Each time the pressure in our hole would drop suddenly, and our ears would pop and our heads would ring. [71, p. 95].
ring =.
= emit a sonorous or resonant sound, characteristic of certain metals when struck.
(ordinary meaning).
= (of the ears) have the sensation of humming or ringing [57].
(metaphorical meaning 1).
Most readers while trying to understand this metaphor are unlikely to have any difficulties.
Its meaning is quite clear due to the context (our heads would ring).
pop=.
= make or cause to make a light sharp explosive sound.
(ordinary meaning).
= protrude.
(metaphorical meaning 1).
=pawn [57].
(metaphorical meaning 2).
In our opinion in this case we deal with metaphorical meaning 1 (thrust forwards or outwards).
And I turned to my heavenly Mona for comforting secrets a good deal more profound. [71, p. 95].
heavenly =.
= divine; holy.
(ordinary meaning).
= alluring, wonderful, or sublime [57].
(metaphorical meaning 1).
Over here the reader can not be sure if he should consider the ordinary or metaphorical meaning of the word «heavenly».
This alleged metaphor is epithet as well. It is highly expressive and implicit.
I will not go into the sordid sex episode that followed. [71, p. 95].
sordid =.
= dirty, foul, or squalid.
(ordinary meaning).
=degraded; vile; base a sordid affair.
(metaphorical meaning 1).
=selfish and grasping [57].
(metaphorical meaning 2).
This metaphor is epithet as well. It is highly expressive and implicit. It is used to give an appreciation, very positive assessment and perceptive recognition of another person’s qualities.
Suffice it to say that I was both repulsive and repulsed. [71, p. 95].
repulsive =.
= tending to force or drive back (=repel).
= causing or occasioning repugnance; loathsome; disgusting or distasteful.
repulse =.
= drive back or ward off (an attacking force); repel; rebuff.
= produce a feeling of aversion or distaste [57].
These metaphors are epithets too. They are highly expressive and implicit. It is used to give a negative assessment of another person’s qualities.
It is a root iteration as well (repulsive / repulsed).
But then she said to me, gently, «It would be very sad to have a little baby now. Don’t you agree?» .
" Yes," I agreed murkily. [71, p. 95].
There are four epithets in this fragment.
1. gently =.
= in a mild or kindly nature or character.
= softly or temperately;
=mildly.
= moderately.
= gradually.
= with easy control.
= tamely a gentle horse.
= gallantly.
= chivalrous [57].
2. sad =.
= feeling sorrow.
= unhappy.
= causing, suggestive, or expressive of such feelings.
=unfortunate.
= unsatisfactory.
= shabby.
= deplorable.
= ludicrously contemptible; pathetic.
= not having risen fully; heavy.
= lacking brightness.
=dull or dark.
=serious.
= grave [57].
3. little =.
= not much.
= of small or less than average size.
= young a little boy.
=endearingly familiar; dear.
= contemptible, mean, or disagreeable.
= resembling another country or town in miniature [57].
4. murkily =.
= gloomily.
= darkly.
= cloudly [57].
These epithets make the novel highly implicit due to abundance of their probable interpretations.
3.
1.2. Use of metonymy.
Such a stylistical device as metonymy is more understandable for the reader than metaphor.
If life still existed here and there, it did not broadcast. [71, p. 95].
broadcast =.
= transmit (announcements or programmes) on radio or television.
(ordinary meaning).
= take part in a radio or television programme [57].
(metonymic meaning).
The reader in this case is unlikely to have considerable difficulties when interpreting this metonymy.
Nor does life broadcast to this day. [71, p. 95].
As we see this metonymy is used two times. So this time it is considered to be lexical iteration as well.
I thought this was trash. [71, p. 95].
" Of course it’s trash!" says Bokonon. [71, p. 95].
trash =.
= useless or unwanted matter or objects.
(ordinary meaning).
= foolish ideas or talk; nonsense.
(metonymic meaning 1).
= a literary or artistic production of poor quality.
(metaphorical meaning 1).
=a poor or worthless person or a group of such people.
(metaphorical meaning 1).
= bits that are broken or lopped off, especially the trimmings from trees or plants [57].
(metonymic meaning 2).
This time the metonymy is used twice again as a lexical iteration.
Its meaning is highly implicit and expressive due to opportunity of metaphorical meanings.
Considering the context we can interpret it in its metonymic meaning 1, that is the question «Everything must have a purpose?» is foolish talk and nonsense. It is not worth discussing.
