Формы и функции повторов в диалогическом дискурсе

Заключение

Так, повтор представляет собой употребление одной или нескольких лексических единиц в предложении, которые не несут никакой новой информации, а лишь воспроизводят некоторые элементы из предыдущих частей текста, таким образом, сообщая о них с другой стороны

Исследователи выделяют различные функции повторов: усиления, нарастания, создания подтекста, создания фона, выделения главной идеи, главную идею, существенных деталей и т.д.

Повторы классифицируются в зависимости от их специфики. Так, по типу связи повторы делятся на лексико-семантические и семантические. С учетом текстообразующих логико-семантических связях внутри текста, выделяют полный тождественный повтор, частичный лексико-семантический повтор, тематический, синонимический, антонимический, дейктический повторы.

Также повторы классифицируют согласно их отнесенности к уровням языка: фонетический, словообразовательный, лексический, семантический, синтаксический, лексико-синтаксический повторы.

Имеет место типология, выделяющая простой лексический повтор, анафору, эпифору, эпанафору (стык) и частичный повтор.

Одной из смысловых составляющих языковой авторской парадигмы писателя являются структурные средства актуализации - повторы (лексический, семантический), которые в концептуальной системе художественной картины мира, являются, соответственно, источником экспрессии языка автора.

Следует отметить, что виды применяемых в тексте перевода повторы не всегда соответствуют видам повтора в тексте оригинала.

Фразеологический повтор во многих его проявлениях рассчитан на эмоциональный эффект. Фразеологический повтор - явление творческое, следовательно, и перевод таких преобразований должен быть творческим. К сожалению, можно сказать, что переводчики не всегда уделяют достаточное внимание правильности перевода фразеологического повтора с английского на русский язык.

Также отмечаются разногласия в тексте-оригинале и переводе, т.е. использование других типов повтора, отсутствие повторения в тексте-переводе.

Существуют случаи, когда переводчик не считает нужным сохранение типов связи, а пытается творчески использовать потенциал явлений, представленных в русском языке. Это не только способствует лаконичности передачи информации посредством сохранения ее смысла, но и в некоторой степени облегчает понимание текста и установление семантических связей между его компонентами.

Список использованной литературы

1. Bach R. Jonathan Livingston Seagull / R. Bach // [Текст] - Режим доступа: http://www.girishsharma.net/JonathanLivingstonSeagull.pdf

2. Carroll L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There / L. Carroll. - London: Vintage books, 2007. [Текст]

3. Collins W. The Moonstone / W. Collins // [Текст] - Режим доступа: http://www.wilkiecollins.com

4. Collins W. The Woman in White / W. Collins. - London: Penguin Popular Classics, 1994. - 569 p. [Текст]

5. E. Hemingway. «The old man and the sea» - 1980. [Текст]

6. Hoey M. Patterns of Lexis in Text / М. Hoey. - Oxford: Oxford University Press, 1991. - 276 p.

7. Priestley J. B. Angel Pavement. Изд-во «Прогресс», 1974. [Текст]

8. Астафьев В. П. Прокляты и убиты [Текст] http://www.kuchaknig.ru/show_book.php?book=1440&page=2

9. Бах Р. Чайка по имени Джонатан Ливингстон / Р. Бах // [Текст] - Режим доступа: http://www.koob.ru/bach/

10. Булгаков М. «Мастер и Маргарита», 2006. - М.:Эксмо. [Текст]

11. Гальперин И.Р. Текст как объект лингвистического исследования / И.Р. Гальперин. - М.: Наука, 1981. - 139 с.

12. Жирмунский В.М. Теория литературы. Поэтика. Стилистика. - М.: Наука, 2008. - 408с.

13. Злотников Р. В. Герцог Арвендейл [Текст] http://www.kuchaknig.ru/show_book.php?book=30473&page=19

14. Иванчикова Е.А. Лексический повтор как экспрессивный приём синтаксического распространения / Е.А. Иванчикова // Мысли о современном русском языке. - М.: Просвещение, 1969. - С.126-139.

15. Кожевникова К. Об аспектах связности в тексте как целом / К. Кожевникова // Синтаксис текста. - М., 1979. - № 7. - С.49-67.

16. Кожина М.Н. О развитии смысловой структуры в научном тексте посредством развёрнутых вариативных повторов / М.Н. Кожина, Н.В. Данилевская // Принципы функционирования языка в его речевых разновидностях. - Пермь: Изд-во Перм. гос. ун-та. - 1984. - С.123-131.

