Grounding Figurative Language Use in Incompatible Ontological Categorizations

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人教版英语初二上学期期中试题与参考答案(2024年)

人教版英语初二上学期期中试题与参考答案(2024年)

2024年人教版英语初二上学期期中模拟试题与参考答案一、听力部分(本大题有20小题,每小题1分,共20分)1、听力材料:A. Good morning, everyone. How are you today?B. I’m fine, thank you. How about you?C. I’m not feeling well. I have a headache.Questions:1.How is the speaker in A feeling?2.What is the speaker in B asking about?Answer:1.A, How is the speaker in A feeling?2.B, What is the speaker in B asking about?Explanation:1.The speaker in A is asking about the listeners’ well-being, implying they are feeling fine.2.The speaker in B is responding to the question and is asking about the well-being of the speaker in A.2、听力材料:A. I usually go to school by bus, but today I took a taxi.B. That sounds expensive. How much did it cost?C. It was about$10, but it was worth it for the convenience.Questions:1.How does the speaker in A usually go to school?2.What does the speaker in B want to know about the taxi ride?Answer:1.A, How does the speaker in A usually go to school?2.B, What does the speaker in B want to know about the taxi ride?Explanation:1.The speaker in A mentions that they usually go to school by bus, indicating their usual mode of transportation.2.The speaker in B expresses surprise at the possibility of the taxi ride being expensive and asks about the cost, showing curiosity about the expense of the ride.3、What time does the girl usually get up on weekdays?A. At 6:00 am.B. At 6:30 am.C. At 7:00 am.Answer: B. At 6:30 am.Explanation: In the dialogue, the girl mentions that she sets her alarm for 6:30 every morning during the school week, so this is when she usually gets up. Option A is too early, and option C is too late according to the conversation.Monologue 2(Play the monologue)4、Where did the speaker go last weekend?A. To a museum.B. To a park.C. To a shopping mall.Answer: A. To a museum.Explanation: The speaker talks about visiting an exhibition featuring ancient artifacts, which indicates they went to a museum. Options B and C are not mentioned in the context of the speaker’s activities over the weekend.5、Listen to the following conversation between two students, Tom and Jerry, and choose the best answer to the question.Tom: Hey Jerry, how was your weekend?Jerry: Oh, it was great, Tom. I went to the mountains with my family. Tom: That sounds fun! What did you do there?Jerry: We hiked, took some beautiful photos, and had a picnic.Tom: Wow, I wish I could have gone with you. How was the weather?Jerry: It was perfect; sunny and not too hot.Question: What did Jerry do on his weekend?A) He went to the beach.B) He went hiking with his family.C) He stayed at home.D) He went to the city.Answer: B) He went hiking with his family.Explanation: In the conversation, Jerry mentions that he went to the mountains with his family to hike, take photos, and have a picnic. This matches option B.6、Listen to the following dialogue between a teacher and a student, Sarah, and answer the question.Teacher: Sarah, how was your science project?Sarah: It was quite challenging, but I enjoyed it. I chose to research renewable energy sources.Teacher: That’s a great topic. What did you find out about solar power? Sarah: Well, I learned that solar power is a clean and renewable energy source that can be used to generate electricity.Teacher: And what about the limitations of solar power?Sarah: It mainly depends on weather conditions, as solar panels work best when there’s sunlight. Also, it requires a large amount of space for inst allation.Question: What is one of the limitations of solar power?A) It’s not a renewable energy source.B) It depends on weather conditions.C) It requires too much energy to produce.D) It’s expensive to install.Answer: B) It depends on weather conditions.Explanation: In the conversation, Sarah explains that solar power’s main limitation is its dependency on weather conditions, as solar panels work best with sunlight. This matches option B.7、Listen to the following conversation between two students and choose the best answer to the question.Student A: Hey, have you heard about the new movie that’s coming out this weekend?Student B: Yeah, I heard it’s really good. What’s it called again?A)“The Weekend Movie”B)“Newcomer”C)“Upcoming Film”D)“This Weekend’s Movie”Answer: C) “Upcoming Film”Explanation: The correct answer is “Upcoming Film” because the question asks for the name of the movie that is coming out this weekend. The phrase “new movie that’s coming out” su ggests that the students are discussing a movie that is yet to be released, which is indicated by the word “upcoming.”8、Listen to the following dialogue between a teacher and a student and answer the question.Teacher: How was your science project, Sarah?Student: It was really interesting, and I learned a lot about the solar system.Teacher: That’s great! Did you present it in front of the class?Student: Yes, I did. I was pretty nervous at first, but I got through it.Question: What subject was Sarah’s p roject about?A)MathematicsB)HistoryC)ScienceD)LiteratureAnswer: C) ScienceExplanation: The question asks about the subject of Sarah’s project. The dialogue mentions that Sarah was doing a project on the solar system, which is related to the field of science. Therefore, the correct answer is “Science.”9、What does the boy want to do this weekend?•A) Go to the movies•B) Visit the science museum•C) Play basketball with friends•D) Stay at home and studyAnswer: BExplanation: The correct answer is B because in the conversation, the boy expresses his interest in visiting the science museum this weekend to learn more about space exploration, which aligns with his recent school project on astronomy.10、How will they go there?•A) By bus•B) By bike•C) By subway•D) By carAnswer: CExplanation: The correct answer is C. In the dialogue, the girl suggests taking the subway as it is faster and more convenient than driving or cycling, especially during rush hour when traffic can be heavy.11.You are listening to a conversation between two students, Tom and Lily, discussing their weekend plans.Tom: Hey, Lily, what are you planning to do this weekend?Lily: Well, I was thinking of going hiking with my friends. How about you?Tom: That sounds great! I was actually planning to visit the museum. Do you want to come along?Lily: Sure, that would be fun. What kind of exhibits are there?Tom: There are a variety of exhibits, including history, art, and science.I think we can learn a lot.Question: What are Lily’s friends plan ning to do this weekend?A. Go hikingB. Visit the museumC. Go shoppingD. Go to the beachAnswer: A. Go hikingExplanation: In the conversation, Lily mentions that she was thinking ofgoing hiking with her friends, which indicates that their plan is to go hiking.12.You are listening to a phone conversation between a teacher, Mrs. Wang, and a student, John.Mrs. Wang: Hi, John. How are you doing?John: Hi, Mrs. Wang. I’m fine, thanks. How about you?Mrs. Wang: I’m doing well, thank you. How was your science project?John: It went pretty well. I chose to research renewable energy sources.I presented it to the class yesterday.Mrs. Wang: That’s great, John. I’m proud of you. What did you find out?John: I found out that solar energy is a very promising source of renewable energy. It’s clean and sustainable.Question: What is the main topic of John’s science project?A. Renewable energy sourcesB. Solar energyC. History of scienceD. AnimalsAnswer: A. Renewable energy sourcesExplanation: In the conversation, John explicitly mentions that his science project is about renewable energy sources, which is the main topic of his project.13.You are listening to a conversation between two students, Tom and Lucy, talking about their weekend plans. Listen carefully and choose the best answerto the question.Question: What is Tom’s plan for this weekend?A. He is going to visit his grandparents.B. He is going to have a sleepover at his friend’s house.C. He is going to go to a movie with Lucy.Answer: CExplanation: In the conversation, Tom says, “I think it would be great to go to a movie this weekend.” This indicates that he plans to go to a movie with Lucy.14.Listen to a short dialogue between a teacher and a student, discussing the student’s grades. Choose the best answer to the question.Question: What is the student’s grade in English?A. 85B. 90C. 95Answer: BExplanation: The teacher says, “Your grade in English is quite good, you got 90 points.” This means that the student’s g rade in English is 90.15、What are the speakers mainly talking about?A. A sports event.B. Weekend plans.C. School projects.D. Holiday destinations.Answer: B. Weekend plans.Explanation: The conversation revolves around what the speakers intend to do during their upcoming weekend, making option B the correct choice.16、What does the woman suggest doing on Saturday afternoon?A. Going to a movie.B. Visiting a museum.C. Playing tennis.D. Having lunch together.Answer: C. Playing tennis.17.Listen to the dialogue and answer the question.W: Hi, John. How was your science project this semester?M: It was quite challenging, but I enjoyed it. I learned a lot about renewable energy sources.Q: What did John learn about in his science project?A: John learned about renewable energy sources.解析:从对话中可以听出,John在他的科学项目中学习了很多关于可再生能源的知识。