Chapter 58. Tyranny with a Difference.
tyranny =.
= government by a tyrant or tyrants.
(ordinary meaning).
= despotism.
(metonymic meaning 1).
= similarly oppressive and unjust government by more than one person.
(metonymic meaning 2).
= arbitrary, unreasonable, or despotic behaviour.
(metaphorical meaning 1).
= use of authority.
(metonymic meaning 3).
= any harsh discipline or oppression.
(metonymic meaning 4).
= a political unit ruled by a tyrant.
(metonymic meaning 5).
= government by a usurper.
(metonymic meaning 6).
= a tyrannical act [57].
(metonymic meaning 7).
This metonymy is likely to encourage every reader have his or her own opinion regarding its meaning.
3.
1.3. Use of epithet.
Epithet is one of the most widespread and significant stylistic devices in the novel.
When looking at the novel chapter subtitles we can find those of them which Kurt Vonnegut considers the most important in this or that part of his novel «Cat's Cradle».
Chapter 4. A Tentative Tangling of Tendrils.
tentative =.
= provisional.
= experimental.
= conjectural.
= hesitant.
= uncertain.
= cautious [57].
tangling =.
= becoming or causing to become twisted together in a confused mass.
= coming into conflict.
= contending to tangle with the police.
= involving in matters which hinder or confuse to tangle someone in a shady deal.
= ensnaring or trap, as in a net [57].
As we see both epithets are highly versatile in their semantics, so the readers of the novel «Cat's Cradle» have to think carefully before making their eventual point of view concerning their meaning.
Chapter 7. The Illustrious Hoenikkers.
illustrious =.
= of great renown.
= famous and distinguished.
= glorious.
= great.
= shining [57].
This time the task of finding the most appropriate meaning of the epithet does nod seem any easier.
Chapter 18. The Most Valuable Commodity on Earth.
valuable =.
= having considerable monetary worth.
= of considerable importance or quality.
= able to be valued [57].
In this case the readers are likely to choose the meanings «having considerable monetary worth' or «of considerable importance or quality».
Chapter 33. An Ungrateful Man.
ungrateful.
= not grateful.
= unrewarding.
= unpleasant.
= thankless.
= failing to increase fertility in response to cultivation (of land) [57].
This time the readers may mostly choose either «not grateful' or «thankless», though some of them may prefer such meanings as «unrewarding» or «unpleasant» as well.
Chapter 57. The Queasy Dream.
queasy =.
= having the feeling that one is about to vomit.
= nauseous.
= feeling uneasiness.
= causing uneasiness [57].
This epithet is likely to be interpreter as «causing uneasiness» or «causing troubles».
Chapter 60. An Underprivileged Nation.
underprivileged =.
= lacking the rights and advantages of other members of society.
= deprived [57].
This epithet is highly important for Kurt Vonnegut’s Novel «Cat's Cradle» due to its social specifics.
Chapter 63. Reverent and Free.
reverent =.
= feeling a profound respect.
= expressing a profound respect.
= characterized by a profound respect [57].
free.
= able to act at will.
= not under compulsion or restraint.
= having personal rights or liberty.
= not enslaved or confined.
= not subject to some regulation or constraint.
= not restricted by some regulation or constraint.
= exempt from external direction or restriction.
= not subject to conventional constraints [57].
Once again the task of finding an appropriate interpretation for both these epithets appears to be rather complicated due to their polysemy and imagination of each reader.
Chapter 66. The Strongest Thing There Is.
strong =.
= involving or possessing physical or mental strength.
= solid or robust in construction.
= not easily broken or injured.
= having a resolute will or morally firm and incorruptible character.
= intense in quality.
= not faint or feeble.
= easily defensible.
= incontestable.
= formidable.
= concentrated.
= not weak.
= not diluted.
= having an unpleasantly powerful taste or smell.
= having an extreme or drastic.
= convincing.
= effective.
= cogent [57].
Interpretation of this epithet by each reader due to its polysemy will be quite different as well.
Chapter 76. Julian Castle Agrees with Newt that Everything Is Meaningless.
meaningless =.
= futile.
= empty of meaning [57].
Both interpretation options of this epithet may be chosen by readers, each of them constructing his or her own point of view concerning Kurt Vonnegut’s Novel «Cat's Cradle» quality of writing.
3.
1.4. Use of simile.
Such a trope as simile is used in Kurt Vonnegut’s Novel «Cat's Cradle» fairly often too.
Some of the similes that appear in this text are aimed at describing a character or character’s behaviour fairly expressively, for example:
I never stopped dawdling like an eight-year-old … [71, p. 6].
