Foregrounding. Lecture 3

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The ability of a verbal element to obtain extra significance, to

The ability of a verbal element to obtain extra significance, to

say more in a definite context was called foregrounding: indeed, when a word (affix, sentence), automatized by the long use in speech, through context developments, obtains some new, additional features, the act resembles a background phenomenon moving into the front line - foregrounding.
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A contextually foregrounded element carries more information than when taken in

A contextually foregrounded element carries more information than when taken in

isolation, so it is possible to say that in context it is loaded with basic information inherently belonging to it, plus the acquired, additional information.
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Stylistic analysis involves rather subtle procedures of finding the foregrounded element

Stylistic analysis involves rather subtle procedures of finding the foregrounded element

and indicating the chemistry of its contextual changes, brought about by the intentional, planned operations of the addresser, i.e. effected by the conscious stylistic use of the language.
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Foregrounding refers to a form of textual patterning which is motivated

Foregrounding refers to a form of textual patterning which is motivated

specifically for literary-aesthetic purposes. Capable of working at any level of language, foregrounding typically involves a stylistic distortion of some sort, either through an aspect of the text which deviates from a linguistic norm or, alternatively, where an aspect of the text is brought to the fore through repetition.
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That means that foregrounding comes in two main forms: foregrounding as

That means that foregrounding comes in two main forms: foregrounding as

‘deviation from a norm’ and foregrounding as ‘more of the same’. Foregrounding is essentially a technique for ‘making strange’ in language.
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Whether the foregrounded pattern deviates from a norm, or whether it

Whether the foregrounded pattern deviates from a norm, or whether it

replicates a pattern through repetition, the point of foregrounding as a stylistic strategy is that it should acquire salience in the act of drawing attention to itself.
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Furthermore, this salience is motivated purely by literary considerations and as

Furthermore, this salience is motivated purely by literary considerations and as

such constitutes an important textual strategy for the development of images, themes and characters, and for stimulating both effect and affect in a text’s interpretation.
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MORPHOLOGICAL LEVEL The basic unit of this is a morpheme. We

MORPHOLOGICAL LEVEL

The basic unit of this is a morpheme. We shall

concentrate on examining the ways of foregrounding a morpheme so that the latter becomes a vehicle of additional information - logical, emotive, expressive.
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Morphemic Repetition. One important way of promoting a morpheme is its

Morphemic Repetition.

One important way of promoting a morpheme is its repetition.

Both root and affixational morphemes can be emphasized through repetition. Especially vividly, it is observed in the repetition of affixational morphemes which normally carry the main weight of the structural and not of the denotational significance. When repeated, they come into the focus of attention and stress either their logical meaning; their emotive and evaluative meaning.
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1.She unchained, unbolted and unlocked the door. 2.It was there again,

1.She unchained, unbolted and unlocked the door.
2.It was there again,

more clearly than before: the terrible expression of pain in her eyes; unblinking, unaccepting, unbelieving pain.
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Extension of Morphemic Valency The second, even more effective way of

Extension of Morphemic Valency  

The second, even more effective way of using

a morpheme for the creation of additional information is extension of its normative valency which results in the formation of new words. They are not neologisms in the true sense for they are created for special communicative situations only, and are not used beyond these occasions. This is why they are called occasional words and are characterized by freshness, originality.
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Very often occasional words are the result of morphemic repetition. Cf.:

Very often occasional words are the result of morphemic repetition. Cf.:

"I am an undersecretary in an underbureau."
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The girls could not take off their panama hats because this

The girls could not take off their panama hats because this

was not far from the school gates and hatlessness was an offence.
David, in his new grown-upness, had already a sort of authority.
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The languages created for fictional worlds. The Fantasy Languages Quenya That

The languages created for fictional worlds. 

