Analysis of the main stylistic language means and techniques expressing emotionality in English (using the example of a comedy series)

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Ministry of education and science of the Kyrgyz Republic

International University of Kyrgyzstan

Specialty: «linguistics»

Course work

Analysis of the main stylistic language means and techniques expressing emotionality in English (using the example of a comedy series)

Done by Studentof the group Пп-3-17

Karypbek kyzy Guldan

Supervisor: Urazalieva Nargiza

Bishkek 2020

Contents

Introduction

Chapter 1. Theoretical aspects of studying stylistic means of expressing emotions

1.1 Stylistics as Science

1.2 The concept of "Emotions." Varieties and characteristics of emotional speech

1.3 Expressiveness in speech

Chapter2. Features of using the analysis of stylistic means of expressing the emotional component in the comedy series "Friends"

2.1 Material and research methods

2.2 Comedy series and the means of expressing its emotional component

2.3 Analysis of stylistic techniques and means of expressing emotions in the series "Friends

Conclusion

List of used literature

Introduction

In recent years, emotions and their expression have been the subject of a thorough study by linguists. A person's whole life consists of emotions. Emotions, in turn, are directly related to speech. Emotional change provokes a change in the whole state of a person, which entails a change in his speech, its termination, or vice versa, acceleration and strengthening, as well as his activities, that is, this change is most noticeable at the behavioral level. It is almost impossible to find a condition that a person would not experience subjectively. Psychologists call emotion a mental reflection of the experience of life meaning.

Despite the fact that the study of emotions and their influence on speech has been conducted for a long time, there are still some difficulties in finding a single system, classifying and describing specific emotions. All existing classifications differ - they have a different number of emotions considered, different approaches to their separation, so there is still no universal generally accepted system.

The expression of emotions, feelings, and perception are these psychological laws that underlie the phenomenon of expressiveness. Expressiveness is present at all levels of the language. Expressiveness is manifested in phonetic, lexical, morphological and syntactic units of the language. Emotionality and expressiveness, as a reflection of our internal state and its projection onto the outside world, often take on a form of humor in real life. It manifests itself in copyright neologisms, the use of colloquial speech and jargonisms, stylistic figures - onlookers, hyperbola, repetition, assonance, and other things.

This work is devoted to the study of stylistic language tools and techniques that express emotionality in English.

The object of the study is the comedy American series "Friends" and its language means through which they are demonstratedemotional relationships - the states of the heroes.

The subject of the study are manifestations of emotional in speech: stylistic means of expressing positive and negative emotions.

The purpose of the graduation work is to identify stylistic means of expressing emotionality in the text and analyze them.

Within the framework of the goal, it is considered necessary to solve the following tasks:

* consider the theoretical aspects of studying the relationship between human emotions and language;

* characterize the genre of situation comedy, the series "Friends" and its influence on the English language;

* describe and analyze the main stylistic means used to express emotionality in a comedy series.

Chapter 1. Theoretical aspects of studying stylistic means of expressing emotions

1.1 Stylistics as Science

Stylistics is a science that studies not only the Reche effect of a work, but also the ways in which this effect is achieved. Consequently, it researches the means of language expression that provide a pragmatic aspect of utterance. So, the task of stylistics is to some extent a linguistic study of communication methods, which consists in the creation, transmission and perception of a message.Antrushina G.B. Lexicology of English: textbook for students. - M.: Drofa, 2014. - 287s.

Among the problems that are dealt with by the style of the language are:

· The concept of style and the subject of stylistics;

· Functional styles of language as a form of literary language;

· Special language tools, special methods of combining language tools, providing additional information;

· The author's individual style as a special collection of language tools, characteristic only for this writer;

According to a certain system of organizing language means, functional style varieties, or styles, can be distinguished, depending on the area of ? ? language use, the content of the statement, the situation and the goals of communication.

The language units of each level - sounds, words, their forms, phrases, sentences are the object of study of stylistics. So, we can say that the language is studied immediately throughout the structure.

The main task of stylistics is to study and describe functional styles, stylistic properties and features of individual language units, thanks to which they are combined in a common language system into private, functional subsystems. This is the main concepts that stylistics deals with: functional styles and stylistic meanings and coloring.

The modern literary language mainly consists of commonly used and neutral language units. Thanks to them, all styles are combined into a single language system, because they are the very background on which you can distinguish stylistically bright, marked units. It is they who bring a specific functional-style hue to the text. However, the presence of a certain context can change the nature of stylistic coloring. For example, affectionacy becomes ironic - "little lady," "little man"; but suddenly affectionate and even offensive words can sound - "oh, my lovely burglar," "my old fat doggy." In context, emotionally expressive coloring can also appear in functionally fixed language units. The same language unit has many different stylistic colors. This is influenced by the meaning and features of its use. In its direct meaning, multi-valued words are stylistically neutral, and in another, more often portable, they acquire a bright emotional expressive color.

* The hunter shot a pig. (Neutral)

* The pig brain is activating a little-known side effect of Cortexiphan, which is temporary tissue regeneration. (Scientific).

