Stylistic Techniques Research Articles

Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.

Мовний стиль поезії А. Кичинського: традиційні та індивідуальні риси

The present paper is aimed to analyse some individual traditional and modern features of the linguistic thinking of the Ukrainian poet A. Kychinskyi. Among the specific tasks of the study are the identification of motives and circumstances of the formation of the poetic LPW, the definition of intimate lyrics, the analysis of techniques of authorial verification, innovative searches and achievements in the creation of phraseologies and metaphorical constructions. The features of the A. Kychinskyi's individual linguistic style are analyzed in accordance with the peculiarities of the spiritual perception by the poet of the surrounding reality, some innovative features of the author's verification are revealed, as well as the search and achievements in the creation of phraseological and metaphorical constructions. It is concluded that the poet of «two centuries» combines in the best way both the traditional features of the ethnic linguistic picture of the world, and innovative achievements in the conditions of rapid development of the world. A. Kychinskyi is a poet of «two centuries» not purely formally but as their representative, because of his active creative activity both in the conditions of the Soviet system and in the conditions of independent Ukraine with corresponding perceptual orientations and motives. In A. Kychinskyi's works both the traditional features of the ethnic linguistic picture of the world and innovative achievements in the conditions of fast-paced development of the world are best revealed and combined. Among the first are the metaphorical analyzes of the landscape description (including its visual and audio ones), the signs of intimate and sacral sensations and the poetic nature of its poetry. The landscape description, the visual and audio aspects are combined to create a generally expressive picture. Between the traditional and non-traditional thematic issues we can define the transcendental and the sacral, which is presented in the landscape descriptions of A. Kychinskyi. Among innovative there is the situational use of original techniques of versification and stylistic figures. The poetical experiments involve word play, originality of verse, verbal innovations in particular, including authorial phraseologisms. Signs of unconventionality and modernity exist in individual versification, poetry and stylistic techniques, which generally do not change the individual linguistic style, adding to it only new, modern colors. Appropriate stylistic figures, features of versification and a complex of cinematic features of A. Kychinskyi's poetic language create expression of his landscape descriptions. All this enhances the artist's expressiveness and gives them sincerity and frankness.

