(Greek elleipsis - omission, loss), the main type of figures of decrease, omission of an implied word in a phrase. Depending on the content, it creates the effect of everyday carelessness, wise laconicism, “telegraphic” efficiency, lyrical emotion, colloquial vernacular. (“Bring in the glass and knock on him! / And don’t breathe to the bottom! / Walk at the wedding, because – / She’s the last one...”".

Inversion(from Lat. inversion - turning over), word figure: violation of direct word order (“And the guests are not appeased by the death of this alien land”).

Default, a turn of phrase associated with the fact that the author deliberately does not fully express his thought.

Rhetorical question(“What are you bowing over the waters, / Willow, the top of your head?”).

Rhetorical appeal(“Look how the grove turns green, / Is drenched in the scorching sun”).

Rhetorical exclamation(“What a night! How clean the air is. / How a silver leaf slumbers!”)

In artistic speech, verbal constructions may deviate from the norm and syntax may be deformed.

Trails

Antiphrasis(Greek antiphrasis), the use of the word in the opposite sense: “this Croesus” is about a beggar; “Where, smart one, are you wandering from, head?” (I. Krylov) - about a donkey. A. is the most common form of irony as a trope.

Antonomasia(Greek antonomasia, from antonomazo - I call it differently), a trope related to the name of a person, a type of synecdoche (“Galilean” instead of Jesus - gender instead of a person, “Mentor” instead of a mentor - person instead of a gender) or periphrasis (“earth shaker " instead of Poseidon).

Astheism(in Greek asteismos - wit, joke, lit. capital) a type of irony as a trope: praise (usually to oneself) in the form of censure: “I, a simple man.” In the broadest sense of the word, any elegant joke.

Gendiadis(from the Greek hen dia dyoin - one after two), figure of a word: the use of nouns instead of a noun and an adjective. Rome is strong in courage and men (instead of brave men). Rare in Russian; expressions like “road melancholy, iron melancholy” (A. Blok) instead of railway melancholy are close to Gendiadis.

Hyperbole ( from Greek hyperbole - exaggeration), a stylistic figure or artistic device based on exaggeration of certain properties of the depicted object or phenomenon. Hyperbole is an artistic convention: it is introduced into the artistic fabric of a work for greater expressiveness; it is characteristic of the poetics of epic folklore, the poetry of romanticism and the genre of satire (N.V. Gogol, M.E. Saltykov-Shchedrin). The opposite stylistic figure to hyperbole is litotes.

Litota ( from Greek litotes - simplicity) 1) a trope close to emphasis and irony, strengthening the meaning of a word through double negation (“notorious” instead of “notorious”); 2) a trope, the reverse of hyperbole (the more correct name is meiosis), an understatement of the attribute of an object (“a little man with a fingernail”).

Metaphor(Greek metaphora), a type of trope, the transfer of the properties of one object (phenomenon or aspect of existence) to another on the basis of their similarity in some respect or by contrast. Metaphor is a hidden comparison. Of all the tropes, metaphor is distinguished by its expressiveness. Possessing unlimited possibilities in bringing together a wide variety of objects and phenomena, essentially conceptualizing a subject in a new way, metaphor is able to reveal and expose its inner nature; often a metaphor, as a kind of micro-model, is an expression of the individual author’s vision of the world. “My poems! Living witnesses / For the world of shed tears” N.A. Nekrasov, “The Universe is just discharges of passion” B. Pasternak. Expanded metaphors (extends to several periods or covers the entire poem - “The Cart of Life” by A.S. Pushkin). Realized metaphors (a metaphorical expression is taken in the literal sense and its further literal development occurs).

Metonymy(Greek metonymia - lit. renaming), a type of trope based on the principle of contiguity. Like a metaphor, it follows from the ability of a word to peculiarly double the nominative (denoting) function in speech, and represents the imposition of its direct meaning on the figurative meaning of a word.

Phenomena brought into connection through metonymy can relate to each other as a whole and a part (synecdoche: “Hey, beard! How can I get to Plyushkin?” - N.V. Gogol), thing and material (“Not on silver, - ate on gold” - A.S. Griboedov), content and containing (“The flooded oven is cracking” - A.S. Pushkin), the bearer of the property and the property (“The City Takes Courage”), the creation and the creator (“The Man... Belinsky and he will carry Gogol out of the market” - N.A. Nekrasov).

