Стилистический анализ эмоционального высказывания на примере произведений Грэма Грина

Yet the very obviousness of the extent to which Phuong is objectified by both Fowler and Pyle (in different ways, but with the same result) and even by Phuong’s own sister makes it difficult to tell, I think, the extent to which it’s been done deliberately. Attempting to extract Greene’s message on Orientalism and gender issues is further complicated by the Greene-as-Fowler question, and the problem of separating Fowler’s voice from Greene’s. Awareness may be a poor substitute for analysis, but on these issues awareness is at least likely to provide some semi-satisfactory answers.

A s Graham Greene himself saw it, «The Heart of the Matter» deals with the issue of pride. H e illustrates this theme by describing Scobie, the main character of the book, as «a weak man with good intentions doomed by pride» [Smith, 1986]. H e further says in the preface, He had meant the story of Scobie to enlarge a theme which he had touched on in «The Ministry of Fear», the disastrous effect on human beings of pity as distinct from compassion. H

e had written in «The Ministry of Fear»: «Pity is cruel. P ity destroys. Love isn’t safe when pity’s prowling around.' The character of Scobie was intended to show that pity can be the expression of an almost monstrous pride».

In the novel there are such emotive devices:

1) Injections, which are used to show the emotions of the heroes, and there relations between each other;

— At whom? Ah, at Scobie… Why — is. Here, with it. Yes, perhaps … (The Heart of the Matter)

«-У кого? Ах, у Скоби… Почему же — есть. Тут, с ним…»

— Already?

— Alas, yes. (The Heart of the Matter)

— Уже?

— Увы, д

«Ha-ha! How nice, major Skobi!» (The Heart of the Matter)

«Ха-ха! Вот это здорово, майор Скоби»!

2) Similes and epithets are used to describe the reality of the novel:

Black officials vigorously scurried about on corridors, as doctors, and it is patient, with a smile took down roughnesses of the patients. (The Heart of the Matter)

«Черные чиновники энергично носились по коридорам, как доктора, и терпеливо, с улыбкой снимали грубость пациентов».

«Wilson loved verses, but he swallowed of them secretly, as if drugs». (The Heart of the Matter)

«Уилсон любил стихи, но он глотал их тайком, словно наркотики».

«The skin on the thin person was greenish, as hay». (The Heart of the Matter)

«Кожа на худом лице была зеленоватая, как сено».

3) Repeating of words — is used to create the emotive charge of the text:

There wasn’t a pencil near the hand, and he has put forward a box. Here only the set has accumulated things: letters, the elastic bands, the broken off beads, — but the pencil was not here again. (The Heart of the Matter)

«Под рукой не было карандаша, и он выдвинул ящик. Только здесь накопилось столько вещей: письма, резинки, прерванные бусинки, — но карандаша не было и здесь».

«After all he conducted her behind himself, and, so, life experience which she has got, he also chose; means, and he changed her face». (The Heart of the Matter)

«Ведь это он вел ее за собой, и, стало быть, жизненный опыт, который она приобрела, тоже выбирал он; значит, и лицо ее изменил он».

This device is used to describe hero’s intentions and reflection.

«The chief of police was the old man of fifty three years, — the age was estimated in service years in a colony. The chief of police who has served twenty two years, was considered as the elder…"(The Heart of the Matter)

«Начальник полиции был старик пятидесяти трех лет, — возраст исчислялся годами службы в колонии. Начальник полиции, который прослужил двадцать два года, считался старейшиной»

This device is used to describe hero’s intentions and reflection.

Repeating of words — is used to create the emotive charge of the text, and show the emotions of heroes.

4) Metaphors:

«Scobie has suffered defeat in war for decent habitation, which here never calmed down». (The Heart of the Matter)

«Скоби потерпел поражение в войне за приличное жильё, которая здесь никогда не успокаивалась».

«When he cried out her name, it as if the king the Whip, started talking waves — waves of her melancholy, discontent, disappointment».

«Когда он выкрикивал ее имя, он, словно король Кнут, заговаривал волны — волны ее меланхолии, недовольства, разочарования».

«His wife sat under a mosquitoes grid, and it has suddenly seemed to him that this is the piece of crude beef covered with a gauze from flies»

«Его жена сидела под сеткой от москитов, и ему вдруг почудилось, что это кусок сырой говядины, покрытый марлей от мух.» (The Heart of the Matter)

The device is used to show the realty of novel, and to describe the senses of heroes.