The Fantasy Languages
Quenya
That shouldn’t come as

a surprise that the top two spots in this list are taken by languages created by Tolkien.
In Tolkien’s Middle Earth, Quenya is the language of the “High Elves”, the elves who left Middle Earth after its creation to live in the Elven homeland. A large group of high elves later returned to Middle Earth and spoke Quenya as a second ritual language or in poetry.
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Main real-world influences: Finnish, but also Latin, Greek and other languages.

Main real-world influences: Finnish, but also Latin, Greek and other languages.
Sample

Phrase:
Namárië: Farewell.
Klingon
 The Klingon Language was created for Star Trek in the ’80s by Marc Okrand.
Main real-world influences: Klingon was deliberately devised to sound “alien,” it has some features of Native American and Southeast Asian languages.
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Sample phrases: NuqneH. Hello. Dothraki The most well-developed of the languages

Sample phrases:
NuqneH. Hello. 
Dothraki
The most well-developed of the languages constructed for the Game

of Thrones series, Dothraki is spoken by the nomadic horse lords of The Dothraki Sea.
Main real-world influences:  Turkish, Russian, Estonian, Inuktitut and Swahili.
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Main real-world influences: Turkish, Russian, Estonian, and Swahili. Sample phrases: M’athchomaroon!

Main real-world influences:  Turkish, Russian, Estonian, and Swahili.
Sample phrases:
M’athchomaroon! Hello, or more

literally, “With respect!” 
Hajas! Goodbye. 
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LEXICAL LEVEL Word and its Semantic Structure DIMENSIONS OF MEANING

LEXICAL LEVEL
Word and its Semantic Structure
DIMENSIONS OF MEANING

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Semantic structure of a word is constituted of various types of

Semantic structure of a word is constituted of various types of

lexical meanings, the major one being denotational, which informs of the subject of communication; and also including connotational, which informs about the participants and conditions of communication.
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We need to draw a distinction between reference and denotation. Reference

We need to draw a distinction between reference and denotation. Reference

is the relation between a language expression such as this door, both doors, the dog, another dog and whatever the expression pertains to in a particular situation of language use, including what a speaker may imagine. Denotation is the potential of a word like door or dog to enter into such language expressions.
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Reference is the way speakers and hearers use an expression successfully;

Reference is the way speakers and hearers use an expression successfully;

denotation is the knowledge they have that makes their use successful.
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Connotational meanings The word dog has a certain denotation, the possibility

Connotational meanings

The word dog has a certain denotation, the possibility of

entering into numerous referring expressions such as the underlined expressions in the following.
1. This dog is a Dalmatian.
2. My children have just acquired a dog.
3. Several dogs were fighting over a bone.
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A denotation identifies the central aspect of word meaning, which everybody

A denotation identifies the central aspect of word meaning, which everybody

generally agrees about. Connotation refers to the personal aspect of meaning, the emotional associations that the word arouses. Connotations vary according to the experience of individuals but, because people do have common experiences, some words have shared connotations.
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Languages provide means of expressing different attitudes. The referring expressions that

Languages provide means of expressing different attitudes. The referring expressions that

violin and that fiddle can have the same referent—can refer to the same object on a particular occasion— but they do not have the same meaning. They differ in connotation. Violin is the usual term, the neutral one; fiddle-is used for humor or to express affection or lack of esteem. Somewhat similar relations
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The expression of attitudes can be quite subtle. We choose to

The expression of attitudes can be quite subtle. We choose to

use one word rather than another. We might, for example, say that Linda is thin, or slender, or svelte, or skinny.
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1. It might seem that any name would be appropriate as

1. It might seem that any name would be appropriate as

a label for a commercial product as long as it is easy to remember.
However, companies with products to sell make great expenditures of time, talent and money to select brand names which will project the preferred ‘image’ for cars, cosmetics et al., but names are often chosen for their connotation rather
than for what they denote.
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Why is Caterpillar a good name for an earth-moving tractor but

