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The groundwork of literary stylization: genre, style, and cultural pragmatics
КУЛЬТУРА И ЦИВИЛИЗАЦИЯ/ CULTURE & CIVILIZATION
УДК 82.01
DOI: 10.24412/2413-693X-2021-3-142-149
Основы литературной стилизации: жанр, стиль и культурная прагматика
КОНУРБАЕВ Марклен Эрикович, доктор филологических наук, профессор кафедры английского языкознания, филологический факультет, Московский государственный университет имени М. В. Ломоносова; научный руководитель Департамента иностранных языков и межкультурной коммуникации Финансового университета при Правительстве Российской Федерации, Москва. E-mail: mekonurbaev@fa.ru IstinaResearcherID (IRID): 3291050 ResearcherID: J-7449-2013 Scopus Author ID: 57191955856 ORCID: 0000-0003-4710-9444
ЛИПГАРТ Андрей Александрович, доктор филологических наук, профессор кафедры английского языкознания, филологический факультет, Московский государственный университет имени М. В. Ломоносова. E-mail: a_lipgart@mail.ru IstinaResearcherID (IRID): 1311899
Аннотация. Наиболее корректный с эстетической точки зрения перевод поэтического произведения может быть лучше всего достигнут с помощью стилизации. В лингвистике стилизация — это «подражание манере повествования, стилю речи и т. п., типичным для какого-л. жанра, социальной среды, эпохи и т. п., обычно стремящееся к тому, чтобы произвести впечатление подлинности» (Ахманова, 1969). Обычно писатель, стремясь создать указанный эффект, никогда не пытается воспроизвести исчерпывающий набор жанровых особенностей имитируемого текста, а мыслит в терминах «необходимого и достаточного» количества концептуально и лингвистически специфических черт, имеющих основное значение при создании того или иного эффекта.
Исследователь, задачей которого является выявление этих особенностей, вероятно, должен начать с составления полного списка стилистических средств, использованных автором, а затем рассмотреть их относительную функциональную значимость в создании желаемого эффекта. Результаты такого исследования имеют большое практическое значение для переводчика, который неизменно сталкивается с проблемой баланса между концептуально значимыми элементами и эмоционально-экспрессивными маркерами.
Ключевые слова: стиль, стилизация, жанр, функция, поэзия, литературная критика, филология, теория жанров, прагматика, феноменология речи, культура, мировоззрение, лингвистика, определение, терминология.
Для цитирования: Конурбаев М. Э., Липгарт А. А. Основы литературной стилизации: жанр, стиль и культурная прагматика // Сервис Plus. — 2021. — Т. 15. — № 3. — С. 142-149. DOI: 10.24412/2413-693X-2021-3-142-149
Статья поступила в редакцию: 03.06.2021.
Статья принята к публикации: 03.07.2021.
Конурбаев М. Э., Липгарт А. А. 2021, 15(3), 142-149
Основы литературной стилизации: жанр, стиль и культурная прагматика
The groundwork of literary stylization: genre, style, and cultural pragmatics
KONURBAEV Marklen Erikovich, PhD, Professor of English Philology, Department of English Linguistics, Faculty of
Philology, Lomonosov Moscow State University; Research Supervisor for the Department of Foreign Languages and
Intercultural Communication at the Financial University of the Government of the Russian Federation, Moscow
E-mail: mekonurbaev@fa.ru
IstinaResearcherID (IRID): 3291050
ResearcherID: J-7449-2013
Scopus Author ID: 57191955856
ORCID: 0000-0003-4710-9444
LIPGART Andrey Alexandrovich, PhD, Professor of English Philology, Department of English Linguistics, Faculty of Philology, Lomonosov Moscow State University E-mail: a_lipgart@mail.ru IstinaResearcherID (IRID): 1311899
Abstract. The purpose of the best aesthetically valid translation of a poetic work can be best achieved through stylization. From the linguistic point of view stylisation is «an imitation of a manner, or narrative style, etc, typical of some genre, social milieu, time in history, etc, usually aiming at creating an impression of authenticity» (Akhmanova, 1969). Normally a writer, aiming at creating the said effect, never tries to reproduce an exhaustive set of the peculiar genre features of imitated text, but thinks in terms of the «necessary and sufficient» amount of conceptually and linguistically specific features bearing the main load in creating a particular effect.