Personification, prosopopoeia ( from Greek prosopon - face and poieo - do), a special type of metaphor, the transfer of human traits (more broadly, the traits of a living being) onto inanimate objects and phenomena.

Periphrase(from the Greek periphrasis - a roundabout turn), a trope that descriptively expresses one concept with the help of several: from the simplest cases (“fell asleep” instead of “fell asleep”) to the most complex (“with a long mustache powdered by that unforgiving hairdresser who without calling, he appears to both the beauty and the ugly and has been forcibly powdering the entire human race for several thousand years” N.V. Characteristic of the Baroque and Romantic eras. Special cases of periphrasis - euphemism, litotes.

Epithet(from Greek epitheton, lit. - attached), one of the tropes, a figurative definition of an object (phenomenon), expressed mainly by an adjective, but also by an adverb, noun, numeral, verb. Unlike the usual logical definition, which distinguishes this item out of many (“quiet ringing”), the epithet either highlights one of its properties in an object (“proud horse”), or, as a metaphorical epithet, transfers to it the properties of another object (“living trace”).

Stylistic figures - special figures of speech, fixed by stylistics, used to enhance the expressiveness (expressiveness) of an utterance. Stylistic figures of speech usually stand completely separate from other artistic and expressive means literary language. They are considered separately. They are used to enhance imagery and expressiveness of speech. Figures of speech are used very widely in poetry.

ALLUSION The stylistic figure is an allusion (“The Glory of Herostratus”).

ALOGISM A deliberate violation of logical connections in speech for the purpose of stylistic effect (“I will never forget whether it happened or not, this evening”).

AMPLIFIATION A stylistic figure consisting of stringing together synonymous definitions and comparisons in order to enhance the expressiveness of the statement (“He takes it like a bomb, takes it like a hedgehog, like a double-edged razor”).

ANADIPLOSIS Repeating the final consonance, word or phrase at the beginning of the next phrase or poetic line (“Oh, spring, without end and without end, Without end and without end dream!”).

ANACOLUTHON Syntactic inconsistency of parts of a sentence as an unconscious violation language norm or as a conscious stylistic device (“And the animals from the forests come running to see how the ocean will be and how hot it is to burn,” “I am ashamed, like an honest officer”).

ANAPHORA Repetition of the initial parts of adjacent sections of speech (“The city is lush, the city is poor...”, “I swear by the odds and the odds, I swear by the sword and the right battle”).

ANTITHESIS Comparison or opposition of contrasting concepts, positions, images (“I am a king, I am a slave, I am a worm, I am god!”, “A rich man fell in love with a poor woman, a scientist fell in love with a stupid woman, a ruddy woman fell in love with a pale woman, a good man fell in love with a harmful woman”) .

ANTONOMASIA Use own name to designate a person endowed with the properties of a famous bearer of this name (“Don Juan” meaning “seeker of love adventures”, “I eluded the aesculapian (i.e., the doctor) Thin, shaved, but alive”).

ASYNDETON(asyndeton) construction of a sentence in which homogeneous members or parts complex sentence communicate without the help of unions (“I came, I saw, I conquered”).

HYPERBATON A stylistic figure consisting of changing the natural order of words and separating them from each other with inserted words (“Only the languid Muses are delighted”).

HYPERBOLA A type of trope based on exaggeration (“sea of ​​vodka”).

GRADATION Consistent intensification or, conversely, weakening of the power of homogeneous expressive means of artistic speech (“I don’t regret, I don’t call, I don’t cry...”).

ISOKOLON A stylistic figure consisting in complete syntactic parallelism of neighboring sentences (“He listens to the whistle with his accustomed ear, He stains the sheet with one spirit”).

INVERSION Changing the usual order of words and phrases that make up a sentence (see hyperbaton and chiasmus.

IRONY A stylistic device of contrast between the visible and hidden meaning of a statement, creating the effect of ridicule.