* Do you always have to act like a pig?! (Colloquial, disapproving).

A constant stylistic connotation, that is, the ability to have a characteristic stylistic color not only in a certain context, is not necessary for a language unit to be a stylistic means. It is also the elements of language that acquire it in certain manifestations of speech activity, in characteristic synthagmatic connections.

Stylistics is considered by many linguists as an area where only fiction and its language are studied. It can be said that they consider it an area related to linguistics only indirectly. They, as well as many other scientists, consistently dealing with the relationship between the means of expression and the expressed content, deliberately switch to problems of an aesthetical-cognitive nature. They capture the psychology of language, pragmatics, literary criticism and other branches of science that are not directly within the limits of linguistics. As noted by I.R. Halperin, this theory is reflected in the American school of stylistics, which denotes style as a kind of abstract category, which has personality features characteristic of an individual.

At the same time, many representatives of the American school of stylistics recognize the multidimensional concepts of "style" and "stylistics." For example, Samuel Chatman writes in his Literary Style collection that the concept of "style" is equally related to the originality of the use of language by an individual or group of individuals, as well as to the formalized features of the definitions of a group of texts, as well as to the increased expressiveness of the statement.

Analyzing numerous works on stylistics, one can observe a divergence of views in the definition of the original concept of "style":

* "Style is a feature of language to accurately convey feelings and thoughts or emotions and thoughts as a system."

* "Style is one of the varieties of language, characterized by an individual peculiar expressive selection of words, phraseologisms, syntactic constructions, and sometimes pronunciation, as well as morphological features."

* "Stylistics is the theory of aesthetic use of language, including the study of the effect of its use."

* "Style is a contextual-restricted version of the language."

* "Stylistics uses judgments of the evaluation species."

The functional style of the language is a kind of literary language that appeared due to the specific needs of society in separating forms of language communication depending on the purpose of the statement and the situation.

The split of the literary language into functional styles has a direct place in sociolinguistics. According to V.N. Yartseva, this expediency of communication, as the need of society at the stage of its development, was an incentive that led to the division of speech into styles. Differences in their selection and combination are a means of their differentiation.

Based on this, the functional style of the language is a system of mutually agreed means of language aimed at achieving a specific result of a speech message, where their interdependence is characteristic only of a given type of message.Antrushina G.B., Afanasyeva O.V., Morozova N.N. Lexicology of the English language. - M.: Drofa, 2018.

1.2 The concept of "Emotions." Varieties and characteristics of emotional speech

During development, the human brain has a special model for the manifestation of reflective function - emotions. Emotions are a means of assessing and meeting a person's internal metabolic needs.

Emotions are one of the most important aspects of human life, since they are the result of a person's experience of reality, his attitude to the environment and to himself. They play a huge role in regulating psycho-somatic processes, higher nervous activity would be impossible without them. Emotions and feelings do the work of an indicator, a behavioral motivator, which indicates how useful an irritant is for life - emotions, or for the relationship between personality and society - feelings. A person's different attitude to the perceived is between pleasant and unpleasant.

Human emotions are always necessarily biased human experiences of events, which are due to the subjective attitude of the subject and his needs to their properties. They also reflect a person's subjective attitude to himself.

By nature, content, form and manifestation, emotions can be different. This explains why scientists in various fields of science pay special attention to non-verbal behavior in the process of communication, calling it a manifestator of a person's emotional state. Instinctive are these impulses or the highest forms of social activity - the whole life of a person is permeated through emotions. Emotions allow all living beings to assess their condition and the effects of environmental conditions, as well as anticipate this influence in advance. In recent years, emotions have become the subject of a thorough study of linguists. A new field of linguistics has appeared at the junction with psychology - emotiology - a science that studies the emotive meaning of the word. The object of emotiology was the linguistic classification of emotions and the category of emotion. V. And Shakhovsky understands emotion as a semantic property inherent in language to express emotionality by the system of its means as a fact of psyche, reflected in the semantics of language units social and individual emotions.

Despite the fact that during all this time there have been many attempts to find a single system, classifying emotions, there are still some problems when describing specific emotions.

According to E.I. Ilyin, this problem arises due to the fact that there are difficulties in determining the authenticity of the independence of emotions - whether this is a separate kind, and not the same emotion indicated by different words, which can be associated with the verbal designation of the degree of intensity it is the emotion itself.

Parameters by which different emotions are classifiedmay be designated as follows:

· The presence or absence of a mental assessment of emotions is divided into simple and complex, that is, feelings. Unlike simple emotions for the emergence of complex ones, such as love, it is necessary to have a certain level of intelligence. Simple emotions are not based on assessment, but on the direct feeling of a situation, both bad and good. Forexample, fearorpleasure.

· If we talk about the "pole" of emotions experienced, then they will be divided into stenic and asthenic, that is, positive and negative. At the same time, positivity/negativity can be both stenic and asthenic, taking into account the situation, individual features of perception and cultural specifics.