Calvino's Ariosto's Orlando: Selection, Omission, Praise, Paraphrase

Calvino's Ariosto's Orlando:Selection, Omission, Praise, Paraphrase John C. McLucas1 (bio) "Orlando furioso" di Ludovico Ariosto, raccontato da Italo Calvino—con una scelta del poema (hereafter Orlando raccontato) is a brilliant encounter of two great and kindred Italian writers; they are also two of my favorites and among those I have most often taught. Italo Calvino's abridging and anthologizing strategy in this volume corresponds roughly to that which I have used in the past to reduce Ludovico Ariosto's Orlando furioso to a dose feasible for students in the United States at the intermediate to advanced levels of Italian language acquisition—though there is intriguingly little overlap between the passages Calvino chooses to feature and those which I have focused on in past teaching (to which I will return later). To propose that Calvino nursed a profound admiration for Ariosto is no novelty. His trilogia araldica—Il visconte dimezzato (1952), Il barone rampante (1957) and Il cavaliere inesistente (1959), later published together as I nostri antenati—would be unimaginable without the Ariostean subtext. Already his more conventionally neorealist production, [End Page S-332] as early as Il sentiero dei nidi di ragno (1947), was credited by no less a critic than Cesare Pavese with a "sapore ariostesco."2 Cinzia Cupersito's 2008 thesis at the Facoltà di Lettere e Filosofia at the Università degli Studi di Salerno, "Presenze di Ludovico Ariosto nella narrativa di Italo Calvino," explores the underlying influence of Ariosto in many of Calvino's works throughout his career, though it does not directly address Orlando raccontato.3 In Calvino's Il castello dei destini incrociati (1973), Orlando and Astolfo figure in one of the interlocked tales of the tarot and in Perché leggere i classici? (1991) the author dedicates two complete essays to the Furioso: "La struttura dell'«Orlando»" and "Piccola antologia di ottave." At the very end of his career Calvino yet again tips his hat to Ariosto in passing, by citing Astolfo's voyage to the Moon as an example of leggerezza in his Lezioni americane (1993). When Calvino turns explicitly to articulating his admiration for Ariosto in Orlando raccontato, the juxtaposition of two master wordsmiths makes for a thought-provoking and entertaining book. He starts with a very skillful "Presentazione" in which he recapitulates the literary tradition of epic romance within which Ariosto wrote, with some background on his historical context. He then summarizes and comments upon the entire vast poem in twenty-two witty chapters into which he embeds passages of Ariosto's original, also providing copious endnotes. While Calvino's admiration of Ariosto is apparent in every line of his book, both his summary and his commentary comprise some conspicuous and charged omissions, revealing perhaps a cryptic and deftly managed anxiety of influence.4 Simply put, Calvino concentrates his comments on details of Ariosto's stylistic technique and verbal artistry, while ducking many of his most transgressive ideological suggestions and his broader and bolder structural methods. Clearly enamored of Ariosto's extraordinarily suggestive imagery and quicksilver versification, Calvino can nevertheless be said to have foregrounded his own style more than Ariosto did. In Ariosto's work, every hendecasyllable of which flows with an assured inevitability, a paradoxically low number of individual verses sticks in the memory. This contrasts starkly with the way most well educated Italians have by heart at least a dozen lines of the Commedia to ventilate in public. With [End Page S-333] Ariosto, instead, one recalls countless incidents, situations, tones and characters but relatively few specific verses. Two exceptions, both from the very first of the forty-six cantos of the poem, are the aphoristic verses "ecco il giudicio uman come spesso erra" (OF 1.7—"Behold how often human judgement goes astray"—all translations mine) and "Oh gran bontà de' cavallieri antiqui!" (OF 1.22—"Oh, the great goodness of the knights of old!"); Calvino himself mentions the notoriety of these two verses in his "Presentazione."5 Ariosto's verse is always expert and graceful but his stylistic priority is always clarity rather than beauty: an excessively striking verse risks calling attention to itself and interrupting the author's communication of both plot...