Why is Caterpillar a good name for an earth-moving tractor but

not for a sports car? How would you rank the following as possible names for a sports car?
Butterfly Cheetah Dolphin Owl Rattler XL4
Would you care to suggest others?
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Give an example of a possible name for a men’s cologne

Give an example of a possible name for a men’s cologne

(which of course is never called perfume) and an example of a name which is very unlikely.
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The number, importance and the overlapping character of connotational meanings incorporated

The number, importance and the overlapping character of connotational meanings incorporated

into the semantic structure of a word, are brought forth by the context, i.e. a concrete speech act that identifies and actualizes each one.
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More than that: each context does not only specify the existing

More than that: each context does not only specify the existing

semantic (both denotational and connotational) possibilities of a word, but also is capable of adding new ones, or deviating rather considerably from what is registered in the dictionary. Because of that all contextual meanings of a word can never be exhausted or comprehensively enumerated.
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1. His face is red at first and then it goes

1. His face is red at first and then it goes

white and his eyes stare as if they'll pop out of his head.
2. "Just pop into the scullery and get me something to stand this on."
3. "There is a fish and chip shop up on the main road. I thought you might show your gratitude by popping up for some."
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4. "I've no need to change or anything then." "No, just

4. "I've no need to change or anything then." "No, just

pop your coat on and you're fine."
5. "Actually Mrs. Swallow is out. But she won't be long. She's popped up the road to the shops."
6. "Would you like me to pop downstairs and make you a cup of cocoa?"
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Stylistic Differentiation of the Vocabulary: Literary Stratum of Words. Colloquial Words

Stylistic Differentiation of the Vocabulary:
Literary Stratum of Words. Colloquial Words

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The word-stock of any given language can be roughly divided into

The word-stock of any given language can be roughly divided into

three uneven groups, differing from each other by the sphere of its possible use. The biggest division is made up of neutral words, possessing no stylistic connotation and suitable for any communicative situation; two smaller ones are literary and colloquial strata respectively.
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Literary words serve to satisfy communicative demands of official, scientific, poetic

Literary words serve to satisfy communicative demands of official, scientific, poetic

messages, while the colloquial ones are employed in non-official everyday communication. Though there is no immediate correlation between the written and the oral forms of speech on one hand, and the literary and colloquial words, on the other, yet, for the most part, the first ones are mainly observed in the written form, as most literary messages appear in writing. And vice versa: though there are many examples of colloquialisms in writing (informal letters, diaries, certain passages of memoirs, etc.), their usage is associated with the oral form of communication.
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When we classify some speech (text) fragment as literary or colloquial

When we classify some speech (text) fragment as literary or colloquial

it does not mean that all the words constituting it have a corresponding stylistic meaning. More than that: words with a pronounced stylistic connotation are few in any type of discourse, the overwhelming majority of its lexis being neutral.
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Neither of the two named groups of words, possessing a stylistic

Neither of the two named groups of words, possessing a stylistic

meaning, is homogeneous as to the quality of the meaning, frequency of use, sphere of application, or the number and character of potential users. This is why each one is further divided into the general, i.e. known to and used by most native speakers in generalized literary (formal) or colloquial (informal) communication, and special bulks. The latter ones, in their turn, are subdivided into subgroups, each one serving a rather narrow; specified communicative purpose.
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Among special literary words, two major subgroups are mentioned. They are:

Among special literary words, two major subgroups are mentioned. They are:
1.

