The article focuses on the analysis of the stylistic and syntactic peculiarities of the official document texts produced by three British social departments. There is a certain tendency to simplify the official style, traditionally associated with this sphere. As a result, there appears a new ‘easy read’ format aimed at the public.
Prosodic markers of discourse tenor are analysed.
The relevance of the research consists in the identification of the fundamental laws of text creating. The belle-lettres text is considered to be a structurally organized form of information with the aim of rendering esthetic impact on the recipient. The general structural principles of the text (integrity and regularity) are characterized by such properties as proportion, harmony, symmetry and rhythm. Rhythm as regular alternation of signs of different language levels organizes, both the structure of the text, and a process of conveying information by the sender and its perception by the recipient. Rhythm is one of the mechanisms to realize the functional and semantic category of expressivity. The hierarchy of meanings reached as a result of rhythmic orderliness of the text creates esthetic effect and provides sense increment. The author discriminates two kinds of syntactic rhythm: assimilative rhythm for transmission of factual information and dissimilative rhythm as means of rendering esthetic information and realizing the author's intentions. Subjected to analysis is dissimilative rhythm with the aim of identifying the reasons for functional failure of assimilative rhythm.
The article is devoted to imagery capacity of iconicity and to onomatopoeia as its sound variety, in particular. Both these phenomena are examined in the context of advertising discourse and the author’s arguments are backed with different examples of sound imitation advertising. As an iconic sign, onomatopoeia can be , in our opinion, considered beneficial for the aims of advertising as it allows to establish associative links between a language sign and denotatum (the product characteristics) thus making for creation of a desirable image of the product (including its qualities and properties) in consumers’ mind. Apart from that, having contrasted the iconocity of an image and the one of a sound, we have also provided here some reasoning why onomatopoeia, in our view, is much stronger in terms of the ways such information is perceived and processed by a potential consumer. When complemented by an image, this unity (and the image itself) can play different roles affecting the meaning of sound words, namely it can: distinguish the meaning of different sound words, assign meanings to new-coined onomatopoeia, create imagery for the product advertised. In the second part of this article, an attempt was made to investigate the difficulties with translation of onomatopoeic advertising texts from English into Russian.