Just like a dog, he’d make a hollow in the cool earth … [71, p. 7].
She was as brown as chocolate. Her hair was like golden flax. [71, p. 30].
Angela persisted in treating Newt like an infant [71, p. 41].
His pores looked as big as craters on the moon. [71, p. 7].
Here I go again, fresh as a daisy after eight hours of sleep. [71, p. 7].
Cigar smoke made him smell like the mouth of Hell. [71, p. 7].
My soul seemed as foul as smoke from burning cat fur. [71, p. 12].
Some other similes refer to:
— an opportunity of atom bomb explosion.
… he’s maybe talking about something that’s going to turn everything upside-down and inside-out like the atom bomb. [71, p. 14].
— the novel specifics.
It is as free-form as an amoeba. [71, p. 4].
— mysterious quality of human existence.
… behind her marvelous eyes lurked mysteries as old as Eve. [71, p. 95]/.
All these similes and many other make reading Kurt Vonnegut’s Novel «Cat's Cradle» a highly keen experience.
3.
1.5. Use of iteration.
When looking through the novel the readers encounters with root (Bokononists / Bokonon) and lexical (team (s), nice, karass, God, worm…) iterations.
We Bokononists believe that humanity is organized into teams, teams that do God’s Will without ever discovering what they are doing. Such a team is called a karass by Bokonon… [71, p. 4].
Nice, Nice, Very Nice … [71, p. 4].
Man created the checkerboard; God created the karass." By that he means that a karass ignores national, institutional, occupational, familial, and class boundaries.
" Give it to your husband or your minister to pass on to God," I said, «and, when God finds a minute…» [71, p. 4].
She could not bear to look at a worm. When she saw a worm, she screamed.
They appear quite so often in this work as they function to outline the most important words and concepts.
Such iteration as team and karass (a group of people who are somehow combined or connected spiritually [71, p. 109]) appear to be semantic.
Karass is an occasional neologism coined by the writer, which appears in his novel «Cat's Cradle» for the first time.
Many of these iterated words are quite metaphorical, expressive and implicit:
team.
— a group of people organized to work together.
— a group of players forming one of the sides in a sporting contest.
— two or more animals working together to pull a vehicle or agricultural implement.
— a flock, herd, or brood.
— ancestry [57].
worm.
— any of various invertebrates, especially the annelids, nematodes, and flatworms, having a slender elongated body;
— a gnawing or insinuating force or agent that torments or slowly eats away;
— a wretched or spineless person;
— anything that resembles a worm in appearance or movement [57].
nice.
— pleasant.
— commendable.
— kind.
— friendly.
— good.
— satisfactory.
— subtle, delicate,.
— discriminating.
— precise.
— skilful.
— fastidious.
— respectable.
— foolish or ignorant.
— delicate.
— shy.
— modest.
— wanton [57].
These lexical iterations are highly implicit. There fore each reader has to guess what the novelist means when he uses them each time.
Because of their implicit definitions each reader makes up his or her own conception of the novel atmosphere of life particularities.
Using such words as «national, institutional, occupational, familial» the author creates such a phonetic stylistic device as rhуme (= identity of the terminal sounds in lines of verse or in words used in prosaic or unpoetic literary texts) making his novel fairly poetic.
Those are graphic and phonetic iterations (words that are identical to another in their terminal spelling and sounds).
" It would freeze?" .
" And all the puddles in the frozen muck?" .
" They would freeze?" .
" And the pools and the streams in the frozen muck?" .
" They would freeze?" .
" You bet they would!" he cried. [71, p. 19].
Having a look at these lexical ((They) would freeze; in the frozen muck) and root iterations (freeze; frozen) we can say that their implicit specifics is connected with the anxiety of the very likely forthcoming nuclear catastrophe in the world.
3.
1.6. Use of idiom.
To make his Novel «Cat's Cradle» as expressive as possible Kurt Vonnegut gets advantage of the idioms as well.
Chapter 9. Vice-president in Charge of Volcanoes [71, p. 19].
in charge =.
= заведующий.
= дежурный [31].
This idiom is motivated by his business direction of the narration.
" They would freeze?" .
" You bet they would!" he cried. [71, p. 19].
you bet = of course; by all means; naturally; necessarily; certainly; without fail; inevitably [70].
" What was her name, by the way?" [71, p. 13].
by the way = стати, между прочим, к слову сказать [31].