So «The Heart of the Matter» is not just about failure, but about the price we all pay for our individualism and the impossibility of truly understanding another person. Each of the characters in the novel operates at tangential purposes which they often think are clear to others, or think are hidden from others, but are in fact not. As in many of Greene’s earlier works this book deals with not just the tension of the individual and the state, but also the conflict of the individual and the church. Scobie throughout the book constantly puts his fears in the voice and context of religion.

After his wife returns he has a pathological fear of taking communion while suffering the stain of mortal sin and later agonizes over the choice of suicide in terms of its theological damnation. The conflict is particularly interesting because it is not a conflict of faith, but rather a dispute set in legalistic terms: whether a violation of the laws of faith is justified by the personal sense of duty the character feels; which duty, personal or theological, is in the end primary; and what happens when those laws are broken. This argument is not simply one of whether Scobie is damned to hell, a question Greene himself tired of, but rather of whether what he did was worth anything in the world of the present.

Conclusion

S tylistics is to study the style of learning. S tyle the broad and narrow sense. N arrow sense of the style refers to the literary style, including the style of each writer. S

tyle refers to the broad language of the various types of sports, including the spoken and written physical body, but in between, there are a number of transitional type of style. L iterary style is also included in the broad sense among the style. Stylistics task is through observation and description of the language of several major stylistic characteristics, that is, its own voice, vocabulary, syntax, and the characteristics of chapters, so that learners can better understand the style to be expressed in the content and the expression of specific way to learn at an appropriate occasion to use the appropriate style.

Despite the existence of a wide range of style, but the real usage represents a special style words and phrases are very few. Truly large-scale use or the use of those methods in accordance with common basic vocabulary, basic sentence patterns and basic expression. This is the so-called common core language (the common core), which constitute the language of habitual use of conventional (norm), while the use of a particular style rule is a variation of this routine (deviation). Below, through the various elements of language, namely, voice, vocabulary, syntax, discourse analysis of the structure set out in their daily conversation, an impromptu explanation of what to say and how to say this issue on the role.

Graham Greene is perhaps the most perplexing of all the literary converts whose works animated the Catholic literary revival in the 20th century. His visions of angst and guilt, informed and sometimes deformed by a deeply felt religious sensibility, make his novels, and the characters that adorn them, both fascinating and unforgettable.

The literary critic, J.C. Whitehouse, has compared Greene to Thomas Hardy, rightly asserting that Greene’s gloomy vision at least allows for a light beyond the darkness, whereas Hardy allows for darkness only. Chesterton said of Hardy that he was like the village atheist brooding over the village idiot. Greene is often like a self-loathing skeptic brooding over himself. As such the vision of the divine in his fiction is often thwarted by the self-erected barriers of his own ego. Only rarely does the glimmer of God’s light penetrate the chinks in the armour, entering like a vertical shaft of hope to exorcise the simmering despair.

«T he Quiet American» tells the story of two men in 1950s Vietnam. T he French are just leaving the country and the Americans have yet to arrive en masse. T

he story is told by Thomas Fowler, a cynical, world-weary British journalist, who has chosen this part of the world in which to escape. H e has carved out a nice life for himself. H is salary goes a long way in Saigon; he has few demands of him as a journalist; and he has taken a lovely Vietnamese mistress — Phuong — with whom he lives. Sure there is war, and bombings, but all is mostly right with Fowler’s world until Alden Pyle, whom Fowler dubs «the quiet American» arrives.

The underlying plot of The Quiet American is drawn from Graham Greene’s experiences as a reporter in Saigon during the early 1950s and to a lesser extent on his time as a British intelligence agent in Sierra Leone in the 1940s. Upon publication, the book’s unflattering depiction of the Americans and American intervention in the early stages of the Vietnam conflict prompted some reviewers to denounce Greene as anti-American and to claim that he had used the character of Thomas Fowler as a mouthpiece for his own leftist sympathies.

Though one might suspect that Greene took a bit of pleasure in using Fowler to skewer some of the more egregious behaviours and attitudes he had observed during his time in Saigon, a closer reading of the text suggests that Greene found Fowler an equally unsympathetic character, one among the many unsympathetic characters in the novel.

The one character who even seems to come out as a mildly respectable figure is a very minor character: Phuong’s older sister, who clearly disapproves of both Fowler and Pyle as suitable partners but who sees in them a chance to provide her little sister with stability and protection, both of which are in short supply in war-torn Vietnam.

