What Kind Of Nail Gun Do You Need To Put Up Tounge And Groove Celing

As it is clear from the title of the chapter, the stylistic utilize of phonemes and their graphical representation volition be viewed here. Dealing with diverse cases of phonemic and graphemic foregrounding nosotros should not forget the unilateral nature of a phoneme: this linguistic communication unit helps to differentiate meaningful lexemes but has no pregnant of its own. Cf.: while unable to speak about the semantics of [ou], [ju:], we acknowledge

their sense-differentiating significance in "run up" [sou] шить and "sew" [sju:] спускать воду; or [au], [ou] in "bow" бант, поклон etc.

Yet, devoid of denotational or connotational meaning a phoneme, according to recent studies,* has a stiff associative and sound-instrumenting power. Well-known are numerous cases of onomatopoeia - the use of words whose sounds imitate those of the signified object or action, such as "hiss", "bitch", "murmur", "bump", "mumble", "sizzle" and many more.

Imitating the sounds of nature, man, inanimate objects, the acoustic form of the word foregrounds the latter, inevitably emphasizing its meaning too. Thus the phonemic structure of the word proves to exist important for the cosmos of expressive and emotive connotations. A bulletin, containing an onomat-opoeic word is not limited to transmitting the logical informa-tion just, but also supplies the vivid portrayal of the situation described.

Poetry abounds in some specific types of sound-instrument-ing, the leading office belonging to alliteration - the repetition of consonants, commonly in the beginning of words, and asson-ance - the repetition of like vowels, usually in stressed syllables. They both may produce the effect of euphony (a sense of ease and comfort in pronouncing or hearing) or cacophony (a sense of strain and discomfort in pronouncing or hearing). Every bit an case of the commencement may serve the famous lines of East. A. Poe:

...silken pitiful uncertain

rustling of each regal curtain...

An example of the second is provided past the unspeakable combination of sounds constitute in R. Browning:

Nor soul helps flesh at present more than flesh helps soul.

To create additional data in a prose discourse sound-instrumenting is seldom used. In contemporary advertizing, mass media and, above all, creative prose audio is foregrounded mainly through the change of its accepted graphical repre-sentation. This intentional violation of the graphical shape of a word (or word combination) used to reflect its pronunciation is chosen graphon.

* Come across, due east.yard. Воронин С. В. Основы фоносемантики. Л., 1982, where the author lays foundations for a new linguistic subject - phonosemantics, claiming symbolic relevance of sound for naming objects.

Graphons, indicating irregularities or carelessness of pronunciation were occasionally introduced into English novels and journalism as early as the get-go of the eighteenth century and since and then have acquired an always growing frequency of usage, popularity among writers, journalists, advertizers, and a continuously widening scope of functions. Graphon proved to exist an extremely curtailed but effective means of supplying information about the speaker's origin, social and educational background, physical or emotional status, etc. And then, when the famous Thackeray's grapheme-butler Yellowplush - impresses his listeners with the learned words pronouncing them equally "sellybrated" (celebrated), "benny-violent" (benevolent), "illygitmit" (illegitimate), "jewinile" (juvenile), or when the no less famous Mr. Babbitt uses "pee-rading" (parading), "Eytalians" (Italians), "peepul" (people)-the reader obtains not only the vivid image and the social, cultural, educational characteristics of the personages, but also both Thackeray'southward and South. Lewis' sarcastic attitude to them.

On the other hand, "The b-b-b-b-bas-tud-he seen me c-c-c-c-com-ing" in R. P. Warren'southward Sugar Boy'south speech or "You don't mean to thay that thith ith your firth time" (D.C.) bear witness the physical defects of the speakers - the stumbling of 1 and the lisping of the other.

Graphon, thus individualizing thecharacter'southward speech, adds to his plausibility, vividness, memorability. At the same time, graphon is very proficient at conveying the temper of authentic live advice, of the informality of the speech act. Some amalgamated forms, which are the result of strong assimilation, became cliches in contemporary prose dialogue: "gimme" (give me), "lemme" (let me), "gonna" (going to), "gotta" (got to), "coupla" (couple of), "mighta" (might have), "willya" (will y'all), etc.

