The scientific and pedagogical

 
17
U.A.Mammadov
 
 
ПЕРСПЕКТИВЫ ИССЛЕДОВАНИЯ  
ОХРАНЫ ОКРУЖАЮЩЕЙ СРЕДЫ И ИСТОРИИ ЭКОЛОГИИ 
 
             У.А.Мамедов 
 
              РЕЗЮМЕ 
 
В  статье  исследуются  понятие  экологии,  история  охраны  окружающей 
среды  и  формирования  экологии  как  науки,  ее  взаимосвязь  с  исторической  и 
другими науками. Приведены цитаты и высказывания ряда учёных, философов и 
видных личностей об экологии. 
 
 
 
 

---

18 
 
ODLAR YURDU UNİVERSİTETİNİN ELMİ VƏ PEDAQOJİ XƏBƏRLƏRİ 
THE SCIENTIFIC AND PEDAGOGICAL NEWS OF ODLAR YURDU UNIVERSITY
 
 
2016 - № 45 
 
STYLISTICS OF AZERBAIJANI AND ENGLISH  
LANGUAGES IN GENERAL TERMS 
 
T.Khalilova 
Azerbaijan State Economic University 
Bakı, İstiqlaliyyət küç. 6 
e-mail: [e-mail] 
 
Açar sözlər: üslub, mətn, linqvistika, diskurs 
Keywords: stylistics, text, linguistics, discourse 
Ключевые слова: стилистика, текст, лингвистика, дискурс 
 
Stylistics is a branch of Applied Linguistics. It is the study and interpretation of 
texts in regard to their linguistic and tonal style. As a discipline, it links literary 
criticism to linguistics. It does not function as an autonomous domain on its own, and 
can be applied to an understanding of literature and journalism as well as linguistics. 
Sources of study in stylistics may range from canonical works of writing to popular 
texts, and from advertising copy to news, non-fiction, and popular culture, as well as to 
political and religious discourse. Indeed, as recent work in Critical Stylistics, 
Multimodal Stylistics and Mediated Stylistics has made clear, non-literary texts may be 
of just as much interest to stylisticians as literary ones. Literariness, in other words, is 
here conceived as 'a point on a cline rather than as an absolute. 
Stylistics as a conceptual discipline may attempt to establish principles capable of 
explaining particular choices made by individuals and social groups in their use of 
language, such as in the literary production and reception of genre, the study of folk art, 
in the study of spoken dialects and registers, and can be applied to areas such as 
discourse analysis as well as literary criticism. 
Common features of style include the use of dialogue, including regional accents 
and individual dialects (or ideolects), the use of grammar, such as the observation of 
active voice and passive voice, the distribution of sentence lengths, the use of particular 
language registers, and so on. In addition, stylistics is a distinctive term that may be 
used to determine the connections between the form and effects within a particular 
variety of language. Therefore, stylistics looks at what is 'going on' within the language; 
what the linguistic associations are that the style of language reveals. 
Literary stylistics 
In The Cambridge Encyclopedia of Language, Crystal observes that, in practice, 
most stylistic analysis has attempted to deal with the complex and ‘valued’ language 
within literature, i.e. ‘literary stylistics’. He goes on to say that in such examination the 
scope is sometimes narrowed to concentrate on the more striking features of literary 
language, for instance, its ‘deviant’ and abnormal features, rather than the broader 
structures that are found in whole texts or discourses. For example, the compact 
language of poetry is more likely to reveal the secrets of its construction to the 
stylistician than is the language of plays and novels. (Crystal. 1987, 71). 
Poetry 
As well as conventional styles of language there are the unconventional – the most 
obvious of which is poetry. In Practical Stylistics, HG Widdowson examines the 
traditional form of the epitaph, as found on headstones in a cemetery. For example: 

---

19 
 
 
T.Khalilova 
 
His memory is dear today 
As in the hour he passed away. 
(Ernest C. Draper ‘Ern’. Died 4.1.38) 
(Widdowson. 1992, 6) 
Widdowson makes the point that such sentiments are usually not very interesting 
and suggests that they may even be dismissed as ‘crude verbal carvings’ and crude 
verbal disturbance (Widdowson, 3). Nevertheless, Widdowsonrecognises that they are a 
very real attempt to convey feelings of human loss and preserve affectionate 
recollections of a beloved friend or family member. However, what may be seen as 
poetic in this language is not so much in the formulaic phraseology but in where it 
appears. The verse may be given undue reverence precisely because of the sombre 
situation in which it is placed. Widdowson suggests that, unlike words set in stone in a 
graveyard, poetry is unorthodox language that vibrates with inter-textual implications. 
(Widdowson. 1992, 4) 
 
 
Two problems with a stylistic analysis of poetry are noted by PM Wetherill in 
Literary Text: An Examination of Critical Methods. The first is that there may be an 
over-preoccupation with one particular feature that may well minimise the significance 
of others that are equally important. (Wetherill. 1974, 133) The second is that any 
attempt to see a text as simply a collection of stylistic elements will tend to ignore other 
ways whereby meaning is produced. (Wetherill. 1974, 133) 
Implicature 
In ‘Poetic Effects’ from Literary Pragmatics, the linguist Adrian Pilkington 
analyses the idea of ‘implicature’, as instigated in the previous work of Dan Sperber and 
Deirdre Wilson. Implicature may be divided into two categories: ‘strong’ and ‘weak’ 
implicature, yet between the two extremes there are a variety of other alternatives. The 
strongest implicature is what is emphatically implied by the speaker or writer, while 
weaker implicatures are the wider possibilities of meaning that the hearer or reader may 
conclude. 
 
Pilkington’s ‘poetic effects’, as he terms the concept, are those that achieve most 
relevance through a wide array of weak implicatures and not those meanings that are 
simply ‘read in’ by the hearer or reader. Yet the distinguishing instant at which weak 
implicatures and the hearer or reader’s conjecture of meaning diverge remains highly 
subjective. As Pilkington says: ‘there is no clear cut-off point between assumptions 
which the speaker certainly endorses and assumptions derived purely on the hearer’s 
responsibility.’ (Pilkington. 1991, 53) In addition, the stylistic qualities of poetry can be 
seen as an accompaniment to Pilkington’s poetic effects in understanding a poem's 
meaning. 
Tense 
Widdowson points out that in Samuel Taylor Coleridge’s poem "The Rime of the 
Ancient Mariner" (1798), the mystery of the Mariner’s abrupt appearance is sustained 
by an idiosyncratic use of tense. (Widdowson. 1992, 40) For instance, the Mariner 
‘holds’ the wedding-guest with his ‘skinny hand’ in the present tense, but releases it in  
 

---