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 patterns 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 internal 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 person's experience of, for example, anger in a particular situation, and a different person's 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 Greenes «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 Greene's 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 writer cycle is marked with high expressivity and deep emotionality but there was yet no all-round studying of the writers language style of this period, i.e. how G. Greene had achieved such expressivity and emotionality in his novels. Therefore the topicality of the chosen theme does not cause any doubts.
It is reasonable, as it seems, to use the method of the stylistic (syntactic and lexical) analysis by researching my object.
The purpose of this paper is conformable with the theme and assumes the studying of the stylistic features of emotional expressions. At first, it necessary to make the syntactic analysis of the Graham Greenes language emotionality. Secondly, I must reveal the features of emotional marked lexica.
The empirical base of the research were the novel of so-called «Catholic period» of Greene «Brighton Rock». The studying object is the stylistic features of the writers language promoting the emotional expressions.
The first part of the paper is a review of the literature of Graham Greene. I considered also the Catholic Cycle of Graham Greene on example of the novel «Brighton Rock».
The second part represents the description of the stylistic features of the emotionally marked sentences of the above mentioned novel
The structure of the work is as follows: introduction, 2 chapters, conclusion, bibliography.

Content

Introduction 3
Chapter I. The Literature Of Graham Greene as an Object of Studying 5
1.1. Some Common Remarks About Graham Greenes Life And Work 5
1.2 «Brighton Rock» of Graham Greene: a detective story in Catholic context 7
Chapter II. Stylistic Analysis of Emotionality in Greenes Catholic Cycle Novel «Brighton Rock» 23
2.1. Syntactic Stylistic Features of Sentences in «Brighton Rock» 23
2.2. Stylistically used Lexica in Emotionally Marked Phrases 26
Conclusion 29
Bibliography 30

Bibliography
1. Aydelotte, William O. "The Detective Story as a Historical Source." The Yale Review 39 (1949): pp. 76-95.
2. Bernard Bergonzi. A Study In Greene: Graham Greene And The Art Of The Novel. Oxford University Press. 2006. 197p.
3. BRIAN DIEMERT. Ida Arnold 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 Greene's 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: Cornell 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