A researcher, whose task is to reveal these features, should probably begin by making a complete list of stylistic devices used by the author, and then consider their relative functional significance in producing a desired impact. The results of such study appear to be of a high practical value for a translator, who invariably faces the problem of the balance between conceptually significant elements and emotional-expressive «decorators».
Key words: style, stylization, genre, functionality, poetry, literary criticism, philology, theory of genres, pragmatics, phenomenology of speech, culture, worldview, linguistics, definitions, terminology
For citation: Konurbaev M. E., Lipgart A. A. (2021). The groundwork of literary stylization: genre, style, and cultural pragmatics. Service plus, 15 (3), 142-149. DOI: 10.24412/2413-693X-2021-3-142-149 (In Russ.).
Submitted: 2021/06/03.
Accepted: 2021/07/03.
The definition of stylisation was never the subject of great debates among scholars as, for example, was that of genre. This situation may be accounted for by the fact that most scholars are unanimous in understanding and, consequently, in defining stylisation as a method of intentional reproduction of a particular artistic, social, or cultural material (Yartseva, 1990).
According to the Russian scholar Victor Vinogradov, the notion of literary stylisation appeared as a result of the «interest to the expressive overtones and stylistic differences, conditioned by the author's individual creativity or the original flavour of this or that culture...» (Vinogradov, V., 1999, p. p. 544). Mikhail Bakhtin wrote
in this connection: «stylisation comes from admiring the aesthetic perfection of another work... Stylisation in a focused way projects the stylistic peculiarities of the original text on the conceptually new material» (Flyagina, 2000, p. 21). Thus, the notion of stylisation involves, apart from purely linguistic aspects, also the social, and cultural sides.
A brief insight into the notion's evolution history can be found in the book by the Polish literary critic S. Skwarczynska «La stilisation et sa place dans la science de la literature»: «The word to stylise.first meant «to form something in the written form». This meaning still exists in the modern language and implies the idea of
The groundwork of literary stylization: genre, style, and cultural pragmatics
polishing the content while writing.. .But during the 19th century the word stylisation becomes better defined. To stylise means to adjust consciously your style to the norms of a perfect, ideal style or a functional style. In this sense the word had spread widely by the end of the 19th century» (Troitsky, 1964, p. 170).
According to V. Troitsky, stylisation has presently come to mean «an imitation of a model», «an imitation of the outward form and characteristic features of a style. It comprises at least two styles — «a prototype» style, serving as a model (and always implied), and the one of an imitator or a stylizer, which reproduces the source style» (Troitsky, 1964, p. p. 169). The aim of stylisation is to make the imitated style recognisable.
The Linguistic Encyclopaedic Dictionary singles out the following variations of stylisation: imitation (when the outward features of a style are being reproduced without any specially defined artistic purpose, when they organically merge with the authors individual style so that we no longer feel the difference between the imitated work and the imitation itself) (Bakhtin, 1979, p. 220); and parody, when the characteristic features of a «prototype» style are intentionally «hypertrophied» aiming at ridiculing this style (Timofeev, 1974; Bakhtin, 1979, p. 224).
Speaking of stylisation as of a «genus term» Maria Verbitskaya suggests using the term «imitational genres» for denoting parody, periphrasis, imitation, folk tale and so on (Verbitskaya, 1980, p. 6). Many scholars made stylisation a subject of their research on the Russian literature material. Among such works are the treatises by R. Helgard dedicated to the style of Bazhov's folk tales, articles on stylisation of speech by A. Alpatov. Mikhail Bakhtin in some of his books («Literature and Aesthetic Issues» is one of them) touched upon stylisation as well. Several pages of his book on F. Dostojevsky's poetics deal with the «secondary nature» of stylisation (when a stylised text is perceived as something secondary in relation to the primary text), and the way this effect of «something secondary» is created in the reader's conscience.
A. Yefimov suggests the following classification of stylisation types: historical, which involves the reproduction of the speech of different epochs; genre stylisation, which involves the application of the means and methods of expression, characteristic of a certain genre and is based on the core of lexis and phraseology as well as the sentence structure; and
social-speech stylisation which aims at reproducing speech peculiarities of various social layers (Yefimov, 1961, p. 95).