Love and Narrative Form in Toni Morrison's Later Novels by Jean Wyatt

Reviewed by: Love and Narrative Form in Toni Morrison's Later Novels by Jean Wyatt Milo Obourn (bio) Jean Wyatt. Love and Narrative Form in Toni Morrison's Later Novels. U of Georgia P, 2017. xii+, 248 pp. ISBN: 978-08-20-35060-8 (HB); ISBN: 978-08-20-35059-2 (epub). $74.95 "In order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change." Audre Lorde, "Uses of the Erotic: The Erotic as Power" (53) Although not referenced directly, I could not help thinking of Audre Lorde's "Uses of the Erotic" while reading Jean Wyatt's Love and Narrative Form in Toni Morrison's Later Novels, a book of insightful literary criticism that reads Toni Morrison's narrative choices as a set of ethics in relation to the concept of love–or, as Lorde might put it, a politics of the erotic. Wyatt's book interweaves close readings of Morrison's narrative style with arguments about race, gender, power, narrative form, psychoanalysis, authorial ethics, contemporary modes of accessing the traumas of US slavery, reader responsibility, and Morrison's personal growth as a widely influential writer and thinker. Following Wyatt's lead, we might come to understand one of Morrison's central creative projects as examining the ways in which our world can be truly different by reclaiming and reinventing a love that has been taken from African American people through a traumatic history of slavery and its systemic repercussions. As Lorde states, the "word erotic comes from the Greek eros, the personification of love in all its aspects—born of Chaos, and personifying creative power and harmony" (55). When Wyatt puts love at the center of her reading of Morrison's narrative ethics, she highlights that in order to love well, to love ethically, to love without recreating the cycle of trauma, one must love creatively and without a fixed idea of what love is. Wyatt shows how Morrison draws the reader into this understanding of love through experimental stylistic techniques that engage "reader[s] in a [End Page 132] dialogue between [their] ethical convictions and the structures of the text that call them into question" (16). Wyatt provides us with a timeline that contextualizes her focus on Morrison's later novels, claiming that, "Beloved represents a radical shift to more experimental narrative forms" (7). These forms are not experimental simply for the sake of newness; rather, they carry an ethical weight. Wyatt defines her use of "ethical" here as a way to "evoke the narrative techniques through which these later texts implicate the reader, often by drawing out a reader's preconceptions about love, race, and gender—and then inducing their reader to rethink and reevaluate those ideas" (2). This ethics creates not only a certain kind of reader response but what I would call a reader responsibility, in which readers are co-creators in the meaning of the narrative and thus their belief systems are implicated in constructing the text and also challenged by the texts' multiple perspectives and challenges to any one way of knowing. Love appears, in Wyatt's readings of Morrison, as the thematic glue that connects Morrison's treatment of race and gender across her work. In its most radical form, it becomes a kind of ethics that keeps one in a constant mode of creativity, forever rethinking dominant narratives and reinventing places for oneself in which one can not only survive historical and personal traumas, but also discover rich interpersonal and communal ways of thriving. Wyatt posits that love in Morrison can reflect the cycle of trauma—that is, one can love unethically or violently. However, she also suggests that love in Morrison can take on the role of challenging the cultural effects of shared traumas to African American bodyminds and can offer ways to play outside of or in creative relation to the dissonance created by the shared traumas that have stunted understandings of love and reproduced violent power dynamics. Wyatt deftly employs a psychoanalytic lens to draw connections between love and narrative form. Psychoanalysis is an appropriate tool given its concerns with...

Концепт «ярмарок» в українській сміховій культурі

The article analyzes prose works of the 19th–20th centuries, presenting verbal pictures of the fair environment. The concept of «fairs» is modeled on the material of the language of works of art by G. Kvitka-Osnovianenko, I. Nechui-Levytskii, S. Rudanskii, O. Vishnia.Several subconcepts have been implemented in them: fair as a cluster; fair as a voice; fair as a living element; fair and grassroots literature; fair as entertainment. The objects of analysis were the vocabulary and phraseology of the respective contexts, as well as stylistic techniques for creating a fair humorous color. There are several varieties of folklore texts (or folklore texts) used by writers as a means of stylizing the animal element at fairs in Ukraine, as well as expressing the variety of socio-cultural masks presented to them (salesman, Jew, gypsy, blind musician, petitioner, gambler, etc.). It is emphasized that the concept of «fair» in the relevant narrative texts retains signs of burlesque and enlightenment. Particular attention is paid in the article to the fact that the texts of fair laughter culture are focused on the traditions of the «bottom», which contrast with the traditions of secular literature and culture in general, that is, the traditions of «the top». In analyzing the verbal imagery of the fair in prose works, it is taken into account that the basic techniques of creating a humorous color are the amplification of titles, actions, processes, as well as pun, the contractual blending of high into low, book and spoken, concepts related to the concept. «yourown – someoneelse's».

Деякі особливості композиторського стилю В. С. Косенка (на прикладі аналізу «11 етюдів у формі старовинних танців»)

The article is an attempt to analyze and identify specific features of the author's national composer style V . S . Kosenko, on the example of the analysis of the cycle « 11 sketches in the form of ancient dances » , where for the first time it feels stylistic techniques derived from the Ukrainian folk melody: separate intonation turns, rhythmic organization, free interpretation of the meter, lathe color, variation of melody development, elements of the polyphony and more. The traits of folk music are organically combined with professional techniques: the diatonic melody is associated with the chromativeness of the accompanying voices; Podcasting equipment – with typical polyphonic imitations for professional music and double octave counterpoint. Thus, V. Kosenko's sketches acquire features of national musical identity and authorial individuality at the same time.