· According to the vector to which emotions are directed - inward, outward or outward, emotions are personal - grief, longing; and non-personal sympathy, respect.

· Emotions can activate or inhibit human activity. According to the impact on the activity, they are divided into active ones - joy, excitement; and passive - sorrow, despair.

· In terms of intensity, there are emotions of a high degree of intensity - happiness, grief; and a low degree of intensity - joy, annoyance.

However, despite what the parameters for dividing emotions may be, most authors agree that initially they should be distinguished between basic and secondary. Despite this, there is still no principle by which emotions would be divided into these groups.

Therefore, the number of basic/basic/primary emotions varies from author to author. Some recognize only two emotions - pain and pleasure. Others, such as Ekman, believe that these are six: surprise, displeasure, sadness, anger, fear and contempt. The following groups of authors include eight to eighteen emotions in their lists, adding shame, arrogance, indifference and guilt.

In the form of personal experiences, a person's emotions express primarily his real relationship with other people. Every day, talking with people, we can notice, feel the slightest changes in the emotional state, in the mood of others - by the unexpected sharpness of movements, by the smallest changes in facial expression and behavior. Psychological studies have shown that most of the information in the communication process is obtained through non-verbal ways of communication.

1.3 Expressiveness in speech

The nature and essence of language is a complex multifaceted combination. It is ideal and material, physiological and psychological, social and individual. Moreover, the language as a phenomenon is characterized by a complex internal structure. When we talk about language and its aspects, we cannot but touch on its functions.Antrushina G.B., Afanasyeva O.V., Morozova N.N. Lexicology of the English language. - M.: Drofa, 2018.

Many scientists studied the functions of the language. But it was R. Jacobson who was able to distinguish six functions from the language.

Language functions according to R. Jacobson:

· Cognitive,

· Communicative,

· expressive-emotional,

· motivating,

· fatal,

· poetic.

The expressive function of the language received considerable attention in the works of foreign linguists. At the same time, the dominant opinion is the direct connection of the expressive function of the language only with the transmission of emotions. Speaking of expressiveness, it is worth noting that as a concept it has a long history. In the studies of scientists already in antiquity, the term "expression" could be found. The term "expressiveness" is often identified with the term "expressiveness," which refers to a clearly distinguished manner of expressing thoughts and feelings. The very translation of the word "expression," which sounds like "expression," raises the idea of ? ? the expressive possibilities of language means, and, accordingly, special stylistic techniques.

The expression of emotions, feelings, and perception - these psychological laws underlie the phenomenon of expressiveness. Discrepancy with the generally accepted norm, stereotypes of the use of language units of different levels is the main linguistic mechanism of expressiveness. For expressiveness to appear in speech, it must be influenced by any communicative factors. These can be, for example, the intentions and plans of the speaker, the available knowledge and ideas of the listener with whom he begins to communicate - presumptions, as well as the linguistic and social context of the communicative act.

S. Bally, the founder of modern methods for studying expressive facts of speech, presented on this subject his point of view, which is that expressiveness is an emotional understanding of reality and a desire to convey it to the recipient.

He drew attention to the fact that emotional content, it is possible to convey many techniques and methods. This, in his opinion, is the problem of expressiveness. Expressiveness is a complex of semantic and stylistic properties of the language unit, which provide it with the opportunity to act in a communicative act as a means of subjective indicator of the position of the speaker to what he says to the addressee.

Stylistics has always paid great attention to the choice of expressive means and their correspondence to the communicative goals of the speaker, since without taking into account the communicative-functional aspect of the meaning, the expressive color of words cannot be revealed.

The study of expressiveness in style has four directions:

* Language style or descriptive style, the focus of which is on the stylistic coloring of the language. She explores large classes of texts.

* The style of individual speech, which is engaged in the study of copyright texts, that is, belonging to a particular subject, as well as all linguistic means and methods of organizing a connected, holistic and emotionally colored text.

* Comparative stylistics, which studies the problems of the translation sphere.

* Text stylistics that consider the aesthetic value of expressiveness of a particular text. Expressiveness here involves the study of different methods of speech exposure.

Emotionality and expressiveness in real life often take on a form of humor. Sharpness, sarcasm or just kind jokes - all this is nothing more than reflecting our internal state and projecting it to the outside world. Therefore, speaking of these concepts in colloquial speech, one cannot but pay attention to humor.

Humor can be different - kind, innocent, sarcastic, rude. However, whatever they are, even the most successful, jokes provoke a certain activity of the human brain. But it should not be too tense, otherwise a person will not be able to "catch the essence" or will be forced to try too hard.

Sometimes humor gives the most pleasure when its meaning is understood only by a group of dedicated ones, these are the so-called "inside jokes." Such jokes can be provoked by ordinary situativity, which means being in that place at that moment to understand the meaning of the joke, or possessing knowledge that only a particular profession has.

