Особенности разговорного стиля в сборнике рассказов Д. Лондона «Love of life» (стр. 7 )

13. Кожина русского языка. – М., 1993; Функциональные стили и формы речи. [Текст]/ //– Саратов, 1993.

14. О некодифицированных сферах современного русского литературного языка. [Текст]/ //– ВЯ. – 1966. – №2;

15. Лаптева речь в свете теории литературного языка [Текст]/ // Филологический сборник (к 100-летию со дня рождения академика ). – М., 1995;

16. Левин язык и художественное повествование [Текст]/ // Вопросы языка современной русской литературы. – М., 1971;

12. Сиротинина речь и разговорный стиль [Текст]/// Вопросы филологии. Уч. Зап. МГПИ. – № 000. – М., 1974

13. Сиротинина речь в системе литературного языка и разговорность в истории русской художественной речи, [Текст]/ //"Stylistyka-V", 1995;

14. О терминах "разговорная речь", "разговорность" и "разговорный тип речевой культуры" [Текст]/// Лики языка. – М., 1998;

15. Сиротинина речь в системе функциональных стилей современного русского литературного языка. [Текст]/// М., Изд.3, 2009. ISBN 978-5-397-00148-9

16. "Психологический анализ в литературном творчестве" [Текст]/ // М., (в 5 ч., 1973—1976)

17. 1960 — «Очерки по синтаксису русской разговорной речи» [Текст]/ ; отв. ред.: ; АН СССР, Ин-т русского языка. – М. : АН СССР, 1960 .

Книга нескольких авторов:

18.  Кузнец, М. Д., Скребнев, английского языка [Текст]/ , – М.: Просвещение, 1990.-с.50-55

Ресурсы Интернет

19.  Андреева -грамматические особенности внутреннего монолога [Электронный ресурс]/ . // http:/www.gumer.inf/bibliotek.ru

20.  Википедиа Разговорный стиль [Электронный ресурс]/ Википедиа// www. ru. wikipedia. org/wiki

Словари:

21.  , « Англо-русский словарь» // 4-е изд., испр., с Дополнением – Москва, Русский язык, 1987

22.  «Стилистический энциклопедический словарь русского языка»//. Под редакцией — М:. "Флинта", "Наука" 2003.

23.  Webster’s Third New International Dictionary / G. & C. Merriam, 1961

Приложение

Диалогические единства

1.Вопросно-ответныe

The story of keesh:

1.  “Why dost (do) thou hunt only bear?” Klosh-Kwan once ventured to ask him.

And Keesh made fitting answer. “It is well known that there is more meat on the bear,” he said.

2.  ‘By this time he was quite sick, the bear, and could crawl no farther, so Keesh came up close and speared him to death.”

“And then?” Klosh-Kwan demanded.

“Then we left Keesh skinning the bear, and came running that the news of the killing might be told.”

3.  “So explanation is wanted, O Keesh, of thy manner of hunting. Is there witchcraft in it?”

Keesh looked up and smiled. “Nay, O Klosh-Kwan. It is not for a boy to know aught of witches, and of witches I know nothing. I have but devised a means whereby I may kill the ice-bear with ease, that is all. It be headcraft, not witchcraft.”

The White Man's Way:

4.  "Why are you all alone in the village?" I asked. "Is everybody dead? Has there been a great sickness? Are you alone left of the living?"

Old Ebbits shook his head, saying: "Nay, there has been no great sickness. The village has gone away to hunt meat. We be too old, our legs are not strong, nor can our backs carry the burdens of camp and trail. Wherefore we remain here and wonder when the young men will return with meat."

5.  "But if you kill the man, why do you not kill the dog?" I asked.

Old Ebbits looked at me in childlike wonder, while Zilla sneered openly at the absurdity of my question. "It is the way of the white man," Ebbits mumbled with an air of resignation.

6.  "Was not my father brave man?" Zilla demanded.

"Thy (your) father was brave man," Ebbits acknowledged, with the air of one who will keep peace in the house at any cost.

7.  "Debt!" interrupted. "What debt?"

"The debt of Jones, who is chief trader," came the answer. "Such is the law of travel in a strange country."