Figurative Language

Figurative Language

Figurative LanguageFigurative language uses "figures of speech" - a way of saying something other than the literal meaning of the words. For example, "All the world's a stage" Frost often referred to them simply as "figures." Frost said, "Every poem I write is figurative in two senses. It will have figures in it, of course; but it's also a figure in itself - a figure for something, and it's made so that you can get more than one figure out of it." Cook Voices p235Metaphor A figure of speech in which a comparison is made between two things essentially unalike. To Frost, metaphor is really what poetry is all about. He is notably a poet of metaphors more than anything else. This is so important, we should hear directly from the poet. Frost said," Poetry begins in trivial metaphors, pretty metaphors, 'grace metaphors,' and goes on to the profoundest thinking that we have. Poetry provides the one permissible way of saying one thing and meaning another. People say, 'Why don't you say what you mean?' We never do that, do we, being all of us too much poets. We like to talk in parables and in hints and in indirections - whether from diffidence or from some other instinct". ... Excerpt from an essay entitled "Education by Poetry" by Robert Frost.Examples:The Silken Tent. A woman is admired for her strength and beauty, like a silken tent. Note the strength of the silk and cedar.Putting in the Seed. The planting of seed in the garden, in springtime is like making love.Devotion. The passive but ever-changing shore and the persistent energetic ocean are like a devoted couple.To Earthward. The stages of love are like stepping stones to death.All Revelation. A view of a geode crystal is like the mind probing the universe. Simile A figure of speech in which a comparison is expressed by the specific use of a word or phrase such as: like, as, than, seems or Frost's favorite "as if,"Examples:Mending Wall: like an old-stone savage armedStars: like some snow-white/ Minerva's snow-white marble eyesGoing for Water: We ran as if to meet the moon ---- we paused / like gnomes Birches: Like girls on hands and knees that throw their hairHyla Brook: Like ghost of sleigh bellsSymbol A thing (could be an object, person, situation or action) which stands for something else more abstract. For example our flag is the symbol of our country. The use of symbols in Frost's poetry is less obvious. Frost was not known as a Symbolist. Actually, the Symbolists were a late 19th century movement reacting against realism. Frost rebelled against this movement and preferred to use metaphors. There are certain signature images that become symbols when we look at Frost's complete work.Flowers, stars, dark woods and spring (the water kind) are consistent symbols in Frost's poetry and should be noted here. As with many other poetic devices, Frost had his own way of keeping the rule and breaking the rule.Frost said, "If my poetry has to have a name, I'd prefer to call it Emblemism," not "Symbolism," which is all too likely to clog up and kill a poem." Burnshaw p283 Examples:The Road Not Taken: the forked road represents choices in life. The road in this poem is a text book example of a symbol.Rose Pogonias: Early in Frost's poetry, flowers become a symbol for the beloved, his wife Elinor.Stopping by Woods on a Snowy Evening: even though there is no one overt symbol in the poem, the entire journey can represent life's journey. "Dark woods" also become a powerful recurring symbol in Frost.The Pasture and Directive. Spring (as in water spring) is very meaningful in Frost's poetry. Spring represents origin or source, almost in a Proustian sense. Other variations include "brook" Hyla Brook and West-Running Brook. Water often deals with an emotional state.Come In: "But no, I was out for stars." The star is one of the chief symbolic images in Frost's poetry.Personification A type of metaphor in which distinct human qualities, e.g., honesty, emotion, volition, etc., are attributed to an animal, object or idea.Examples:My November Guest: the guest is Sorrow, personified as a woman dearly loved who walks with him.Mowing: the scythe whispersRange-Finding: the spider sullenly withdrawsTree at my Window: the tree watches him sleep; it has tongues talking aloudStorm Fear: the wind works and whispers, the cold creeps, the whole storm is personified (Table)Apostrophe 【修辞学】顿呼法〔叙述中忽然对不在场的第三者所发出的直接呼语;或对无生命物发出呼唤A figure of speech in which someone absent or dead OR something nonhuman is addressed as if it were alive and present.Examples:Take Something Like a Star: the poem begins, "O Star," He addresses the star throughout the poem.Tree at my Window: He addresses the tree throughout: "Tree at my window, window tree."Mending Wall: speaking to the stones that make up the barrier, he says, "Stay where you are until our backs are turned!"Synecdoche 提喻法;举隅法〔以局部代表全部和以全部喻指部分,例如用roof表示整个house, 用the army表示某一个soldier〕。

语言学专八考研真题及答案

语言学专八考研真题及答案

专八语言集锦(05年——14年专八真题及解析归纳)目录1、2005年 (1)2、2006年 (2)3、2007年 (4)4、2008年 (6)5、2009年 (8)6、2010年 (10)7、2011年 (11)8、2012年 (12)9、2013年 (13)10、2014年 (14)11、附加语言学考研题 (15)2005年38.(考查点:main branches of linguistics) Syntax is the study ofA. language functionsB. sentence structuresC. textual organizationD.word formation答案:B。

解析:Syntax is about principles of forming and understanding correct English sentences,是关于形成和理解正确英语句子的原则。

也就是句子结构。

故选择B。

39.(考察点:design features of language) Which of ale following is NOTa distinctive feature of human language?A. ArbitrarinessB. ProductivityC. Cultural transmissionD. Finiteness答案:D。

解析:题问下面四个选项中,哪一个不是人类语言的主要特征?除Finiteness(有限性)外,选项中的其它的三项Arbitrariness(任意性),Productivity(能产性)和Cultural transmission(文化传递性)在语言学概述部分都提到了。

故选择D。

40. (考察点:人物)The speech act theory was first put forward byA. John SearleB. John AustinC. Noam ChomskyD. M.A,K. Halliday答案:B。

figurative-language

figurative-language
Figuratively: figure out what it means
I’ve got your back.
You’re a doll. ^Figures of Speech
Simile
Comparison of two things using “like” or “as.”
Examples The metal twisted like a ribbon. She is as sweet as candy.
1
He drew a line as straight as an arrow.
2
Knowledge is a kingdom and all who learn are kings and queens.
3
Can I see you for a second?
4
The sun was beating down on me.
5
A flag wags like a fishhook there in the sky.
6
I'd rather take baths with a man-eating shark, or wrestle a lion alone in the dark, eat spinach and liver, pet ten porcupines, than tackle the homework, my teacher assigns.
Two things are compared without using “like” or “as.” Examples All the world is a stage.
Men are dogs.
She has a stone heart.

文学的召唤结构和其翻译中的再创造--以《红楼梦》的两英译本为例

文学的召唤结构和其翻译中的再创造--以《红楼梦》的两英译本为例

文学的召唤结构和其翻译中的再创造——以《红楼梦》的两英译本为例The Appealing Structure and its RecreationIn Literary Translation----Taking the Two EnglishVersions of Hong Lou Meng for Illustration学科专业:外国语言学与应用语言学研究方向:翻译理论与实践ABSTRACTReception aesthetics with fresh viewpoints exerts a unique influence upon literature as well as literary translation circle. The striking feature of this theory is that it is a study focusing on reader. As a leading scholar of this theory, Wolfgang Iser builds all his theories on the interaction between reader and text. He places greater stress on the reader‘s creative participation in reading text. His many articles about appealing structure and reader‘s aesthetic response made sensations throughout the theoretic circles among scholars and students as soon as they were born. His appealing structure holds that there are ―gaps‖ and“indeterminacies ‖ in the meaning of text,which will stimulate reader to fill in the gaps, and decode the indeterminacy with his creativity and imagination. The basic structure composed of gaps and indeterminacy in a text is called an appealing structure,which exposes an ultimately open scope and attracts every reader to explore and create the deep meaning of a text according to his personal experiences, knowledge and values. Coincidentally, the appealing structure has also been cherished by Chinese authors inlong literary history. Zhu Liyuan has made a thorough research on Iser‘s appealing structure, and extended his theory. He takes the view that the appealing structure should cover a broader area. According to their opinion, this dissertation mainly deals with the recreation of appealing structure from the perspective of reception aesthetics.Literature, an aesthetic reflection on real life, first and foremost must live up to the aesthetic standards. Literary translation as an art is in line with this standard, the ultimate aim of which is to satisfy readers‘aesthetic requirements. Literary translation entails a translator to cope with all kinds of questions arising from language, culture, author, text, reader, and so on. Literary translation is an actual recreation of aesthetic art, which is not only the wisdom of ancient translators, but also the common view of contemporary translators. Of course, the recreation is a limited creation fettered by the faithfulness to text and reader. Recreation covers a variety of areas and concerns many factors. Here, this dissertation, taking the two versions of Hong Lou Meng for illustration, mainly discusses the recreation of the appealing structures in the language in literary writings and in the meaning of a literary text for the purpose of reader reception.Firstly, the author deals with the recreation of the appealing structure in literary language. Undoubtedly, literary language is very significant, as it is the root of all the appealing structure such as meaning. Literary translation is an art of language, namely the art of reproduction and recreation in another language. When the original is translated, the appeal of source language will be lost to the target language reader. Only when target language appeal is reproduced, can it achieve the purpose of appealing the target language reader. In doing so, a translator should use the pure target language to substitute the pure source language, and strive to preserve the beauties of source language including its rhythm, fuzziness, indeterminacy and connotation. This doesn‘t exclude foreignized language, for it owns its appealing traits by breaking reader‘s habitual expectation horizon. Personally, in literary translation, domesticated language should be a main body, and the foreignized language, a supplement.The emphasis of this dissertation is laid on the recreation of textual meaning‘s appealing structure. Translation is to translate meaning; the whole process of translation is to treat meaning. Different from non-literary works, literary works are rich in gap, fuzziness, multi-meaning and indeterminacy. A translator is expected to recreate the original appealing structure in his translation. He, above all, should recreate the corresponding context and appealing open space in the chosen words and expressions, and meanwhile guard against the over-loaded translation and under-loaded translation. However, owing to the limitation of language, culture and translator himself, perhaps a translator can‘t identify the original appealing structure, and therefore make it lost or distort in his translation. Moreover, as one of the readers, a translator is likely narrow the appealing open space of the original, who will translate the indirect into the direct, the implicit into the explicit, and so on. If so, the target language readers would not appreciate the beauty hidden in the original as the source language readers do.In the recreation of the appealing structures in the literary language and textual meaning, a translator should bear the notion of reader need in mind, which would influence his adoption of words, and make his version different. The immediate aim of literary translation is to endow reader with aesthetic enjoyment by enabling him to decode the text through reading process. According to reception aesthetics, literary works are created by both author and reader. Comparatively, reader more than plays a crucial part in literary recreation; he is an actual pivot of the whole recreation. It is unimaginable for a literary work to survive without reader participation. So, when reader need clashes with the original, a translator should translate flexibly to cater to reader. It is no exaggeration that the importance of reader overrides other factors affecting translation. However, t his doesn‘t deny the fact that literary translation is a limited recreation on the condition that it should be faithful both to reader and author. Undoubtedly, reader reception is so important that the focus of literary translation in 21st century will be shifted to reader.Hong Lou Meng is known to every household with universal praise, whose glamour and popularity lie in its limitless appealingness. In this dissertation, takingthe two versions of Hong Lou Meng for illustration, the author made a tentative pursuit into the recreation of the appealing structures in literary language and textual meaning for the sake of the reception of reader from the perspective of reception aesthetics. To summarize, in this dissertation, ―recreation‖ is the focus, and ―reader reception‖is the target, with the ―translator subjectivity‖as a prerequisite and the ―faithfulness‖as a constraint. These aspects are correlated intrinsically and integrated into an organic whole unit.Key words: literary translation; reception aesthetics; recreation appealing structure; expectation horizon;appealingness内容摘要接受美学一产生,就在国内外文艺理论界激起巨大的反响。

