In the framework of new stylistics as developed by Roger Fowler, this scientific work researches the impact of the background knowledge of the reader on the interpretation of the beginning of a literary text. The functioning of pragmatic presuppositions in poetry and non-poetic fiction (novels) is explored; 437 poems and 223 novels are analyzed, and the obtained data is compared with the statistical values of the development of pragmatic presuppositions in six genres of non-fictional texts, 300 texts in total. All the sample of the thesis represents works of the twentieth century English-writing authors. Development of pragmatic presuppositions is sought to be quantified by employing the strategy of the research of pragmatic values as developed by van Rooij and Potts. Four main ways of triggering pragmatic presuppositions are singled out in the thesis: non-standard use of (1) verb forms, (2) articles and (3) deictic elements as well as (4) the mixed method represented by combinations of the first three methods or non-standard use of lexical elements. The research strives to verify whether fictional texts of different genres maintain the same trends of triggering pragmatic presuppositions or the genre of a text imposes upon the choice of pragmatic elements. / Šiame moksliniame darbe Rogerio Fowlerio naujosios stilistikos mokslinėje perspektyvoje nagrinėjama, kaip pamatinės skaitytojo žinios įtakoja literatūrinio kūrinio teksto pradžios interpretaciją. Darbe tiriamas pragmatinių prielaidų veikimas poezijoje ir prozoje (romanuose); ištirti 437 eilėraščiai ir 223 romanai, o gauti duomenys lyginami su šešių žanrų trijų šimtų neliteratūrinių kūrinių pragmatininių prielaidų kūrimo duomenimis. Visi tyrimui atsitiktinai parinkti tekstai buvo sukurti anglakalbių dvidešimtojo amžiaus autorių. Pragmatinių prielaidų kūrimą siekiama kvantifikuoti, naudojantis Van Rooijaus ir Pottso pragmatinių verčių tyrimo strategija. Išskiriami keturi pagrindiniai pragmatinių prielaidų iššaukimo būdai – nestandartinis (1) veiksmažodžių formų, (2) artikelių ir (3) deiktinių elementų vartojimas bei (4) mišrus metodas – pirmųjų trijų metodų kombinacija arba nestandartinis leksinių priemonių vartojimas. Tyrimu siekiama patikrinti, ar skirtingų žanrų literatūriniuose tekstuose pastebimi bendri pragmatinių prielaidų iššaukimo dėsningumai, ar teksto žanras esmingai įtakoja pragmatinių elementų parinkimą.

Socialinė reklama – tai nemokama arba iš dalies apmokama, sukrečianti arba humoristinio pobūdžio komunikacijos forma, kuria stengiamasi pakeisti visuomenės požiūrį ar elgesį pozityvesne linkme, tiesiogiai nesiekiant pelno. Atlikta apklausa Socialinės reklamos poveikis visuomenei parodė, kad dauguma apklaustųjų žino, kas yra socialinė reklama. Ši reklamos rūšis padeda spręsti socialines problemas, o paveikiausia ji rodoma per televiziją. Lietuvoje vis dar trūksta kokybiškai sukurtų socialinių reklamų. Dažniausiai socialinės reklamos kuriamos direktyvais, kiek rečiau reprezentatyvais. Komisyvų rasta tik „Sveikatos apsaugos“ grupėje. Esama ir mišraus tipo reklamų. Socialinėse reklamose dažniausiai raginama liepiamosios nuosakos antruoju asmeniu. Taip pat nevengiama retorinių klausimų. Išskirtas gąsdinimo mikroaktas. Šis aktas pasireiškia ne tik žodinėje, bet ir vaizdinėje informacijoje. Šiurpūs vaizdai tampa išskirtiniu socialinės reklamos elementu. Socialinė reklama kuriama pagal tris kompozicijos modelius: klasikinį / uždarąjį; nepilną klasikinį / atvirąjį ir vieno dėmens. Būdingas atvirasis kompozicijos tipas. Vyrauja publicistinis funkcinis stilius, bet esama reklamų, kai susipina keli stiliai, daugiausiai publicistinis ir šnekamasis. Siekiant įtaigumo, naudojami įvairūs kalbos aktualizacijos būdai. Dažnesnė sintaksės aktualizacija. Daugiausiai retorinių sušukimų, elipsės, retorinių klausimų. Aktualizuojant leksiką, naudojamasi epitetais, nevengiama ironijos. Ypatingas... [toliau žr. visą tekstą] / Social advertising – is a form of communication, which is of shocking or comic nature. It tries to change the attitude or behaviour of society towards a more positive direction, not using direct account. It may be free, paid or partially paid. Questioning Social advertising effect of community revealed that most respondents know social advertising and it helps to solve social problems. This advertisement has the biggest influence on TV. In Lithuania social advertising still are not high quality. Social advertising mostly created by directives. Not so many advertisements created by constatives. Commissives used only in Health service group. Generally, social advertising used second person imperatives. Also used rhetoric questions. Commination act was taken a part. This speech act used not only in the text also in visual information. Horrific views become exceptional element of social advertising. Social advertising is created according to three composition models: classical / closed; not fully classical / open and having one element. Open composition type is characteristic. Publicist functional style is prevailing, though the most of advertisements are created using some styles – publicistic and spoken for the most part. In order to avoid conventionality, seeking for suggestibility, more effect, different ways of actualization are used. Syntax actualization is more frequent. There are rhetoric exclamations, ellipsis, rhetoric questions. Actualizing lexis, epithets are used... [to full text]