17. Коллинз У. Женщина в белом: роман / У. Коллинз. - Казань: Тат. кн. изд-во, 1992. - 543 с. [Текст]

18. Коллинз У. Лунный камень / У. Коллинз. - М.: Московский рабочий, 1980. - 416 с. [Текст]

19. Куликова З.П. Повтор как средство экспрессивности и гармонизации поэтических текстов М. Цветаевой и Р.М. Рильке: Автореф. дис. … канд. филол. наук / З.П. Куликова. - Ростов-на-Дону, 2007. - 21с.

20. Кэрролл Л. Приключения Алисы в Стране Чудес. Сквозь Зеркало и что там увидела Алиса, или Алиса в Зазеркалье / Л. Кэрролл. - М.: Правда, 1985. - 320 с. [Текст]

21. Ливадный Андрей «Зона Смерти: Сталтех» [Текст] http://lib.rus.ec/b/205088/read

22. Людмила Улицкая «Искренне ваш Шурик» [Текст] http://tululu.ru/read65995/35/

23. Максимов С.Е. Практический курс перевода. Теория и практика переводческого анализа текста. Учебное пособие / С.Е. Максимов. - К.: Ленвит, 2006. - 157с.

24. Москвин В.П. Повтор / В.А. Москвин // Выразительные средства современной русской речи. Тропы и фигуры: Общая и частные классификации. - М.: Эдиториал УРСС, 2006. - 376 с.

25. Москвин В.П. Типология повторов как стилистической фигуры / В.П. Москвин // Русский язык в школе. - 2000. - № 5. - С.81-85.

26. Папина А.Ф. Текст: его единицы и глобальные категории / А.Ф. Папина. - М.: Наука, 2002. - 367 с.

27. Пауло Коэльо «Алхимик» [Текст] http://ki-moscow.narod.ru/litra/hud/alhimik/alhimik_full.htm

28. Психолингвистическая и лингвистическая природа текста и особенности его восприятия / Под ред. Ю.А. Жлухтенко и А.А. Леонтьева. - К.: Вища школа, 2009. - 248 с.

29. Скребнев Ю.М. Основы стилистики английского языка / Ю.М. Скребнев. - М: "Астрель", АСТ, 2002. - 221 с.

30. Хмелевская Иоанна «Дом с привидением» [Текст] http://lib.ru/DETEKTIWY/HMELEVSKA/priwidenie1.txt_with-big-pictures.html

Приложение

1. - Regulations!

- Of course they're regulations!

[Priestley J. B. Angel Pavement].

2. - Miss Matfield wrote it.

- An' I thought as much. Soon as I set eyes on it, I knew. Miss Matfield wrote it! Miss Matfield! [Priestley J. B. Angel Pavement]

3. - Stop! -- she cried.

- Don't tell me! I don't want to hear; I don't want to hear what you've come for. I don't want to hear.

(J. Galsworthy, Stop and speak to me).

4. Professor Flitwick was walking past a boy with untidy black hair… very untidy black hair… [Priestley J. B. Angel Pavement]

5. “I can introduce you into that golden circle. And I do mean golden, Tracy. ...” [Priestley J. B. Angel Pavement].

6. “I think you'll also find”, said Umbridge, her voice very cold now, “that the Ministry looks into the records of those applying to be Aurors. Their criminal records” [Priestley J. B. Angel Pavement].

7. - “Which junction did you come off at?”.

- “Junction nineteen, but there was a diversion”.

- “Junction nineteen! Una, she came off at Junction nineteen! You've added an hour to your journey before you even started” [Priestley J. B. Angel Pavement].

8. Freedom meant breathing fresh air, privacy, not standing in lines for meals, not listening for bells. It meant hot baths and good-smelling soaps, soft lingerie, pretty dresses, and highheeled shoes. It meant having a name instead of a number. Freedom meant escape from Big Bertha and fear of gang rapes and the deadly monotony of prison routine [Priestley J. B. Angel Pavement].

9. This is when I'd cry because right now, your life comes down to nothing, and not even nothing, oblivion [Priestley J. B. Angel Pavement].

10. "Miss Witherfild retired, deeply impressed with the magistrate's learning and research; Mr. Nupkins retired to lunch, Mr. Jinks retired within himself -- that being the only retirement he had . . . , and Mr. Grumner retired to wipe out . . . the insult which had been fastened upon himself." (Ch. Dickens)

11. "It's Konrad," he said. "Someone was passed along the road, too near the gate to suit his taste. He's a faithful brute, is Konrad."(M. G. Eberhart. While the Patient Slept.)

