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do not form patterns. EM have a greater degree of predictability than SD. EM



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do not form patterns. EM have a greater degree of predictability than SD. EM 
are commonly used in language, and are therefore easily predictable than EM. In 
order to get an objective description of the styles and SD of language. It is 
necessary to make clears what is meant by the literary language. It was particularly 
regulated and formalized during 17
th
and 18
th
centuries. The influence was in the 19
th
category with the spread of general education, with the education, with the 
introduction of radio and television into daily lives of the people. The non-literary 
language manifests itself in all aspects of the language; phonetic, morphological, 
lexical and syntactical. 
f.ex. in’ instead of ing 
[a:] – of [x] 
[ai] – of [ei] [rain-rein] 



Literary English is almost synonymous with the term Standard English. Standard 
English is an abstraction, an ideal. It stands above all kinds of variants of English. This 
ideal helps to establish more or less strict norms for all aspects of the language. The 
publication of dictionaries dues much to establish the Literary language norms. 
Functional styles of the English language 
Plan: 
 
1. The Belles-Lettres style 
2. Publicistic style 
3. Newspaper style 
4. Scientific prose style 
5. The style of official documents 
Problem:What is the importance of functional styles of the English language? 
Key words: 
generic 
unfolding 
aesthetico-cognitive 
indispensable 
ballads 
expanded 
pamphlets 
advertisements 
apparent 
editorial 
We have already pointed out that the belles-lettres style is a generic term for three 
substyles in which the main principles and the most general properties of the style are 
materialized. These three substyles are: 
1. The language of poetry, or simply verse. 
2. Emotive prose or the language of fiction. 
3. The language of the drama. 
Each of these substyles has certain common features, typical of the general belles-
lettres style, which make up the foundation of the style, by which the particular style is 
made recognizable and can therefore be singled out. Each of them also enjoys some 
individuality. This is revealed in definite features typical only of one or another substyle. 
This correlation of the general and the particular in each variant of the belles-lettres style 
had manifested itself differently at different stage in its historical development. 
The common features of the substyles may be summed up as follows. First of all 
comes the common function which may broadly be called “aesthetico-cognitive.” This is a 
double function which aims at the cognitive process, which secures the gradual unfolding 
of the idea to the reader and at the same time calls forth a feeling of pleasure, a pleasure 
which is derived from the form in which the content is wrought. The psychological 
element – pleasure is not is caused not only by admiration of the selected language means 
and their peculiar arrangement but also, and this is perhaps the main cause, by the fact that 


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the reader is led to form his own conclusions as to the purport of the author. Northing 
gives more pleasure and satisfaction than realizing that one has the ability to penetrate into 
the hidden tissue of events, phenomena and human activity, and to perceive the relation 
between various seemingly unconnected facts brought together by the creative mind of the 
writer. 
The purpose of the belles-lettres style is not to prove but only to suggest a possible 
interpretation of the phenomena of the phenomena of life by forcing the reader to see the 
viewpoint of the writer. This is the cognitive sought, which is an aesthetico-cognitive 
effect. 
The belles-lettres style rests on certain indispensable linguistic features which are: 
1. Genuine, not trite, imagery, achieved by purely linguistic devices. 
2. The use of words in contextual and very often in more than one dictionary meaning, 
or at least greatly influences by the lexical environment. 
3. A vocabulary which will reflect to a greater or lesser degree the author’s personal 
evaluation of things or phenomena. 
4. A peculiar individual selection of vocabulary and syntax, a kind of lexical and 
syntactical idiosyncrasy. 
5. The introduction of the typical features of colloquial language to a full degree (in 
plays) or a lesser one (in emotive prose_ or a slight degree, if any (in poems). 


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