Fowler is not necessarily more observant or ‘correct' in his thinking than any of the other characters, though his standing as both the narrator and as a foil for Pyle’s radically different beliefs does give him a more authoritative (if not necessarily authorial) voice

«The Quiet American»

«The Heart of the Matter»

In both a Cold War and post-Cold War context, The Quiet American tends to be brought up in connection with the idea of American naïveté regarding foreign affairs, a blend of good intentions and ignorance that happens to prove particularly lethal over the course of the book. Yet Greene’s novel also brings up the question of individual moral choices and the difficulties that accompany a professed belief in remaining uninvolved in a conflict. The Quiet American isn’t one of Greene’s ‘Catholic novels' (which include The Power and the Glory and The End of the Affair), but those who simply treat it as a piece of topical political commentary and downplay everything else sadly ignore the complex moral questions that provide much of the driving force of the story.

So the devices of emotive charge and style are used to describe the heroes, objects and matters of the plot in the literary, to make the intonation picture of the text and to show the emotive charge of novels, to show the relations between heroes and also author’s thoughts and ideas.

Vocabulary terms used in everyday conversation style are mostly short easy to understand, difficult to understand the big words rarely used. This is because people want to talk most of the energy used to understand and respond to each other, not in the wording too fancy, but plain as possible. Record an interview with this paper, though, but is still talking about issues of concern to the public generally can not use esoteric vocabulary. Looking at text, we can see that apart from ecologically, they are all easy to understand terms. At the same time, in the face to face conversation, often appear suddenly can not find the exact word to express a thought, but need to use other words, or words to repeat to fill the gaps in maintaining a dialogue phenomena.

S yntactic structure is characterized by a short sentence structure is simple. V erb phrase is simple. H ave used a lot as I think, I mean, well, you know like the conversation of people seems to be rather polite humble words. T

he passive voice is rare. I n the time the application of state in general, and the general present tense, past tense dominant. N oun phrase structure is very simple, no complicated pre-modified ingredients.

T he main categories are declarative sentences, interrogative to declarative sentence-based. A ll this is achieved in order to better communicate the means adopted for this purpose. T he rapid passage of discourse to force both sides to talk the language of communication as simple as possible, and always observe each other’s response to what they say to adjust. S

emantics, this is a sense of uncertainty. Mainly manifested in the incomplete statements.

V ocabulary is characterized by simple structure, terminology and more meaningless word less. F or example, in addition to name names in this article other than basically meteorology terminology, but also a simple kind of biased. T aking into account that the audience is the general public, easy to accept is the primary task. W ords are simple, even the longer term, but also repeated a common vocabulary, such as temperatures.

A lthough the commentary style and everyday conversation style has the characteristics of ad hoc play, but did not explain the style in the style common in everyday conversation in order to fill gaps in the emergence of meaningless words. Because in the process of explanation, and there is no extra time was spent on meaningless words, but also guide the professional qualities will allow him to remain confident in the work identified in tone, can not be wrong.

S yntactic structure is also characterized by a short sentence structure is simple, consisting mainly of a simple sentence. V erb phrase is also very simple. B ecause the notice of the following weather conditions, so spent a lot of time in the future.

I n such style in the use of passive voice is very rare. N oun phrase is simple. I n expressing their respective relationships, mainly the use of «'s» and less use of «of». F

or example, today’s, this morning’s and so on. T hese are designed to save time, so that expression of refining. Sentence types are mainly declarative sentence.

Semantics is concerned, and everyday conversation style varied widely. Because the explanation must be precisely in place, but not like a conversational way, because it had the face to face communication, leaving the expression of a lot of things with vague instructions as long as the term would enable the conversation between the parties themselves clearly. Guide and can not face the audience, can only be as much as possible to clarify in simple terms, to convey information effect.

The words of prose, on the other hand, are less loaded from the polysemic and emotional point of view, and seem mutually entangled in an inextricable relationship, as if they were inwardly linked in a verbal stream that no-one can escape from.

Seen in this perspective, the features highlighted would have no particular value in that each of the two verbal states could be explained largely as a reflection of the specific textual container, prose or poetry, which, though to varying degrees, impose particular structural and logical rules that affect the use of words and therefore sentence and text construction.

However, on looking more closely, the reality is different. In fact we are faced with two modes of expression, or rather two ways of structuring thought, which seem to cut across prose and poetry and to be independent of the textual genre. Moreover, each one does not necessarily belong to one author as his typical and only mode of expression: certainly, in each author one of the two forms tends to dominate, but at times both are present in the same person, in relation to different texts and to specific moods.

The written discourse at times has the rhythm of a river in full flood, it is like a fluid whose single elements are lost in the whole of which they are part; in other cases, however, it seems to be composed of a limited number of words, each of which is distinguished by being emotively loaded, so it is the individual lexical cell that ends up being the real protagonist, the fulcrum of the textual organism.

These are the aspects we will focus on, seeking explicative references and analytical keys in two domains: linguistics and psychoanalysis. But first it would be best to look more closely at some preliminary questions.

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