Стилистический анализ эмоционального высказывания ( на примере произведений Гр. Грина)

Introduction



The study of human emotions needs input from the study of languages, now more than ever before. Advances in the science of brain physiology are identifying in ever greater detail the specific wave patte
s and lo¬cations of brain activity that correspond to different affective or emotional states.

Emotions are among the least tangible aspects of human experience, yet they exert powerful influences upon our thoughts and actions, and even upon our physical appearance and physiological processes occurring with¬in our bodies. Examining the outward manifestations of facial expression and measurable physiological responses is one approach lo studying these inner states and events. But an emotional feeling is so inte
al to the ex¬perience of the person who has it, that it has rightly been questioned whether it is even reasonable to think that there is necessarily, or demonstrably, very much in common between one persons experience of, for example, anger in a particular situation, and a different persons experience of anger in the same or some other situation [Harkins, Wierzbicka 2001: 1-2].

“The key problem with these claims is the continuing lack of clarity as to what counted as emotion words in particular studies, how they were elicited or selected, and whether some numbers represent working emotion vocabularies of particular speakers and others emotion lexicons culled from a dictionary. These issues still plague the emotion lexicon research and scholars continue to differ in ways The syntax of emotionally marked sentences in Graham Greene’s «Brighton Rock» has some remarkable features. I have considered the exclamatory sentence as the most expressive syntactic structure, chosen from the novel by entire sample method..

Most of the critical attention paid to Graham Greenes work has focused on his "Catholic" phase, which produced “Brighton Rock”, “The Heart of the Matter”, “The End of the Affair”, and his acclaimed masterpiece.

The above mentioned...

1. Aydelotte, William O. "The Detective Story as a Historical Source." The Yale Review 39 (1949): pp. 76-95.

2. Be
ard Bergonzi. A Study In Greene: Graham Greene And The Art Of The Novel. Oxford University Press. 2006. – 197p.

3. BRIAN DIEMERT. Ida A
old and the detective story: Reading Brighton Rock. Twentieth Century Literature; Winter 1992; 38, 4; Academic Research Library pg. 386.

4. Brighton Rock. Greene, Graham (1938). Harmondsworth: Penguin, 1988.

5. Chesterton, G.K. "A Defence of Detective Stories." The Defendant. London: Dent, 1991. 157-62.

6. De Vitis, A.A. Graham Greene. Rev. ed. Boston: Twayne, 1986.

7. Denning, Michael. Cover Stories: Narrative and Ideology in the British Spy Thriller.London: Routledge, 1987.

8. Graham Greenes Child World by Goldenberg, Dolly (Rose), M.A., University Of Windsor (Canada), 1958, 124 p.

9. Ian Ousby. Cambridge Guide to Literature in English 1993.

10. Jean Harkins, Anna Wierzbicka. Emotions in crosslinguistic perspective Walter de Gruyter, 2001. – 421 pp.

11. Kunkel, Francis L. The Labyrinthine Ways of Graham Greene. 1960.

12. Pavlenko Aneta. Emotion and emotion-laden words in the bilingual lexicon. Bilingualism: Language and Cognition (2008), 11: pp. 147-164 Cambridge University Press

13. Pursuit of Signs: Semiotics, Literature, Deconstruction. Ithaca: Co
ell UP, 1981. pp. 169-87.

14. Rosemary Goring. Larousse Dictionary of Writers. 1994

15. Sherry, Norman. The Life of Graham Greene 1904-1939. Vol. 1. Toronto: Lester and Orpen Denys, 1989.

16. Stratford, Philip. "Graham Greene: Master of Melodrama." Tamarack Review 19, (1961): pp. 67-86.

17. Todorov, Tzvetan. "The Typology of Detective Fiction." The Poetics of Prose.1971.

18. Ways of Escape. 1980. Harmondsworth: Penguin, 1981.

19. Качалова К. Н., Израилевич Е. Е. Практическая грамматика английского языка. : В 2-х т. Т2, К.: Методика, 2003 г. — 304 с.