Yu. Flyagina tries to find out «whether there is a minimum set of linguistic elements of the original text, sufficient for its successful stylisation» (Flyagina, 2000, p. 167). The scholar suggests the idea that «in elaborating stylisation, apparently, the primary role belongs to subconscious understanding and imitation of the speech structure of the imitated author at the level of simple rhythmical groups, their properties and alterations» (Flyagina, 2000, p. 167). Finally, Flyagina comes up with several requirements for a successful stylisation, among which the most crucial are:
1) minimal set of linguistic means, characteristic of the
original text and rendered in stylisation;
2) key composition elements important for creating
associations (lexical parallels, alike phraseology,
similar images);
The notion of genre stylization is related to the problem of correlation between the content and the form of a literary work. The matter has been widely discussed by the Russian and the foreign scholars. The first point of disagreement between the scholars appears when genre is regarded as a stable form of a literary work. The followers of the formalistic theory, U. N. Tynyanov (1977), N. Pearson (1965), R. Wellek, and O.Warren in their understanding of genre shared the idea that genre is «a set of devices and rules, formal structure of the work» (Chernets, L., 1982, p.67). Pearson was even more radical in his views; he stated the superiority of form over the content: «the very essence of the literary process is to create the form. The goal of an artist is to create the proper architecture; his creation in not the material, but the form» (Pearson N. H., 1965, p. 63). It appears that formalists paid little attention to the content of a work.
Tynyanov (1977) applied systematic approach to the problem of genre. He concluded that it is impossible to give any definition of genre that would cover the entire concept. Genre reveals the tendency to transform. Finally, the scholar refuses to regard genre as a stable type of a literary work. Konurbaev (2015) writes in this connection that genre classification is mostly used to provide a tangible basis for aesthetic judgements of literary works: «characteristics of genres, styles, literary trends have been imposed on hundreds of literary writings and were designed to serve as points of reference in making
Конурбаев М. Э., Липгарт А. А. 2021, 15(3), 142-149
Основы литературной стилизации: жанр, стиль и культурная прагматика
judgments about their aesthetic value. Stylistic typology was very helpful of course but often failed in assisting the ordinary reader in determining the unique features of the works of verbal art. Uniqueness is rooted in the way the author chooses to defamiliarize certain lexical items used in the context of speech that eventually form various aesthetic canvases». Stephen Pax Leonard (2021) emphases, quite importantly, the often-phenomenological nature of genre forming: «Moments of heightened linguistic consciousness — he writes, — such as in a language learning context permit, however, a particular articulation of the conceptual understanding of language once 'speech is reduced to its elementary level of phenomenological factors' (also Konurbaev, 2018, p. 19).
An outstanding Russian scholar Mikhail Bakhtin, who made a significant contribution to the development of the theory of genre, understands the term as a «typical form of the entire literary work» (Bakhtin, M. M., 1979, 1, p. 279). He does not stand on formalistic position and sees genres not as combinations of formal devices, but as «forms of seeing and realising certain sides of the world» (Bakhtin, 1979, 1, p. 332).
Such diversity of views is understandable: when we deal with imaginative literature (viewed as an object literary criticism) it is often very difficult to talk of «the stable» regarding the author's imagination and creative power. However, there is always a certain canon to be followed. Even the most original and unique work of art inevitably contains elements of the old, traditional together with the elements of the new and the individual. At this point the scholars agree on genre's connection with historical time. In this respect, Tynyanov viewed genre as «an element of the genre system of a certain period. What was called an ode in the 20s of the 19th century — in Lomonosov's time was called so according to other characteristics» (Chernets, L. 1982, p. 67). That means that with time genres may change the set of their characteristics due to the changes in literary process or historical environment.
Mikhail Bakhtin who emphasised the genre's historical aspect as well, later developed his idea still further: «Due to its nature, a literary genre reflects the most stable, «time honoured» trends of the literature's development. Genre always contains imperishable archaic elements. Those elements become preserved thanks to their constant renovation, so to say, modernisation. Genre is always the same and not the same, both new and old.
Genre becomes reborn at each stage of the development of literature and in each individually created work of a particular genre. This is the genre's life. Genre.always remembers its past. Genre represents creative memory in the process of literary development» (Bakhtin, 1979, p. 122).
It is important that he also mentioned genre's connection with a certain literary tradition: «Each new variety of genre, each new work, written within a certain genre, always enriches the genre, improves and perfects its language. Therefore, it is very important to know the probable genre sources used by an author, to know the literary atmosphere in which the work was being created. The more concrete contacts we reveal, the deeper we can penetrate into the peculiarities of his genre form and the better we understand the proportion of traditional and new in his work» (Bakhtin, 1979, p. 183).
