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25PHILOLOGICAL SCIENCES
СТИЛИСТИЧЕСКИЕ ВОЗМОЖНОСТИ СКОРОГОВОРОК
Бабаев Д.С.
доктор философии по филологии
Руководитель кафедры «Английского языка и методики» Нахчыванского государственного университета
Нахчыван, Азербайджан STYLISTIC OPPRTUNITIES OF TONGUE TWISTERS
Babayev J.
PhD in philology
The head of the chair of "English and methods" of Nakhchivan State University
Nakhchivan, Azerbaijan
АННОТАЦИЯ
В статье на примерах раскрываются стилистические возможности скороговорок. Тонкая разница между антанаклазисом и скороговоркой подробно описана в статье. Кроме того, в исследовании упоминается пальчиковый фамблер, который считается эквивалентом скороговорки. Исследование впервые выявляет характерные черты эпизевксиса и сопоставляет его с другими видами повторов, такими как аллитерация и ассонанс. В статье подчеркивается, что скороговорки могут содержать аллитерацию или консонанс, ассонанс, ритм и рифму. Также отмечается, что некоторые фонетические стилистические приемы могут сливаться и проявляться в пределах одного или нескольких предложений или двух или более последовательных фраз. Было отмечено, что хотя скороговорки часто содержат фонетические стилистические приемы, никто не может отрицать, что скороговорки никогда не содержат лексических или синтаксических стилистических приемов. Следовательно, синтаксический стилистический прием, называемый хиазмом или антиметаболом, изучался и внутри скороговорок.
ABSTRACT
The article elaborates the stylistic opportunities of tongue twisters with examples. A subtle difference lying between antanaclassis and tongue twister has been explained in detail in the article. Besides, the study mentions finger fumbler which is considered to be equivalent of tongue twister. The research reveals the characteristic features of epizeuxis for the first time and compares it with other types of repetitions as alliteration and assonance. The article underlines that tongue twisters may contain alliteration or consonance, assonance, rhythm and rhyme. It is also noted that some phonetic stylistic devices can merge and show themselves within one or more sentences or two or more successive phrases. It has been noted that though tongue twisters often host phonetic stylistic devices, no one can deny that tongue twisters never contain lexical or syntactical stylistic devices. Hence, syntactical stylistic device called chiasmus or antimetabole has been studied inside tongue twisters, as well.
Ключевые слова: скороговорка, аллитерация, ассонанс, ритм, рифма, антанаклазис, эпизевксис.
Keywords: tongue twister, alliteration, assonance, rhythm, rhyme, antanaclasis, epizeuxis.
Tongue twister is a phrase which is designed to be hard to pronounce and may be employed as a type of spoken or sung word game. Furthermore, it serves to develop correct utterance and fluency of speech. Some tongue twisters produce humorous or humorously vulgar meaning when they are not pronounced correctly. However, when a phrase is pronounced correctly producing a humorously vulgar effect, it is antanaclassis. Antanaclassis is not usually employed in tongue twisters. They emerge when two successive phrases or sentences are deliberately repeated at a rapid or normal speed to produce a humor effect. The aim is established on generating a vulgar humor in antanaclassis while the main goal of tongue twisters is not to create a humor, at all. A tongue twister's service in a language to twist the tongue at a rapid speed as seen from its name. Though most tongue twisters are not deprived of humor we should underline that all tongue twisters provide entertainment or amusement. Tongue twisters are admired
when they are pronounced precisely while they result in laughter when the tongue is twisted. It means that tongue twisters may not always result in humor, but it is undeniable that they are always entertaining like a game.
Tongue twister is sometimes regarded as the sign language equivalent of finger fumbler [4, p.320]. As to Susan Fischer, the phrase "Good blood, bad blood" is a tongue twister in English, as well as finger fumbler [2]. Another difficult example for finger fumbler is as follows;
SUPERCALIFRAGILISTIC EXPIALIDOCIOUS The example taken above is for finger fumbler which is considered to be the equivalent of tongue twister. The phrase which is likely to be relatively more difficult contains rhythm.
