Amplifikacija kaip stiliaus figūra

Juozas ABARAVIČIUS AMPLIFICATION HOW STYLE FIGURE (Notes on characterizing signs) About amplification you will hear little now. It may be said that it has become a concept primarily for academic readings and studies (of rhetoric, poetry, stylistics, etc.). As if no one of Lithuanian philologists cares about the content of amplification as a term, its characteristics, systemic dependence, rank. In the works of Lithuanian researchers, stylistics is not considered among the independent style figures. For example, in J. Pikčilingis’s “Stylistics of Lithuanian Language” amplification is discussed as a means of creating language persuasion and emphasis. Here it (along with accumulation) is examined as one of the types of stylistic enumeration. Only in K. Gaivenis and St. Keinis' "Dictionary of Speech Terms" is this means of expression of thought quite rightly considered a stylistic figure. This is the first use of the term. The amplification here is called “1. A stylistic figure in which several language elements are used to accelerate the impression: People work hard, struggle for the happiness of their country (A. Venclova)?. And the second is given here in the meaning of that term “2. The lengthening of the text when translated from one language to another (...)” is not relevant to these comments. Of course, the example of amplification given by the dictionary is very basic. Before discussing the non-elementary, more typical, more developed variants of the figure of that style, it is undoubtedly necessary to distance ourselves from the sometimes raised irrelevant, non-constructive characteristic of amplification — allegedly having a generalizing member at the end. This is different from the accumulation that does not have such a member. This approach, for example, is taught in some German language stylistics. For example, in W. Fleischer and G. Michel’s “Stylistics of the Contemporary German Language” it is said: “Greta of simple enumeration-accumulation is amplifiJ. Lithuanian language stylistics. V., 1971. T. 1. P. 202 — 205. *Gaivenis K,Keinys S. Dictionary of the English Language. Kaunas, 1990. P. 18. 50 kation referring to an enumeration with a final generalizing member"*. An analogous approach is reflected in J. Pikčilingis’s “Stylistical Study of Lithuanian Language” (hereinafter only “Stylistical Study”), where E. Riesel’s assertion that the difference between these two types of enumeration “is quite formal” is illustrated by examples: accumulation (?) has a generalizing member, amplification (?) does not have it. 202) is incorrect: the types of enumeration have been changed. And in the further discussion of examples it is already emphasized: "Here we will have accumulation — the enumerated members of the chain <...> end without generalization". And elsewhere: “Here the summarizing Words are everything, all. Sentences will form an amplification*"*. When such a formal sign of amplification is raised, it is not difficult to make mistakes, to ignore the essence. į O ji otherwise. By the way, even in the Stylistics itself there is an essential difference between accumulation and amplification, which has been raised by the French stylist A. Albalat and, following him, M. Meyer. The accumulation is the abundance of successive details, the amplification, on the contrary, the abundance of comparisons, twin metaphors, o varied images, all kinds of epithets.” These are already essential signs, although somewhat ir inconsistent. Iš in fact, accumulating concentrates details, which, although new, says, adds, ką supplements with something, etc. ir O by — amplification the content of the thought is expanded, strengthened, even reversibly varied etc. ir We find accumulation M. In Martinaitis' poem "A family album found in a landfill". A wedding photo. Su newborn. / The first steps. It was a girl. A little bit older. White to Earth dress. With flowers. Confirmation, Bishop. Ta same — / She's a teen, ugly, long-legged. MMartA 23. This is a typical example of accumulation. Nominativ- "Fleischer W,Michel G. Stylistics of German Contemporary language. Leipzig, 1975. P. 126. ‘Pikčilingis J. Min. I'm sick. P. 202; Riesel E. Stylistics of the German language. Moscow, 1963. S. 320. *Pikchilingis J. Min. ill., P. 203. $ See. there also there cited ir author sources. ir 51 in these sentences, in the addition elements of the split