" I just can’t help thinking what a real shaking up it would give people if, all of a sudden, there were no new books, new plays, new histories, new poems …" [71, p. 83].
all of a sudden = without warning; unexpectedly [70].
Foma, of course, are lies. [71, p. 95].
of course = конечно, несомненно, само собой разумеется [31].
These idioms help to make characters' directed speech highly confident and emotional.
On the way back to the hotel I caught sight of Jack’s Hobly shop… [71, p. 28].
catch / get sight of smth.
= увидеть, заметить что-л.
= попасться на глаза [31].
I want to talk cold turkey to you, man to man! [71, p. 70].
talk turkey =.
= вести деловую беседу.
= говорить прямо, начистоту, без обиняков [31].
As we see stylistic peculiarities of the English language idioms used in Kurt Vonnegut’s Novel «Cat's Cradle» are quite different to their Russian language equivalents.
3.
2. Syntactical stylistic devices in the novel «Cat's Cradle».
3.
2.1. Direct speech specific features.
The direct speech is used in the novel fairly frequently.
The novelist prefers it, trying to abstain from the reported speech in most cases.
" What is the purpose of all this?" he asked politely.
" Everything must have a purpose?" asked God.
" Certainly," said man.
" Then I leave it to you to think of one for all this," said God. [71, p. 95].
As we see while using the direct speech Kurt Vonnegut in his novel «Cat's Cradle» he makes to more expressive thanks to lexical iteration (purpose, asked, said, God).
" Everything must have a purpose?" asked God. [71, p. 95].
As we see here in the direct speech we deal with the flexible word order (the hero does not use the reverse word order (Must everything have a purpose) according to traditional grammar.
The flexible word order makes the direct speech Kurt Vonnegut in his novel «Cat's Cradle» highly implicit.
It gives a hint — this is not a question al all, it is the pseudoquestion or rhetorical question.
Another direct speech specific features in Kurt Vonnegut’s Novel «Cat's Cradle» is frequent use of contracted sentences and word forms, a big number of various interjections and exclamations.
" Ice!" «Papa» whimpered. [71, p. 78].
(contracted sentence, exclamation).
" I will ." [71, p. 78].
(contracted sentence).
" God made mud," was what they’d said. [71, p. 78].
(contracted word form).
Oh, yes. When I was a young man…[71, p. 82].
oh =an exclamation expressive of pain, surprise, pleasure, etc [57].
(interjection).
" Nah," sneered the bartender. [71, p. 11].
Nah = no [57].
(interjection).
" Well," he said, «we don’t want to mystify. [71, p. 15].
Well =.
an expression of surprise, indignation, or reproof.
an expression of anticipation in waiting for an answer or remark [57].
(interjection).
So direct speech in the novel is highly expressive, emotional and spontaneous.
It is mostly very informal.
3.
2.2. Uttered reported speech specific features.
The uttered reported speech is used in Kurt Vonnegut’s novel «Cat's Cradle» much more rarely.
" Papa" said that Frank was the architect of the «San Lorenzo Master Plan,» which included new roads, rural electrification, sewage-disposal plants, hotels, hospitals, clinics, rai1 roads—the works. [71, p. 31].
It is rather formal, lacks expressive and emotional vocabulary.
She said that indexing was a thing that only the most amateurish author undertook to do for his own book. [71, p. 44].
To make it more expressive and emotional Kurt Vonnegut uses the epithet ‘amateurish:
= lacking professional skill or expertise [57].
I asked her what she thought of Philip Castle’s job. [71, p. 44−45].
Once again the uttered reported speech is rather formal, lacks expressive and emotional vocabulary.
So we can see that the uttered reported speech is a sort of antithesis to the direct speech due to its fairly formal specifics.
3.
2.3 Use of antithesis.
Such a trope as antithesis is used in Kurt Vonnegut’s Novel «Cat's Cradle» so as to contrast one thing to another one.
I suppose he read a lot of technical journals, but to tell you the truth, I can’t remember my father reading anything. [71. p. 6].
This time the antithesis is used to set the character’s allegation off against his recollections.
E verybody is in class but me. I&# 39;m a very privileged character. I don’t have to go to class any more. [ 71.
p. 7].
Over here the antithesis is used to contrast character’s opinion about himself with that about everybody else.
I can’t remember what all Frank had fighting in the jar that day, but I can remember other bug fights we staged later on: one stag beetle against a hundred red ants, one centipede against three spiders, red ants against black ants. [71. p. 8].
That time the antithesis is used to cite against Frank.