Also, the degree of fun is very relative. Something very funny for one person, may absolutely not be like that for another. For example, children's humor for the most part differs from adults in its predictability and sometimes even "stupidity." And the point here is not the mental development of the child, but the lack of novelty and sophistication for adults in them.. Arnold I.V. Stylistics of Modern English: Textbook for students of pedagogical institutes with a degree in Foreign Languages, 4th ed., Corrected and Additional M.: Flint: Science, 2017. - 384s.

Another equally important point in the analysis of humor is the concept of catharsis taken from psychology. Catharsis is an emotional discharge of tension that a person experiences, giving an outlet to any feelings or emotions that he suppressed for some time. For example, a person feels relieved not to solve a painful problem that did not allow him to live quietly for a long time, but only by telling a friend about it, "easing his soul," speaking out. It's because he's going through catharsis. For this purpose, humor is often used - as a non-dangerous and socially acceptable fragrance that allows society to cope with difficult feelings - anxiety, stress and simply personal problems. Part of the need for something is met when a person watches how someone else does it. The concept of catharsis often explains why racist, ethnic and sexist jokes are so popular.

Another function of humor on television is to increase the interest of viewers in a topic or program as a whole. Adding "pepper" to more serious material, diluting a serious melodrama with a small humorous scene means making the characters more human, as a result of which the audience increases motivation and interest if everything is done skillfully. However, if it turns out to be idly performed, then a tasteless person risks scaring away the audience and may even insult.

Different social factors have a great influence on how a person perceives humor. Sometimes, the fact that a person watches a program not alone, but in the company of other people contributes to getting more pleasure from humor. For example, watching a comedy with friends will bring much more pleasant emotions and feelings than the same action in the evening alone. The presence of a number of other people can increase pleasant emotions, make them more complete, although it borders on the other extreme, when a person adjusts to the behavior of others only so as not to seem like a white raven and not be alone. There is also such a psychological trick when a person, passing through himself, displays the emotions prevailing in the room where he is located. For example, if he is in a room full of people laughing loudly at the jokes of a program, he will find it very difficult to resist a smile, even if he is in a lowered mood. This principle is very often used by comedy series with voiceover laughter from the audience.

At the same time, the person who releases the joke is naturally of great importance. A sketch that ridicules the characteristics of Hispanics will seem much more ridiculous and acceptable from the mouth of a Hispanic, and not, for example, an Anglo or African American.

Differences in understanding humor can also be individual and cultural. With individual ones, everything is clear - someone prefers a soundto everyone, someone humorous sketches with a plot, someone else - jokes where a theme of a national nature is played out. However, in the course of time, the standards of cultural humor are undergoing changes. In the early 50s, when television programs were just appearing, they were allowed to joke about the stupidity of African Americans, and this was relevant. Then, films looked perfectly acceptable in which men threatened, albeit in the form of humor, their wives with physical violence, and everyone fell with laughter, although now this topic is one of the sore ones, and no one will laugh at it. Moreover, the series will lose a good half of its audience, at least female accurately, if it appeals with such humor.

The comic picture of the world of each people is a unique education, so it is quite logical that different cultures consider different topics and approaches funny. For example, in the USA, humor on some topics is forbidden, or even very dangerous. Nothing inadmissible precisely can be seen at the prime time ("prime time" is the main broadcasting time), more free content remains for the evening transfers and some programs of cable television differing in slightly bigger tolerance. In America, interracial differences, feminism, or mainstream religions are in a very risky zone for humor. Of course, such jokes exist, but there is a high probability of insulting people, and therefore directors and comedy actors should be very careful.

Laughter reaction is the main feature of humor, as it is focused on its challenge. Since laughter is the desired result of creating a comic, thus the comic must be supported by a positive response from the viewer.

Chapter 2. Features of using the analysis of stylistic means of expressing the emotional component in the comedy series "Friends"

2.1 Material and research methods

The purpose of this work was to analyze the stylistic means of expressing emotionality in English in a comedy series.Bally S. French stylistics - M.: Publishing house inst.lit., 2016.. - 393s.

The material for analyzing the methods of transmitting emotions was the script of the television series Friends. The main material is the storyline. In addition to the main material were considered.

During the study, the method of linguistic analysis was used. The study included the following steps:

1. Sampling of storylines and transcripts available to them;

2. Linguistic analysis aimed at identifying the stylistic means of expressing emotionality used by the heroes;

3. Identification of the purpose of the use of these tools and their classification.

Linguistic analysis of the text involves the study of the work from the point of view of its meaning, form, language structure, etc. Linguistic analysis of a particular object of study includes several stages:

1) the definition of the kind of literature (prose, poetry, drama, comedy);

2) the definition of the topic and the main thought of the text - what is said and what is clearly traced in the text, and sometimes what should be read between the lines;

3) consideration of the genre and its main features;

4) analysis of funds and replicas.

Linguistic analysis of a language consists of an analysis of its phonetic organization, morphological structure and syntactic organization.

In connection with the goals and objectives of this study, it is necessary to characterize the series "Friends" and its influence on the English language.