The next extralinguistic factor that determines genre is of a functional nature. It deals with the functional purport given to the text by the author. The author starts to write when he wants to say something to the world, share his ideas with the others. Whatever form of expression he chooses — is up to him, for it is for him to decide in what form his ideas would be best understood by his readers. Therefore, we can say that the genre of his work will not be picked up at random — but it will rather depend on the communicative purport, the task, which the author assigns to his work and tries to achieve in his writing. We can also call it the «predominant aesthetic quality» (Chernets, L., 1982, p. 18) as suggested by some scholars. In this sense the term would cover only literary texts, because in some functional styles the aesthetic function is not realised at all.
Since we talk of genres not only from the position of a theory of genres in literary criticism but from the point of view of functional stylistics as well, it would be correct to speak of the communicative purport of the work as of a less specific term. It is widely understood that in fiction communication is mostly of aesthetic nature, i.e., creating meta-reality with the help of words. Non-fiction genres, however, apart from occasionally creating aesthetic scenes (in the stated meaning), can pass on authentic information, recommend, or prohibit something.
The next important genre-determining factor is the notional one. If the text is a fairy-tale, for example, its characters are most likely to be unreal, imaginary creatures taking part in unreal, wonderful events. If we
The groundwork of literary stylization: genre, style, and cultural pragmatics
take the genre of a chronicle, it will give us an account of real events in chronological order with dates and quotes, recounted by a historian not always unbiased. In either case the content requires the use of the appropriate form, in which it best achieves the desirable effect. The notional layer is to a considerable extent predetermined by the author's individual perception of the world. Authors with similar views of the world may later establish schools or give rise to literary trends, cultivating particular genres or, on the contrary, inventing new ones, elaborating artistic methods, devices, and themes, which with time crystallise into characteristic traits of their literary trend or school.
Thus, the notional layer, the communicative purport and the author's perception of the world constitute the subjective features that determine the genre of a literary work, while the historical period, literary trend and literary tradition can be referred to as objective ones.
In the 19—20th centuries the attitude to genres became rather complex. On the one hand, traditional genre structures, elaborated over many centuries, were still preserved. On the other hand, a writer felt free to use any form of personal expression, free to ignore any strict rules or already established canons.
There is a point of view that the boundaries of literary genres are becoming «blurred if not absolutely destroyed». The authors tend to disregard strictly established genre structure. There appear the so-called new «synthetic forms» of novels, poems, and plays which hardly fit any traditional genre (Teoria literatury, 1964, p.130, 131, 208-210).
It appears that genre typology varies from an epoch to an epoch, from one scholar to another. However, it is possible to speak of a prevailing non-formalistic approach towards the problem of genres. According to this point of view genre is regarded not only as a relatively fixed set of certain artistic devices but also as a dynamic, changing, individual combination and transformation of those devices with frequent overlapping of the characteristics of one genre with those of another genre. In this sense genre is not a rigid, forever established form of expression but should rather be viewed as a flexible material for individual creativity and freedom of realisation. Genres merge: thus «synthetic forms» appear. An author is allowed, so to say, to combine genres, «to clothe» the content into any form, according to his purport and view of the world.
So far, we have concentrated mostly on the extralinguistic aspects of genres, such as the author's
communicative purport, historical epoch, literary trend and literary tradition, and considered them from the point of view of literary criticism. But the notion of genre is also an object linguistic studies and is considered
within the framework of stylistics.
*
According to V.Vinogradov and N. Kozhina, «it would be right to differentiate among at least three spheres of stylistic research, which have a lot in common, very often overlap. but have, [in the final analysis] their own tasks, criteria, and categories. These are: linguistic stylistics or structural stylistics; speech stylistics, i.e. of various kinds and acts of social usage of the language; and stylistics of artistic literature» (Vinogradov, Victor, 1963, p. 5). N. Kozhina defines stylistics of speech as the primary object of functional stylistics, a «scientific trend, which studies the rules and ways linguistic means function in various kinds of speech, that correspond to certain spheres of human activity and communication; it also studies the speech structure of functional styles and the «norms» according to which linguistic means are chosen and combined in them» (Kozhina, 1966, p. 67).