12. "Were you, damme? Well, and what of it? He's a stout fellow, is George Godolphin, one of my oldest friends." (Daphnede Maurier.)

13. "Why, Jon, why?" his mother asked. "Why is it so hard to be like the rest of the flock, Jon? Why can't you leave low flying to the pelicans, the albatross? Why don't you eat? Son, you're bone and feathers!".

14. But Jonathan Livingston Seagull, unashamed, stretching his wings again in that trembling hard curve - slowing, slowing, and stalling once more - was no ordinary bird [Bach, R. Jonathan Livingston Seagull / R. Bach].

15. But no, he thought. I am done with the way I was, I am done with everything I learned. I am a seagull like every other seagull, and I will fly like one.

16. Will you, won't you, will you, won't you, will you join the dance?

Will you, won't you, will you, won't you, won't you join the dance?.

17. "You an old, Father William”, the young man said,

"And your hair has become very white:

And yet you incessantly stand on your head…" [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

18. "I've tried the roots of trees, and I've tried banks, and I've tried hedges”, the Pigeon went on without attending to her; " but these serpents! There is no pleasing them!" [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

19. "The reason is” said the Gryphon, "that they would go with the lobsters to the dance. So they got thrown out to sea. So they had to fall a long way. So they got their tails fast in their mouths. So they couldn't got them out again" [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

20. Short wings. A falcon is short wings! That's the answer! What a fool I've been! All need is a tiny little wing, all I need is to fold most of my wings and fly on just the tips alone! Short wings! [Bach, R. Jonathan Livingston Seagull / R. Bach].

21. "Curiouser and curiouser! ” - cried Alice [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

22. "The Duchess! The Duchess! Oh my dear paws!

Oh my fur and whiskers! ” [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

23. "Sure, it's an arm, yer honour!

An arm, you goose!"

24. He swallowed, knowing that if his wings unfolded at that speed he'd be blown into a million tiny shreds of seagull. But the speed was power, and the speed was joy, and the speed was pure beauty [Bach, R. Jonathan Livingston Seagull / R. Bach].

25. It felt like being hit with a board. His knees went weak, his feathers sagged, there was roaring in his ears. Centered for shame? Impossible! The Breakthrough! They can't understand! They're wrong, they're wrong! [Bach, R. Jonathan Livingston Seagull / R. Bach].

26. "Sure then I'm here! Digging for apples, yer honour! ”

"Digging for apples, indeed! ” said the Rabbit angrily.

27. "Come, come, my girl! … I'm your friend--and I'll stand your friend, even if you have done wrong. Make a clean breast of it, Rosanna--make a clean breast of it!" [Collins, W. The Moonstone].

28. As it was, I only bounced upon my chair. My seat was on thorns, and my soul was on fire to speak but I held my tongue, and let Papa go on [Collins, W. The Moonstone].

29. Now mind! I teach the sublime Dante to the young Misses, and ah! - my-soul-bless-my-soul! - it is not in human language to say how the sublime Dante puzzles the pretty heads of all three! [Collins, W. The Woman in White].

30. So the Papa says, 'I have got a letter from my friend, the Mister; and he wants a recommend from me, of a drawing-master, to go down to his house in the country. ' My-soul-bless-my-soul! when I heard the golden Papa say those words, if I had been big enough to reach up to him, I should have put my arms round his neck, and pressed him to my bosom in a long and grateful hug! [Collins, W. The Woman in White].

31. Can your friend produce testimonials - letters that speak to his character? ' I wave my hand negligently. 'Letters? ' I say. 'Ha! my-soul-bless-my-soul! I should think so, indeed! [Collins, W. The Woman in White].

32. Is four golden guineas a week nothing? My-soul-bless-my-soul! only give it to me - and my boots shall creak like the golden Papa's, with a sense of the overpowering richness of the man who walks in them! [Collins, W. The Woman in White].

33. "My-soul-bless-my-soul!" cried the Professor, in a state of the extremest bewilderment. "What on earth is the matter?" [Collins, W. The Woman in White].

34. А. Look here, there must be some peculiar sorts of tea and bitter a bit, yes, exactly.- Б. Bitter a bit, yes and very strong.- А. Yes, and very strong with milk [Hemingway, The old man and the sea].

35. A. Will you have a drink? - Б. A drink? I never drink alcohol. - A. Ok, I will take it myself [Hemingway, The old man and the sea].

36. А.There is no light in the hall. - Б. In the hall? There is light in the hall but it is switched off at times [Hemingway, The old man and the sea].

