ПОЗНАВАТЕЛЬНОЕ

Оси и плоскости тела человека - Тело человека состоит из определенных топографических частей и участков, в которых расположены органы, мышцы, сосуды, нервы и т.д.

Отёска стен и прирубка косяков - Когда на доме не достаёт окон и дверей, красивое высокое крыльцо ещё только в воображении, приходится подниматься с улицы в дом по трапу.

Дифференциальные уравнения второго порядка (модель рынка с прогнозируемыми ценами) - В простых моделях рынка спрос и предложение обычно полагают зависящими только от текущей цены на товар.

Loose and Periodic Sentences

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A sentence structure in which a main clause is followed by one or more coordinate orsubordinate phrases and clauses. Contrast withperiodic sentence. It adds modifying elements after the subject, complement, and verb. Loose sentences may make a work seem informal, relaxed, and conversational. However, according to Strunk and White's The Elements of Style (2000), a succession of loose sentences, especially those of two clauses, is to be avoided because of "mechanical symmetry and sing-song".

A long and frequently involved sentence, marked by suspended syntax, in which the sense is not completed until the final word--usually with an emphatic climax. Contrast with loose sentenceand cumulative sentence.

The distinction between periodic and loose sentences, notes Jeanne Fahnestock, "begins with Aristotle, who described types of sentences on the basis of how 'tight' or how 'open' they sounded". The periodic sentence emphasizes its main idea by placing it at the end, following all the subordinate clauses and other modifiers that support the principal idea. The sentence unfolds gradually, so that the thought contained in the subject/verb group only emerges at the sentence's conclusion. Obviously artificial, it is used mostly in what in oratory is called the grand style.

Suspense

A deliberate postponement of the completion of the sentence. The term "suspense" is also used in literary criticism to denote an expectant uncertainty about the outcome of the plot. To hold the reader in suspense means to keep the final solution just out of sight. Detective and adventure stories are examples of suspense fiction. The - theme, that which is known, and the rheme, that which is new, of the sentence are distanced from each other and the new information is withheld, creating the tension of expectation. Technically, suspense is organized with the help of embedded clauses (homogeneous members) separating the predicate from the subject and introducing less important facts and details first, while the expected information of major importance is reserved till the end of the sentence (utterance).

Ellipsis

Ellipsis- is the omission of a word necessary for the complete syntactical construction of a sentence, but not necessary for understanding. The stylistic function of ellipsis used in author's narration is to change its tempo, to connect its structure. In contemporary prose ellipsis is mainly used in dialogue where it is consciously employed by the author to reflect the natural omissions characterizing oral colloquial speech. Often ellipsis is met close to dialogue, in author's introductory remarks commenting the speech of the characters. Elliptical remarks in prose resemble stage directions in drama. Both save only the most vital information letting out those bits of it which can be easily reassembled from the situation. It is the situational nature of our everyday speech which heavily relies on both speakers' awareness of the conditions and details of the communication act that promotes normative colloquial omissions. Imitation of these oral colloquial norms is created by the author through ellipsis, with the main function of achieving the authenticity and plausibility of fictitious dialogue.

Ellipsis is the basis of the so-called telegraphic style, in which connectives and redundant words are left out.

Asyndeton

Is a deliberate avoidance of conjunctions in constructions in which they would normally are used. The arrangement of sentence members, the completeness of sentence structure necessarily involve various types of connection used within the sentence or between sentences. Repeated use of conjunctions is called polysyndeton; deliberate omission of them is, correspondingly, named asyndeton. Both polysyndeton and asyndeton, have a strong rhythmic impact. Besides, the function of polysyndeton is to strengthen the idea of equal logical (emotive) importance of connected sentences, while asyndeton, cutting off connecting words, helps to create the effect of terse, energetic, active prose.

Aposiopesis

Aposiopesis(Break - in - the narrative). Sudden break in the narration has the function to reveal agitated state of the speaker.

There are 3 ways of reproducing character's speech.

1) direct speech;

2) indirect speech (reported speech)

3) represented speech.

Break is also used mainly in the, dialogue or in other forms of narrative imitating spontaneous oral speech. It reflects the emotional or/and the psychological state of the speaker: a sentence may be broken because the speaker's emotions prevent him from finishing it. Another cause of the break is the desire to cut short the information with which the sentence began. In such cases there are usually special remarks by the author, indicating the intentional abruptness of the end. (See examples in Exercise IV). In many cases break is the result of the speaker's uncertainty as to what exactly he is to promise (to threaten, to beg).

Stylistic inversion

The English word order is fixed. Any change which doesn't influence the meaning but is only aimed at emphasis is called a stylistic inversion. Stylistic inversion aims at attaching logical stress or additional emotional colouring to the surface meaning of the utterance. Therefore a specific intonation pattern is the inevitable satellite of inversion.

The following patterns of stylistic inversion are most frequently met in both English prose and English poetry.

1. The object is placed at the beginning of the sentence.

2. The attribute is placed after the word it modifies, e. g. With fingers weary and worn.

3. The predicate is placed before the subject, e.g. A good generous prayer it was.

4. The adverbial modifier is placed at the beginning of the sentence.

e.g. My dearest daughter, at your feet I fall.

5. Both modifier and predicate stand before the subject, e. g. In went Mr. Pickwick.

The stylistic device of inversion should not be confused with grammatical inversion which is a norm in interrogative constructions. Stylistic inversion deals with the rearrangement of the normative word order. Questions may also be rearranged: "Your mother is at home?" asks one of the characters of J. Baldwin's novel. The inverted question presupposes the answer with more certainty than the normative one. It is . the assuredness of the speaker of the positive answer that constitutes additional information which is brought into the question by the inverted wprd order. Interrogative constructions with the direct word order may. be viewed as cases of two-step (double) inversion: direct w/o —» grammatical inversion —» direct w/o.

Detachment

Sometimes one of the secondary members of the sentence is placed so that it seems formally independent of the word it refers to. Being formally independent this secondary member acquires a greater degree of significance and is given prominence by intonation.

A stylistic device based on singling out a secondary member of the sentence with the help of punctuation (intonation). The word-order here is not violated, but secondary members obtain their own stress and intonation because they are detached from the rest of the sentence by commas, dashes or even a full stop as in the following cases: "He had been nearly killed, ingloriously, in a jeep accident." (I.Sh.) "I have to beg you for money. Daily." (S.L.) Both "ingloriously" and "daily" remain adverbial modifiers, occupy their proper normative places, following the modified verbs, but - due to detachment and the ensuing additional pause and stress - are foregrounded into the focus of the reader's attention.

Parenthesis

In rhetoric, a parenthesis (plural: parentheses; from the Greek word παρένθεσις, which comes in turn from words meaning "alongside of" and "to place") or parenthetical phrase is an explanatory or qualifying word, clause, or sentence inserted into a passage. The parenthesis could be left out and still form grammatically correct text. Parentheses are usually marked off by round or square brackets, dashes, or commas.

The following are examples of types of parenthetical phrases:

· Introductory phrase: Once upon a time, my father ate a muffin.

· Interjection: My father ate the muffin, gosh darn it!

· Aside: My father, if you don’t mind me telling you this, ate the muffin.

· Appositive: My father, a jaded and bitter man, ate the muffin.

· Absolute phrase: My father, his eyes flashing with rage, ate the muffin.

· Free modifier: My father, chewing with unbridled fury, ate the muffin.

· Resumptive modifier: My father ate the muffin, a muffin which no man had yet chewed.

· Summative modifier: My father ate the muffin, a feat which no man had attempted.

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