CATACHRESIS A semantically unjustified combination of words, erroneous or intentional, (“hot broom” as a combination of two expressions: “hot iron” and “new broom”).

LITOTES The opposite trope of hyperbole; deliberate understatement (“little man”).

METAPHOR The transfer of the properties of one object or phenomenon to another on the basis of a characteristic that is common or similar for both compared members (“talk of waves”, “bronze of muscles”).

METONYMY Replacing one word with another based on the connection of their meanings by contiguity (“the theater applauded” instead of “the audience applauded,” or “eat a plate” instead of “eat the contents of the plate”).

MULTI-UNION(polysyndeton) This is the construction of a sentence when all (or almost all) homogeneous members are connected to each other by the same conjunction (“and the sling, and the arrow, and the crafty dagger”).

OXYMORON(oxymoron) A combination of words with opposite meanings (“living corpse”, “heat of cold numbers”).

PARALLELISM Identical or similar arrangement of speech elements in adjacent parts of the text, which, when correlated, create a single poetic image. (“Waves splash in the blue sea. In blue sky the stars are shining").

PARONOMASIA(paronomasia) A stylistic figure based on the use of paronyms (“Forests are bald, Forests are deforested, Forests are deforested,” “he is not deaf, but stupid”).

PARCELLATION Syntactic device of written literary language: a sentence is intonationally divided into independent segments, graphically highlighted as independent sentences (“And again. Gulliver. Stands. Slouching”).

PLEONASM A stylistic device that enhances the meaning of what was said (“sadness-longing”, “bitter grief”, “But without fear, without fear, Shingebis went out to battle”

SIMPLOCA Figure of repetition: initial and final words in adjacent verses or phrases with different middles or middles with different beginnings and ends (“In the field there was a birch tree, In the field there was a curly one,” “And I sit, full of sadness, I sit alone on the shore”).

SYNECDOCHE A type of metonymy, the name of a part (smaller) instead of the whole (larger) or vice versa (“my little head is missing” instead of “I’m missing”, “hearth” instead of “house”, “tool” - to designate a specific axe, hammer, etc. ).

SOLECISM Incorrect language usage that does not violate the meaning of the statement (“What time is it?”).

CHIASM Type of parallelism: arrangement of parts of two parallel members in reverse order (“We eat to live, and do not live to eat”).

ECLECTICISM Mechanical combination of dissimilar, often opposing stylistic elements (“Well said, nothing to add”).

ELLIPSE Omission of a structurally necessary element of an utterance, usually easily restored in a given context or situation (“Not so [it was]. The sea doesn’t burn”).

EPITHET Decoration, a figurative definition that gives an additional artistic characteristic of an object (phenomenon) in the form of a hidden comparison (“open field”, “lonely sail”).

EPIPHORA The opposite of anaphora: repetition of the final parts of adjacent segments of speech. The type of epiphora is a rhyme (“Dear friend, even in this quiet house the fever hits me. I can’t find a place in a quiet house Near a peaceful fire!”).

EUPHEMISM Softening (words like “damn” instead of “damn”).

Stylistic figures

1) Anaphora (single beginning) is the repetition of individual words or phrases at the beginning of the passages that make up the statement.

I loveyou, Peter's creation,

I loveyour strict, slender appearance.(A.S. Pushkin)

2) Epiphora - placing the same words or phrases at the end of adjacent verses, or stanzas, or prose paragraphs:

I would like to know why I am a titular councilor? Why titular adviser?(Gogol). Flows unabated rain, languid rain (V.Bryusov)

3) Antithesis – a pronounced opposition of concepts or phenomena. Antithesis contrasts different objects

The houses are new, but the prejudices are old.(A. Griboyedov).

4) Oxymoron – a combination of words that are directly opposite in meaning in order to show the inconsistency and complexity of a situation, phenomenon, or object. An oxymoron attributes opposite qualities to one object or phenomenon.

Eat joyful melancholy in the red of dawn.(S. Yesenin). It's arrived eternal moment . (A. Blok). Brazenly modest wild look . (Block) New Year I met alone. I'm rich, was poor . (M. Tsvetaeva) He's coming saint and sinner, Russian miracle man! (Tvardovsky). Huge autumn, old and young, in the frantic blue glow of the window.(A. Voznesensky)

5) Parallelism - this is the same syntactic construction of neighboring sentences or segments of speech.