37. A. I do not want to go there. - B. I know and that is why I do not want you to go there. - A. I will not go there. - B. If you go, it is only for a little while and then you will come back [Hemingway, The old man and the sea].

38. (A. - Passenger, B. - Driver). A. Will you stop here? - B. Here, yes? [Shaw,56].

39. А. When will you come to tea to me? -Б. Today. - А.Today, yes? [Maugham, 254].

40. (A. The customer. B. The flower girl). В. The shop is still closed. - А. Is still closed, yes? (Passing away). [Shaw, 73].

41. (A. Мother, B. Evie). A. You are so damned unromentic, Evie. - B. Unromantic, yes? Yes, I know it, mom [Maugham, 156].

42. A. Do we have anything left? - B. Anything left?! Only odds and adds - that is what we have for our stew [Jerome, 75].

43. А. Look here, there must be some peculiar sorts of tea and bitter a bit, yes, exactly.- Б. Bitter a bit, yes and very strong.- А. Yes, and very strong with milk [Hemingway, 145].

44. A. Will you have a drink? - Б. A drink? I never drink alcohol. - A. Ok, I will take it myself [Hemingway, 187].

45. А.There is no light in the hall. - Б. In the hall? There is light in the hall but it is switched off at times [Hemingway, 264].

46. A. I do not want to go there. - B. I know and that is why I do not want you to go there. - A. I will not go there. - B. If you go, it is only for a little while and then you will come back [Hemingway, 324].

47. А. She has always lived with difficulties, problems - it was always hard time. - Б. (Buts in) No, but the matter is… - А. (Buts in again) She is not afraid of problems! - Б. Not afraid? [Dreiser, 215].

48. А. Where are you going? The entrance is in that direction.- Б. In that direction? - А.Yes. Dreiser, T. Sister Carrie. М.: АСТ, 2002. - 530 p.

49. Everyone's going to be invited to the party, and there's going to be presents, mark you, presents for all - this very month as is.

50. "I would go everywhere ", he said. "I would go in a little public bus with the common people, go in local restaurants... " (The Australian, 26.06.2008).

51. - "The caller reported two people were dead and a third was seriously injured, but the call then dropped out and police were unable to contact the pilot on his satellite phone.

- ...It has been confirmed that two people on the light aircraft have not survived" (The Daily Telegraph, 14.02.2008).

52. 1)ln hopes of muting some of the criticism, Obama said this about the Bowles-Simpson suggestions: "Before anybody starts shooting down proposals, I think we need to listen. We need to gather up all the facts." (The Washington Post. 20.11.10).

53. But then there is a chance... there is something to do. Nowadays what does it mean to be on the streets? To demonstrate? You swindle yourself. Anyway, that's not the way anymore (The Washington Post. 20.11.10).

54. Fight your little fight, my boy, Fight and be a man. Don't be a good little, good little boy being as good as you can

55. Do hold yourself together, and fight with a hit-hit here and a hit-hit there, and a comfortable feeling at night that you've let in a little air.

56. If you want to be a great man and leave two thousand pounds a year and a nice clean wife... and a kid with real eyes that open and close, you'll have to work in your dinner time...

Get some cash in the bank and then you can go in for art and be as bad as you like you'll still be happy... and you'll be able to afford a nice little wife and nice little babies and nice little parties, and you'll get into some nice little society and get a whole lot of nice little compliments from all the other people. (J. Cary. The Horse's Mouth)

57. Рассмотрим синонимический повтор в LXI сонете Шекспира:

Is it thy will thy image should keep open

My heavy eyelids to the weary night?

Dost thou desire my slumbers should be broken.

While shadows like to thee do mock my sight?

Is it thy spirit that thou send'st from thee

So far from home into my deeds to pry,

To find out shames and idle hours in me,

The scope and tenour of thy Jealousy?

0, no! thy love, though much, is not so great:

It is my love that keeps mine eye awake;

Mine own true love that doth my rest defeat,

To play the watchman ever for thy sake:

For thee watch I whilst thou dost wake elsewhere,

From me far off, with others all too near.

58. George: I'm simply telling you what you very well know. They may be your relations but have you honestly got one tiny thing in common with any of them? These people --

Ruth: Oh, no! Not «these people»! Please -- not that!

(J. Osborne and A. Creighton. The Epitaph for George Dillon)

59. Таков анадиплозис в конце знаменитой оды Китса о греческой урне:

Beauty is truth, truth beauty, -- that is all Ye know on earth, and all ye need to know.