sentence and in other grammatical ways (that’s not the point) a lot of details are named, each of which “adds” something new, which is visible when looking at the old picture. Ir that enumeration continues in the other verses of the poem, without repeating anything, without returning. But plg. the second verse: Learning to call. Ballet lessons. Violin, / pressed with the chin (boobs underdeveloped by music) Sudden girly weight gain. Soft / neck. A careful look. Eyes! Slightly retouched. / Male, strong apex. At the altar, su rent. (Ibid.). These examples illustrate beautifully the essence of accumulation. The amplification will be different. About ją already said. Let's take ją some examples. Today, Jonušas Mazūras’s senses are as if they had — swallowed a basil, stubbornly ir controlled their silence, loose chatter has been gnawing shut. POrinEK 136. The amplification here is done by uniform ar synonymous means, strengthening the content of the thought, varying it. Here we find semantic parallelism, and thus an excess of ir means of expression (as if they had swallowed a bass; stubbornly controlled ir silence, loose chatter bitingly shut up). But you can't say he's an unmotivated excess. By phraseological comparison, epithets (by the way, ir metaphorical) told by the young iš Behavior of the Mozour senses Trakai Castle in the art of silence “biids”, the image is described from iš different sides, activated by what is represented, those “just, just” features, nuances of meaning. Iš of the iš larger semantic wholes, the motivation of the actors’ behavior becomes clear. Writer P. Orintaitė likes amplifications. Nemaža jų Kęstučio ir In Birutė's daughter Danutė's wedding descriptions. Here are some more examples: The future bride was strangely calm: it was all the same, it didn’t matter. It's finally decided. The Mark of Exile on his forehead, condemned irrevocably... — O seemed to be a cup of it feeling, of young juice. But she's restrained. POrinEK 129; Only Danutė — was sacrificed to the gods without comparison. With a living attachment frozen, self-confident, unseen, unfeeling. ko POrinEK 130. These examples reflect the expansion, intensification and reinforceme52 nt of the impression of the content of the thought with semantically close language elements, creating a moderate excess of expression. Plg. : Stilled, self-conscious, not seeing, not feeling, etc. details of the image. In many special works, amplification is discussed as a way of expanding, enriching the language, the content of thought (Latin amplificatio —expansion, enlargement, multiplication; sometimes reinforcement; cluttering with unnecessary words). In antiquity, it was used for subjective (subject), stylistic and word amplification. The amplification of the subject involved speaking about something in a variety of ways in order to make it impactful, convincing. It was like a "magnifying glass of rhetorical suggestion": concentration of assumptions, arguments, which are not intended to teach, but to influence." And the stylistic amplification used in antiquity is compared by the researchers “to a telescope which, by magnifying, shows the invisible fields (obszary) of thought and the meanings hidden therein, especially the emotional ones”**. And word amplification is the expansion of simple phrases with single words in combinations to make them more powerful?. In many rhetorical stylistic works, amplification is not mentioned as a generalizing member. ar jų ir su nė But otherwise, more specific variations of that style ir figure are sometimes examined. For example, some researchers examine amplification based on the development of the theme denominator or expressive matching'®. We will not discuss them all. Maybe about the amplification of the theme denominator and need to šį say. tą Iš the denominator of the theme is often amplified, expanded, and characterized in a general way. jo For example: : Goodness, goodness, goodness, — the beginning ir has not been / forgotten, incredible as a blue swan, suspicious / as a bell at noon, mysterious as a fir / evening. <...>JDegPA 24. Ši Variant as "For more on this see: Chorus] ko M. The art of rhetoric. Encyclopedia Guide. Warsaw, 1990. S. 74. $ See. Ibid. P. 121. * For more information, see. Ibid. P. 121 — 122. "Čmykova N,Baskakova L. Grammaticheskij trop i amplifikacija. — Problemy ekspressivnoj stilistiki. Izd-vo Rostovskogo universiteta, 1987. S. 84 — 86. 