Stylistic Functions of dialect words in fiction

In native and foreign linguistics focuses considerable attention on current issues variant language and dialectology, the patterns of development of subsystems of language, verbal behavior of representatives of a certain system drivers (P.I. Avanesov, A.I. Brodovich, A.A. Burenkova, L.E. Kalnins, N.M. Makowski, D.A. Shahbagova, A. D. Schweitzer, J. Brooke, J. Chambers, P. Trudgill etc.). Along with this, interest of language with national identity of its holders, which promotes more depth review. England Learning dialects traditionally based on the consideration fairly narrow aspects. Thus, the vast majority of studies aimed at studying dialects means phonetic level (A.I. Mihalyeva, N.S. Troubetzkoy). In linguistics are known works on only consideration vocabulary (T.L. Vilchinskaya, A.I. Luzhanytsya, G.V. Korotaeva) and grammatical features dialect (L. Andervold, John. Snell, etc.). In dialects appeared works that have studied language means all levels dialect considered mostly as separate elements of its structural content. «Language is the culture – if you lose your language you’ve lost your culture, so if you’ve lost the way your family talk, the way your friends talk, then you’ve lost your culture», – underlined James Kelman [28, p. 116]. When developing a special character, the author likes to give him or her as much authenticity as possible by indicating where he is from and how he speaks. But giving characters the proper dialect can be a challenge. The use of dialect in writing has changed over the years as writers responded to criticism and acceptance of its use in literature. Thus the relevance of the chosen theme is, firstly, the systematic approach to the study of the stylistic features of dialects, including their role in artistic texts. In terms of these issues are reflected urgent needs of linguistic, historical, social, literary and other practices caused acute need in the interpretation of literary works, performed with the consumption dialects of England, which also increases the relevance of the study. The goal of this work is to determine the stylistic features of English dialect groups, their function in the literature. This goal requires the solution of several objectives of the study: ? consider the term «dialect» in English; ? to discuss the criteria for classification of dialects in the English language; ? to examine functions of dialects in the literature of different periods. To attain the target, we studied all the available sources on this question. The object of study: dialects, as variants of the English language and their classification; Subject of research: the stylistic features of dialects in literary texts. All the examples of advertisements were taken from Shakespeare`s «Richard II», «Pygmalion» by George Bernard Shaw, «Northern Farmer» by Alfred Tennyson Emily Bront?’s «Wuthering Heights» etc. The structure includes an introduction, two chapters, conclusion, list of references, consisting of 32 positions. The full work involves 39 pages.

Unlike many other countries, England is an extraordinary example of the close relationship that there can exist between regional variation and social stratification. For many years, this relationship has been responsible for the misleading assumption that non-standard dialects are unpleasant deviations from the purity and beauty of the standard norm. Nevertheless, from what we have explained in this essay, it should be clear by now that linguistic judgments based on aesthetic values are to be completely discarded from any kind of linguistic discussion. Dialects are typically used in dialogue or in instances of a very clear and important narrative voice. Oftentimes they are used to personalize the speaker, to imply an origin, or to invoke stereotypes associated with the dialect. For instance, if only one person in the dialogue has an accent, then their words can stand alone. If someone has a distinct dialect...say the dialect used in Wisconsin, then one can assume the person is from Wisconsin. And lastly, a slow Southern drawl can suggest a laid-back, deliberate person. Dialect has gone through many phases since the 1700’s when it first appeared in literature. It may appear in varying «strengths» from full dialect using misspelled words in transcript form down to a passing mention that a character is speaking in another dialect. The extent of dialect used seems to vary with what popular culture is willing to accept at the time. Its success is debatable. As far as fiction is concerned, it may be that writers were at one time avoiding the use of dialect in their writing in order to be «politically correct», but it is once again being used in a way that does not offend readers. J.K. Rowling, for example, uses some dialect in her Harry Potter books. If dialect is going to be used as a means of creating character, it appears that writing with the intention of it being read-aloud is the best route to take. Picture books still seem to have measurable success with the use of dialect, especially as a way to provide setting. This may also be due to the format which allows some instruction in the text, as well as definitions and pronunciation guides in the back to aid in its understanding. Fiction, on the other hand, which is generally not intended to be read aloud, seems to fare better with the use of implied dialect that is, using cadence and rhythm, as well as local colloquialisms to sound like the dialect without using misspellings. A small amount of leeway will be given by the reader, but not so much as to cause distraction or frustration. Writers who successfully use dialect also: ? avoid respellings that would mislead readers about the status of the speaker. ? might pepper a narrative with occasional uses of the dialect such as using words or greetings and kinship terms in the non-standard English; ? use Cajun French phrases to depict the Cajun dialect, for example. Let the reader know explicitly when the characters have changed language, letting the reader know exactly how educated or literate the character is when speaking in Standard English. Use well-known sentence structure that exemplifies the dialect. If an author follows the guidelines provided, he should have no qualms about a reader’s reaction to the character created with a unique dialect.

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