60. Should you ask me, whence these stories? Whence these legends and traditions,

61. «Down with the English anyhow. That's certain. Clear out, you fellows, double quick, I say. We may hate one another, but we hate you most. If I don't make you go, Ahmed will, Karim will, if it's fifty five hundred years we shall get rid of you, yes, we shall drive every blasted Englishman into the sea, and then» -- he rode against him furiously -- «and then,» he concluded, half kissing him, «you and 1 shall be friends.»

«Why can't we be friends now?» said the other, holding him affectionately. «It's what I want. It's what you want.»

But the horses didn't want it -- they swerved apart; the earth didn't want it, sending up rocks through which riders must pass single file;

the temples, the tanks, the jail, the palace, the birds, the carrion, the Guest House, that came into view as they issued from the gap and saw Man beneath: they didn't want it, they said in their hundred voices, «No, not yet», and the sky said «No, not there.»

(E.M. Forster. A Passage to India)

62. «Bella!»

«Yes, Master Jon.»

«Do let's have tea, under the oak tree when they come; I know, they'd like it best.»

«You mean you'd like it best.»

Little Jon considered.

«No, they would, to please me.»

(J. Galsworthy. Awakening)

63. - I Don't quite understand what I mean.

- What I mean is what I mean. /Toole/

64. - I care about you.

- I didn't ask you to care about me. /Piercey/

65. - Do you call yourself an artist?

- Yes. /Stone/

66. - It has really happened?

- It has. /Koontz/

67. - Not so fast.

- Not so fast, huh? /Bradbury/

68. - He cannot comment.

- No, he cannot comment. /Lamb/

69. - She was mad about it.

- Of course, she was mad about it. /Harris/

70. - Is it coming?

- Yes, it is. /Bradbury/

71. - Put the machine on.

- Put it on? /Harris/

72. - It stopped.

- It did. /Huxley/

73. - I want to leave you.

- You don't. /Piercey/

74. - I never had electro-encephalogram.

- Yes, you did. /Koontz/

75. - I pay for lunch?

- You do, of course. /Chang/

76. - Saving your presence. I sang. I sang all day, all night.

- You sang. Why, then go and dance. /Maugham/

77. - What do you think?

- What do you think about what? /Irving/

78.What are you going to do with that white man?

- Do? Why - just look at him, is all. /Bradbury/

79. - Is it good?

- It's damned good. /Huxley/

80. - I had been writing.

- Writing what? /Lawrence/

81. - Just tell myself they aren't real?

- Tell yourself they're not real and they can't hurt you. /Koontz/

82. - But yesterday, Dr. Viteski.

- Yesterday was my day off. /Malouf/

83. - People never can resist those who make them laugh.

- She never makes me laught. /Westley/

84. - There are no longer barbarians to overthrow civilization.

- We can be our own barbarians. /Asimov/

85. - You sell wine you don't even taste?

- Folks, don't buy it for the taste. /Toole/

86. - They are too mobile.

- Americans love mobility. /Koontz/

87. - It's such a rotten part.

- Actors are rotten, not parts. /Huxley/

88. - Are you sure?

- No, it's a little late to be sure. /Bradbury/

89. - Will you make me one tomorrow?

- I will make you one tomorrow. /Harris/

90. - Is it coming?

- Coming, coming. /Bradbury/

91. - She likes me.

- She likes you? /Timeless stories/

92. - Regulations!

- Of course they're regulations!

[Priestley J. B. Angel Pavement].

93. - Miss Matfield wrote it.

- An' I thought as much. Soon as I set eyes on it, I knew. Miss Matfield wrote it! Miss Matfield! [Priestley J. B. Angel Pavement]

94. - Stop! -- she cried.

- Don't tell me! I don't want to hear; I don't want to hear what you've come for. I don't want to hear. (J. Galsworthy, Stop and speak to me).

95. Professor Flitwick was walking past a boy with untidy black hair… very untidy black hair… [Priestley J. B. Angel Pavement]

96. “I can introduce you into that golden circle. And I do mean golden, Tracy. ...” [Priestley J. B. Angel Pavement].

97. “I think you'll also find”, said Umbridge, her voice very cold now, “that the Ministry looks into the records of those applying to be Aurors. Their criminal records” [Priestley J. B. Angel Pavement].

98. - “Which junction did you come off at?”.

99. “Junction nineteen, but there was a diversion”.

100. “Junction nineteen! Una, she came off at Junction nineteen! You've added an hour to your journey before you even started” [Priestley J. B. Angel Pavement].