The series "Friends" ("Friends" 1994-2004) around the world has been recognized as one of the best comedy, and not only, series in the history of US television. In the 90s, he became one of the most popular projects. The series team, including actors, creative and technical groups, received a whole collection of awards, which includes six Emmy Awards and a Golden Globe Award. This project became a kind of era, a symbol of that time. The main characters of American youth are Rachel and Ross, Chandler and Monica, Joey and Phoebe. Six friends living in nearby apartments. They show us how to be friends, spend time and teach us to confront the harsh reality of life, reveal secrets, and sometimes fall in love and quarrel very much. The series "Friends" not only made a huge contribution to cinema, it incredibly influenced culture, fashion, music and the economy, as well as the English language. Almost the entire series (10 seasons) is disassembled into quotes. For example, Joey's signature phrase, which begins a conversation with any new girl - "How you doin"? "Is now a winged expression that thousands of guys have adopted, imitating Joey's intonation. They use it as a "conversation starter" - starting a conversation by getting to know girls.Vakhitova G.V. Methods of transmitting the internal expressiveness of the text. Ufa - 2017. - 30c.

Speaking about the influence of the series on English, it is worth noting that philologists-researchers, based on the analysis of the first eight seasons, found out that previously the most popular auxiliary adverbs "very" and "really," strengthening the emotional color, were replaced by the adverb "so," influenced by the speech of the characters. In the present work, linguistic analysis includes analysis of the figurative speech system - the use of words in a portable meaning, stylistic figures and tropes, the use of metaphors, impersonations, hyperbols, gradations and the use of stylistically colored vocabulary.

The results of the study are summarized in a table showing the relationship between emotion and its stylistic means of expression.

2.2 Comedy series and the means of expressing its emotional component

Sitcom comedy, or sitcom (from the English situation comedy, sitcom) is a type of humorous television programs and shows, the main characters and the place of action of which are almost unchanged. This genre originally appeared as a radio program in America in the 20s of the last century, and the 70th sitcom was transformed into an almost exclusively television type of comedy. Then, he gains wide popularity in the form of multi-part shows.. Efimov A.I. Style of artistic speech - M.: Moscow State University, 2016. - 520 s.

The sitcom has several features:

* specific time frames - 20 - 30 minutes, which include credits and advertising;

* they are also characterized by voiceover laughter, since sitcoms are usually shot in the studio in front of a live audience.

This genre is one of the subspecies of drama, where characters and situations are played out in a funny or uttered form. Often, through humor, laughter, often satire, hidden human desires, vices or unattractive aspects of life are denounced here. The source of laughter in the comedy of provisions is circumstances and situations confusing or ambiguous. It is built on external comism.

The series is a huge treasury of living modern English, full of unique copyright neologisms, interesting speech techniques and country science material. Therefore, it is of great value for linguostilistic analysis.

We can say that a stylistic technique is a deliberate generalization, a concentration of distinctive features of linguistic expressive means. Stylistic techniques can be modeled, classified according to certain schemas and rules. At the same time, not only the structural side of reception, but also the meaningful signs of reception should be taken into account. So, for example, I.R. Halperin expressed the stylistically expressive means of chiasm (chiasmus) with the following formula:

S + V + O: О1 + V1 + S1

(S to be, V to be said, O to be added.)

Under this formula, you can substitute the components and obtain the following example:

Now, his life was full of babies, and his babies were full of life.

And although the structural characteristic prevails, there is still a meaningful point here - any of the components of the inverted part can repeat the lexical expression of the component of the original part, without disturbing the reception, but giving it a different semantic color.

Consider in more detail the stylistic techniques and expressive means that are found in the comedy series:

* Epithet - the definition in the word expressing the author's assessment. The epithet always has an emotional color, characterizes the object in a special artistic way, reveals its features.

The epithet in the series is one of the visual means of expressing dissatisfaction, shock and absurdity of the situation along with metaphor and hyperbole. The epithet here is always fresh and interesting. The more absurd and emotional the situation, the more interesting the epithet. Phrease epithets are often used.

* Comparison (simile) - likening objects to one another in any quality.

It is used for more emotional demonstration of similarity or difference between people, people and animals or objects.

* Irony (irony) - a technique in which the meaning of the content of the statement is different from the direct meaning.

The purpose of the means in the series is to provoke a humorous attitude of the reader or viewer to the events described. However, irony can be cruel and offensive, it is not always ridiculous.

* Hyperbole - an exaggeration aimed at increasing the meaning and emotionality of the statement. Understatement - Understate the meaning, significance, or size of an object. It's the opposite of hyperbole.

Hyperbola in the series is one of the most popular means of expressing emotions, especially negative ones. When a person is in a state of despondency, he is depressed, upset or in anger, such a technique always gives drama to the situation and makes his condition more understandable to another person.

* Periphrasis is an indirect expression of one concept using another, that is, it is not mentioned directly, but through a description or metaphorical comparison with another object.

* Euphemism is an expressive means of neutrality that is used to replace uncultural and coarse words with softer ones.

