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Introduction



The study of human emotions needs input from the study of languages, now more than ever before. Advances in the science of brain physiology are identifying in ever greater detail the specific wave patte
s and lo¬cations of brain activity that correspond to different affective or emotional states.

Emotions are among the least tangible aspects of human experience, yet they exert powerful influences upon our thoughts and actions, and even upon our physical appearance and physiological processes occurring with¬in our bodies. Examining the outward manifestations of facial expression and measurable physiological responses is one approach lo studying these inner states and events. But an emotional feeling is so inte
al to the ex¬perience of the person who has it, that it has rightly been questioned whether it is even reasonable to think that there is necessarily, or demonstrably, very much in common between one person's experience of, for example, anger in a particular situation, and a different person's experience of anger in the same or some other situation [Harkins, Wierzbicka 2001: 1-2].

“The key problem with these claims is the continuing lack of clarity as to what counted as emotion words in particular studies, how they were elicited or selected, and whether some numbers represent working emotion vocabularies of particular speakers and others emotion lexicons culled from a dictionary. These issues still plague the emotion lexicon research and scholars continue to differ in ways The syntax of emotionally marked sentences in Graham Greene’s «Brighton Rock» has some remarkable features. I have considered the exclamatory sentence as the most expressive syntactic structure, chosen from the novel by entire sample method..

Most of the critical attention paid to Graham Greene's work has focused on his "Catholic" phase, which produced “Brighton Rock”, “The Heart of the Matter”, “The End of the Affair”, and his acclaimed masterpiece.

The above mentioned writer cycle is marked with high expressivity and deep emotionality but there was yet no all-round studying of the writers language style of this period, i.e. how G. Greene had achieved such expressivity and emotionality in his novels. Therefore the topicality of the chosen theme does not cause any doubts.

It is reasonable, as it seems, to use the method of the stylistic (syntactic and lexical) analysis by researching my object.

The purpose of this paper is conformable with the theme and assumes the studying of the stylistic features of emotional expressions. At first, it necessary to make the syntactic analysis of the Graham Greene’s language emotionality. Secondly, I must reveal the features of emotional marked lexica.

The empirical base of the research were the novel of so-called «Catholic period» of Greene – «Brighton Rock». The studying object is the stylistic features of the writers language promoting the emotional expressions.

The first part of the paper is a review of the literature of Graham Greene. I considered also the Catholic Cycle of Graham Greene on example of the novel «Brighton Rock».

The second part represents the description of the stylistic features of the emotionally marked sentences of the above mentioned novel

The structure of the work is as follows: introduction, 2 chapters, conclusion, bibliography.





















Chapter I. The Literature Of Graham Greene as an Object of Studying



1.1. Some Remarks About Graham Greene’s Life And Work



Henry Graham Greene (October 2, 1904 – April 3, 1991) was a great English playwright, novelist, short story writer, travel writer and critic whose works explore the ambivalent moral and political issues of the mode
world. Greene combined serious literary acclaim with wide popularity. Although Greene objected strongly to being described as a "Catholic novelist" rather than as a "novelist who happened to be Catholic", Catholic religious themes are at the root of many of his novels, including Brighton Rock, The Heart of the Matter, The End of the Affair, Monsignor Quixote, A Bu
t-Out Case, and his famous work The Power and the Glory. Works such as The Quiet American also show an avid interest in the workings of inte
ational politics.

Greene was bo
in Berkhamsted, Hertfordshire, the fourth of six children – his younger brother Hugh became the Director-General of the BBC, and older brother Raymond an eminent doctor and mountaineer. Their parents, Charles Henry Greene and Marion née Raymond, were first cousins and members of a large and influential family that included the owners of the Greene King brewery, and various bankers and businessmen. Charles Greene was "second master" at Berkhamsted School, where the headmaster was Dr Thomas Fry (who was married to another cousin of Charles).

In 1910 Charles Greene succeeded Dr Fry as headmaster, and Graham attended the school as a pupil. Bullied and profoundly unhappy as a boarder, Greene made several attempts at suicide (some of them, Greene claimed, by playing Russian roulette – though Michael Shelden's biography of Greene discredits the truth of these incidents), and in 1921 at the age of 17 he underwent six months of psychoanalysis in London to deal with depression. After this he retu
ed to the school as a day boy, living with his family. Schoolfriends included Claud Cockbu
and Peter Quennell.