101. Freedom meant breathing fresh air, privacy, not standing in lines for meals, not listening for bells. It meant hot baths and good-smelling soaps, soft lingerie, pretty dresses, and highheeled shoes. It meant having a name instead of a number. Freedom meant escape from Big Bertha and fear of gang rapes and the deadly monotony of prison routine [Priestley J. B. Angel Pavement].

102. This is when I'd cry because right now, your life comes down to nothing, and not even nothing, oblivion [Priestley J. B. Angel Pavement].

103. "Miss Witherfild retired, deeply impressed with the magistrate's learning and research; Mr. Nupkins retired to lunch, Mr. Jinks retired within himself -- that being the only retirement he had . . . , and Mr. Grumner retired to wipe out . . . the insult which had been fastened upon himself." (Ch. Dickens)

104. "It's Konrad," he said. "Someone was passed along the road, too near the gate to suit his taste. He's a faithful brute, is Konrad."

105. "Were you, damme? Well, and what of it? He's a stout fellow, is George Godolphin, one of my oldest friends." (Daphnede Maurier.)

106. "Why, Jon, why?" his mother asked. "Why is it so hard to be like the rest of the flock, Jon? Why can't you leave low flying to the pelicans, the albatross? Why don't you eat? Son, you're bone and feathers!".

107. But Jonathan Livingston Seagull, unashamed, stretching his wings again in that trembling hard curve - slowing, slowing, and stalling once more - was no ordinary bird [Bach, R. Jonathan Livingston Seagull / R. Bach].

108. But no, he thought. I am done with the way I was, I am done with everything I learned. I am a seagull like every other seagull, and I will fly like one.

109. Will you, won't you, will you, won't you, will you join the dance?

110. Will you, won't you, will you, won't you, won't you join the dance?.

111. "You an old, Father William”, the young man said,

112. "And your hair has become very white:

113. And yet you incessantly stand on your head…" [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

114. "I've tried the roots of trees, and I've tried banks, and I've tried hedges”, the Pigeon went on without attending to her; " but these serpents! There is no pleasing them!" [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

115. "The reason is” said the Gryphon, "that they would go with the lobsters to the dance. So they got thrown out to sea. So they had to fall a long way. So they got their tails fast in their mouths. So they couldn't got them out again" [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

116. Short wings. A falcon is short wings! That's the answer! What a fool I've been! All need is a tiny little wing, all I need is to fold most of my wings and fly on just the tips alone! Short wings! [Bach, R. Jonathan Livingston Seagull / R. Bach].

117. "Curiouser and curiouser! ” - cried Alice [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

118. "The Duchess! The Duchess! Oh my dear paws!

119. Oh my fur and whiskers! ” [Carroll, L. Alice's Adventures in Wonderland and Through the Looking - glass and What Alice Found There].

120. "Sure, it's an arm, yer honour!

121. An arm, you goose!"

122. He swallowed, knowing that if his wings unfolded at that speed he'd be blown into a million tiny shreds of seagull. But the speed was power, and the speed was joy, and the speed was pure beauty [Bach, R. Jonathan Livingston Seagull / R. Bach].

123. It felt like being hit with a board. His knees went weak, his feathers sagged, there was roaring in his ears. Centered for shame? Impossible! The Breakthrough! They can't understand! They're wrong, they're wrong! [Bach, R. Jonathan Livingston Seagull / R. Bach].

124. "Sure then I'm here! Digging for apples, yer honour! ”

125. "Digging for apples, indeed! ” said the Rabbit angrily.

126. "Come, come, my girl! … I'm your friend--and I'll stand your friend, even if you have done wrong. Make a clean breast of it, Rosanna--make a clean breast of it!" [Collins, W. The Moonstone].

127. As it was, I only bounced upon my chair. My seat was on thorns, and my soul was on fire to speak but I held my tongue, and let Papa go on [Collins, W. The Moonstone].

128. Now mind! I teach the sublime Dante to the young Misses, and ah! - my-soul-bless-my-soul! - it is not in human language to say how the sublime Dante puzzles the pretty heads of all three! [Collins, W. The Woman in White].

129. So the Papa says, 'I have got a letter from my friend, the Mister; and he wants a recommend from me, of a drawing-master, to go down to his house in the country. ' My-soul-bless-my-soul! when I heard the golden Papa say those words, if I had been big enough to reach up to him, I should have put my arms round his neck, and pressed him to my bosom in a long and grateful hug! [Collins, W. The Woman in White].

130. Can your friend produce testimonials - letters that speak to his character? ' I wave my hand negligently. 'Letters? ' I say. 'Ha! my-soul-bless-my-soul! I should think so, indeed! [Collins, W. The Woman in White].