Young people are treasured everywhere, old people are honored everywhere.(Lebedev-Kumach).

To be able to speak is an art. Listening is a culture.(D. Likhachev)

6)Gradation - this is a stylistic figure consisting of such an arrangement of words in which each subsequent one contains an increasing (ascending gradation) or decreasing meaning, due to which an increase or decrease in the impression they make is created.

A)I don’t regret, I don’t call, I don’t cry ,

Everything will pass like smoke from white apple trees.(S. Yesenin).

IN senate I'll give it to you ministers, sovereign» (A. Griboyedov). "Not hour, Not day, Not year will leave"(Baratynsky). Look what a house - big, huge, enormous, really grandiose ! – increases, intonation-semantic tension intensifies – ascending gradation.

B)"Not a god, not a king, and not a hero"- words are arranged in order of weakening their emotional and semantic significance - descending gradation.

7)Inversion - this is the arrangement of the members of a sentence in a special order, violating the usual, so-called direct order, in order to enhance the expressiveness of speech. We can talk about inversion when stylistic goals are set with its use - increasing the expressiveness of speech.

Amazingour people! hand He gave it to me as a farewell.

8)Ellipsis - this is a stylistic figure that consists in the omission of any implied member of the sentence. The use of ellipsis (incomplete sentences) gives the statement dynamism, intonation of lively speech, and artistic expressiveness.

We turned villages into ashes, cities into dust, swords into sickles and plows(Zhukovsky)

The officer - with a pistol, Terkin - with a soft bayonet.(Tvardovsky)

9)Default is a turn of phrase in which the author deliberately does not fully express a thought, leaving the reader (or listener) to guess what is unspoken.

No, I wanted... maybe you... I thought

It's time for the baron to die. ( Pushkin)

10)Rhetorical appeal - this is a stylistic figure consisting of an emphasized appeal to someone or something to enhance the expressiveness of speech. Rhetorical appeals serve not so much to name the addressee of speech, but rather to express an attitude towards a particular object, characterize it, and enhance the expressiveness of speech.

Flowers, love, village, idleness, field!I am devoted to you with my soul(Pushkin).

11) Rhetorical question - this is a stylistic figure, consisting in the fact that a question is posed not with the aim of getting an answer, but in order to attract the attention of the reader or listener to a particular phenomenon.

Do you know Ukrainian night?Oh, you don’t know Ukrainian night!(Gogol)

12)Multi-Union – a stylistic figure consisting of the deliberate use of repeated conjunctions and intonation emphasizing the members of a sentence connected by conjunctions to enhance the expressiveness of speech.

A thin rain fell And to the forests, And to the fields, And on the wide Dnieper.( Gogol) Houses were burning at night, And the wind was blowing And black bodies on the gallows swayed in the wind, And crows screamed above them(Kuprin)

13)Asyndeton - a stylistic figure consisting of the deliberate omission of connecting conjunctions between members of a sentence or between sentences: the absence of conjunctions gives the statement speed, saturation of impressions within the overall picture.

Swede, Russian - stabbing, chopping, cutting, drumming, clicks, grinding, thunder of guns, stomping, neighing, groaning...(Pushkin)

Stylistic errors.

Using a word in a meaning that is unusual for it: To be literate and have great jargon words, you need to read a lot. -To be literate and have great stock words, you need to read a lot.

Violation of lexical compatibility: cheap prices vm. low prices

Using an extra word (pleonasm): Arrived feathered birds vm. The birds have arrived

Using words with the same root next to or close to each other in a sentence (tautology): B story“Mumu” is told... vm. The story “Mumu” ​​tells...

Lexical repetitions in the text.

The use of a word (expression) of inappropriate stylistic connotation. Thus, in a literary context, the use of slang, colloquial, and abusive language is inappropriate; in a business text, it should be avoided spoken words, expressively colored words.

A mixture of vocabulary from different historical eras: The heroes wear chain mail, trousers, mittens.The heroes wear chain mail, armor, gauntlets.