Нові художньо-естетичні засади творчості українських графіків періоду "хрущовської відлиги"

The article deals with the artistic and aesthetic aspects of the work of Ukrainian graphic artists of the period of the “Khrushchev thaw”. The features of stylistic techniques, means of artistic expressiveness of masters of Ukrainian graphics during the 1950s — 1970s are revealed. The graphic cycles of the Ukrainian artists of the sixties, in particular, S. Adamovich, A. Bazilevich, G. Gavrilenko, A. Gubarev, A. Danchenko, M. Kompanets, G. Malakov, G. Yakutovich, introduce new, unusual visual measurements, original, bold and non-standard methods of compositional construction of graphic works and apply new synthetic polygraphic materials.

ЛИНГВИСТИЧЕСКИЕ СРЕДСТВА ВЫРАЖЕНИЯ СОСТОЯНИЯ СТРАХА В ТВОРЧЕСТВЕ Л. ПЕТРУШЕВСКОЙ (НА МАТЕРИАЛЕ СБОРНИКА «СТРАНСТВИЯ ПО ПОВОДУ СМЕРТИ»)

The article considers the problem of the representation of the emotional state of fear in L. Petrushevskaya’s works. The author focuses on the verbalization of the characters’ emotional state at the lexical and syntactic levels of the text space. It is noted that at the lexical level of the language, fear is stated through the representation in the semantics of the words that are used to denote an emotional state. The illogicality of statements, parcelling, increased tempo, and confusion are present at the syntactic level of the language. Repetitions and gradation are used as the main stylistic techniques.

THE NOTION OF IDIOSTYLE IN LINGUISTIC STUDIES OF LITERARY TEXTS

The article highlights peculiarities of the author’s individual style investigation as a part of literary text stylistics. Main attention is given to the approaches to individual style study and its place in linguistic researches of literary texts. The research aim is obtained with the help of scientific methods: generalization, conceptualization and comparison of the directions of idiostyle study in order to define the most appropriate approach for outlining the idiostylistic peculiarities of the literary texts authors. The analysis of early and current publications exploring the idiostylistic peculiarities of the author’s speech is presented. Ten basic tendencies in idiostyle investigation are separated, analyzed and compared. The conducted exploring provides the possibility to reveal that studying the language of literary texts through the prism of the author's speech analysis is one of the most relevant tasks of modern linguistics. A comparative analysis indicates that one of the most common areas of its study today is the analysis of the author's conceptual sphere in combination with the study of stylistic techniques, syntax and individual vocabulary. The combination of several approaches within a single study makes it possible to describe the peculiarities of idiostyle of a literary text writer and provide a complete understanding of the selection and synthesis principles of linguistic means by a certain author, reveal the prevailing features and outline a prototype of the individual speech model. The prospect of research is considered in defining the approaches to the author’s idiostyle study in dramatic genre.

Paratextual programming of ensemble works by Ukrainian composers: semantic and semiotic-expressive aspects of synesthetic associations

