Ю Зотов - Диалогика текста как бесконечномерное смысловое пространство

10) структурный параллелизм:

There are, of course, innumerable facts to be discovered, even about a language as well investigated as English concerning the nature of the different kinds of English we use in different situations - when we are talking to equals, superiors or subordinates, when we 'are on the job'; when we are old or young, upper class or lower class, male or female, when we are trying to persuade, inform or bargain and so on.

Структурный параллелизм, являясь одним из любимых приемов ораторского текста, эффективно воздействует на читателя.

Таким образом, стилистические приемы выполняют не только функцию сообщения, но и одновременно воздействуют на читателя, заинтриговывают его и вовлекают как бы в "частную" беседу.

II. Конструктивные приемы.

1) Эмфатическая конструкция "it is ... that (which)":

In business management, it is speech which is golden; silence is anathema, for it leads to ignorance - and that leads to lack of confidence, which in turn leads to trouble.

It was this complacency, ...which linguistics had to combat in its early days.

Автор специально сосредоточивает внимание адресата на наиболее существенных моментах информации;

2) эквивалентные замены:

...the results being available to direct observation and judgement, so that if the experiment were replicated, the same results and the same popular judgements would be obtained. Putting this another way the results are 'verifiable'.

Равносильные или равноэффективные замены способствуют не только выражению одной и той же мысли различными лингвистическими средствами в конденсированной форме, но и лучшему пониманию текста;

3) вставочные конструкции, способствующие созданию эффекта интимизации между автором и читателем:

It should be clear from this attitude, then, that those who claim upon applications of linguistics - myself included - are not likely to be satisfied for a while.

In the late sixties, it became fashionable - and certainly it would be a point in your favour - to show that your thinking was not original, but had been anticipated by scholars of some hundreds of years previously.

4) вводные конструкции, которые управляют вниманием читателя:

What I have been saying characterizes much of the modern approach to syntax.

But what I am arguing is that, particularly when beginning to study linguistics, we should withhold our full assent.

5) завершающие конструкции, носящие как бы суммирующий характер:

And thirdly it has a syntactic role to play in the construction of larger grammatical units. So far, so good.

It is, of course, easy to be critical in retrospect... - and I am no exception.

6) эмоциональная оценка, обусловленная отношением автора к положению вещей в лингвистической науке:

It would seem both stubborn and naive not to introduce it systematically into any analysis right from the beginning therefore.

But this particular field of linguistic study is certainly one of the most intriguing at the present time.

7) эллиптические конструкции, свойственные для разговорной речи и придающие высказыванию диалогическую динамичность:

I am not saying that such speculations are necessarily trivial or uninteresting, for they are not.

If it (the adjective order case) can be, than it can be made use of here, if not, then it would have to be discarded, and an alternative explanation hypothesized.

8) сослагательное наклонение, снимающее категоричность суждений:

Why choose the above five criteria and not others? If others had been chosen, would the results have been different?

Sooner or later you would come to the end of the possible substitutions you could make and you would assume that your inventory of the important sounds was complete.

9) аппелятивы, способствующие "приглашению" к диалогу:

We could formulate further alternatives, but let us stick to these three.

Let us move on now to the study of more specific topics.

10) восклицательные предложения, вызывающие эмоциональное отношение к фрагментам текста:

As someone put it once why should we see the child as if it were born with a copy of Aspects of the Theory of Syntax tucked inside his head! Unkind, perhaps!

11) отрицательная альтернативная конструкция, позволяющая поразмышлять вместе с автором:

And whether one considers this questioning of empirical method a scientific blasphemy or not, the fact remains that the questioners have developed an extremely thorough frame of reference for their views which, like it or not, has contributed more to the progress of knowledge of human language than anyone before.

III. Риторические приемы:

1) "Эффект" снятия напряжения:

At this point it is perhaps appropriate to stop and draw breath.

At this point I usually pause for laughter from any lecture audience to whom I might be trying to introduce morphological ideas...

Во время чтения лекции Д. Кристал рекомендует остановиться и перевести дыхание, сделать паузу для смеха, что является эффективным средством снятия напряжения.

2) риторический вопрос:

Has not language been studied for centuries - indeed, thousands of years? Are there not many treatises... dating back to classical Greek and Roman times? Are there not also many grammatical manuals of English, French, and other languages, dating back to the middle ages?...

Так как риторический вопрос не требует ответа, то он является одним из мощных средств привлечения к диалогу, особенно в тех случаях, когда риторический вопрос имеет в своем составе отрицание 'not'.

3) вопросно-ответный комплекс:

Is there one-to-one relation between tense and time? Do the tenses have any other jobs to do in language apart from signaling time relationships? Let us answer those questions one at a time.

Вопросно-ответный комплекс характеризуется аппроксимацией реального диалога, или другими словами "диалогом Платона", который является как бы диалогом в диалоге;

4) лирические отступления:

Many people tend to be scared of the word 'theory' - especially if they had an arts training. The story goes of the lecturer who said: and now, ladies and gentlemen, let us turn to matters of theory! He looked down at his notes for instant, and when he looked up again, his audience had gone. Apocryphal, perhaps.