牛津译林版初二上学期期末英语试题与参考答案

牛津译林版初二上学期期末英语试题与参考答案

牛津译林版英语初二上学期期末复习试题与参考答案一、听力部分(本大题有20小题,每小题1分,共20分)1、听力材料:A. Good morning, everyone. How was your weekend?B. It was great. I went hiking in the countryside with my family.Questions:1.What are they talking about?A) The weatherB) Their weekend activitiesC) School subjectsAnswer: BExplanation: The dialogue starts with a question about the weekend, indicating that they are discussing their weekend activities.2、听力材料:A. I need to finish my homework before dinner time.B. Sure, I can help you with that. What subject is it?Questions:2.What is the second speaker offering to do?A) Have dinner togetherB) Help with homeworkC) Go hikingAnswer: BExplanation: The second speaker responds by offering to help with the homework, as in dicated by the phrase “I can help you with that.”3、 Listen to the dialogue and choose the best answer to each question.3.1 What does the man want to do?A. Visit a museumB. Go to the parkC. Have a walk in the street3.23.2 Why does the man want to go to the museum?A. To see some paintingsB. To learn about ancient historyC. To meet some friendsAnswer: 3.1 B, 3.2 BAnswer Explanation:For question 3.1, the dialogue mentions that the man wants to go to the park, so the answer is B. For question 3.2, the reason the man gives for wanting to go to the museum is to learn about ancient history, so the answer is B.4、 Listen to the passage and choose the best answer to each question.4.1 Who is the main character in the story?A. A studentB. A teacherC. A librarian4.24.2 What is the main character doing at the end of the story?A. Reading a bookB. Playing a gameC. Having a tea breakAnswer: 4.1 A, 4.2 AAnswer Explanation:For question 4.1, the passage refers to the main character as a student, so the answer is A. For question 4.2, at the end of the story, the student is still reading a book, so the answer is A.5、Listen to the following conversation and answer the question.Male: Hey, have you heard about the upcoming school trip to the Science Mus eum? It’s called “Explore the Future.”Female: Yes, I have heard about it. It sounds like a great opportunity to learn more about science and technology. What time is it scheduled for?Male: It’s scheduled for next Saturday, starting at 8:00 AM.Question: What time is the school trip to the Science Museum planned to start?A) 8:00 AMB) 9:00 AMC) 10:00 AMD) 11:00 AMAnswer: A) 8:00 AMExplanation: The dialogue between the students mentions that the school trip is scheduled to start at 8:00 AM.6、Listen to the following passage about climate change and answer the question.“Do you think it’s important that schools teach students about climate change?” a reporter asked the principal of Oxford High School.The principal replied, “Absolutely! It’s crucial for students to understand the issues and take action. We’ve incorporated a new module into our science curriculum to address this.”Question: What action is Oxford High School taking to teach students about climate change?A) They are organizing a school event.B) They are updating their science curriculum.C) They are hiring a new science teacher.D) They are offering summer classes.Answer: B) They are updating their science curriculum.Explanation: The principal mentions that they have incorporated a new module into their science curriculum, which is a way of updating it to include information about climate change.7、Question:Listen to the dialogue and choose the best answer to the question. What time does the library close today?A) 5:00 p.m.B) 6:00 p.m.C) 7:00 p.m.Answer: B) 6:00 p.m.Explanation: The dialogue might state that the library’s closing time today is 6:00 p.m., making option B the correct choice.8、Question:Listen to the short passage and answer the following question. How many subjects does the student have this semester?A) FourB) FiveC) SixAnswer: C) SixExplanation: The passage could mention that the student is enrolled in six subjects for this semester, hence option C is the accurate answer.9、What does the man suggest doing on Sunday?A. Visiting a museumB. Going shoppingC. Watching a movieAnswer: C. Watching a movieExplanation:The man suggests they should relax after a busy week by watchinga movie on Sunday, which implies that he finds it a good way to unwind.10、Where did the woman leave her bag?A. In the taxiB. On the busC. At the restaurantAnswer: A. In the taxiExplanation: The woman mentions she was in a hurry and left her bag behind in the taxi when she got out. She realizes this only after arriving home and looking for her bag.11.You are listening to a conversation between two students in a library. Listen carefully and choose the best answer to the question.Question: What are the students mainly discussing?A. The weatherB. The library rulesC. A book they recently readD. A movie they watchedAnswer: CExplanation: In the conversation, the students talk about a book they recently read and express their opinions about it. Therefore, the correct answer is C.12.Listen to a short dialogue between a teacher and a student about a schoolproject. Answer the following question.Question: What does the teacher suggest the student do to improve their project?A. Add more detailsB. Change the topicC. Use more colorful wordsD. Ask for help from a friendAnswer: AExplanation: The teacher advises the student to add more details to their project, which means they should include more specific information. Thus, the correct answer is A.13、What will the woman probably do next?A) Finish reading the novel.B) Play tennis with her friends.C) Go to the cinema with her friends.D) Go to the library to borrow a novel.Answer: CExplanation: The man asks the woman if she would like to go to the cinema with him. This question is likely part of a conversation where the woman is discussing her plans. The woman says, “I wish I could, but I’ve already planned to watch a novel with my friends to night.” Therefore, the most likely answer is that she will go to the library to borrow a novel instead of going to thecinema.14、How does the woman feel about her boyfriend’s choice of movies?A) She is upset because he only chooses action movies.B) She thinks action movies are also good and worth watching.C) She likes most of the movies he chooses, except for action movies.D) She thinks he is trying to avoid watching the current box office hit.Answer: AExplanation: The woman mentions, “He always choo ses action movies for us to watch. I don’t really like action movies and I would like him to choose something different.” This indicates that she is not happy with his movie choices because they are all action movies, and she prefers different kinds of movies. Thus, the correct answer is that she is upset because he only chooses action movies.15.Listen to a conversation between two students discussing their weekend plans and answer the question.A. What are they planning to do on Saturday?B. Who will go hiking with them on Sunday?Answer: A - They are planning to go to the movies.Explanation: The students said, “Let’s catch a movie this afternoon, we’ve been working too hard.”16.Listen to a short passage about a famous author and answer the question.What inspired the author to write their first novel?A. A personal experience.B. A dream they had.Answer: B - A dream they had.Explanation: The passage mentioned that the author was “famous for having been inspired to write her first novel after having a vivid dream about a mystical world.”17、What does the woman suggest doing at the weekend?A. Going to the moviesB. Visiting a museumC. Having a picnic in the parkAnswer: C. Having a picnic in the parkExplanation:In the dialogue, the man suggests going to the movies, but the woman prefers something more outdoorsy. She mentions that the weather forecast predicts sunny days ahead and suggests having a picnic in the park instead. Therefore, the correct answer is C.18、Why can’t the man go to the picnic?A. He has to work on a projectB. He will be out of townC. He is not feeling wellAnswer: A. He has to work on a projectExplanation: When the woman invites the man to the picnic, he declines because he has a lot of work to do on his school project, which is due on Monday.This makes A the right choice as it correctly identifies the reason why the man cannot attend the picnic.19.You are listening to a conversation between two students, Alice and Bob, discussing their weekend plans. Listen to the conversation and answer the following question:What does Alice decide to do for her weekend?A. She plans to visit her grandparents.B. She wants to stay at home and study.C. She is going to go hiking in the mountains.Answer: BExplanation: In the conversation, Alice mentions, “I think I should just stay home this weekend and catch up on my studies.” This indicates that she has decided to stay at home and study, making option B the correct answer.20.Listen to a short interview with a famous chef, Chef Liu, who is talking about his cooking style and the inspiration behind his restaurant. Answer the following question:What is the chef’s main inspiration for opening his restaurant?A. His love for traditional Chinese cuisine.B. The desire to create a fusion of international flavors.C. The influence of his childhood memories.Answer: CExplanation: In the interview, Chef Liu says, “I was inspired by the flavorsand memories of my childhood, growing up in my grandmother’s kitchen.” This indicates that his main inspiration for opening the restaurant is the influence of his childhood memories, making option C the correct answer.二、阅读理解(30分)Sure, I will generate a passage and a corresponding reading comprehension question with three sub-questions for the “Oxford Literature Edition English Grade 8 Upper Semester Final Exam Paper.” Here’s the passage and the questions:Passage:On a cold morning in December, Tommy and his sister Lily decided to go to the local library to read a book and work on their homework. They arrived at the library at 9:30 am, and it was not busy. The librarian, Mrs. Davies, greeted them warmly. They checked out two books and sat at a scenic table near the windows. While they were reading, a man in a brown coat came into the library and walked up to Tommy and Lily. He asked Tommy if he and Lily would like to work at a local farm in the countryside for a week. Tommy and Lily were excited but a little surprised. Mrs. Davies thought it was a great opportunity for them. So, Tommy and Lily agreed and left the library at 11:30 am with flyers about the job.Questions:1.Where did Tommy and Lily decide to go in the cold morning of December?A. To visit a park.B. To a local library.C. To work on a farm.D. To a friend’s house.2.What did the man in a brown coat want to offer Tommy and Lily?A. A job at a local farm.B. Free books.C. A ride to the countryside.D. A map of the library.3.What time did Tommy and Lily leave the library?A. 9:30 am.B. 10:30 am.C. 11:30 am.D. 12:30 pm.Answers:1.B. To a local library.2.A. A job at a local farm.3.C. 11:30 am.三、完型填空(15分)Passage:On a sunny Saturday, Lily decide(d) to go to the nearby park with her friends. The park was always a great place for them to relax and enjoy the fresh air. This particular day was special because they planned to have a picnic. As theywere walking towards the park, they noticed a group of people gathered around a sign that had an image of a harmful insect.It turned out that the park was under a “pest alert” due to a recent influx of a tiny, yet dangerous insect that was known to irritate both people and pets. The park rangers had set up informational tables to inform all the visitors about the situation. Here is an excerpt from one of the posters:“The pest, which we have named the”Park botherer,” is about the size of a tiny ant. It can cause severe skin irritation and respiratory problems. To prevent any harm, please follow these precautions: ___________”1.Do not touch any plants while you are in the park.2.Keep your food and drink in sealed containers.3.Wash your hands thoroughly with soap and water before leaving the park.4.______________________5.Do not let pets play in or around the insects’ habitats.Choose the best word for each blank from the options below:1.It was a beautiful day, and the sky was as blue as the ________________.A. sky was blueB. sea isC. seaD. ocean2.The insect was so small that it was almost ________________.A. invisibleB. invisibleC. unseenD. not visible3.Lily and her friends were worried because they had packed________________.A. WithB. AlongC. ForD. By4.To protect themselves, the rangers advised visitors to ________________.A. Leave the park immediatelyB. Stay indoorsC. Stay away from the treesD. Avoid contact with unseen insects5.They wished they had read the warning poster before heading into the park so they could ________________.A. Take proper precautionsB. Find a different place to goC. Get vaccinatedD. Stay away from their petsAnswers:1.C2.A3.C4.D5.A四、语法填空题(本大题有10小题,每小题1分,共10分)1、She (put) on her favorite blue dress and left the house.•Answer: put•Explanation: The action of putting on the dress happened before leaving the house, so we use the simple past tense ‘put’ to indicate a completed action in the past.2、He (lose) his mother and couldn’t find her.•Answer: had lost•Explanation: The loss of his mother occurred before the time he was seen crying, which means it’s a past event that happened before another past event. Therefore, we use the past perfect tense ‘had lost’ to show this sequence of events.3、The movie is quite interesting,________it has some parts that are a bit boring.A. butB. becauseC. thoughD. ifAnswer: AExplanation: The correct answer is “but” because it indicates a contrast between the interesting parts of the movie and the boring parts.4、My mother________me a lot of advice, and I always appreciate it.A. givesB. gaveC. has givenD. will giveAnswer: AExplanation: The correct answer is “gives” because it shows an ongoing action or habit that is happening at the present time.5、The students______(work) at their desks when the teacher entered the classroom.Answer: were working解析: 本题考查过去进行时。