The paper focuses on the analyses of stylistic peculiarities in newspaper headlines. It provides an overview of stylistics, functional styles (newspaper style in more detail), and features of headlines. Also stylistic devices are reviewed and classified. In the empirical part 150 headlines are analyzed while 56 of them are provided as illustrative examples and analyzed in greater detail. Stylistic devices found in the newspaper headlines are allocated to the group they belong to and where it is possible classification of a stylistic devices is provided. / Darbo paskirtis - stilistinių ypatybių analizė laikrščių antraštėse. Yra pateikiama teorinė medžiaga apie stilistiką, funkcinius stilius (laikraštinis stilius aptariamas smulkiau) ir antraščių savybės. Taip pat apžvelgtos stilistinės priemonės ir pateikta jų klasifikacija. Empirinėje dalyje yra išanalizuota 150 antraščių ir 56 pateiktos kaip pavyzdžiai ir išanalizuoti detaliau. Stilistinės priemonės rastos laikraščių antraštėse priskirtos grupei kuriai jos priklauso ir kur yra įmanoma, pateikiama stilistinės priemonės klasifikacija.

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Deictic shift theory (DST) was developed as a model of the construction and comprehension of all types of fictional narrative. With respect to the participant structures of texts, however, DST researchers have focused their attention on deictic shifts in third-person narratives, leaving first-person narratives unanalyzed from this theoretical perspective. As a result, DST in its present form does not adequately account for the variety of manipulations of a range of perspectives that may be achieved in first-person narratives. Nor has DST been systematically applied to texts whose participant structures undergo extensive reorganization as the result of a surprise ending or other narrative twist. By analyzing the deictic and referring expressions that create the participant structure of Chuck Palahniuks novel Fight Club, this thesis tests DSTs potential to account for authors and readers cognitive experiences of first-person narratives with plot twists. The analysis establishes a wider range of linguistic cues that may affect readers mental representations of characters. It identifies interactions between elements in the participant structure, including those that permit the representation of non-narrating characters subjective perspectives, as well as the linguistic features that enable these interactions. The thesis examines the effects of an authors violations of traditional narrative perspective constraints, and it underscores the importance, especially in DST-motivated analyses, of recognizing the potential for interplay between general narrative constraints and the narrative structure of a specific text. The thesis revises DSTs account of the nature and extent of deictic shifts in first-person narratives and describes the role deictic shifts play in fictional narratives that contain plot twists.