This season of informality and authenticity brought graphon

popularity with advertizers. Large and small eating places invite customers to attend their "Pik-kwik store", or "The Donut (doughnut) Place", or the "Rite Bread Shop", or the "Wok-in Fast Nutrient Eating house", etc. The same is true about newspaper, poster and TV advertizing: "Sooper Class Model" cars, "Knee-hi" socks, "Rite Help" medicines. A recently published book on Cockney was entitled past the authors "The Muvver Tongue",* on dorsum flaps of big freight-cars one tin can read "Folio me", etc. Graphical changes may reflect not merely the peculiarities

* Baltrop, R., Wolveridge, J. The Muvver Tongue. London, 1980.

of pronunciation, but are also used to convey the intensity of the stress, emphasizing and thus foregrounding the stressed words. To such purely graphical means, not involving the viola-tions, we should refer all changes of the type (italics, capi-talization), spacing of graphemes (hyphenation, multiplication) and of lines. The latter was widely exercised in Russian poetry past V. Mayakovsky, famous for his "steps" in verse lines, or A. Voznesensky. In English the most often referred to "graphic-al imagist" was E. E. Cummings.

According to the frequency of usage, variability of functions, the get-go place among graphical means of foregrounding is occupied by italics. Besides italicizing words to add to their logical or emotive significance, separate syllables and morphemes may also be emphasized by italics (which is highly characteristic of D. Salinger or T. Capote). Intensity of spoken communication (often in commands) is transmitted through the multiplication of a grapheme or capitalization of the word, as in Babbitt's shriek "Аlllll aboarrrrrd", or in the drastic appeal in A. Huxley's Brave New World-"Help.Assist. HELP." Hyphena-tion of a discussion suggests the rhymed or clipped manner in which it is uttered as in the humiliating comment from Fl. O'Connor's story-"grinning like a chim-pan-zee".

Summing up the informational options of the graphical arrangement of a discussion (a line, a discourse), one sees their varied application for re-creating the private and social peculiarities of the speaker, the atmosphere of the communi-cation human activity-all aimed at revealing and emphasizing the author's viewpoint.

Assignments for Self-Control

i. What is sound-instrumenting?

two. What cases of sound-instrumenting exercise you know?

three. What is graphon?

4. What types and functions of graphon do you know?

5. What is accomplished past the graphical changes of writing-
its type, the spacing of graphemes and lines?

6. Which phono-graphical means are predominantly used in
prose and which ones in poesy?

EXERCISES

I. Indicate the causes and effects of the following cases of alliteration, assonance and onomatopoeia:

ane. Streaked past a quarter moon, the Mediterranean shushed gently into the beach. (I. Sh.)

two. He swallowed the hint with a gulp and a gasp and a smiling.
(R. One thousand.)

3. His wife was shrill, languid, handsome and horrible.
(Sc. F.)

iv. The fair breeze blew, the white foam flew,
The furrow followed free. (S. C.)

5. The Italian trio tut-tutted their tongues at me. (T. C.)

half-dozen. You, Jean, long, lanky lath of a lousy bounder! (O'C.)

seven. To sit in solemn silence in a deadening dark dock,
In a pestilential prison, with a life-long lock,
Pending the sensation of a curt, abrupt shock

From a cheap and chippy chopper on a big blackness cake. (W. C.)

8. They all lounged, and loitered, and slunk most, with as
petty spirit or purpose as the beasts in a menagerie. (D.)

9. "Luscious, languid and lustful, isn't she?"

"Those are not the correct epithets. She is-ог rather was surly, lustrous and sadistic." (Eastward. W.)

10. And so, with an enormous, shattering rumble, sludge-
puff, sludge-puff, the railroad train came into the station. (A. S.)

11. "Sh-sh."

"But I am whispering." This continual shushing an-noyed him. (A. H.)