When we look back to the history of emergence of tongue twisters, it is possible to claim that tongue twisters have been used in public speech since ancient times though their massive usage became popular in XIX century.
The main essence of the article is to focus on stylistic opportunities of tongue twisters. It is possible to find phonetic stylistic devices in tongue twisters such as alliteration or consonance, assonance, rhythm and rhyme. Most tongue twisters host alliteration and rhyme. They usually have two or more orders of sounds which require repositioning of the tongue between syllables, later on the same sounds are repeated in a different order. However, no one can deny that tongue twisters never contain lexical or syntactical stylistic devices. The author of the most complicated and heard English tongue twisters is claimed to be William Poundstone [5].
As we know, the phenomenon of assonance appears as a result of repetition of vowel sounds within a phrase or a sentence. There is an assonance in the following tongue twister which is observed with the vowel sound "e". It is also possible to witness the repetition of the consonant sound [z] within the following sentence; Elizabeth has eleven elves in her elm tree
Another example for assonance and consonance or alliteration is taken for the vowel sound [u:] and the consonant sound [z] in the following example ;
If a dog chews shoes whose shoes does he choose?
In spite of some different consonant sounds at the initial position, we witness the repetition of the consonant sound [z] at the final position of the sentence. However, the major focus is on the vowel sound [u:] in the above-mentioned example.
Tongue twisters sometimes witness the repetition of the same word twice or thrice one after another within one phrase or sentence which called epizeuxis. There is both assonance and epizeuxis in the following example;
A sailor went to sea To see, what he could see. And all he could see was sea, sea, sea
As seen from above-mentioned example, there are multiple repetitions of the vowel sound [i:] in the words 'sea' and 'see'. Here, they are considered to be homophones, as well. Besides, the last three time repeated word 'sea' produced epizeuxis in the sentence.
Some tongue twisters host both assonance and alliteration. The focus on vowels and consonants is distributed equally in the following example;
Fred fed Ted bread and Ted fed Fred bread
As can be seen from the example shown above, the consonants 'd' and 'r' create consonance or alliteration while the vowel sound 'e' serves to produce assonance.
Another analogical sample for both consonance and assonance is as follows;
Denise sees the fleece Denise sees the fleas. At least Denise could sneeze
And feed and freeze the fleas.
In the given example, the focus is shared between the vowel sound [i:] and consonant sound [z] which
produce assonance and consonance respectively. So both assonance and consonant merge in one sentence.
The next example for both alliteration and assonance is as follows;
Six sick hicks nick six slick bricks with picks and sticks.
In the given tongue twister above the vowel sound [i] draws listeners' attention. Moreover, we can easily hear the consonant sounds [s] and [k] in the presented example. Though the initial sounds are not the same, final sounds are made up of the consonant sound [k]. So there is both alliteration and assonance in the given sentence.
When vowel sounds are different and the focus is only on a specific consonant sound, it should be considered alliteration or consonance. The following example represents alliteration;
Three fluffy feathers fell from Phoebe's flimsy fan.
As obvious, as the main focus in the given example is on the repeated consonant sound 'f', it is regarded an alliteration. All the vowel sounds are different. Hence there is no assonance here.
Identical example has been taken for consonance or alliteration in the following sentence, as well;
Five frantic frogs fled from fifty fierce fishes.
We can notice only the repetition of the consonant sound [f] at the initial position with different vowel sounds which don't overlap, at all.
When the consonants are different and there is only the same vowel sound, it is considered as assonance. The following tongue twister embodies the relevant example for assonance;
Lesser leather never weathered wetter weather better
We see and hear that the first consonant sounds used at the initial position are not identical, at all. However we can hear the repetition of the same vowel sound "e" in the middle and neutral [a] at the final position.
Sometimes two or more stylistic devices merge in one sentence as follows;
She should shun the shining sun
The example taken for an alliteration, also make up a rhyme with the words 'shun' and 'sun'. Though rhyme is encountered in poems or verses, tongue twisters may also have such a character. The main stress is put on the consonant sound [J] which produces consonance or alliteration.