Terms, i.e. words denoting objects, processes, phenomena of science, humanities, technique.
2. Archaisms, i.e. words, a) denoting historical phenomena which are no more in use (such as "yeoman", "vassal", "falconet"). These are historical words.
b) used in poetry in the XVII-XIX cc. (such as "steed" for "horse"; "quoth" for "said"; "woe" for "sorrow"). These are poetic words.
c) in the course of language history ousted by newer synonymic words (such as "whereof = of which; "to deem" = to think; "repast" = meal; "nay" = no) or forms ("maketh" = makes; "thou wilt" = you will; "brethren" = brothers). These are called archaic words (archaic forms) proper.
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Literary Words In some contexts, you may wish to use a

Literary Words

In some contexts, you may wish to use a less

common, more elevated word. The Literary Words would largely be used in writing that was intentionally seeking a literary tone. That might be a poem, or (if you are writing fiction) in the dialogue of a literary character - or even apretentious one.
Abode a home
Adieu goodbye
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Literary words, both general and special, contribute to the message the

Literary words, both general and special, contribute to the message the

tone of solemnity, sophistication, seriousness, gravity, learnedness. They are used in official papers and documents, in scientific communication, in high poetry, in authorial speech of creative prose.
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Colloquial words, on the contrary, mark the message as informal, non-official,

Colloquial words, on the contrary, mark the message as informal, non-official,

conversational. Apart from general colloquial words, widely used by all speakers of the language in their everyday communication (e.g. "dad", "kid", "crony", "fan", "to pop", "folks"), such special subgroups may be mentioned:
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1. Slang forms the biggest one. Slang words, used by most

1. Slang forms the biggest one. Slang words, used by most

speakers in very informal communication, are highly emotive and expressive and as such, lose their originality rather fast and are replaced by newer formations. This tendency to synonymic expansion results in long chains of synonyms of various degrees of expressiveness, denoting one and the same concept.
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The substandard status of slang words and phrases, through universal usage,

The substandard status of slang words and phrases, through universal usage,

can be raised to the standard colloquial: "pal", "chum," "crony" for "friend"; "booze" for "liquor"; "dough" for "money and many more - are examples of such a transition.
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2. Jargonisms stand close to slang, also being substandard, expressive and

2. Jargonisms stand close to slang, also being substandard, expressive and

emotive, but, unlike slang they are used by limited groups of people, united either professionally (in this case we deal with professional jargonisms, or professionalisms), or socially (here we deal with jargonisms proper). In distinction from slang, jargonisms of both types cover a narrow semantic field: in the first case it is that, connected with the technical side of some profession. So, in oil industry, e.g., for the terminological "driller" there exist "borer", "digger", "wrencher", "hogger", "brake weight"; for "pipeliner" - "swabber", "bender", "cat", "old cat", "collar-pecker", "hammer man"; for "geologist" - "smeller", "pebble pup", "rock hound", "witcher", etc.
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From all the examples at least two points are evident: professionalisms

From all the examples at least two points are evident: professionalisms

are formed according to the existing word-building patterns or present existing words in new meanings, and, covering the field of special professional knowledge, which is semantically limited, they offer a vast variety of synonymic choices for naming one and the same professional item.
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Jargonisms proper are characterized by similar linguistic features, but differ in

Jargonisms proper are characterized by similar linguistic features, but differ in

function and sphere of application. They originated from the thieves' jargon (l'argo, cant) and served to conceal the actual significance of the utterance from the uninitiated. Their major function thus was to be cryptic, secretive. This is why among them there are cases of conscious deformation of the existing words. The so-called back jargon (or back slang) can serve as an example: in their effort to conceal the machinations of dishonest card-playing, gamblers used numerals in their reversed form: "ano" for "one", "owt" for "two", "erth" for "three".
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Anglo-American tradition, starting with E. Partridge, a famous English lexicographer, does

Anglo-American tradition, starting with E. Partridge, a famous English lexicographer, does

not differentiate between slang and Jargonisms regarding these groups as one extensive stratum of words divided into general slang, used by all, or most, speakers and special slang, limited by the professional or social standing of the speaker. This debate appears to concentrate more on terminology than on essence. Indeed slang (general slang) and jargonisms (special slang) have much in common: are emotive, expressive, unstable, fluctuating, tending to expanded synonymity within certain lexico-semantic groups and limited to a highly informal, substandard communication. So it seems appropriate to use the indicated terms as synonyms.