131. Is four golden guineas a week nothing? My-soul-bless-my-soul! only give it to me - and my boots shall creak like the golden Papa's, with a sense of the overpowering richness of the man who walks in them! [Collins, W. The Woman in White].

132. "My-soul-bless-my-soul!" cried the Professor, in a state of the extremest bewilderment. "What on earth is the matter?"

133. А. Look here, there must be some peculiar sorts of tea and bitter a bit, yes, exactly.- Б. Bitter a bit, yes and very strong.- А. Yes, and very strong with milk [Hemingway, The old man and the sea].

134. A. Will you have a drink? - Б. A drink? I never drink alcohol. - A. Ok, I will take it myself [Hemingway, The old man and the sea].

135. А.There is no light in the hall. - Б. In the hall? There is light in the hall but it is switched off at times [Hemingway, The old man and the sea].

136. A. I do not want to go there. - B. I know and that is why I do not want you to go there. - A. I will not go there. - B. If you go, it is only for a little while and then you will come back [Hemingway, The old man and the sea].

137. (A. - Passenger, B. - Driver). A. Will you stop here? - B. Here, yes? [Shaw,56].

138. А. When will you come to tea to me? -Б. Today. - А.Today, yes?.

139. (A. The customer. B. The flower girl). В. The shop is still closed. - А. Is still closed, yes? (Passing away). [Shaw, 73].

140. (A. Мother, B. Evie). A. You are so damned unromentic, Evie. - B. Unromantic, yes? Yes, I know it, mom [Maugham, 156].

141. A. Do we have anything left? - B. Anything left?! Only odds and adds - that is what we have for our stew [Jerome, 75].

142. А. Look here, there must be some peculiar sorts of tea and bitter a bit, yes, exactly.- Б. Bitter a bit, yes and very strong.- А. Yes, and very strong with milk [Hemingway, 145].

143. A. Will you have a drink? - Б. A drink? I never drink alcohol. - A. Ok, I will take it myself [Hemingway, 187].

144. А.There is no light in the hall. - Б. In the hall? There is light in the hall but it is switched off at times [Hemingway, 264].

145. A. I do not want to go there. - B. I know and that is why I do not want you to go there. - A. I will not go there. - B. If you go, it is only for a little while and then you will come back [Hemingway, 324].

146. А. She has always lived with difficulties, problems - it was always hard time. - Б. (Buts in) No, but the matter is… - А. (Buts in again) She is not afraid of problems! - Б. Not afraid? [Dreiser, 215].

147. А. Where are you going? The entrance is in that direction.- Б. In that direction? - А.Yes [ Dreiser,321]. Dreiser, T. Sister Carrie. М.: АСТ, 2002. - 530 p.

148. Everyone's going to be invited to the party, and there's going to be presents, mark you, presents for all - this very month as is.

149. "I would go everywhere ", he said. "I would go in a little public bus with the common people, go in local restaurants... " (The Australian, 26.06.2008).

150. - "The caller reported two people were dead and a third was seriously injured, but the call then dropped out and police were unable to contact the pilot on his satellite phone.

151. ...It has been confirmed that two people on the light aircraft have not survived" (The Daily Telegraph, 14.02.2008).

152. 1)ln hopes of muting some of the criticism, Obama said this about the Bowles-Simpson suggestions: "Before anybody starts shooting down proposals, I think we need to listen. We need to gather up all the facts." (The Washington Post. 20.11.10).

153. But then there is a chance... there is something to do. Nowadays what does it mean to be on the streets? To demonstrate? You swindle yourself. Anyway, that's not the way any more (The Washington Post. 20.11.10).

154. Fight your little fight, my boy,

155. Fight and be a man.

156. Don't be a good little, good little boy

157. being as good as you can

158. Do hold yourself together, and fight

159. with a hit-hit here and a hit-hit there,

160. and a comfortable feeling at night

161. that you've let in a little air.

162. If you want to be a great man and leave two thousand pounds a year and a nice clean wife... and a kid with real eyes that open and close, you'll have to work in your dinner time...