Newt did not tell me who his girl friend was. But about two weeks after he wrote to me everybody in the country knew that her name was Zinka — plain Zinka. [71. p. 9].
In this fragment the antithesis is used to contrast Newt' s conduct connected with surreptitious way of life in development.
There were no live Hoenikkers left in Ilium, but there were plenty of people who claimed to have known well the old man and his three peculiar children. [71. p. 10].
Over here the antithesis helps to focus on the old man and his kids.
So we see that the antithesis in Kurt Vonnegut’s Novel «Cat's Cradle» is used in the communicative function of contrast. It encourages the readers to pay attention to some significant difference.
3.
2.4 Use of ellipsis.
Ellipsis, that is omission of parts of a sentence is considered by A.A. Maslennikova as one of the greatest ways of implicature [36, p. 76].
" The police, trying to find out what was holding up traffic," he said, «found Felix’s car in the middle of everything, its motor running, a cigar burning in the ash tray, fresh flowers in the vases …» .
" Vases?" [71. p. 14].
Over here ellipsis takes place in both remarks of the dialogue, with such a word as «vases» iterated.
This way the reader’s attention is drawn by Kurt Vonnegut in his novel «Cat's Cradle» to what he considers is highly important.
" I suppose," I theorized, «it might be possible with mountains of some sort of chemical, or tons of some sort of machinery …» [71. p. 17].
Once again we see a sequence of three dots (…) indicating an omission in the novel «Cat's Cradle» of something other participants of the dialogue and the readers have to guess.
" What?" .
" Nobel invented dynamite." .
" Well, I guess it takes all kinds …" [71. p. 25].
In this fragment ellipsis is used thrice in row, this way showing the readers informality of the direct speech in the novel.
And how can you say a man had a good mind when he couldn’t even bother to do anything when the best-hearted, most beautiful woman in the world, his own wife, was dying for lack of love and understanding …" [71. p. 26].
Ellipsis once again should be considered as an invitation for the readers to enter the dialogue with the characters of Kurt Vonnegut’s Novel «Cat's Cradle», think over what they may be concealing.
" Not only him, but the Hollywood Editor of Life magazine, too. And that man in Chile …" .
" A Hoosier, too?" [71. p. 34].
All the sentences in this dialogue lack the predicates. This kind of fairly informal and spontaneous speech show familiar quality of communication in Kurt Vonnegut’s Novel «Cat's Cradle», full of a big number of hints, incompleteness and vagueness.
3.
2.5 Use of rhetorical questions.
Rhetorical questions are questions to which no answer are needed [1, p. 54]. They are used in Kurt Vonnegut’s Novel «Cat's Cradle» for dramatic effect.
Chapter 24. What a Wampeter Is [71, p. 20].
This chapter and many others have subtitles in the form of rhetorical questions lacking interrogation marks.
Chapter 26. What God Is [71, p. 21].
The implication to this rhetorical question is nobody knows what God is but the readers are encouraged to make up one or another opinion of their own regarding the above mentioned rhetorical question.
Similar implications we deal with in chapter 45 «Why Americans Are Hated», chapter 61 «What a Corporal Was Worth», chapter 62 «Why Hazel Wasn’t Scared», chapter 79 «Why McCabe’s Soul Grew Coarse», chapter 88 «Why Frank Couldn’t Be President», chapter 93 «How I Almost Lost My Mona», chapter 106 «What Bokononists Say When They Commit Suicide», chapter 114 «When I Felt the Bullet Enter My Heart» [71, p. 36−90]. Everywhere the readers are invited to form their own points of view before reading all those chapters.
Some rhetorical questions are used by the characters as well in their direct speech.
" But," he said, «but how the hell innocent is a man who helps make a thing like an atomic bomb? …» [71. p. 26].
This rhetorical question is highly implicit and significant for the novel considering atomic bomb inventors as people somehow addicted, unable to give up doing such a nasty and inhuman action.
Summary of the Chapter III.
So we see that Kurt Vonnegut’s novel «Cat's Cradle» is rich in stylistic devices of many kinds.
The most widespread tropes in this novel are metaphor, metonymy, epithet, simile, lexical and root iteration, antithesis, rhetorical question.
The direct and uttered reported speech are highly expressive an implicit due to ellipsis, idioms, conjunctions and the above mentioned stylistic devices.
Conclusion.