The purpose of the article is to study the Ukrainian chamber creativity of the late 20th – early 21st centuries from the point of view of analyzing the methods of paratextual programming of ensemble pieces for various types of thematic and meaningful representativeness and related processes of music inheritance of some artistic and expressive functions «transposed» from unrelated arts. Methodology. Used a set of methodological approaches of textological, semantic, synesthetic, cultural analysis. Scientific novelty. The study of paratextual programming of the compositions of the chamber art of Ukraine of the late XX – early XXI centuries allowed, on the one hand, to emphasize thematic areas of representation in music of artistic images (plots, themes, motifs) from works of other arts. On the other hand, it made it possible to detect the presence of interaction between different types of art not only at the semantic but also at the semiotic-expressive levels, which is implemented through the introduction of specific techniques of the semiotic «translation» of semantic and structural «cliches» of rhetorical, graphic, plastic, theatrical expression. Conclusions. Systematization of methods of paratextual programming of chamber art works in Ukraine in the late ХХ and early ХХІ centuries allows us to single out several groups of their thematic representativeness on the principle of interaction in musical-literary, -visual, - theatrical and -movie correlations. The intersemiotic semantic connection of the musical text with its paratextual component (reflected in names, auto-commentaries, remarks, epigraphs, dedications) is often emphasized in a semiotic and expressive manner. The study of this process reveals that at an semiotic level of comparison and identification of stylistic techniques (which initially have a non-musical species origin and a method of artistic and material embodiment) is carried out by means of technical and compositional operation with rich sound-visual resources of music. The potential of their disclosure (using intonation, microtonic, timbre, phonical, textural, polyphonic means, including «voiced silence») is aimed at obtaining a synesthetic perceptual effect that creates the illusion of semiotic conformity and a kind of «transfer» to the audible space of ensemble compositions of extra-musical artistic and expressive techniques and functions.

In and around The Bay: Water, Fish, Infrastructure

An important theme in current studies of environmental representation is the inadequacy of many narratological and stylistic techniques for registering ecological complexity. This article argues that, in the case of cinema, water constitutes an especially vivid example of an allusive natural subject, and it examines the means by which one film, The Bay (Barry Levinson, 2012), manages to confront that challenge. It pays particular attention to The Bay’s treatment of animal life, and its acknowledgement of water’s infrastructural currency. The article draws on the writings of ecocritical literary theorist Timothy Morton and media historian and theorist John Durham Peters.

Red is the New Black. Storytelling and Style in Candidate (2013) and The Red Captain (2016)

The non-existence or deficiency in the production of popular genres in the history of Slovak cinema after the split from Czech Republic in 1993 has been a much discussed subject in the Slovak filmmaking community. It is a common belief among both filmmakers and film critics, that due to the lack of popular genre traditions and financial difficulties of film production, Slovak cinema is not able to attract domestic audiences and is primarily focused on the arthouse and festival circuit. This overt simplification, however, has in recent years been challenged by the emergence of several films that introduced generic novelties into Slovak cinema.
 The paper deals with two major representatives of this popular genre upheaval that were successful at the box office: the political thriller Candidate (2013) by Jonaš Karasek and the detective story The Red Captain (2016) by Michal Kollar. Both films are literary adaptations touching upon the subject of continuity of the communist regime after the democratic turn in 1989. Although not unanimously critically praised, they both gained considerable attention thanks to presenting an alternative to the realistic arthouse social drama trend of Slovak fiction film. The text examines innovations that these films introduced into popular genre discourse of Slovak cinema by concentrating on prominent storytelling and stylistic techniques derived mainly from mainstream popular cinema and offer some preliminary thoughts on reasons underlying their successful reception among domestic audiences.

ПРИНЦИПЫ КОНСТРУИРОВАНИЯ АНГЛОЯЗЫЧНОГО ТУРИСТИЧЕСКОГО ДИСКУРСА И ПЕРЕВОДЧЕСКАЯ ПРАКТИКА

The article presents the authors’ typology of the key principles determining the discursive characteristics of tourism texts based on the analysis of authentic texts in English. The realization of these principles through language means and stylistic techniques is traced. Finally, it is concluded that these discursive principles should be taken into account when translating tourism texts into English. In this connection, the authors substantiate the thesis that justifies the “freedom strategy” with respect to the translation of such texts and the status of an interpreter as a conductor of intercultural communication with broader powers than traditional understanding of the role of the interpreter as the “author’s shadow”.