Figurative Language

Figurative Language

→Symbolism 象征The use of symbols to represent ideas, especially in art and literature.e.g The story was filled with religious symbolism.→Hyperbole 夸张A way of speaking or writing that makes something sound better, more exciting, dangerous, etc. than it really is.e.g Enough food to feed a whole army→Irony 反语The use of words that say the opposite of what you really mean, often as a joke and a tone of voice that shows is.e.g “What a beautiful view,” he said, his voice dripping with irony, as he looked out the window at the alley.→Anaphora首语重复The use of a word that refers to or replaces another word used earlier in a sentence, for example the use of “does” in the sentence “I disagree and so does John”e.g And sorry I could not travel both/And be one traveler, long I stood/And looked down one as far as could→Alliteration 头韵The use of the same letter or sound at the beginning of words that are close together, as in sing a song of sixpence.e.g Because it was grassy and wanted wear.→Simile 明喻A word or a phrase that compares something to something else, using the words Like or As, for example A face like a mask of As white as snow.→Metaphor 暗喻A word or phrase used to describe somebody/something else, in a way that is different from its normal use, in order to show that the two things have same qualities and to make the description more powerful.e.g “He was drowning in paperwork” is a metaphor in which having to deal with a lot of paperwork is being compared to drowning in an ocean of water.→Assonance 半谐音(靠的很近的单词中有两个音节原音相同而辅音不同,或者辅音相同而原音不同)The effect created when two syllables in words that are close together have the same vowel sound, but different consonants, or the same consonants but different vowels. For example, Sonnet and Porridge or Cold and Killed.?→Imagery 意象Language that produces picture on the minds of people reading or listening.?。