The literary discourse is taken into account as I highly important part of each national culture, a form of aesthetic views fit for analysis. It does generate both explicit and implicit vocabulary appropriate for semantic analysis, forming an elusive mixture of most stylistic devices. It is considered as an essential cultural heritage, letting readers develop their local and national self-identification, change or enforce their literary views, consider global and international literature development if the literary text concerns some political, social or economic issues.
Although this is certainly true in many respects, each literary discourse participant is no passive transmitter of aesthetic and literary ideas of his or her own.
Kurt Vonnegut’s novel «Cat's Cradle» like anybody else’s literary texts may be far from objectivity as he is trying to reach his targets developing a communication with each reader.
This particular novel appears to be highly expressive and attractive for the readers, since it is very rich in lexical, syntactical, even graphical and phonetic expressive means and stylistic devices of various types.
Functioning as anti-utopia and novel considering political and social issues this literary work tries to encourage all the literary discourse participants agree with the views expressed by Kurt Vonnegut himself and each of the novel characters.
That is why it is full of many different metaphors, similes, epithets, idioms lexical and root iterations, antithesis, rhetorical questions, idioms, interjections, ellipsis, terms and realia.
Using some political, social and scientific terms and realia Kurt Vonnegut shows that his novel is connected with such social spheres of knowledge as history, political science, sociology, science, economics.
The American XXth century prose had its own specific style features, which were common for many writers, especially those who were loyal to the old American literary discourse traditions dating back to the first American writers. Taking the novel «Cat's Cradle» by Kurt Vonnegut as an example, we can formulate the following common style features it has:
Neutral and colloquial epithets, metaphors and similes are proper both to Kurt Vonnegut commenting the narration and evaluating the heroes' behaviour and the characters' direct speech represented in the novel, where we haven found a big number of the stylistic devices.
The characters of the novel use metonymies, epithets, iterations, puns, ellipsis, idioms, interjections and rhetorical questions.
Metaphors and metonymies having expressiveness and implicature are quite often used, with various forms of word omissions as well as interjections and idioms.
The direct speech in the novel is highly informal, implicit and expressive when showing the characters' attitude to one another, rhetoric questions, metaphors and epithets dominating in the chapter subtitles.
Kurt Vonnegut every so often introduces the direct speech, minimising uttered represented speech to the cases where the former would be superfluous.
The uttered represented speech appears to be rather formal.
The proper interpretation of this novel, to our mind, significantly depends on such lexical stylistic devices as metaphor, irony, iteration, epithet, metonymy and simile as well as idioms.
The epithets, based on the interplay of implicit meaning are fairly often used to portray this novel characters' appearance and personality.
As we have seen the style of this Kurt Vonnegut’s novel is highly remarkable due to the metaphors, epithets, similes, iterations, antithesis and a number of other tropes, which are needed to show why some gifted people occur to be engaged in this or that sort cat’s cradle, that is a game played by making intricate patterns with a loop of string between the fingers or a confounded train of thoughts of people guilty in such atrocities as atomic bomb production and use.
Bibliography.
Аверинцев С. С. Риторика и истоки европейской литературной традиции. — М.: Языки рус. кул-ры, 1996. — 447с.
Агеев С. В. Метафора как фактор прагматики речевого общения: Автореф. дисс. … канд. филол. н. - СПб., 2002. — 18 с.
Алефиренко Н. Ф. Лингвокультурология: ценностно-смысловое пространство языка. — М.: Флинта, 2012. — 282c.
Алефиренко Н. Ф. Фразеология и когнитивистика в аспекте лингвистического постмодернизма. — Белгород: Бел.
ГУ, 2008. — 150 с.
Андреева В. А. Литературный нарратив: текст и дискурс. — С-Пб.: Норма, 2006. — 183 с.
Андреева К. А. Литературный нарратив: когнитивные аспекты текстовой семантики, грамматики, поэтики. — Тюмень: Вектор Бук, 2004. — 243 с.
Апресян Ю. Д. Эмоциональная система. Образ человека по данным языка, попытка системного описания // Избр. Труды, Т.
2. — М.: Языки рус. кул-ры, 1995. — С. 366−388.
Арнольд И. В. Стилистика. Современный английский язык. — М.: Высшая школа, 2010. — 471 с.
Арутюнова Н. Д. Дискурс. -.
Лингвистический энциклопедический словарь. — М.: Высш. школа, 1990. -.
С. 136−137.
Арутюнова Н. Д. Предложение и его смысл: Логико-семантические проблемы язык. — М.: Едиториал УРСС, 2003. — 383 с.
Арутюнова Н. Д. Типы языковых значений. Оценка. Событие. Факт. — М.: Наука, 1988. — 339 с.