SEMANTIC FEATURES OF THE LANGUAGE GAME AND ITS REPRESENTATIONS IN THE PROSE OF A. T. AVERCHENKO

The article discusses the features of the formation and functioning of irony as a way of expressing evaluation in the relationship of the characters of works of art A. T. Averchenko. The importance of this phenomenon is determined by the dependence of the elements of its construction, as well as the external historical and literary vertical context, language elements that form the emotional and expressive marking of the statement. Therefore, it is possible to distinguish some types of ironic evaluation: non-reflexive and reflexive. Acting as a means of language comedism, pun in the humorous prose of Arkady Averchenko structurally-semantically organized, and, as an element of the language game, has the laws of construction and selection of stylistic techniques of creation and influence characteristic of the works of the writer. Therefore, the variety of means of creating a comic assessment in the artistic texts of the author suggests that the choice of a particular technique depends on the language personality of the writer, the ratio of linguistic and extralinguistic means of representing the evaluation in the literary text, because the meaning of the phrase predicted by the addressee is created at the expense of the expected word order for the original syntax. Consequently, the realization of the ironic meaning inherent by the Creator of the work of art in the lexemes, becomes clear only from the surrounding context. Since the game is the basis of any culture, the ratio of these concepts becomes the leading person playing, manifested in the manner of speech behavior of the linguistic personality of both the author-Creator and the character - his creations. Therefore, it is appropriate to state that the linguistic personality exists in the space of culture, and, therefore, it can be presented as a linguocultural type as an image recognizable by representatives of a certain national culture, embodied in the character of an artistic work as a creative and playing unique linguistic personality.

Ілюстрування поеми «Енеїда» Івана Котляревського зарубіжними художниками

The article discusses aspects of visual language of illustrating Ivan Kotliarevsky poem “Еneidа” by prominent foreign artists of book graphics of Germany, Russia, Bulgaria, in particular, Adalbert Shtiren, Maxim Ushakov-Poskochyn, Ivan Beketov, Dmitry Biesty, Danielа Zekinа. It is defined peculiarities of stylistic techniques, means of artistic expression of prominent foreign artists in book design interpretation of literary images of Ivan Kotliarevsky.

Частица только в пространстве художественного текста (на материале произведений Б. Васильева)

The article is devoted to stylistic aspect of the functioning of Russian particles. The functionality of the particles as a means of creating stylistic techniques and idiostyle of the writer are discussed. By example of one of the most frequent inter-style particles with a restrictive semantics - the word tolko ‘only’ - the implementation of the semantic-pragmatic properties of the particles in the space of the fiction text is shown. It is determined that the principal manifestations of the semantics of restrictiveness (evaluation of a feature as the only one and evaluation of a feature as insignificant, unimportant one) typical to tolko create a database to use particles for creating an image of character, and to express the main ideas in works by Boris Vasilyev. In particular, on the material of the story “Do not shoot the white swans” the role of the particle tolko is described as a marker of the meaning ‘insignificant’ in creating the image of the protagonist. It is shown that the author of the novel uses the techniques of repetition and gradation: in constructions of the type not X, but only Y , where the positions of X and Y are replaced by predicates, the action of Y is evaluated as insufficiently active against the background of the negative (explicitly or implicitly) expected active action. It is proved that the use of structures with a particle ‘only’ allows the writer to emphasize the main features of the the central character - meekness, irresponsibility and so on. The conducted research allows to supplement the general picture of functioning of tolko ‘only’ in the modern Russian language

Фанфик как феномен современной художественной литературы: кейс «Евгения Онегина»

Fan fiction as a modern literary phenomenon with deep historical roots is considered on the example of the recently published work “Eugene Onegin. 2.0 Version. Experiment in verse” by Alina Sakhnenko (2014). The basic principles of the construction of works in the genre of fan fiction, as well as the relationship between the latter and literary parody are described. By the example of Alina Sakhnenko’s work the newest tendencies of development of this direction in the Russian poetry are illustrated. The analysis is made of characteristic stylistic techniques used by the author, in particular, reminiscences of the original work by A. S. Pushkin, along with a comparison of the relevant storylines. According to the results of the analysis, it is concluded that the studied fan fiction, remaining a parody in form, not devoid of significant stylistic shortcomings in terms of rhythm and rhyme, is a valuable material describing the domestic realities of the 2010-ies. The author of the article claims that this fan fiction text contains the cultural code of a whole generation of people born and raised in Russia in the 1990-ies.