Americans, being a very politically correct nation, most often avoid talking at once in the forehead such things as, for example, that someone is a representative of an unconventional sexual orientation. In such cases, they resort to periphery or euphemisms.

* Oxymoron - creating a contradiction effect by combining "uncomplicated" words, that is, words opposite in meaning.

Used to achieve a humorous effect.

* Zeugma - a technique where repeated words in the same type of syntactic constructions are omitted to create a comic effect.

* Metaphor - transfer the name and properties of one object to another according to the principle of their similarity.

Very often, metaphors are used for more expressive transmission of degree, completeness, strength of emotion, since metaphor is one of the most obvious techniques.

* Metonymy - renaming, replacing one word with another.

Do not generalize metonymy and metaphor. The main feature of metonymy is the contiguity of objects based on association. The metaphor is based on the principle of similarity.

* Synecdoche is a special case of metonymy when an entire object is called by its part and vice versa.

* Antonomasia (antonomasia) - a species of metonymy. Instead of its own name, a descriptive expression is placed, or an object or group of objects is called a single name, for example, a group of people with one own name, by similarity in behavior with the carriers of this name.. Ilyin E.P. Emotions and feelings. - St. Petersburg: Peter, 2018. - 752s.

In the series, antonomasia is used by heroes to call someone who behaves in some characteristic way - perhaps strange, unusual or even inappropriate, replacing his name with this.

* Repetition - a means consisting of repeating semantic words.

o Anadiplosis - Repeat the last words of the previous sentence at the beginning of the next sentence.

o Anaphora/Unity (anaphora) - a repetition of words, groups of words at the beginning of each sentence or its parts.

o Epiphora - repetition of words, groups of words at the end of each sentence or its parts.

o Most often used in a state of emotional tension, shock, stress.

* Polysyndeton/Multi-union (polysyndeton) - intentional excessive use of unions in a sentence, often between homogeneous members.

This technique is used to emphasize the significance of each word or to enhance the emotionality of speech.

* Antithesis/contraposition - a technique where opposing images and concepts or opposing emotions, feelings and experiences are compared. [

Used to enhance the rhetorical effect.

* Aposiopesis (aposiopesis, break) - sudden interruption of speech, one sentence and the beginning of a new one, making speech unfinished.

It is widespread in colloquial, emotional speech. Expresses shock. It is used when emotions reach their climax, and he is not able to continue the sentence.

* Rhetorical question - a question to which no answer is required, since it is not asked in order to obtain an answer, or the answer is known in advance. The goal of the rhetorical question is often to strengthen the meaning of the statement, giving it greater importance.

It is used by heroes as a means of expressing negative emotions, an attempt to cope with them, to express their indignation and indignation, asking a question that is especially not required. Rhetorical questions can also be used with humor. Some characters of the sitcom often use rhetorical questions as the main source of humor, other characters use this stylistic technique as a means of transmission.Demyankov V.Z., Voroniy JI.B., Sergeev A.I. Linguopsychology as a section of cognitive linguistics, or: Where emotion is there and cognition//With love for language ./Ed. V.A. Vinogradova, 2019. Publishing House: Institute of Linguistics RAS Moscow.

* Idiom/Stable expression (idiom/set phrase) - a phrase whose words do not have the same meaning if taken separately. Difficulties of translation and understanding often appear when translating idioms, since if you try to translate it verbatim, the meaning will be lost.

Such sustained expressions bring a bright emotional connotation.

* Separate constructions (detail) are those parts of a sentence, often secondary members of a sentence, which, due to the break of the usual syntactic links, are isolated from the main members on which they depend.

Used by heroes in quarrels, emotional dialogues, in order to convey the idea more clearly and clearly.

* Suspense is a compositional technique, the essence of which is to postpone the logical conclusion of thought, answer a question or reveal the main essence of the hero's story at the very end of a statement, conversation, or even an entire episode/chapter.

Usually, heroes resort to using this technique when they talk about what they do not really want to talk about - when they did something bad, shameful or just made a mistake, because of which another hero will be very angry with them.

* Gradation (Climax) is a stylistic technique in which concepts are arranged to increase or decrease their emotional-semantic significance (anticlimax). In a comedy series, this increase or decrease is used to increase the effect. The hallmark of gradation here is that it carries a hyperbolic connotation. It's almost always grotesque.

* Litotes is a technique where double negation is used to express something positive.

It is worth noting that "Litotes" in English and "Litota" in Russian are various concepts, but denoted by one word. In Russian, lithota is an understatement and deliberate weakening of meaning.

* Nonsense of non-sequence - a trail in which two semantically unrelated parts are connected in one sentence.

Used to express the absurdity of the opponent's judgment.

* Sound- jokes containing a game of words. Used for a humorous purpose.

* An interjection (interjection) - the word which is serving for expression of feeling, feeling, state of mind, but not calling him.

O! Oh! Ah! Gosh! Gracious Me! Gracious! Christ! Jesus! Good gracious! Oh my god!