Арутюнова Н. Д. Язык и мир человека. — М.: Языки рус. кул-ры, 1999. — 896 с.
Барт Р. Текстовой анализ одной новеллы Эдгара По // Барт Р. Избранные работы. Семиотика. Поэтика. — М.: Прогресс, 1994.
— С. 424−462.
Бланшо М. Пространство литературы. — М.: Логос, 2002. — 243с.
Болотнова Н. С. Эмотивные реакции в структуре ассоциативного поля художественного текста (по данным экспериментов) // Стереотипность и творчество в тексте. — Пермь: ПГУ, 2002. — С. 255 — 261.
Буянова Л. Ю. Русский фразеологизм как ментально-когнитивное средство языковой концептуализации сферы моральных качеств личности. — М.: Флинта Наука, 2013. — 179 c.
Вежбицкая А. Сопоставление культур через посредство лексики и прагматики. — M.: Языки славянской культуры, 2001. — 272 с.
Виноградов В. В. Стилистика, теория поэтической речи, поэтика. — М., 1963. — 188 с.
Волошин Ю. К. Общий американский сленг: состав, деривация и функция (лингвокультурологический аспект): автореф. дисс. на соиск. уч. степ. канд. филол. н. — Краснодар, 2000. — 52 с.
Гальперин И. Р. Очерки по стилистике английского языка: опыт систематизации выразительных средств. — М.: Наука, 2012. — 459 с.
Греймас А.-Ж. Структурная семантика: Поиск метода. — М.: Академический Проект, 2004. — 368 с.
Гумбольдт В. Язык и философия культуры. — М.: Прогресс, 1985.- 451 с.
Дейк ван Т. А. Язык. Познание. Коммуникация. — М.: Высшая школа, 1989. — 389 c.
Зыкова И. В. Концептосфера культуры и фразеология: теория и методы лингвокультурного изучения. — М.: URSS ЛЕНАНД, 2015. — 376 с.
Карасик В. И. О типах дискурса Языковая личность: институциональный и персональный дискурс: Сб-к науч. Трудов. — Волгоград: Перемена, 2000. — С.5−20.
Карасик В. И. Языковой круг: личность, концепты, дискурс. — Волгоград, Перемена, 2002. — 477 с.
Ковшова М. Л. Лингвокультурологический метод во фразеологии: коды культуры. — М.: URSS ЛИБРОКОМ, 2013. — 453 с.
Коряжкина О. В. Лексикология английского языка. — Петропавловск-Камчатский: Кам.
ГУ, 2013. — 294 с.
Кристева Ю. Семиотика: исследования по семанализу. — М.: Академический проект, 2015. — 285 с.
Кудимова Е. Н. Британская и американская фразеология: сравнительный анализ. — М.: Триумф, 2013. — 102 с.
Кунин А. В. Большой англо-русский фразеологический словарь. — М.: Русский язык — Медиа, 2005. — 944 с.
Кунин А. В. Курс фразеологии современного английского языка. — Дубна: Феникс+, 2005. — 479 с.
Кухаренко В. А. Интерпретация текста. — М.: Просвещение, 1988. — 192 с.
Лотман Ю. М. Семиосфера. СПб.: Искусство-СПб., 2000. — 704 с.
Маковский М. М. Современный английский сленг: онтология, структура, этимология — М.: URSS Либроком, 2009. — 164 с.
Масленникова А. А. Лингвистическая интерпретация скрытых смыслов. — СПб.: СПбГУ, 1999. — 264 с.
Морозова Н. Н. Лексикология английского языка. — М.: МГПУ Прометей, 2013. — 101 с.
Орлова О. В. Языковая картина мира и национально-культурная идентичность. — М.: Государственная академия славянской культуры, 2010. — 108 с.
Панкратова О. А. Типы дискурса // Проблемы лингвокультурологии и семантики через призму междисциплинарной парадигмы: Сб-к статей. — Волгоград: Вол.
ГУ 2000. — С. 17 -20.
Полухин О. В. Американский интеллектуально-сатирический роман 70−80-х годов XX века (К. Воннегут, Дж. Хеллер): Автореф. дис. на соиск. уч. ст. канд. филол. н. — М., 1990. — 24 с.
Садохин А. П., Грушевицкая Т. Г. Культурология: теория культуры. — М.: ЮНИТИ, 2004. — 365 с.
Телия В. Н. Культурные слои во фразеологизмах и дискурсных практиках. — М.: Яз. слав. культуры, 2004. — 340 с.