Poverty and monotony of syntactic constructions. The man was dressed in a burnt padded jacket. The padded jacket was roughly mended. The boots were almost new. The socks were moth-eaten. The man was dressed in a roughly darned, burnt-out padded jacket. Although the boots were almost new, the socks turned out to be moth-eaten.

Unfortunate word order. There are many works that tell about the author’s childhood in world literature. There are many works in world literature that tell about the author’s childhood.

Stylistic and semantic inconsistency between the parts of the sentence. Red-haired, fat, healthy, with a shiny face, singer Tamagno attracted Serov as a person of enormous internal energy. The enormous internal energy that attracted Serov to singer Tamagno was also reflected in his appearance: massive, with lush red hair , with a face bursting with health.

1. The concept of stylistics. Subject and tasks of practical and functional stylistics.

2. The concept of functional styles. Features of the scientific style.

3. Styles fiction. Lexical, morphological, syntactic features style.

4. Journalistic style, its genres. Lexical, morphological, syntactic features of style.

5. Formal business style: lexical, morphological, syntactic features of style.

6. Features of conversational style: lexical, morphological, syntactic.

7. Stylistic functions of synonyms and antonyms.

8. Stylistic properties of words associated with their assignment to the active or passive composition of the language.

9. Stylistic properties of words related to the scope of their use.

10. Stylistic usage phraseological means of language.

11. Figurative means of speech (epithet, metaphor, comparison, etc.).

12. Consumption singular noun in the plural sense. The use of abstract, real and proper nouns in the plural.

13. Stylistic use of nouns: gender differences in personal nouns.

14. Stylistic use of gender forms of nouns. Fluctuations in the gender of nouns. Gender of indeclinable nouns.

15. Stylistic characteristics of variants of case forms. Variants of genitive singular endings for masculine nouns.

16. Stylistic characteristics of variants of case forms. Variants of prepositional singular endings for masculine nouns.

17. Stylistic characteristics of variants of case forms. Form options accusative case animate and inanimate nouns.

18. Stylistic use of the adjective. Synonymy of full and short forms adjectives.

19. Stylistic features Declension of names and surnames.

20. Stylistic features of numerals. Variants of combinations of numerals with nouns.

21. Collective and cardinal numbers as synonyms.

22. Stylistic use of personal pronouns.

23. Stylistic use of reflexive and possessive pronouns.

24. Stylistic features of the formation of some personal forms of the verb. Synonymy of reflexive and non-reflexive forms of the verb.

25. Variants of forms of participles and gerunds. Stylistic use of adverbs.

26. Syntactic and stylistic meaning word order. Place of subject and predicate.

27. Predicate with subject type brother and sister.

28. Predicate with a subject expressed by interrogative, relative, indefinite pronouns.

29. Predicate with a subject expressed by a quantitative-nominal combination.

30. Coordination of the predicate with the subject, which has an application.

31. Coordination of the connective with the nominal part compound predicate. Predicate with subject expressed indeclinable noun, a compound word, an indivisible group of words.

32. Stylistic assessment of the agreement of the predicate with the subject, which includes a collective noun.

33. Stylistic features of coordination of the predicate with homogeneous subjects.

34. Place of definitions, additions and circumstances in a sentence.

35. Coordination of definitions with nouns that depend on numerals two, three, four.

36. Coordination of the definition with a common noun and with a noun that has an appendix.

37. Options for case forms of addition when transitive verbs with denial.

38. Synonymy of non-prepositional and prepositional constructions.

39. Stylistic features of designs with verbal nouns. Stringing of cases.

40. Stylistic features of management when synonymous words. Control with homogeneous members of the proposal.

41. Stylistic functions homogeneous members. Unions with homogeneous members.

42. Errors in combinations of homogeneous members.

43. Stylistic use different types simple sentence.

44. Stylistic use of different types of complex sentences.

45. Errors in complex sentences.

46. General characteristics parallel syntactic structures.

47. Stylistic use of participial and participial phrases.

48. Stylistic use of addresses, introductory and inserted structures.

49. Stylistic use of the period. Stylistic functions of direct and improperly direct speech.

50. Stylistic figures.