2.3 Analysis of stylistic techniques and means of expressing emotions in the series "Friends"

The material for analyzing the methods of transmitting emotions was the script of the television series Friends. The main material is the storyline of the second season. As additional material in the analysis are considered.

At the beginning of the analysis, it is worth noting that negative emotions are expressed by a much larger spectrum of stylistic means, in contrast to positive ones.

Experiencing positive emotions and feelings, heroes most often resort to the use of interjections and exclamations. Also, hyperbole and repetition are used, although more often they can be found when expressing negative emotions.

1. Chandler and Monica have been trying to adopt a child for a long time. They are already desperate and do not expect that this will still happen. Suddenly, in the middle of a brawl during a festive dinner, a call is heard.

Chandler: What's going on? Monica:

That was the adoption agency.

Chandler:

And..?

Monica:

WE ARE GETTING A BABY!

Chandler:

ARE YOU SERIOUS?!

Monica:

There's a pregnant woman in Ohio and she picked us.

Rachel, Phoebe, Ross, Joey:

Oh my God! That's great! Oh my God!

2. Rachel tells the girls that Ross finally kissed her last night.

Rachel:

Ross kissed me!

Monica:

Oh my God! Oh my God! Oh my God!

Rachel:

It was unbelievable!

Monica:

Oh my God! Oh my God! Oh my God!

In these two examples, interjection, exclamations and repetition are used to express unexpected joy, while it is caused by an event that is very difficult to believe in.

Hyperbole.

1. Ross and Rachel started dating.

Rachel:

Hey, you. How was your day?

Ross:

You know, pretty much the usual...Sun shining, birds chirping.

Rachel and Ross are very in love with each other. In people in love, all feelings are exaggerated and hypertrophied - hence hyperbole. They are in euphoria, in a high mood, see the world in pink tones - suddenly the sun shines for them and the birds sang. All this naturally happened all their lives up to this moment, but now, since their condition has changed, they began to notice how beautiful life is, because they are together.

2. Joey decided to surprise Chandler and bought them two cool folding leather chairs.

Joey:

All right. Open your eyes!

Chandler:

Sweet mother of all that is good and pure!

Seeing in his living room the super cool chairs that he had long wanted, Chandler feels happiness, and this takes the form of such a hyperbole.

Antomaziya.

1. Rachel came to the airport with flowers to meet Ross from China and tell him about what she knows about his feelings and reciprocates to him. However, Ross entered the waiting room, smiling, under the arm with some unknown girl.

Rachel: Enough about me, enough about me, Mr. Back-From-The-Orient! Come on, I wanna hear everything! Everything!

When Ross saw Rachel, he began to ask her questions, in response to which annoyed Rachel, tried to joke, hide her feelings for humor.

2. Rachel's mother tells her that she decided to leave her husband and live separately, as Rachel herself did.

Rachel:

You come here and drop this bomb on me before you even tell daddy. Do you want my blessing? Want me to talk you out of it? Then what do you want?

Rachel's mom:

I guess I figured you would understand.

Rachel: Why on earth would I understand this?

Rachel's mom: You didn't marry your «Barry», honey. But I married mine.

Being upset and confused (how best to explain to her daughter the reason for her actions?) Rachel's mother uses antonomasia. Saying that Rachel did not marry her "Barry," and her mother did it at one time, Rachel's mother makes the name of Rachel's fiancй "Barry" a household name. Rachel ran away from Barry already standing at the altar because she realized that she did not love him. Her mother now, so that Rachel could better understand her, gave this name to her husband, as a symbol of the fact that when she married him she did not love him, but still married him.

Rhetorical question.

1. Rachel's mom tells her that she decided to leave her husband.

Rachel: You come here and drop this bomb on me before you even tell daddy. Do you want my blessing? Want me to talk you out of it? Then what do you want?

Upon hearing the shocking news, Rachel feels frustrated. And seeing the unremarkable behavior of the mother, she becomes annoyed completely, and her discontent is spilled out by a series of rhetorical questions.

2. Chandler about the stunning beauty on the other side of the room.

Chandler:

She's amazing! She makes the women that I dream about look like short, fat, bald men!

Monica:

Well, go over to her! She's not with anyone.

Chandler:

Oh yeah, and what would my opening line be? 'Excuse me. Blarrglarrghh.'

Rachel:

Oh, c'mon. She's a person, you can do it!

Chandler:

Oh please, could she be more out of my league?

Chandler, an insecure young man whom the girls do not pay attention to. Seeing that she liked a friend, the guys begin to cheer him up and tell him to come up. Annoyed, Chandler makes it clear that someone like her will certainly never even look at him.

Epite.

1. Ross Rachel and Julie, a paleontologist with whom Ross worked in China, as well as his new girlfriend, went to Monica's apartment to say hello and meet. Ross told the guys the story of their acquaintance, to which Rachel's reaction followed:

Rachel:

Isn't that just kick-you-in-the-crotch-spit-on-your-neck fantastic?