There can also be a rhythm in tongue twisters. Rhythm means a movement marked by the regulated succession of strong and weak elements or of opposite or different conditions [1]. Rhythm can be identified as the way in which one or more unaccented beats are grouped in relation to an accented one. "A rhythmic group can be apprehended only when its elements are distinguished from one another, rhythm always involves an interrelationship between a single, accented or strong beat and either one or two unaccented or weak beats" [3, p.67]. The following example fuses some phonetic stylistic devices including rhythm;
Betty Botter bought a bit of butter but the bit of butter was too bitter, so Betty bought a better bit of butter to make the bitter butter better.
The tongue twister shown above contains alliteration, rhyme, as well as rhythm. There is no need to look for rhythm only in tongue twisters only. As the study requires to search for rhythm within a sample pertaining to tongue twister, the research was made on tongue twisters. As rhythm is related to pulse, meter and beats, it is usually found in lyrics of hip-hop songs.
Tongue twisters also contain lexical stylistic devices as epithet, metaphor, simile and many others. The following examples show the existence of epithet in the tongue twister;
Bake big batches of bitter brown bread.
A noisy noise annoys an oyster.
Slimy snake slithered down the sandy Sahara.
As seen, above-mentioned examples contain epithets along with the usage of alliteration. The words 'big', 'bitter', 'brown' in the first example define 'batches' and 'bread' respectively. The determinant or epithet in the second tongue twister is the adjective 'noisy' while 'slimy' and 'sandy' define 'snake' and 'sandy' in the last example accordingly.
As noted above, tongue twisters don't produce only phonetic stylistic devices. They can emerge as a result of reversed repetition of the same words or phrases which is called chiasmus or antimetabole. The best example for a reversed construction is as;
Susie works in a shoeshine shop
Where she shines she sits, And where she sits she shines
As known, the words "she shines" and " she sits" have been used in a reversed order in the given tongue twister making up antimetabole or chiasmus.
Another similar example for chiasmus has been reflected in the following sentence;
I slit the sheet, the sheet I slit, and on the slitted sheet I sit
In the sentence above, "I slit" and "the sheet" were used in reversed order generating chiasmus.
In conclusion, it is necessary to stress that tongue twisters do not only contain phonetic stylistic devices as alliteration or consonance, assonance, rhythm and rhyme, they may also host lexical and syntactical stylistic devices simultaneously. A subtle distinction between antanaclassis and tongue twisters has been explored in the article. Moreover, the equivalent of tongue twister called finger fumbler has been revealed by the author. The author compared epizeuxis and other types of repetition in the study.
References
1. Anon. The Compact Edition of the Oxford dictionary II. Oxford and New York: Oxford University Press, 1971
2. Aristar, Anthony; Dry Helen (1991). Linguist List, Vol.2. University of Michigan. Retrieved 13 March 2010
3. Cooper, Grosvenor, and Leonard B. Meyer (1960). The Rhythmic Structure of Music. Chicago: University of Chicago Press
4. Hanson, Vicky (1991). "Tongue Twister Effects in the Silent Reading of Hearing and Deaf College Students". Journal of Memory and Language. 30 (3): 319330
5. Poundstone, William. "The Ultimate". william-poundstone.net. Retrieved 13 March 2010
THE SPECIFIC GENRE OF THE ENGLISH NOVEL
Akopova Ye.,
Master of science Senior Lecturer
Sh. Yessenov Caspian State University of Technologies and Engineering
Aktau, Kazakhstan Abuova B., Master of science Senior Lecturer
Kazakh National Pedagogical University named after Abay
Tuleubayeva M., Master of science Senior Lecturer
Kazakh National Pedagogical University named after Abai
Kazakhstan, Almaty Kazmagambetova A. Senior Lecturer,
Kazakh National Pedagogical University named after Abay
ABSTRACT
This article makes effort to investigate the problem of the modern English novel by the multicultural aspect from the opinion of Western and Russian scholars. The studies in this field observed multi-structural art form in the mentioned genre based on correlation between parody overtone and semantic principles, which shaped the nature and features of the subject-object narrative forms.
The problem of aesthetics author perception in the art process was highlighted according to the problem philological novel as a specific artistic genre trend.