Figurative language

Figurative language

Figurative language:Definition: is to translate something abstract or unfamiliar into something concrete or familiar.Function: By comparison, the figurative language allows reader to visualize what is otherwise obscure, such as an image, an idea, or a feeling.Kinds of figurative language:•Simile(明喻)•Metaphor(暗喻)•Personification(拟人)•Metonymy(转喻/借代)•Exaggeration(夸张)•Alliteration(头韵)•Parallelism(排比)•Contrast(对比)Examples:My love is like a red, red rose. (Simile)You don’t miss your water till your well runs dry. (Metaphor)My teddy bear gave me a hug. (Personification)He is fond of the bottle (Metonymy)She sells seashells by the seashore. (Alliteration)I could eat a cow (Exaggeration)One friend in a lifetime is much, two are many, three are hardly possible (Parallelism)Figurative language in the article----what life means to meMetaphor -- Above me towered the colossal edifice of society…(line 6) Society →a huge buildingattic (line 111)parlor floor (line 111)portals (line 30 pt. Ⅱ)cellar ( line 84)It was now the ladder of business. (line 32)business→ladderA man may love oysters, but too many oysters will disincline himtoward that particular diet. (line 78)Oysters →workMany →too much workMetonymy-- Up above, men wore black clothes and boiled shirts, and women dressed in beautiful gowns.High—class peopleThe science of customExposition 说明文Definition QuotationExamples AnalogyContrast Illustrations Comparison Narration Description Cause and effect Classification Division1.Catholic Church:The Catholic Church, also known as the Roman Catholic Church, is the world's largest Christian church, with overa billion members. Led by the Pope(蒲伯), it defines its mission asspreading the gospel(福音)of Jesus Christ. The Roman Catholic Church is among the oldest institutions in the world and has playeda prominent role in the history of Western civilization. It teachesthat it is the one true church founded by Jesus Christ 2.Protestantism: is one of the three major groupings (Catholicism, Orthodoxy, and Protestantism) within Christianity. It is a movement that began in Germany in the early 16th century as a reaction against medieval Roman Catholic doctrines and practices 3.Christianity: is a monotheistic(一神论的)religion based on the life and teachings of Jesus as presented in canonical gospels(福音书) and other New Testament(新约)writings. Christianity teaches that Jesus is the Son of God, God having become human and the savior of humanity.4.Ivy League(常春藤联盟): is an athletic conference(联盟)including eight private institutions of higher education in the Northeastern United States. The conference name is also commonly used to refer to those eight schools as a group. The eight institutions are Brown University(布朗大学), Columbia University, Cornell University(康乃尔大学), Dartmouth College,Harvard University, Princeton University(普林斯顿大学), the University of Pennsylvania, and Yale University. The term Ivy League also has connotations(涵义;暗示)of academic excellence, selectivity(选择性)in admissions, and social elitism(精英主义). 5.Dante(但丁): Was an Italian poet, prose writer, literary theorist(理论家), moral philosopher, and political thinker. He is best known for the monumental (不朽的)epic poem The Divine Comedy(神曲). His Divine Comedy is considered the greatest literary work composed in the Italian language and a masterpiece of world literature.6.IQ: An intelligence quotient, or IQ, is a score derived from one of several different standardized tests(标准化测验) designed to assess(评定)intelligence.7.EQ: a self-perceived(自我感知) ability to identify, assess, and control the emotions of oneself, of others, and of groups. 8.Material Cultural Heritage: Historical relics, Historical buildings, Cultural sites(文化遗址). The Great Wall, the Summer Palace, the Temple of Heaven.Non-material Cultural heritage:Verbal traditionPerforming artsSocial custom, etiquette, festivalPractices of the natural world andspaceTraditional handcraft arts 9.Murphy’s Law: This is a humorous maxim(格言) declaring that if anything can go wrong, it will. The law originated in 1949 with Ed Murphy, an aircraft engineer. He is by no means a savant(专家)in the true sense of the word. But the law he formulates seems to be universally true.10.YMCA:The Young Men's Christian Association is a worldwide organization. It aims to put Christian principles into practice, achieved by developing "a healthy spirit, mind, and body." 11.Walter Lippmann(沃尔特李普曼):was an American intellectual, writer, reporter, and political commentator(评论员)famous for being the first to introduce the concept of Cold War. Lippmann was twice awarded a Pulitzer Prize. The American author Walter Lippmann was his era's most respected journalist and a significant contributor to its political thought.12.Top Ten Scientific Discoveries of the 20th Century:transistor(晶体管),television, World Wide Web, Xerography(静电复印术),Microprocessor(微处理器),CD, Penicillin(青霉素),Genes. 13.JFK Water Gate 三部曲P11514.Major World newspaper: Times, Global TimesNews agency: Reuters(路透社),the Xinhua News Agency15. Churchill: was a British Conservative politician and statesman(政治家) known for his leadership of the United Kingdom during the Second World War. A noted statesman and orator(演说家), Churchill was also an officer in the British Army, a historian, a writer, and an artist. He is the only British prime minister to have received the Nobel Prize in Literature, and was the first person to be made an Honorary Citizen(荣誉市民)of the United States.16.Pearl S BuckCharles Dickens 见141页17.John Dewey(约翰杜威):an American philosopher, psychologist and educational reformer whose ideas have been influential in education and social reform.18. Ruth Benedict(鲁斯本尼迪克特):P148anthropologist人类学家19.Anthropology /ænθrɵˈpɒlədʒi/is the study of humanity. It has origins in the humanities, the natural sciences, and the social sciences. Anthropology's basic concerns are "What defines human life and origins?", "How are social relations among humans organized?"20. Jack London(杰克伦敦)p161 <the sea wolf> 海狼21.Marxism:Marxism is an economic and sociopolitical worldview and method of socioeconomic inquiry that centers upon a materialist interpretation of history(唯物主义历史观), a dialectical(辩证的)view of social change, and an analysis and comments of the development ofcapitalism.22. Maya Angelou玛雅安吉洛p16923.The African-American Civil Rights Movement (1955–1968) refers to the movements in the United States aimed at outlawing(取缔)racial discrimination against African Americans and restoring(恢复)voting rights to them. Particularly in the South. Black Power Movement—enlarge the movement.24. Charles Darwin: English naturalist, on the origin of species, transmutation of species(变迁论),Darwinism进化论25. Martin Luther King Jr. P19426. the Montgomery Bus Boycott: was a political and social protest campaign that started in 1955 in Montgomery, United States, intended to oppose the city's policy of racial segregation(种族隔离) on its public transit system. The campaign lasted from December 1, 1955, when an African American woman, was arrested for refusing to surrender(屈服,让步)her seat to a white person, to December 20, 1956.27. Nonviolent resistance (非暴力抵抗) is the practice of achieving goals through symbolic protests, civil disobedience(公民不服从), economic or political noncooperation, and other methods, without using violence.28. Richard Wright理查德·怀特---black literature P205。

Figurative use of Language

Figurative use of Language

Understanding Figurative Language (修辞)(与汉语的修辞对照理解!:本体,喻体,比喻词)To make language clearer, more interesting and more striking, all of us use expressions that are not literally true. We make comparisons in speaking and writing. Figurative language—language that compares—paints a picture for the reader. Figurative language can be confusing if it is understood literally. The ability to recognize and interpret figurative language may help us fully understand a writer’s point.There are many different ways of using figurative language. Listed are a few of them:1)Similes(明喻). These are figurative expressions that directly compare one thing to another by using the words as,like, as if ,as though, as…as(像,好像,仿佛,比如,好比,像…一样,如…一般)Example: Her face was pale, yet as lustrous as marble.她的脸色苍白而带光泽,仿佛大理石似的。

He drove as if possessed by the devil.他着魔似的驾车狂奔。

春光旖旎中考满分作文英语

春光旖旎中考满分作文英语

The spring scenery is enchanting,and writing a full score composition in English for the middle school examination requires a combination of vivid description,emotional expression,and a clear structure.Here are some tips and a sample composition to inspire you:Tips for Writing a Full Score Composition:1.Engage the Reader:Start with a captivating introduction that draws the reader into the beauty of spring.e Descriptive Language:Employ a rich vocabulary to describe the colors,smells, and sounds of spring.3.Incorporate Figurative Language:Use similes and metaphors to enhance the imagery and make your writing more poetic.4.Structure Your Composition:Have a clear beginning,body,and conclusion.Each paragraph should flow logically into the next.5.Reflect on Personal Experiences:Share personal anecdotes or feelings that spring evokes in you.6.Conclude with a Reflection:End your composition with a thoughtful reflection on the significance of spring in your life or in nature.Sample Composition:Title:The Enchantment of SpringAs the winter chill gradually recedes,the gentle embrace of spring wraps the earth in a warm,vibrant blanket.The season of renewal is a symphony of life,where every note is a promise of growth and hope.The arrival of spring is heralded by the soft whispers of the awakening earth.Buds that have been dormant through the cold months begin to unfurl,revealing delicate petals in shades of pink,yellow,and white.These blossoms are the canvas of spring,painted with the colors of rebirth and vitality.The air is infused with the sweet fragrance of blooming flowers,a scent that seems to cleanse the senses and awaken the soul.It is a time when the world is washed in a palette of greens,from the tender shoots of new grass to the lush foliage of trees.Spring is not just a visual feast it is an auditory delight as well.The melodious songs of birds returning from their winter retreats fill the air,their tunes a testament to the joy of the season.The gentle rustle of leaves in the breeze and the soft patter of raindrops on theearth create a soothing backdrop to the symphony of life.In spring,I find myself drawn to the outdoors,eager to partake in the rejuvenation that surrounds me.I walk through parks and gardens,where children laugh and play,their faces reflecting the joy that only the arrival of spring can bring.The energy is contagious, and it is easy to feel a sense of optimism and possibility.As I reflect on the enchantment of spring,I am reminded of the cyclical nature of life. Just as the earth awakens from its winter slumber,so too can we find the strength to overcome our own challenges and embrace new beginnings.In conclusion,spring is a time of transformation,a season that invites us to shed our old selves and embrace the new.It is a reminder that within every ending lies the potential for a new beginning,and it is this promise that makes the enchantment of spring truly irresistible.Remember,the key to a full score composition is to engage the reader with your words, paint a vivid picture with your descriptions,and leave them with a lasting impression of the beauty and significance of the subject you are writing about.。