Punctuation is an indispensable element in formal and literary texts as well as everyday writing. Studying punctuation is therefore necessary in order to understand written language. Still, it does not fit easily into descriptions of language as an abstract, given system, composed of lexicon and grammar. Within the framework of Bakhtinian dialogism, however, linguists have started to study languaging as an interactive, situated process, meaningful in concrete, embodied utterances. While many such studies have focused on spoken language, this PhD dissertation is an attempt to study written language from a dialogical perspective. The aim of the study is to explore the functions of punctuation and to integrate the analysis of punctuation into a broader theoretical under­standing of written language. This is achieved through qualitative analyses of three contemporary Swedish novels: DIVA by Monika Fagerholm (1998), Förvandling by Eva Adolfsson (2005) and Fadevår, tack för ljuset! by Fredrik Ekelund (2010). In order to discover the rich meaning of specific instances, linguistic details are studied in relation to different aspects of context: the local co-text of the sentence, paragraph, chapter and novel as a whole, relevant intertextual contexts, and, to some extent, contemporary literary movements and technological developments, etc. In all of the three novels, punctuation is an integrated element of style and characterization, and important thematic aspects of each novel are visible at the level of punctuation. General patterns are also to be seen, the most important of which concern, firstly, how punctuation divides the units of written language, and regulates the relationship between these units, and secondly, how shifts in voice and tone are constructed in the novels with the help of punctuation. Furthermore, punctuation can create visually iconic references. The results have many implications for further research. Punctuation is a necessary and integrated part of written meaning-making and should not be overlooked in text analyses. Moreover, punctuation plays a crucial role in the construction of aspects like viewpoint and discourse presentation, which can no longer be ignored. On the spatial surface of text, writers and readers create complex interplays of voices.

In Henry James’s novel "The Ambassadors," James uses axiological language in tropes and in substantives, periphrastically replacing proper names. He also includes valuations in miscellaneous data contained in such differences as the one he makes in "The Ambassadors" between "Europe" (place) and "'Europe'" (concept). As well, James puts adjectival assessments of people and situations in the midst of these constructions and in the mouths of his characters, assessments which vary from those which contradict the value systems posited in the novel by various characters, through those which seem quizzical or ambiguous, to those whose meaning seems obvious under the circumstances. The argument of this critical work is that these attempts at naming tie in fundamentally with the ways in which James means for readers to interpret the identities of the characters and the events and are not merely ornamental. Even when James says that a character "didn’t know what to call" someone or something or when "identity" or a verbal equation for identity occurs in an odd context, James answers his own implied rhetorical question; he is not as problematic to read as is sometimes suggested. Our own valuations are encouraged to be close to the experience of Lambert Strether. Leading the reader through the maze of Strether’s experience, James gives many clear signals from the simplest elements of his complicated language even into the fabrication of his complex metaphors that he, though an explorer of the moral universe, is no relativistic iconoclast. In the examination of these issues, a choice has been made to draw eclectically upon various sources and techniques, from traditional "humanistic" modes of interpretation, rhetorical studies, structuralist and deconstructionist remarks, to existentialism, narratology, and identity studies. This choice is the result of an intention to access as many different "voices" as possible, in the attempt to be comprehensive about the voices of James and "The Ambassadors."

E-mail has become the most popular Internet application and with its rise in use has come an inevitable increase in the use of e-mail for criminal purposes. It is possible for an e-mail message to be sent anonymously or through spoofed servers. Computer forensics analysts need a tool that can be used to identify the author of such e-mail messages. This thesis describes the development of such a tool using techniques from the fields of stylometry and machine learning. An author's style can be reduced to a pattern by making measurements of various stylometric features from the text. E-mail messages also contain macro-structural features that can be measured. These features together can be used with the Support Vector Machine learning algorithm to classify or attribute authorship of e-mail messages to an author providing a suitable sample of messages is available for comparison. In an investigation, the set of authors may need to be reduced from an initial large list of possible suspects. This research has trialled authorship characterisation based on sociolinguistic cohorts, such as gender and language background, as a technique for profiling the anonymous message so that the suspect list can be reduced.