Телия В. Н. Коннотативный аспект семантики номинативных единиц. — М.: Наука. 1986. — 143 с.
Телия В. Н. Метафора как модель смыслопроизводства и ее экспрессивно-оценочная функция // Метафора в языке и тексте.— М.: Наука, 1988. — C.26−51c.
Телия В. Н. Русская фразеология. Семантический, прагматический и лингвокультурологический аспекты. — М., 1996. — 241 с.
Тер-Минасова С. Г. Язык и межкультурная коммуникация. — М.: Slovo, 2000. — 624 с.
Филиппов К. А. Лингвистика текста. — СПб.: СПбГУ, 2003. — 336с.
Хайрулина Р. Х. Фразеологическая картина мира: от мировидения к миропониманию. — Уфа: БГПУ, 2008. — 299 с.
Хухуни Г. Т., Валуйцева И. И. Межкультурная адаптация художественного текста. — М.: Прометей, 2003. — 278 c.
Черниховская Н. О. Современные английские слова и выражения + сленг. — М.: Эксмо, 2013. — 493 с.
Чудинов А. П. Метафорическая мозаика в современной политической коммуникации. — Екатеринбург: УрГПУ, 2003. — 248 с.
Швейцер А. Д. Современная социолингвистика: теория, проблемы, методы. — М.: URSS Либроком, 2012. — 174 с.
Шпильная Н. Н. Языковая картина мира в структуре речемыслительной деятельности языковой личности. — М.: URSS ЛИБРОКОМ, 2014. — 148 с.
Bakhtin M. The Dialogic Imagination. — Austin: University of Texas Press, 1981. — 354 p.
Broer L. Sanity plea: Schizophrenia in the novels of Kurt Vonnegut — Tuscaloosa; London: Univ. of Alabama press, 1994. — 241 р.
Chapman R. Linguistics and Literature: An Introduction to Literary Stylistics. Totowa, N. J.: Littlefield, Adams & Co., 1973. — 289 p.
Collins English Dictionary. — Harper Collins Publishers, 2006. — 897 p.
Crystal D. and Davy D. Investigating English Style. — London and New York: Longman, 1969. — 254 p.
Extence G. Most of What I Know about Writing, I Learned from Kurt Vonnegut. — Huffington Post, 06/25/2013. ;
https://www.huffingtonpost.com/gavin-extence-/most-of-what-i-know-about_b_3 497 050.html.
Fаrrеl T. B. Nоrms оf rhеtоriсаl сulturе. — Nеw Hаvеn: Yеlе Univеrsity Рrеss, 1993. — 378 р.
Galperin I. R. English Stylistics. — Moscow: URSS ЛИБРОКОМ, 2013. — 331 p.
Kipfer B.A., Chapman R.L. Dictionary of American Slang. — New York: Collins, 2008. — 538 p.
Klinkowitz J. Kurt Vonnegut. — London; New York: Methuen, 1982. — 96 р.
Lakoff G., Johnson M. Conceptual Metaphor in everyday language // J. Phylosophy, 1980. Vol.
77. № 8. — Р. 24−48.
Loeb M. Vonnegut’s duty-dance with death: Theme and structure in Slaughterhouse-five / Monica Loeb. — Umeao: Umeao universitetsbibl., 1979. — 138 р.
Meutsch D. Comprehension of literary discourse. — Berlin; New York: De Gruyter, 1989. — 259 р.
Nemeth E. T. Pragmatics and the flexibility of word meaning. ─ Amsterdam: Elsevier, 2001. ─ 329 p.
Partridge E. Slang To-Day and Yesterday. — NY: Bonanza Books, 1965. — 477 0 why they frequently contain slang words and expressionsр.
Penguin Dictionary of Curious and Interesting Words. — Penguin Books, 1986. — 276 р.
Seidl J., McMordie W. Oxford Pocket English Idioms. — Oxford United Press, 1992. — 272 p.
Shiffrin D. Approaches to discourse. — Oxford, Cambridge: Blackwell Publishers Inc., 1994. — 470 p.
Vonnegut K. Cat’s cradle. — С-Пб.: КАРО, 2015. — 316 р.
Widdowson H. G. Stylistics and the Teaching of Literature. Essex: Longman, 1975. — 276 p.
Wiеrzbiска А. Сrоss-Сulturаl Рrаgmаtiсs: Thе Sеmаntiсs оf Humаn Intеrасtiоn. — Bеrlin, N.Y., 1991. — 245 р.