12. Twinkle, twinkle, little star,
How I wonder what y'all are.
Upwardly to a higher place the world so high,

Like a diamond in the sky. (Ch. R.)

13. Dreadful young creatures-squealing and squawking. (C.)

14. The quick crackling of dry forest aflame cutting through the dark. (St. H.)

15. Hither the rain did not fall. It was stopped loftier higher up past that roof of green shingles. From there it dripped down slowly, leaf to leaf, or ran down the stems and branches. Despite the heaviness of the downpour which now purred loudly in their ears from only outside, here there was only a low rustle of deadening occasional dripping. (J.)

Two. Bespeak the kind of additional information virtually the speaker supplied past graphon:

1. "Hey," he said, entering the library. "Where's the middle section?"

"The what?"

He had the thickest sort of southern Negro dialect and the only give-and-take that came clear to me was the 1 that sounded like centre.

"How exercise yous spell information technology," I said.

"Heart, Man, pictures. Drawing books. Where you got them?"

"You hateful art books? Reproductions?" He took my polysyllabic word for information technology. "Yea, they'south them." (Ph. R.)

2. "It don't have no nerve to do somepin when there ain't
nothing else yous tin do. We ain't gonna die out. People is
goin' on-changin' a piddling may be-but goin' correct on." (J. St.)

iii. "And retrieve, Monday-sewer O'Hayer says you got to
straighten up this mess sometime today." (J.)

4. "I even heard they demanded sexual liberty. Yes, sir,
Sex-You lot-All freedom." (J. K.)

5. "Ye've a duty to the public don'tcher know that, a duty
to the cracking English public?" said George reproachfully.

"Hither, lemme handle this, kiddar," said Tiger. "Gorra maintain force, yous," said George. "Ah'thou fightin' fit," said Tiger. (S. Ch.)

half dozen. "Oh, that's information technology, is information technology?" said Sam. "I was afeerd, from
his manner, that he might ha' forgotten to have pepper with
that 'ere terminal cowcumber he et. Ready downward, sir, ve make no
extra charge for the settin' down, as the king remarked when
he blowed upward his ministers." (D.)

7. "Well, I dunno. I'll show you lot summat." (St. B.)

8. "De old Foolosopher, similar Hickey calls yarn, own't
yuh?" (O'Northward.)

9. "I had a coach with a piffling seat in fwont with an iwon
wail for the dwiver." (D.)*

10. "The Count," explained the German language officer, "expegs
you lot chentlemen at 8-dirty." (С. Н.)

xi. Said Kipps one day, "As'e-I should say, ah, has'e...
Ye know, I got a lot of difficulty with them ii words, which
is which."

"Well, 'as' is a conjunction, and 'has' is a verb." "I know," said Kipps, "but when is 'has' a conjunction, and when is 'as' a verb?" (H. Due west.)

12. Wilson was a trivial injure. "Heed, boy," he told him.
"Ah may non exist able to read eve'sparse' so good, but they ain't
a matter Ah can't do if Ah set mah mind to it." (North. Grand.)

* The affected manner of Lord Muttonhead's pronunciation was well preserved in the Russian translation of the Pickwick Papers: «...с гешеткой впегеди для кучега».

Three. Call up of the causes originating graphon (young age, a physical defect
of speech, lack of education, the influence of dialectal norms, affectation,
intoxication, carelessness in speech, etc.):

one. He began to render the famous tune "I lost my heart
in an English garden, Simply where the roses of England grow"
with much feeling:

"Ah-ee concluding mah-ee hawrt een ahn Angleesh gawrden, Jost whahr thah rawzaz ahv Angland graw." (H. C.)

2. She mimicked a lisp: "I don't weally know wevver I'one thousand
a good girl. The last thing he'll do would be to exist mixed with
a howwid adult female." (J. Br.)

three. "All the village dogs are no-'count mongrels, Papa
says. Fish-gut eaters and no class a-tall; this here dog, he
got insteek." (К. К.)

4. "My daddy's coming tomorrow on a nairplane." (Southward.)

