Graphic constituent.a. Reference: Visual graphic means withwhich an author creates the conceived effect.
b. Types: 1) Graphon (graphical fixation of individual articulation features) e.g. ‘Ah canna see her changin' her mind so quickly. In fack, Ah never thought she'd change her mind’ (S. Chaplin)
- Occasional graphon e.g. - ‘selly-brated’ (celebrated), ‘benny-violent’ (benevolent), ‘illygitmit’ (illegitimate) (W. Thackeray); ‘crustymoney pro-seedcake’ – ‘customary procedure’ (A.Milne); - ‘My daddy's coming to-morrow on a nairplane ’ (an airplane) (D. Salinger); ‘It's a ninseck ’ (an insect), the girl said’ (H. Lee); - ‘ probly ’ (probably) – J. Jones, ‘ pitchers ’ (pictures) – I. Shaw, ‘ luv ’ (love) – St. Barstow, ‘ nite ’ (night) – D. Salinger; - ‘ speaknubout prices ’ (speaking about prices), ‘ jiver ’ (did you ever), ‘ pleasmeech ’ (pleased to meet you), ‘ snoway talkcher father ’ (it is no way to talk to father)
- Recurrent graphon e.g. ‘c-c-c-c-c-com-ing’, ‘c-c-c-c-case’, ‘b-b-b-b-bas-tud’ (R.Penn Warren)
2) Types /шрифт (allocates important words) e.g. ‘Help! Help! HELP!’ he shouted (A. Huxley) ‘He called it a helmet, though it certainly looked much more like a saucepan’ (L. Carroll) ‘Olwen: The real truth is something so deep you can’t get at it this way, and all this half truth does is to blow everything up. It isn’t civilised ’ (“Dangerous Corner” by J.B. Priestly)
3) Symbols (substitutes commonly used words) e.g. "U 2 can b a / Tepot"; ("Ты тоже можешь быть / Поэтом"), "C! *** stares and /// strips"; ("Гляди–ка, три звезды и три нашивки"), "All nem r ="; ("Все люди равны").
Letters: "u" means "you", "b" – "be", "c" – "see", а "r" – "are"; Figures: "2" sounds [tu:] and means not "two" but ''too"; Mathematic signs: "=" means "equal"; Computer symbols: "***stares" means "three stars" and "/// strips" means "three stripes on the military uniform" ("The Typewriter Revolution" by D.J. Enright (?Д.Дж.Энрайт))
4) Lines (put an emphasis on the most important for semantic accents meaningful units) e.g. in “The Raven” by E. Poe each stanza is finished with the variants of the key word Nevermore: … … … … … Only this, and nothing more.' … … … … … This it is, and nothing more,' … … … … … Darkness there, and nothing more. … … … … Merely this and nothing more. … … … … 'Tis the wind and nothing more!' … … … … Perched, and sat, and nothing more. … … … … Quoth the raven, `Nevermore.'… … … … … With such name as `Nevermore.' … … … … Then the bird said, `Nevermore.'… … … … … Meant in croaking `Nevermore.' … … … … She shall press, ah, nevermore! … … … … Quoth the raven, `Nevermore.'… … … … … Quoth the raven, `Nevermore.'… … … … … Quoth the raven, `Nevermore.'… … … … … Quoth the raven, `Nevermore.'… … … … … Shall be lifted - nevermore!
5) Gaps (create places of the meaningful emptiness of text) e.g. Mayakovsky finished the introductory to the poem “Про это” in the following way: ‘Имя этой теме: ......!’ Vasilik Gnezdov created the work “Поэма конца” in which there was no language signs but the title – meaningful emptiness of the paper space (every reader can fulfill the empty space with own meanings and senses). 6) Punctuation marks (make accents on pauses: dependently on a punctuation mark there is a peculiarity of its meaning) e.g. ? (interrogation) ! (exclamation); , (enumeration) … (continuation) – (explanation, detachment), etc. Velemir Hlebnikov created the monopoem made of only punctuation marks. I. Holin – a poem of four lines of dots. ………………………………… ………………………………… ………………………………… …………………………………
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