使更有趣使更生动的英文短语

使更有趣使更生动的英文短语

使更有趣使更生动的英文短语Bring It to Life: A Comprehensive Guide to Making Your Writing More Engaging and Vivid.In the realm of writing, the ability to captivate readers and transport them into the narrative is an artform in itself. Whether crafting a compelling novel, an informative article, or a persuasive speech, writers strive to make their words dance off the page and ignite the imaginations of their audience. One of the most effective ways to achieve this is by employing language that is not only evocative but also immersive. By using sensory details, figurative language, and specific examples, writers canbring their stories and ideas to life, creating a sensory experience that lingers long after the final word has been read.Sensory Details: Painting a Vivid Picture.Sensory details are the building blocks of immersivewriting, engaging the reader's senses and transporting them directly into the scene. By incorporating sights, sounds, smells, tastes, and textures, writers can create a multidimensional experience that allows readers to witness events unfold through the eyes, ears, nose, mouth, and skin of the characters.For example, instead of simply stating that the roomwas dark, a writer could paint a more vivid picture by describing the "inky blackness that enveloped the space, suffocating the last vestiges of light." By using sensory details, the writer invites the reader to experience the darkness as if they were standing in the room themselves, their senses overwhelmed by the absence of light.Figurative Language: A Literary Masterpiece.Figurative language is the writer's toolbox, containing an arsenal of literary devices that add depth, color, and personality to writing. Similes, metaphors, personification, and hyperbole are just a few of the techniques that can transform ordinary language into something extraordinary.Similes, for example, compare two seemingly unrelated things using the words "like" or "as." By saying that "her laughter was as sweet as honey," the writer creates a vivid image in the reader's mind, evoking the sensory experience of honey's sweetness and warmth.Metaphors take the comparison a step further, stating that one thing is something else. Describing a person as "a raging inferno" not only conveys their fiery temper but also paints a vivid picture of their explosive personality.Personification breathes life into inanimate objects, giving them human qualities. By saying that "the wind whispered secrets to the trees," the writer animates the wind, making it a sentient being capable of communication.Hyperbole, on the other hand, uses exaggeration for emphasis. Stating that "she was so embarrassed, she could have crawled into a mouse hole" humorously conveys the extent of her embarrassment while simultaneously creating a comical image in the reader's mind.Specific Examples: Grounding Your Story in Reality.While sensory details and figurative language are essential for creating a vivid narrative, specific examples serve as the anchor that grounds the story in reality. By providing concrete illustrations, writers can make their ideas more relatable and believable.For instance, instead of simply stating that the character was brave, a writer could provide a specific example of their bravery, such as "when faced with a group of armed robbers, he stood his ground, his voice unwavering as he ordered them to leave." This specific example not only demonstrates the character's bravery but also makes it more tangible and believable for the reader.Conclusion: Weaving the Tapestry of Vivid Writing.By skillfully weaving together sensory details, figurative language, and specific examples, writers can create a literary tapestry that captivates readers frombeginning to end. When words dance off the page, engaging the senses and firing the imagination, writing transcends mere wordsmithing and becomes a transformative experience. It is in these immersive narratives that the true power of language lies, as it transports readers to new worlds, challenges their perspectives, and leaves an indelible mark on their minds long after the final page has been turned.。

标记着修辞的作文600字

标记着修辞的作文600字

标记着修辞的作文600字英文回答:Figurative Language.Figurative language is a literary device that writers use to create vivid imagery, evoke emotions, and convey complex ideas in a concise and engaging manner. It employs words and phrases in ways that deviate from their literal meaning, allowing readers to experience a deeper level of understanding and appreciation.Figurative language can take many forms, each with its unique characteristics and effects. The most common types include:Simile: A comparison between two dissimilar things using "like" or "as."Metaphor: An implicit comparison that equates twothings.Personification: Attributing human qualities to nonhuman entities.Hyperbole: An exaggerated statement that emphasizes a point.Understatement: A deliberate downplaying of the truth for effect.Irony: A contrast between what is expected and what actually occurs.Figurative language plays a vital role in literature by enhancing comprehension, stimulating the imagination, and fostering emotional engagement. It helps readers connect with characters, events, and themes on a more visceral level.中文回答:修辞手法。