5. Afterwards a hum a cute Negress sings "Without a song,
the dahay would nehever cease." (U.)

half-dozen. "Oh, well, then, you only trot over to the table and
make your little mommy a gweat big dwink." (Eastward. A.)

7. "I allus remember me man sayin' to me when I passed
me scholarship—'You lot pause ane o'my winders an' I'll skin ye
alive'." (St. B.)

8. He spoke with the flat ugly "a" and withered "r" of
Boston Irish, and Levi looked up at him and mimicked "All
right, I'll give the caaads a break and staaat playing." (N. M.)

9. "Whereja get all these pictures?" he said. "Meetcha at
the corner. Wuddaya think she's doing out there?" (Due south.)

10. "Lookat him go. D'javer see him walk habitation from school?
You lot're French Canadian, aintcha?" (J. K.)

Iv. State the office of graphon in captions, posters, advertisements,
etc. repeatedly used in American press, TV, roadside ad:

1. Weather condition forecast for today: How-do-you-do 59, Lo 32, Air current low-cal.

ii. We recommend a Sixty-seconds meal-Steak-Umm.

three. Cull the plane with "Finah Than Dinah" on its side.

four. Best jeans for this Jeaneration.

5. Follow our communication: Drinka Pinta Milka Day.

half-dozen. Terry's Flooring Fashions: We make 'em-y'all walk on 'em.

seven. Our offering is S fifteen.00 per WK.

viii. Thanx for the purchase.

9. Ev'ybody uses our wunnerful Rackfeed Drills.

5. Analyse the following extract from Artemus Ward:*

"Sit down, my fren'; sed the man in black close; "yu mis

komprehend me. I meen that the perlitercal ellermunts are orecast with blackness klouds, 4 boden a friteful storm."

"Wall," replide I, "in regard to perlittercal ellerfunts i don't know every bit how simply what they is every bit skillful every bit enny other kind of ellerfunts. Simply i maik bold to say thay is all a ornery set and unpleasant to hav round. They air powerful hevy eaters and take upwardly a correct smart chans of room."

The homo in black shut rusht up to me and sed, "How dair yu insult my neece, yu horey heded vagabone? Yu base exhibbiter of low wax figgers - you lot woolf in sheep's close," and sow quaternary.

VI. Country the functions and the type of the post-obit graphical expressive ways:

ane. Piglet, sitting in the running Kanga'south pocket, substi-
tuting the kidnapped Roo, thinks:

this shall accept

"If is I never to

flying really it." (M.)

two. Kiddies and grown-ups besides-oo-oo

Nosotros haven't plenty to do-oo-oo. (R. M.)

3. "Hey," he said "is information technology a goddamn cardroom? or a latrine?
Attensh—HUT! Da-ress right! DHRESS! (J.)

4. "When Volition's ma was downwardly here keeping house for him-
she used to run in to come across me, real frequently." (Southward. L.)

five. He missed our father very much. He was southward-1-a-i-n in
North Africa. (S.)

half-dozen. His phonation began on a medium fundamental, and climbed steadily
up till it reached a certain point, where it bore with strong
emphasis upon the topmost word, and and so plunged down as if
from a spring board:

beds

flowery

on

skies

the

to

carried

be

I

Shall of ease,

* Artemus Ward is the pseudonym of C. F. Browne (1834-67), well known for his record of the imaginary adventures of an itinerant one-half-literate showman.

Claret

throu'

sailed

and

prize

the

toe

fought

others

Whilst у seas? (Chiliad. T.)

7. "We'll teach the children to look at things. Don't let
the world laissez passer you past, I shall tell them. For the sun, I shall
say, open up your eyes for that laaaarge sun " (A. W.)

viii. "Now listen, Ed, stop that, now. I'm desperate. I am
desperate, Ed, practise you lot hear?" (Dr.)

nine. "Adieu y'all, old man, grayness. I pity you, and I de-spise
you." (D.)

ten. "ALL our troubles are over, old girl," he said fondly.
"We tin put a flake by now for a rainy day." (S. M.)

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