Style is «one of the variants of the language, or language subsystems, with its own vocabulary, phraseology, constructions and turns of speech, which differs from other variants of the kind mainly in the expressive and evaluative features of their elements, and usually associated with particular spheres of language usage» (Akhmanova, Olga, 1969). The choice of a certain style is conditioned by the speaker's or writer's intention: whether he/she just wants to provide his readers with information, to convince them to act in a certain way or to impress them. Thus the choice of language (or, simply, of words, to quote Professor O. S Akhmanova) will be determined by «the convention that a certain kind of language is appropriate for a certain use» (Akhmanova, Olga, 1978, p. 5).
V. Vinogradov works out a system of functional styles based on the functions the language fulfils. There are several theories concerning the number of language functions. Roman Jakobson singles out six of them: emotive, referential, poetic, phatic, metalingual and conative (Akhmanova, Olga, 1972, p. 46). Kozhina criticises Jakobson and writes: «if one tried to classify functional styles according to those functions, they would not cover all stylistic divergences that we find in speech» (Kozhina, M.N., 1966).
Конурбаев М. Э., Липгарт А. А. 2021, 15(3), 142-149
Основы литературной стилизации: жанр, стиль и культурная прагматика
According to the theory of academician V.Vinogradov, there are three main language functions: communicative, intellective and aesthetic (Vinogradov, Victor, 1963, p. 6-8). A functional style therefore would mean a variety of language based on the dominant functional linguistic peculiarities in a particular speech environment or sphere of social activity. According to V.Vinogradov there are six functional styles with respective language function fulfilled:
1. the style of every-day communication (communicative function);
2. scientific style (intellective function);
3. the style of official-documentation, or official style (intellective function);
4. the style of every-day business communication (communicative function);
5. the style of journalism (the function of impact)
6. the style of fiction (the function of impact).
The style of every-day communication is the one that is being used by all of us and all the time in informal, everyday situations. It can be characterised by a large freedom of the choice of words and grammatical structures: an utterance may consist just of a rough minimum of linguistic elements, yet it should be sufficient for a successful communication between people. Scientific style is typically used in corresponding spheres of human activities: conferences, universities, scientific articles and debates, etc. Official style is used in court, in the sphere of diplomatic and business relations. Official letters, notes, agreements are composed in compliance with the rules and standards of the official documentation style. Journalistic style deals with topics related to politics, social life, and public opinion. The style of fiction is the one of literary art, and writers' creative imagination. There is one «but» though, we can only speak about the predominance of a certain style in this or that area of social life; all categorical statements and divisions would have been too presumptuous.
A linguistic function is realised through the choice of particular words, word combinations and syntactic constructions. Thus, for example, scientific style would rest on terms, «water-tight» definitions and logical argumentation. In such texts words are used mostly terminologically and their semantic scope is, naturally, «narrowed». Official style rests on the expression of the general concepts and ideas. Informal, colloquial words and expressions, «slang words» are typical of the everyday communication style.
The above-said however does not mean that the functional styles are always clearly and uncontroversially defined. A very important point to be made here is that in every style there would always be words realising everyone of the three functions, and the boundaries between the functional styles is very often blurred. In connection with this research, it is also important to note that «style-specific» words (meaning those which play the role of «decorators», providing a specific emotionalexpressive colouring) would constitute a relatively small percentage of a text's vocabulary.
As for grammar and syntax — the use of certain forms and constructions varies from one functional style to another. For instance, the scientific style would often be characterised by direct word order; official style tends to use more stock phrases and cliches. However, some characteristic lexical-syntactic features of one stylistic register can be perfectly used in another.
Functional styles differ in the degree of impact and emotionality. Emotional expressiveness is usually unnatural for the scientific style, and is unacceptable in the official style, but quite suitable in fiction and the style of journalism.
To sum up, each functional style has a definite field of usage, special vocabulary and terms, lexical arrangement, syntactic structure, the words of the general language and the main function it fulfils.