通过老师教育我用实际行动来学习英语作文

通过老师教育我用实际行动来学习英语作文

通过老师教育我用实际行动来学习英语作文全文共3篇示例,供读者参考篇1Learning English Writing Through Practical Actions Guided by My TeacherAs an international student from China, mastering English writing has been one of my biggest challenges. Coming from a very different language system and cultural background, it felt like an uphill battle to express my thoughts and ideas coherently in English prose. However, my dedicated English teacher, Mrs. Smith, has been instrumental in helping me overcome these obstacles through her unique approach of encouraging practical actions alongside theoretical lessons.When I first joined Mrs. Smith's class, I was overwhelmed by the complexities of English grammar, syntax, and stylistic nuances. I would often find myself lost in a sea of rules and exceptions, struggling to construct even simple sentences correctly. Mrs. Smith quickly recognized my frustration and took a different tack. Instead of bombarding me with more drytextbook lessons, she assigned me to read various English books, articles, and stories that aligned with my interests.At first, I didn't understand the purpose of this exercise, but Mrs. Smith explained that immersing myself in well-written English materials would help me internalize the language's rhythms and patterns subconsciously. She encouraged me to take notes on phrases, expressions, and sentence structures that caught my attention, and to incorporate them into my own writing gradually.This practical approach was a game-changer for me. As I delved into works by authors like J.K. Rowling, Malcolm Gladwell, and Toni Morrison, I began to develop a feel for how English sentences should flow and how ideas could be expressed elegantly. I started to notice the subtle differences between formal and informal writing styles, and how word choice could significantly impact the tone and meaning of a passage.Mrs. Smith also pushed me to write regularly, assigning weekly journal entries, short stories, and essays on various topics. At first, my writing was stilted and awkward, but she patiently provided feedback, highlighting my strengths and weaknesses, and offering suggestions for improvement. She encouraged meto read my work aloud, which helped me identify areas where my writing sounded unnatural or lacked fluency.One of the most valuable lessons I learned from Mrs. Smith was the importance of embracing the writing process. She taught me that good writing rarely happens in a single draft and that revision is a crucial part of the journey. She introduced me to techniques like freewriting, outlining, and peer review, which helped me organize my thoughts, refine my ideas, and gain fresh perspectives on my work.Gradually, through consistent practice and Mrs. Smith's guidance, I began to see noticeable improvements in my English writing. My sentences became more varied and expressive, my vocabulary expanded, and I developed a better grasp of idiomatic expressions and figurative language. Most importantly, I gained confidence in my ability to communicate effectively in written English.However, Mrs. Smith didn't stop there. She recognized that writing, like any skill, requires continuous growth and exposure to new challenges. To push me further, she encouraged me to explore different genres and styles of writing, from persuasive essays to creative fiction. She also introduced me to the world of online writing communities, where I could share my work,receive feedback from a global audience, and learn from other aspiring writers.One particularly memorable project was when Mrs. Smith tasked our class with creating a collaborative blog, where we could publish our writing and engage with readers through comments and discussions. This experience taught me the value of writing for an audience and the importance of considering different perspectives and cultures when crafting my pieces.Moreover, Mrs. Smith emphasized the practical applications of strong English writing skills beyond the classroom. She invited guest speakers from various professions, such as journalism, marketing, and academia, to share how effective written communication was essential in their respective fields. These insights inspired me to view English writing not just as an academic exercise but as a powerful tool for personal and professional growth.As I near the end of my English writing journey with Mrs. Smith, I can't help but reflect on how far I've come. What once seemed like an insurmountable obstacle has now become a source of confidence and pride. Through her guidance and my own dedication to taking practical actions, I have developed notonly my English writing skills but also a deeper appreciation for the power of language and self-expression.Looking ahead, I know that my journey with English writing is far from over. There will always be new challenges and areas for growth, but I feel equipped with the tools and mindset to tackle them. Mrs. Smith has instilled in me a love for continuous learning and the belief that practical action is the key to mastering any skill, whether it's writing or something else entirely.As I move on to the next chapter of my life, I will carry with me the lessons I've learned from Mrs. Smith and continue to seek out opportunities to put my English writing skills into practice. Whether it's through blogging, creative writing, or professional communications, I am committed to refining my craft and using language as a means of connecting with others, sharing ideas, and making an impact.In the end, learning English writing has been more than just acquiring a set of technical skills; it has been a transformative journey of self-discovery, perseverance, and personal growth. Thanks to Mrs. Smith's guidance and my willingness to take practical actions, I have not only gained proficiency in a languagebut also a deeper understanding of myself and the world around me. And for that, I will be forever grateful.篇2Lessons That Stuck: How My English Teacher's Hands-On Approach Transformed My WritingAs an easily distracted student, the traditional lecture style of teaching never quite clicked for me. I could listen intently and take diligent notes, but ultimately, the knowledge never seemed to fully sink in. That all changed when I had Mrs. Roberts for English Literature my junior year of high school. Her unconventional, experiential teaching methods shattered my preconceptions about learning and set me on a path to becoming a confident writer.The first day of class, Mrs. Roberts promised that we would never simply read stories and analyze them with essays. Instead, she said we would live the narratives we studied and express our perspectives through the written word. I remember skeptical murmurs rippling through the classroom. How could we possibly live out the literature we studied? Mrs. Roberts just smiled knowingly.True to her word, for our first unit on travel writing, Mrs. Roberts didn't just have us read excerpts from famous travelogues. She took our class on aField Study experience to explore our city's diverse neighborhoods. Clad in comfortable walking shoes, we navigated the winding streets of Little Italy, the aromatic corridors of Chinatown, and the colorful murals of La Villita, our city's Mexican enclave.At each stop, Mrs. Roberts encouraged us to be observant, jotting down sensory details and personal reactions in our notebooks. The sights, sounds, and smells that had always blended into the background of my daily life suddenly took on vivid clarity. I found myself newly attuned to the nuances that defined each area's unique ambiance.Back in the classroom, Mrs. Roberts had us craft short vignettes conveying a visitor's perspective of the neighborhoods we had traversed. I pored over my scribbled notes, transporting myself back to those scenes. The aroma of sizzling jalapeños triggered memories of the lively mariachi music wafting through La Villita. With each paragraph, I aimed to vividly capture the spirit of a place through evocative descriptions.My initial drafts were admittedly clumsy, but Mrs. Roberts provided insightful feedback that pushed me to elevate mywriting. "Show, don't tell," she would encourage, urging me to deploy metaphors and analogies to draw readers into the visceral experience. Gradually, my stories became more immersive, whisking readers beyond the visible realm and into the heart of each community's rhythm and character.The travel writing unit sparked an awakening for most of us. Putting pen to paper no longer felt like an academic exercise, but an opportunity to share enlightening glimpses into the rich tapestry of our world. We had transcended the passive role of spectators to become firsthand storytellers.As the year progressed, Mrs. Roberts' hands-on lessons only intensified. When we studied literary fiction, she didn't just have us read short stories. We went out into the community to interview locals, aiming to extract the type of authentic anecdotes and character insights that imbue narrative writing with vitality.I vividly recall interviewing a retired nurse named Eleanor ata cozy diner. Her harrowing recollections of tending to soldiers during the Vietnam War were utterly spellbinding. My hastily scribbled notes barely scratched the surface of the hardship, resilience, and guilt she conveyed. Back in class, translating Eleanor's powerful oral testimony into a written monologue wasone of the most challenging yet rewarding assignments I had ever undertaken.Through that experience, I gained a profound appreciation for the importance of grounding fiction with realism and specificity. It was no longer enough to say, "The nurse felt sad after the battle." I needed to channel vivid, personal accounts like Eleanor's to convey the searing emotional intricacies of such traumatic experiences.By the time we studied Shakespearean dramas, I had come to crave the type of immersive learning that Mrs. Roberts specialized in. For that unit, we didn't simply read the plays, we inhabited them. Mrs. Roberts had us select roles from Romeo and Juliet and practice delivering soliloquies with dramatics and conviction.Initially, I felt utterly self-conscious projecting my voice across the classroom stage. Mrs. Roberts, however, provided private coaching that boosted my confidence. She taught me breathing techniques to fuel my delivery and offered prompts to connect with the emotional core of each pivotal speech."For Juliet's monologue pondering Romeo's banishment, think of a loved one being cruelly taken from you," she advisedsolemnly. "Summon the quivering anguish you would feel in that moment and let it pour into your words."By opening myself to the vulnerability Mrs. Roberts prescribed, my Performance gradually blossomed from stilted recitation into a soulful embodiment of Juliet's turmoil. I no longer simply understood the poetry in an academic sense, but resonated with it at a primal, emotional frequency.This seamless integration of action, emotion, and written expression defined all of Mrs. Roberts' lessons. We read Zhou Enlai's memoirs of the Chinese Communist Revolution, then had to compose biographical accounts of personal "revolutions" that profoundly altered our own trajectories in life. We immersed ourselves in a poetry unit by writing verses inspired by morning walks where we committed to observing fleeting moments and preserving them in ink.Each hands-on foray into literature expanded my perception and bolstered my writing acumen. I progressed from a passive student absorbing knowledge to an inquisitive, observant explorer forging original creative narratives fueled by the world around me.As I reflect on Mrs. Roberts' lasting influence, I realize her methods imparted lessons that extended far beyond academicwriting skills. In prompting me to step outside of myself—to literally walk the environments I sought to describe—she cultivated empathy, curiosity, and presence in a way that indelibly shaped my growth as a person.Rather than just filling my head with abstract knowledge, Mrs. Roberts showed me how to soak up the fullness of lived experiences and translate those into stories that could enlighten, provoke, and connect with others. Her creative teaching style instilled in me a hunger to engage authentically with my surroundings.While I've since pursued a career outside the literary world, putting pen to paper remains a cherished personal passion. I regularly journal while traveling to sharpen my descriptive abilities. When wrestling with complex emotions, I find catharsis in composing introspective personal essays to gain perspective.In all of these endeavors, I carry Mrs. Roberts' wisdom as an invaluable through line. Her constant refrain of "show, don't tell" reminds me to avoid vague generalizations and ground my narratives in vivid sensory details. Her spirit of empathy challenges me to imagine myself in the shoes of the subjects I depict. Her insistence on striving for emotional resonance pushes me to infuse each composition with raw authenticity.In both my personal and professional life, I aim to uphold the ethos of action, observation, and reflection that Mrs. Roberts embodied. Learning is not a passive process, but an ongoing engagement with the world that perpetually reshapes our perspectives and enriches our capabilities for expression.Thanks to Mrs. Roberts' visionary teaching, writing transcended mere academic obligation for me to become a powerful vehicle for discovery, communication, and creative release. While I may no longer pen essays to earn school credits, my writing is now an indelible part of how I distill life's multifaceted experiences and wield language to enlighten those who may glimpse only vignettes of the rich human tapestry I've had the privilege of observing.篇3Learning by Doing: How My Teacher's Approach Transformed My English WritingAs an English language learner, I often struggled with the writing aspect of it. Grammatical rules, vocabulary, and sentence structures seemed like a maze I could never conquer. That is, until my 10th grade English teacher, Mrs. Roberts, introduced meto a revolutionary approach that would forever change my perspective on learning English writing.Mrs. Roberts was different from any other teacher I'd had before. She didn't just lecture us on the technicalities of the language; instead, she encouraged us to immerse ourselves in it through practical, hands-on activities. Her philosophy was simple: the best way to learn English writing is by doing it, not just studying it.On the first day of class, she announced that we would be starting a class blog. At first, I was skeptical. How could writing blog posts help me improve my English writing skills? But Mrs. Roberts explained that blogging would not only give us a platform to practice writing regularly but also provide us with an audience beyond just her."Writing is a form of communication," she said. "And the best way to improve your communication skills is by actually communicating with others."And so, our class blog was born. Each week, we were assigned a different topic to write about, ranging from personal experiences to current events. At first, the process was daunting. Staring at a blank page, trying to formulate coherent sentencesin a language that wasn't my native tongue, was a challenge. But Mrs. Roberts was there to guide us every step of the way.She would provide feedback on our drafts, not just correcting our mistakes but also offering suggestions on how to improve our writing style, clarity, and overall flow. Her comments were always constructive, never discouraging. She encouraged us to embrace the iterative process of writing, revising, and rewriting.As the weeks went by, I started to see tangible improvements in my writing. My sentences became more fluid, my vocabulary expanded, and my grasp of grammar strengthened. But more importantly, I was gaining confidence in my ability to express myself in English.Mrs. Roberts didn't stop there. She also introduced us to the art of peer editing. We would exchange our blog posts with our classmates and provide feedback on each other's work. This not only helped us identify areas for improvement in our own writing but also taught us how to give and receive constructive criticism – a valuable skill in any field.Through peer editing, I learned to view my writing from different perspectives. I became more aware of the nuances of language and how different word choices or sentence structurescould convey vastly different meanings. It was a humbling experience, but one that made me a better writer in the long run.In addition to the blog, Mrs. Roberts incorporated other practical writing exercises into our curriculum. We wrote short stories, poems, and even scripts for skits that we would perform in front of the class. These activities not only kept us engaged but also helped us explore different genres and styles of writing.One of my favorite assignments was when Mrs. Roberts tasked us with writing a letter to our future selves. We had to reflect on our goals, dreams, and aspirations, and express them in a way that our future selves would understand and appreciate. It was a deeply personal exercise that forced me to articulate my thoughts and emotions in English – a language that, until then, had always felt somewhat detached from my innermost feelings.Through these various activities, I slowly but surely started to shed my inhibitions when it came to writing in English. I stopped viewing it as a mere academic exercise and started embracing it as a means of self-expression and communication.Mrs. Roberts' approach wasn't just about improving our writing skills; it was about fostering a love for the written word and encouraging us to use it as a tool for self-discovery and personal growth.As the year progressed, I found myself looking forward to our English classes. The once-intimidating task of writing had become a creative outlet, a way for me to explore my thoughts and share my perspectives with others.By the end of the school year, our class blog had garnered a small but dedicated following, with readers from all over the world leaving comments and engaging with our posts. It was a tangible testament to the power of writing and the impact it could have when used effectively.But perhaps the most significant impact Mrs. Roberts' approach had on me was the realization that learning a language is not just about memorizing rules and vocabulary; it's about immersing yourself in it, using it, and making it a part of your daily life.As I look back on that year, I am filled with gratitude for Mrs. Roberts and her unwavering belief in the power of learning by doing. Her approach not only transformed my English writing skills but also instilled in me a lifelong appreciation for the written word.Today, as I navigate my way through college and beyond, I carry the lessons I learned in her class with me. Whether it's writing essays, articles, or even personal journals, I approacheach writing task with the same enthusiasm and dedication that Mrs. Roberts instilled in me all those years ago.Learning English writing was never just about mastering grammar rules or expanding my vocabulary; it was about finding my voice, expressing my thoughts, and connecting with others through the written word. And for that, I will forever be grateful to Mrs. Roberts and her revolutionary approach to teaching.。