Creation of Historical Satire through History and Psyche in a Nigerian Play

This study investigates how Ahmed Yerima, a Nigerian playwright demonstrates a change from the traditional norms and forms of playwriting. He engages in a new idea like interrogating existing history, creating fictional characters from historical heroes through the portrayal of characters’ psyches at the expense of historical situations and predicament. Existing literary scholarly engagements on satire have drawn inspiration and source from either Horatian or Juvenalian satire but the playwright under this study exhibits a style that has a departure from the traditional sources of satire. This study therefore, examines Yerima dramaturgy in creating historical satire through history and human psyches in order to show the distinction between reality and illusion and to privilege human mind above the prevailing societal realities. Our primary text or data shall be Igatibi, a play with historical affinity with Nigeria’s people, it will undergo a critical textual analysis which will be influenced by postcolonialism and psychoanalysis as theoretical framework. The essence of postcolonial is to distinguish reality from bigotry and hypocrisy, while psychoanalysis helps to investigates characters’ unconscious motives and behaviours. It is discovered that the bigotry, crudity, hypocrisy and sycophancy that are aspects of Nigerian socio-political atmosphere are exposed. Thus, a new stylistic technique for satire has evolved complementing both Horatian and Juvenalian satires.

Structural-semantic analysis of original of sonnet 131 by W. Shakespeare

The object of the article is the problem of the diff erent scientifi c approaches to Shakespeare’s works studying and to the source text analysis. The subject of this study is the sonnet 131 by W. Shakespeare. The purpose of the article is to investigate the structural-semantic peculiarities of thesource text, and to determine the approaches to Shakespeare’s works studying and analyze a source language content. Methodology comprises such methods as structural and semantic analysis, the method of stylistic phenomena comparing. 12 archaisms and 12 stylistic techniques were used, of which W. Shakespeare most often used a metaphor, less frequent comparisons and hyperbole, and even less epithets and alliterations are fi ndings of research. The practical value of the investigation is to use the suggested results in such disciplines as “Stylistics of English” and “Lexicology of the English language”, “The theory of translation from English” and “History of the English language”.

Bricolage: zwischen dialektaler und globaler Variation – Wie sich Jugendliche über Stilbasteleien sozial positionieren

The article presents a sociolinguistic analysis of dialectal conversations in the German part of Switzerland. It focusses on an adolescent peer group, whose members position themselves socially using a wide range of stylistic variation. The highschool students’ community situat-ed in a rural area in the middle of the Swiss Alps co-construct their group identity deliberately combining various types of linguistic variants, styles and languages. Thus, they resort to ele-ments of a widely spread young urban street style as well as to traditional and to some extent outdated dialectal variants simultaneously. On the one hand, it is the width of the linguistic resources which is remarkable. On the other hand, it is impressive to observe the youths’ competence in combining different variants creating their new and own communicative style. The study sheds light on the subtle stylistic techniques at work and demonstrates how much knowledge about the peer group’s linguistic practices, preferences and resources is necessary to interpret and understand their conversations and social contextualisations. The methodolog-ical approach to the analysis of linguistic variation is a conceptual one: the main communica-tive practice in the young men’s talk are conceptualised by means of bricolage – a specific way of incorporating and adapting linguistic elements to create a new and individual speech style. The conceptual approach also allows for a comparison of the peer group’s linguistic practices with speech styles of other young peer groups all over Europe: even if the specific resources used by the youth might differ to some extent, the way in which young urban and young rural pupils deal with linguistic variation is surprisingly similar.