Following the principles described above, all texts can be further classed according to a particular genre. Linguist K. Reiss offers her theory of the text stylistics, according to which «there are text-genres (Textsorte). i.e. a class of verbal texts, with similar structure, variability range and usage in analogous contexts.» (Folia Anglistica, 2000, p. 11). Genre variation of texts reflects the social norm, which defines the choice of linguistic means for the production of texts of this or that genre. Norms and conventions of a genre are very important. Together with stylistically «neutral» words (i.e. those used in all genres) there are other lexical units, the usage of which is limited by specific genre boundaries. In speech these units are invariably associated with a particular genre or otherwise stated, become «genre-specific». For example, scientific texts state universal truths. Therefore, the forms of the Present Tense prevail in such texts. Subjunctive Mood forms, infinitive + modal verb constructions are used more rarely. The verb plays the primary role in the time structure of the scientific text. In terms of lexis scientific texts may
The groundwork of literary stylization: genre, style, and cultural pragmatics
employ a large number of terms. All can be explained by the fact that such kinds of texts are built with the help of the «standard linguistic means», conditioned by the logical and precise nature of these texts. In contrast with the strictly and clearly regulated features of scientific texts, the form of each text in fiction literature is unique, complex, and multifarious. It involves composition, syntax, morphological means (Novikova M., Lebed, O., 1988, p. 24). The genre of a sonnet, for example, requires the observation of strict compositional rules: fourteen lines with the last two rhymed.
The differences between norms and conventions of a genre become especially striking when they cross the boundaries of languages and cultures (Shveitser, A. D., 1988, p. 33). «Along with the genres shared by all writing cultures, there are genres existing only in one culture (Japanese poetry genre khaiku, for example» (ibid, p. 35).
In terms of linguistic variation genres can be «rigid» (or «restricted») and «flexible». In genres with strict, rigid rules «the laws of genre may lead, for instance, to a complete disappearance of the author's individual style» (Novikova M, Lebed. O, 1988, p. 5). The so-called «rigid» genres include:
1) among scientific and official texts: scientific articles and theses, reports, rUsumUs, official letters, scientific experiments studies/analysis/descriptions, patents, and so on;
2) among publicity texts and diplomatic documents: front-page article, application, note, declaration, communique;
3) in folklore: fairy-tale, ballad, «nonsense» poetry;
4) in fiction: epigram, parody, «nonsense» poetry, ode, fable, aphorisms, detective story, science fiction (or the insertions of the technical sort of text into the core text), buffoon comedy (or insertions of that kind into the core text of a drama work).
To the «flexible» genres, those that are relatively free from restricting rules, belong:
1) in scientific literature: fragments of discussion articles;
2) in publicity texts: review, letter to the editor, essay, scientific-popular genres;
3) in folklore: song;
4) in fiction: all poetic, drama, and prose genres with
the exception of those mentioned above.
Since the texts belonging to one and the same genre are likely to share common features, scholars suggested the notion of the «dominant stylistic feature» (already mentioned by K. Reiss), which is a dominant invariant characteristic of a certain genre, realized in the styles of all other texts of that genre (cf. Lipgart, Andrey, 1996). In other words, it is the «core», the principal features that determine a particular genre. This notion proved to be extremely useful in the sphere of translation. A writer and a translator M. Rylsky says: «.if you translate a poet, who's main power is in rhythm and sounds, it is this main feature you should take care of, consciously sacrificing for its sake the logical train of his thoughts. Contrariwise, while translating a rational, «logical» poet, it is necessary to follow his logical line of expression, ignoring from time to time the rhythmical soundness and melodic effect» (Novikova M., Lebed. O., 1988, p. 13). Thus, by determining the genre-stylistic dominant feature in any original text we would be able to define the stable/ unstable, compulsory/non-compulsory features for the translation of the text or for the analysis of a translated text. It would also be possible to determine what changes in the target text can be allowed from the point of view of the genre conformity and what changes may lead to the destruction of the original genre and stylistic whole of the source test. Konurbaev (2018) observes a very often extralinguistic, perceptual nature of genre forming that should be taken into account in the course of a literary translation: «perception networks are broad and various and are often full of intuitive references and guides. Indeed, natural human communication often goes beyond words. The author's intention is often identified between the lines, in the intricate modulations of opinion, faith and attitude, trembling on the sensitive strings of the rough matter of the language».
It appears therefore, that a genre should be considered as a peculiar realisation of a particular functional style and is a relatively stable type of a text, characterised by a particular functional-linguistic orientation, sphere of use, and the choice of compositional, lexical, syntactic, and decorative elements.
Конурбаев М. Э., Липгарт А. А. 2021, 15(3), 142-149
Основы литературной стилизации: жанр, стиль и культурная прагматика
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3. Akhmanova Olga (1978) What is the English we use? Moscow: MGU.
4. Bakhtin M. M. (1979) Problemy poetiki Dostoevskogo, Moscow, «Sovetskaya Rossiya».
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