A dissertação ora apresentada traz em foco um homem da cultura musical nordestina de grande valor. Referimo-nos a João do Vale, O poeta do povo. Suas produções musicais refletem a cultura de uma parcela significativa do povo brasileiro, o nordestino. Canto do poeta do povo: um estudo nas letras de João do Vale analisa as letras das canções do primeiro disco deste compositor, por entendê-las no contexto em que foram produzidas e examina-as no seu processo de atuação dos anos 60 em que, sem cortar vínculos com o sertão nordestino, ligou-se às questões políticas, social e cultural de todo o país. Abordam-se as canções populares como ferramenta eficaz para atrair a atenção dos educandos, para o estudo dos fatos da língua portuguesa nos diferentes contextos em que ela se apresenta, por meio de temas instigantes, tal como a ditadura e a cultura popular do homem do sertão. Entre as várias possibilidades de estudo da língua, privilegiou-se estudar a estilística como ciência da expressividade, dando ênfase à estilística poética, pela força da poeticidade de João do Vale mostrada quando externa à poesia simples e aos ensinamentos sábios do povo. Ao apontar caminhos para o estudo da língua portuguesa através das produções musicais populares, em especial as letras de João do Vale divulga-se seu trabalho e torna-se conhecida a trajetória e a produção deste cancioneiro maranhense que, na leveza de sua expressividade, no anseio de ser compreendido e ver valorizada a história de seu povo, registrou-a com musicalidade / The dissertation presented here brings into focus a reputed man of the musical culture of the Northeast of great value. We refer to João do Vale "The poet of the people." His music reflects the culture of a significant portion of the Brazilian people, the Northeast. Canto do poeta do povo: a study in the lyrics from João do Vale analyzes the lyrics of the first album by this composer understand them in the context in which they were produced and examined in the process of operation from the 60s that without cutting laces with the northeastern hinterland engaged himself in the political, social and cultural development of the whole country. His folk songs are approached as effective tools to attract the attention of students to the study of the facts of the Portuguese language in different contexts in which they are presented, through-instigating themes, such as dictatorship era and popular culture of the country man. Among the various possibilities of language study, it was privileged studying the science of how stylistic expressiveness emphases stylistic poetic, through the poetic force from João do Vale when he externalizes the simple poetry and teachings of wise people. As pointing the way for the study of the Portuguese language through popular musical productions, especially the lyrics from João do Vale is to disseminate his work and make known the history and production of this maranhense songmaker that in smooothness of its expressiveness, the longing to be understood and prized to see the history of his people recorded it with musicality

Le minimalisme de l’œuvre en vers et en prose du poète ligure Camillo Sbarbaro (1888-1967) est lié à la forme du fragment et au dépouillement antirhétorique du style, qui apparaissent comme les deux versants d’une recherche d’essentialité de l’expression poétique. Cette thèse se propose d’interroger les notions d’aridité et de fragmentation, au croisement de la vision du monde de Sbarbaro et de l’émergence de son style. Il s’agit de dépasser le simple constat du caractère épuré de ce style pour analyser précisément son fonctionnement, à travers une lecture croisée des textes en vers et en prose de Sbarbaro, afin de rendre compte du décloisonnement générique qu’opère son écriture. Loin de sacraliser l’individualité du style d’auteur, cette étude se penche sur les rapports qu’entretient l’écrivain avec son époque, en premier lieu à travers l'analyse de l'influence des avant-gardes italiennes du début du XXe siècle. Le style de Sbarbaro n’est ni exempt d’apports exogènes ni dépourvu de variations. L’examen des variantes d’auteur et des traductions de la main de Sbarbaro montre en effet que ce style, caractérisé globalement par une forme de paupérisme, peut pourtant apparaître parfois comme une tension vers un surcroît de littérarité. D’une façon plus générale, l’aridité minimaliste n’exclut pas la saillance des figures syntaxiques et analogiques, et la discontinuité fragmentaire n’empêche pas la construction de structures phrastiques ou textuelles qui témoignent d’une prévalence de la logique syntagmatique sur la logique paradigmatique. Le style sbarbarien résulte alors de cette tension entre le dépouillement et le relief figural, entre la déliaison et le réticulaire. / Camillo Sbarbaro (1888-1967) is a ligurian poet whose work in prose and poetry is characterised by its minimalism. Through the form of the fragment and its stark style, the poetic language is stripped down to the essential. This thesis is a study about the concepts of aridity and fragmentation, halfway between Sbarbaro’s vision of the world and his peculiar style. Trying to go beyond the mere observation of a rhetorical starkness, my aim is to analyse precisely how Sbarbaro’s style could be described and defined, opting for a comparative reading of his prose and poetry, in order to show how the author breaks down the barriers between genres. Avoiding to sanctify the individuality of this style, the links between the writer and his own time are reported, since his literary career and the development of his style are influenced by traditional models and by contemporary movements, among which the Italian avant-gardes of the 20th century. Sbarbaro’s style is partially made of exogenous patterns and does not exclude diversity. The author’s variations and his translations show that his style, despite its general poverty, can sometimes tend to increase the initial literarity of the text. Plus, there is no absolute contradiction between the minimalist aridity of Sbarbaro’s style and the relief – or emphasis – of some stylistic devices, nor the fragmentation prevents the author from constructing complex sentence structures or textual sequences, as if the syntagmatic relations prevailed over the paradigmatic organisation. Sbarbaro’s style is the result of a tension between the starkness and the relief of figures, and between discontinuity and the syntagmatic structures.