Brown wolf:

8.  But she WAS beautiful, now, wasn't she?" he insisted.

"And here's where beauty and utility fall out," was her reply. "And there's the Wolf!"

9.  "When did you write it?" she demanded eagerly. Then, reproachfully, "And you never showed it to me." "I saved it to read to you on the way to the post-office, in a spot remarkably like this one," he answered, indicating, with a wave of his hand, a dry log on which to sit.

10. "Where's Wolf?" she asked.

"He was here a moment ago." Walt Irvine drew himself away with a jerk from the metaphysics and poetry of the organic miracle of blossom, and surveyed the landscape. "He was running a rabbit the last I saw of him."

11. "We'd like to hear you tell about the Klondike," Madge said. "Mayn't we come over some day while you are at your sister's? Or, better yet, won't you come over and have dinner with us?"

"Yes'm, thank you, ma'am," he mumbled mechanically. Then he caught himself up and added: "I ain'tstoppin' long. I got to be pullin' north again. I go out on to-night's train. You see, I've got a mail contract with the government."

12. "How do you know he's your dog?" he demanded.

"Because he is," was the reply.

13. "But you do not answer," Madge continued passionately. "What have you to offer him in that northland life?"

"Grub, when I've got it, and that's most of the time," came the answer.

"And the rest of the time?"

"No grub."

"And the work?"

"Yes, plenty of work," Miller blurted out impatiently.

14. "The dog doesn't go," Walt announced in a determined voice. "So there is no need of further discussion." - "What's that?" Skiff Miller demanded, his brows lowering and an obstinate flush of blood reddening his forehead. - "I said the dog doesn't go, and that settles it.

The unexpected:

15. "Where is Michael?" Edith asked. "Got up a little ahead of us and went outside," Harkey answered.

16. "What did you say?" Edith demanded, having caught the rumble of inarticulate speech in her husband's throat.

"I said it was a damn shame that he isn't dead," came the reply.

17. "What are you going to do?" she cried, rising swiftly from her bending position.

Hans did not answer, but she saw the shot-gun going to his shoulder. She grasped the muzzle with her hand and threw it up.

"Leave me alone!" he cried hoarsely.

18. "Well, what's wrong with Michael?" Harkey asked.

"He is not hungry no more," wailed Dutchy. "He has lost der appetite. He do not like der grub."

19. All well? Very well?"

Hans, still grasping the gun, felt sure that the Indian attributed to him the mangled corpses. He glanced appealingly at his wife.

"Good morning, Negook," she said, her voice betraying her effort. "No, not very well. Much trouble."

20. "What are you doin' that for?"

"It's freezing cold outside", she answered.

21. "Michael Dennin, have you anything to say?" Edith asked in a clear voice that shook in spite of her.

Dennin shuffled his feet on the barrel, looked down bashfully like a man making his maiden speech, and cleared his throat.

"I'm glad it's over with," he said. "You've treated me like a Christian, an' I'm thankin' you hearty for your kindness."

"Then may God receive you, a repentant sinner," she said.

"Ay," he answered, his deep voice as a response to her thin one, "may God receive me, a repentant sinner."

22. "Where are you going?" Edith demanded, in an agony of apprehension.

His hand was on the door-knob, and he half turned as he answered, "To dig some graves."

The sun dog trail:

23. ”How do you know it is the last turn?” I asked.

“The king is coppered, the seven is played open,” he answered.

24. He smoked on again, and again removed the pipe, using it to point at the POLICE GAZETTE illustration. "That picture - what does it mean? I do not understand."

I looked at the picture. A man, with a preposterously wicked face, his right hand pressed dramatically to his heart, was falling backward to the floor. Confronting him, with a face that was a composite of destroying angel and Adonis, was a man holding a smoking revolver. "One man is killing the other man," I said, aware of a distinct bepuzzlement of my own and of failure to explain.

25. "Why?" asked Sitka Charley.

"I do not know," I confessed.

26. "How do you know the limit is off?" I broke in excitedly, for here was where my work could be tried out on an unbiassed judge who knew life only, and not art, and who was a sheer master of reality. Also, I was very proud of that particular piece of work. I had named it "The Last Turn," and I believed it to be one of the best things I had ever done.

"There are no chips on the table", Sitka Charley explained. "The men are playing with markers. That means the roof is the limit.