53 resembles word amplification. Amplification, emotional expansion and ir strengthening begins here with the repetition of the theme denominator. The following is provided: “goodness” multifaceted characteristics, where it is tried to list as many ne new details, characteristics, as to make the general naming expressive, emotional. Although here you can see the accumulation ir of any other element. But plg. : Letters! /Slashes, equal same lowercase ir letters PTarGS here is 14. Ir characterized by the repetition of the theme denominator. O in the special literature, it seems, quite unmotivatedly, it is stated that amplification is not related to repetition, ellipse or su inversion! !. su su The latter two style figures are perhaps not worth ir arguing about. However, repetition can hardly be a ar component of amplification. After all, it expands the content of the speech, strengthens the clarity, jo emotionality, intensity of the manifestations of realities. Anava as J. Poems by Marcinkevičius In the passage of "Homo sum", the repetition conveys very well how The lyrical subject “caught in the gallery of time” struggles with evil necessity. su HOMO SUM! / I'm in the gallery of time, I'm / paddling hard, paddling, / paddling... / sweat runs Ir down my face, /and bare back caiZo angry / The scourge of / necessity, Only the ocean. / Only the ocean. / Only the horizon. / Only the horizon, / the course neither approaches nor departs. / I row, I row, I repeat: / ir / H OMO SUM... JMarcR III Here in no 39. way you can say that the repetition of words, compounds does not jų help to amplify, expand, intensify /metaphors of time galeras, semantics of heavy rowing, monotony. In the gallery of jo human captivity, the impression becomes mo stronger and stronger, because the repetitions: “I am paddling hard, /paddling, paddling...” ; “ Only the ocean. / Only the ocean. / Only the horizon. / Only the horizon, the course neither approaches nor departs.: slows down the rowing video “frames”, thus ir NECESSARIES botagy, chaizing image. These repetitions help the metaphor of the time galery to weave an į allusive wholeness - associative connection su 7-18 a. slaves, criminals, soldiers rowed sailing warship image used to paVr:Širina L. Amplification of v expressive means systems. — Problemy ekspressivnoj stilistiki. 1987. S. 83. 54 use as background present “time gallery” occurrence. Therefore, those philologists are undoubtedly right who claim that, among other things, amplification is done by various repetitions: repetition of words, synonymous repetition, repetition of tropes, teaching of clear essential ir characteristics, argumentative sequence of thought and so on. ir Such an attitude, for example, is reflected in S. Krahl'io ir J. Kurs'o Of course, other stylistic figures (gradation, antithesis, enumeration, correction) and many other stylistic means (epitets, comparisons, synonyms, etc.) help to amplify the idea. ir There was no aim to examine the variety of amplification types, variants, semantics, structure functions. ir It is only remarkable the great powers of imagery of this style figure. ir Impressive, for example, are its variants, where the often semantically incoherent, contradictory components are arranged regressively, retardatively. Each such retardative component holds the reader’s attention until the meaning of the stylistic whole is finally revealed. ir Plg. but: V. Endless resettlement, moving memory, where everything is į in the same place, thrown away, nothing ne can be found vo anymore among the ir weeks of days that have been removed, the months of names that have been carried away, incessantly ir sliding nowhere. ir VBrazAL You 39. won't understand the meaning of amplification here until you carefully read the whole string of threads. Being so semantically, structurally and ir functionally diverse, ir amplification cannot be considered only as a variant of stylistic enumeration. Ji a completely independent stylistic figure. Abbreviations VBrazAL - V. Brazylia. The Hunger Games. V., 1993. JDegPA - J. Degutytė. Purpura opened. V., 1984. JMarcR III - J. Marcinkevičius. Writings. T. 3. V., 1982. MMartA -M. Martinaitis. It's unlocked. V., 1996. POrinEK - P. Orintaitė. Eagle choirs. Kaunas, 1992. RTarGS ~~ - P. Tarulis. A living miracle. V., ‘Krahl 1993. S, Short J. Kleines Dictionary of Style. Leipzig, 1984. S. 10. 55