163. Get some cash in the bank and then you can go in for art and be as bad as you like you'll still be happy... and you'll be able to afford a nice little wife and nice little babies and nice little parties, and you'll get into some nice little society and get a whole lot of nice little compliments from all the other people. (J. Cary. The Horse's Mouth)

164. Рассмотрим синонимический повтор в LXI сонете Шекспира:

1. Is it thy will thy image should keep open

2. My heavy eyelids to the weary night?

3. Dost thou desire my slumbers should be broken.

4. While shadows like to thee do mock my sight?

5. Is it thy spirit that thou send'st from thee

6. So far from home into my deeds to pry,

7. To find out shames and idle hours in me,

8. The scope and tenour of thy Jealousy?

9. 0, no! thy love, though much, is not so great:

10. It is my love that keeps mine eye awake;

11. Mine own true love that doth my rest defeat,

12. To play the watchman ever for thy sake:

13. For thee watch I whilst thou dost wake elsewhere,

14. From me far off, with others all too near.

165. George: I'm simply telling you what you very well know. They may be your relations but have you honestly got one tiny thing in common with any of them? These people --

a. Ruth: Oh, no! Not «these people»! Please -- not that!

166. (J. Osborne and A. Creighton. The Epitaph for George Dillon)

167. Таков анадиплозис в конце знаменитой оды Китса о греческой урне:

1. Beauty is truth, truth beauty, -- that is all

2. Ye know on earth, and all ye need to know.

168. Should you ask me, whence these stories?

1. Whence these legends and traditions,

169. «Down with the English anyhow. That's certain. Clear out, you fellows, double quick, I say. We may hate one another, but we hate you most. If I don't make you go, Ahmed will, Karim will, if it's fifty five hundred years we shall get rid of you, yes, we shall drive every blasted Englishman into the sea, and then» -- he rode against him furiously -- «and then,» he concluded, half kissing him, «you and 1 shall be friends.»

i. «Why can't we be friends now?» said the other, holding him affectionately. «It's what I want. It's what you want.»

ii. But the horses didn't want it -- they swerved apart; the earth didn't want it, sending up rocks through which riders must pass single file;

b. the temples, the tanks, the jail, the palace, the birds, the carrion, the Guest House, that came into view as they issued from the gap and saw Man beneath: they didn't want it, they said in their hundred voices, «No, not yet», and the sky said «No, not there.»

c. (E.M. Forster. A Passage to India)

170. «Bella!»

a. «Yes, Master Jon.»

b. «Do let's have tea, under the oak tree when they come; I know, they'd like it best.»

c. «You mean you'd like it best.»

d. Little Jon considered.

e. «No, they would, to please me.»

f. (J. Galsworthy. Awakening)

171. - I Don't quite understand what I mean.

172. What I mean is what I mean. /Toole/

173. - I care about you.

174. I didn't ask you to care about me. /Piercey/

175. - Do you call yourself an artist?

176. Yes. /Stone/

177. - It has really happened?

178. It has. /Koontz/

179. - Not so fast.

180. Not so fast, huh? /Bradbury/

181. - He cannot comment.

182. No, he cannot comment. /Lamb/

183. - She was mad about it.

184. Of course, she was mad about it. /Harris/

185. - Is it coming?

186. Yes, it is. /Bradbury/

187. - Put the machine on.

188. Put it on? /Harris/

189. - It stopped.

190. It did. /Huxley/

191. - I want to leave you.

192. You don't. /Piercey/

193. - I never had electro-encephalogram.

194. Yes, you did. /Koontz/

195. - I pay for lunch?

196. You do, of course. /Chang/

197. - Saving your presence. I sang. I sang all day, all night.

198. You sang. Why, then go and dance. /Maugham/

199. - What do you think?

200. What do you think about what? /Irving/

a. 78.What are you going to do with that white man?

201. Do? Why - just look at him, is all. /Bradbury/

a. 79. - Is it good?

202. It's damned good. /Huxley/

a. 80. - I had been writing.

203. Writing what? /Lawrence/

a. 81. - Just tell myself they aren't real?

204. Tell yourself they're not real and they can't hurt you. /Koontz/

a. 82. - But yesterday, Dr. Viteski.

205. Yesterday was my day off. /Malouf/

a. 83. - People never can resist those who make them laugh.

206. She never makes me laught. /Westley/

a. 84. - There are no longer barbarians to overthrow civilization.

207. We can be our own barbarians. /Asimov/

a. 85. - You sell wine you don't even taste?

208. Folks, don't buy it for the taste. /Toole/

a. 86. - They are too mobile.

209. Americans love mobility. /Koontz/

a. 87. - It's such a rotten part.

210. Actors are rotten, not parts. /Huxley/

a. 88. - Are you sure?

211. No, it's a little late to be sure. /Bradbury/

a. 89. - Will you make me one tomorrow?

212. I will make you one tomorrow. /Harris/

a. 90. - Is it coming?

213. Coming, coming. /Bradbury/

a. 91. - She likes me.

214. She likes you? /Timeless stories/

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