Annoyed and still a little shocked, Rachel gives out a phrase that contains a whole bouquet of means - a rhetorical question containing irony, hyperbole and an original phrasal epithet, trying to show Ross and Julia that this is such a "wonderful story," but making it clear that it was a real blow to the subs.

2. Monica began dating her parents' friend Richard, who is much older than her.

Monica:

You're a grandpa.

Richard:

Are we nuts here?

Monica:

I don't know. Maybe. I mean, I'm dating a man whose pool I once peed in.

Richard:

I didn't need to know that. I guess 21 years is a lot... I mean, hell, I'm a whole- person-who-can-drink older than you.

Reasoning soundly about their relationship, Richard concludes that the difference of 21 years is still a lot, it turns out that he is older than her for an entire adult, which makes him insanely upset, since he really has serious feelings for her.

Metaphor.

1. Monica became friends with Julie, Ross's new girlfriend, and she called her to go shopping with her in Bloomingdales. While Rachel was away, Monica tells her friends about it. Shocked by Monica's impenetrability, friends answer:

Joey:

You can't go shopping with her. What about Rachel?

Monica:

Will it be a problem?

Chandler:

You're going to Bloomingdale's with Julie. It's like cheating on Rachel in her house of worship.

Phoebe:

Monica, she will kill you.

In order for Monica to understand how much Rachel will hurt, Chandler compares shopping with Julie with treason, and the place, Rachel's favorite store, with a sacred temple.

2. Joey decided to give Chandler a gift - a big gold bracelet. Chandler was already, to put it mildly, not thrilled when an attempt to meet a girl in a cafe with a crack failed, after she saw this decoration on his hand:

Chandler:

Excellent! He could have gotten me a VCR or a set of golf clubs. But no! He got me the «woman-repeller»!

Furious and desperate finally, Chandler began to complain about this Phoebe and dubbed his bracelet a "repellent for women."

3. The company of friends split in two on a material basis. The guys rebelled that they could not, and did not especially want to buy expensive tickets for the concert for Ross's birthday, the other guys secretly paid for them tickets, they decided to please them. But they weren't happy at all. As a result, Monica, Ross and Chandler went alone.

Phoebe:

We're just sitting at home, trying to guess Joey's fingers and you're partying and having fun!

Ross:

Don't blame us. You could've been there.

Rachel:

What? As part of your "poor friends outreach program"?

Comparing the fact that friends paid them tickets with the "social program to help poor friends," Rachel makes it clear to Ross what it looks like from their side, that this is not a pleasant friendly gesture, but, in fact, a humiliating situation for them all.

Comparison.

1. At the wedding.

Joey:

It just seems so futile. You know? All these women, and nothing! I feel like Superman without my powers, you know?

Being among women who are not interested in men, Joey compares himself with Superman, deprived of all his strength.

2. Phoebe met a producer who offered her a disc recording contract and a video for her song "Smelly cat." But when the video came out, the guys realized that they had superimposed a soundtrack on top, on which Phoebe does not sing at all.

Phoebe:

I mean, this poor woman.

Monica: What woman? Phoebe:

The voice woman. She has a great voice, but she doesn't have a video.

Rachel:

Okay, Pheebs, but what about you?

Phoebe:

I have a video. Pay attention. This voice woman, she's so talented. But according to the producer people, she doesn't have the right look. She's like one of those animals at the pound who nobody wants because they're not pretty. Or you know, like some old dog who's kind of like stinky and - Oh, my God! She's "smelly cat".

Phoebe compares the singer with a great voice, but not very attractive outwardly, with an animal from a shelter that no one wants to take for themselves, because they are not beautiful.

Gradation.

1. Chandler, who suddenly realized that he had pushed the girls away from himself all his life, decided that now he would never find a life mate and would die alone. Therefore, desperate, he called his ex-girlfriend Janice, an eccentric person, with a very specific manner of talking, which he told friends about.

Ross:

Janice? You called Janice?

Chandler:

Yes. Janice. Why is that difficult to comprehend?

Ross:

You remember Janice, right?

Chandler:

Yes. She was smart, she was pretty and she honestly cared about me. Janice is my last chance to have somebody.

When Ross asks "Do you remember Janice exactly?," He implies how wonderful she was, and how difficult it was to perceive what she was saying because of her heinous voice and terrifying laughter. However, Chandler is not up to jokes now, using gradation, he seriously replies that she was smart, beautiful and really took care of him.

Irony.

1. Rachel takes his former Italian Paolo from her room to the living room for viewing. There's Ross and his new girlfriend Julie in the living room. Ross meets with Paolo, whom he can't stand. A tense silence hangs.

Chandler:

Despite the yummy bagels and palpable tension my pants need to be altered.

Chandler feels this growing tension, in which he feels extremely uncomfortable and, using irony, he pretends that he would really like to continue to sit with friends, but he needs to go, he decides to avoid an unpleasant scene.

Irony and sarcasm are Chandler's usual way of communicating with the world. Almost any phrase, question, and especially the slightest inconvenience, Chandler will answer in this way.

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