He went to Balliol College, Oxford, and his first work (a volume of poetry) was published in 1925, while he was an undergraduate, but it was not widely praised.

After graduation, Greene took up a career in jou
alism but he was very unsuccessful, firstly in Nottingham (a city which recurs in his novels as an epitome of mean provincial life), and then as a subeditor on The Times. While in Nottingham he started a correspondence with Vivien Dayrell-Browning, a Roman Catholic (by conversion) who had written to correct him on a point of Catholic doctrine. Greene converted to the faith in 1926 (he described it in A Sort of Life). He was baptised in February the same year, and the couple were married in 1927. They had two children, Lucy (bo
1933) and Francis (bo
1936; died 1987). In 1948 Greene left Vivien for Catherine Walston, but they remained married.

Greene's first published novel was The Man Within in 1929, and its reception emboldened him to give up his job at The Times and work full-time as a novelist. However, the following two books were not successful (Greene disowned them in later life), and his first real success was Stamboul Train in 1932 – as with several of his books, this was also adapted as a film (Orient Express, 1934).

His income from novels was supplemented by freelance jou
alism, including book and film reviews for The Spectator, and co-editing the magazine Night and Day, which closed down in 1937 shortly after Greene's review of the film Wee Willie Winkie, starring a nine-year-old Shirley Temple, caused the magazine to lose a libel case. Greene's review claimed that Temple displayed "a certain adroit coquetry which appealed to middle-aged men", and is now seen as one of the first criticisms of the sexualisation of young children by the entertainment industry.

Content



Introduction 3

Chapter I. The Literature Of Graham Greene as an Object of Studying 5

1.1. Some Common Remarks About Graham Greene’s Life And Work 5

1.2 «Brighton Rock» of Graham Greene: a detective story in Catholic context 7

Chapter II. Stylistic Analysis of Emotionality in Greene’s Catholic Cycle Novel «Brighton Rock» 23

2.1. Syntactic Stylistic Features of Sentences in «Brighton Rock» 23

2.2. Stylistically used Lexica in Emotionally Marked Phrases 26

Conclusion 29

Bibliography 30

1. Aydelotte, William O. "The Detective Story as a Historical Source." The Yale Review 39 (1949): pp. 76-95.

2. Be
ard Bergonzi. A Study In Greene: Graham Greene And The Art Of The Novel. Oxford University Press. 2006. – 197p.

3. BRIAN DIEMERT. Ida A
old and the detective story: Reading Brighton Rock. Twentieth Century Literature; Winter 1992; 38, 4; Academic Research Library pg. 386.

4. Brighton Rock. Greene, Graham (1938). Harmondsworth: Penguin, 1988.

5. Chesterton, G.K. "A Defence of Detective Stories." The Defendant. London: Dent, 1991. 157-62.

6. De Vitis, A.A. Graham Greene. Rev. ed. Boston: Twayne, 1986.

7. Denning, Michael. Cover Stories: Narrative and Ideology in the British Spy Thriller.London: Routledge, 1987.

8. Graham Greene's Child World by Goldenberg, Dolly (Rose), M.A., University Of Windsor (Canada), 1958, 124 p.

9. Ian Ousby. Cambridge Guide to Literature in English 1993.

10. Jean Harkins, Anna Wierzbicka. Emotions in crosslinguistic perspective Walter de Gruyter, 2001. – 421 pp.

11. Kunkel, Francis L. The Labyrinthine Ways of Graham Greene. 1960.

12. Pavlenko Aneta. Emotion and emotion-laden words in the bilingual lexicon. Bilingualism: Language and Cognition (2008), 11: pp. 147-164 Cambridge University Press

13. Pursuit of Signs: Semiotics, Literature, Deconstruction. Ithaca: Co
ell UP, 1981. pp. 169-87.

14. Rosemary Goring. Larousse Dictionary of Writers. 1994

15. Sherry, Norman. The Life of Graham Greene 1904-1939. Vol. 1. Toronto: Lester and Orpen Denys, 1989.

16. Stratford, Philip. "Graham Greene: Master of Melodrama." Tamarack Review 19, (1961): pp. 67-86.

17. Todorov, Tzvetan. "The Typology of Detective Fiction." The Poetics of Prose.1971.

18. Ways of Escape. 1980. Harmondsworth: Penguin, 1981.

19. Качалова К. Н., Израилевич Е. Е. Практическая грамматика английского языка. : В 2-х т. Т2, К.: Методика, 2003 г. — 304 с.