FigurativeLanguageandIdioms

FigurativeLanguageandIdioms

FigurativeLanguageandIdiomsFigurative Language and Idioms1)pose a serious threat to: create a significant dangere.g. Worldwide, it poses a serious threat to coastal habitats like dunes,mangrove forests and coral reefs.2)appetite for: hunger for; need fore.g. Over the past decade golf, because of its appetite for land, water and herbcides, hads emerged as one of the biggest culprits, so much so that “golf wars” have broken out in parts of Southeast Asia.3)(cost-benefit) equation: relation of (advantages to disadvantes, of coststo benefits)e.g. There is not to say tourism can’t do some good—but the cost-benefit equation is complex.4)(salvation) lies in: (rescue/recovery/saving/survival) depends one.g. In the uplands of Rwanda, known to millions through the filmGorillas in the Mist, the mountain gorilla’s salvation lies in partly in the income and interest generated by tourists visiting in small groups.5)take root: become establishede.g. Since then, English has taken root in diplomacy and graduallyeconomic relations and the media6)the last word: the truth; the final judgment; all there is to say on asubjecte.g. But accepting that as the last word ignores the deep-rooted tiesbetween individual freedom and political power, between the linguistic, social and economic mechanisms which in every society underpin relations between people and groups and between culture and communities.7)make a mark: have influence; create an impressione.g.A preson makes a mark through his or her ability to use the mostuseful language or languages.8)hand in glove with/ hand in hand with: together withe.g.It would be wrong to say that the world domination of English issomething deliberately organized and supported by Anglo-Saxon powers, hand in glove with political initiatives or the penetration of the world economy by their transnational firms.9)break new ground: do som ething newe.g. Many years after the founding in 1945 of the Arab League, whosecurrent 22 member states have 250 million people, the countries which share a French linguistic heritage broke new ground by circulating a joint policy.10)a concreted strategy: an action taken together; a joint action; anorganized approach or plane.g. Backed by a concerted strategy, these major languages wouldsurely make headway in international institutions.11)make headway: make progresse.g. Backed by a concerted strategy, these major languages wouldsurely make headway in international institutions.12)at stake: at issue; at risk; in a dangere.g. It is not just the future of the world’s major languages that is atstake.13)go underground and hide: avoid being seene.g. When a child is under constant observation, the risk-taking,creative urge goes underground and hides.14)get lost in: be absorbed ine.g. Childrem have the capacity to get lost in whatever they’re doingin a way that is much harder for an adult.15)fall short of: are not; are less thane.g. While these national stereotypes fall short of absolute truths,asserts Lee of Westfield (Mass.) State College, they are accurateenough to give the aphorism its humorous punch.16)give sth. one’s due: give credit; give what is deserved; be faire .g. Stangor’s argument fails to give stereotypes their due as oftenhelpful, if not absolutely precise, probes of the social world, Leeresponds.17)gain favor: become popular; developed supporte.g. Lippman’s fear that stereotypes cause social harm gainedparticular favor, after 1970, as psychologists rushed to expose errorsand biases in social judgments.18)conflict resolution: peacemaking; solving disagreementse.g. For instance, Lee asserts, efforts at conflict resolution betweenethnic groups or nations may work best if both sides receive help in confronting real cultural differences that trigger mutual animosities.19)bridge-building: peacemaking; creating relationships across groupse.g. Bridge-building efforts of this kind counteract the naturaltendency to emphasize negative features in stereotypes.20)kick one’s habit: quit; become free of one’s addictione.g. Because millions of adult smokers either kick their habit or dieeach year, the cigarette industry depends on attracting new customers.21)begin as cobwebs end up as steel cables: be harmless and easy to freeoneself from in the beginning but become traps and are impossible to give upe.g. Unfortunately, many of the children who succumb tobrand-stretching find habits that begin as cobwebs end up as steel cables.22)sea of denim: full of young people in blue jeanse.g.Just off Taipei’s busy Keelung Road, high-school students beginarriving at the Whiskey A Go-Go disco about 9 p.m., and soo the room is a sea of denim.23)join forces: work togethere.g. But U.S. tobacco companies joined forces with the Office of theU.S. Trade Representative to enter these Asian markets.24)at the end of the rainbow: the biggest prize; the greatest dreame.g. And at the end of the rainbow lies China, with 300 millionsmokers―30 percent of the world market.25)pave the way: make possible; prepare the waye.g. Expansion abroad, he continued, would “pave the way for abigger and brighter future.”26)rack up mountains of debt: come to owe large amounts of moneye.g. As aging nations attempt to avoid hard choices, they are likely torack up mountains of debt.27)dental-floss bikinis: very small bathing suitse.g. As a result, in a land once known for its celebration of dental-flossbikinis and youthful canaval exuberance, pension debt has become the public’s central preoccupation.28)make ends meet: support oneself; earn enough money to livee.g To make ends meet, she toils in the fileds until the heat of the dayovercomes her.29)(be) called upon: be required to; be depended upon toe.g. Like their African counterparts, the elderly in even the richestcountries will most likely be called upon to work much later in life and to take more of a role in rearing the next generation.30)stir up: move; shook; displacee.g. Mr. Martin and his oldest son, Baxter, came forward to hold thebox steady on the stool while Mr. Summers stirred up the papers inside it.31)fade off: slowly disappear or end; die oute.g. The black box grew shabbier each year; by now it was no longercompletely black but splintered badly along one side to show the original wood color, and in some places faded or stained.32)hunger for: desire greatly; wante.g. Oldsters holding fast to their positions of power are increasinglypitted against youngster hundering for their own advancement and security.33)lay down the law: make the rules; tell someone else how things must be donee.g. Some of my most valuable people are only 35 and they have laid down the law: forty-hour work-weeks―period!34)breathing down one’s neck: put pressure on sb. to do something; stand right behind sb. to make sure one is reaching his/ her goalse.g. Meanwhile, my boss is breathing down my neck to produce, produce, produce.。

figurative speech and literal

figurative speech and literal

figurative speech and literal Figurative speech and literalcontains words that cannot be understood literally. Figurative language arouses people's imagination in a fresh way. Metaphor is a rhetorical device including simile, metaphor, extended metaphor, exaggeration and personification. We have discussed the above in the previous chapters. In addition, these rhetorical devices are also included in the list of "compilation of writing skills" at the back of the book.It is also called "metaphor", "comparison", "metaphor" and "creation". One of the rhetorical devices. According to the similarities between the two kinds of different things, through association, use the thing B to compare the thing a. Be able to explain abstract things in concrete images and profound principles in an easy to understand way. It usually consists of three elements: noumenon, figurative body and figurative word. According to the similarities and differences of the three elements, it can be divided into three basic types: simile, metaphor and metonymy.译文如下:比喻性言语和文字包含无法从字面上理解的词语。

Figurative Language Power Point

Figurative Language Power Point
studied very hard. Finally, he could
see a light at the end of the tunnel.
His spelling problems vanished into thin air. Now, he can even lend a hand to others!
• Idioms – phrases that have meaning different from the meaning of their separate words.
• Ex. – She passed the test by the skin of her teeth.
• He got off on the wrong foot with the
More Figurativ e Language – great in poems
• Personification – Giving human qualities to nonhuman things.
• Ex. - Loo-Wit…”spits her black tobacco any which way, stretching full length from her bumpy bed.”
What is Poetry?
A type of literature that expresses ideas and feelings, or tells a story in a specific form
(usually using lines and stanzas)
Figurative Language or Figures of Speech
His passion so profound, He would not turn around.

借物喻理的作文

借物喻理的作文

借物喻理的作文英文回答:When utilizing figurative language to convey a concept, it is a common practice to employ the technique of analogy, wherein an object or phenomenon is used as a metaphor to explicate an abstract notion. This literary device serves to enhance the reader's understanding and appreciation of the underlying message by establishing a tangible connection between the abstract and the concrete.The use of analogy in literature can be traced back to ancient times, finding expression in various forms of storytelling, religious texts, and philosophical discourse. Its effectiveness stems from the ability to evoke vivid imagery and create a sense of immediacy, thereby capturing the reader's attention and facilitating a deeper comprehension of the intended message.Furthermore, the use of analogy in figurative languageenables the author to convey complex ideas in a manner that is both accessible and engaging. By drawing comparisons between disparate concepts, the author can illuminate the essence of abstract notions by grounding them in the realm of tangible experience. This approach not only enhances the reader's understanding but also fosters a deeper appreciation for the beauty and complexity of language itself.中文回答:借物喻理是文学中常用的手法,是指通过比喻或象征,用具体的事物来阐释抽象的道理。

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Grounding Figurative Language Use in Incompatible Ontological Categorizations Katja Markert Udo HahnLanguage Technology Group HCRC,Edinburgh University Edinburgh EH89LW,U.K. markert@L I F Text Understanding Lab Freiburg UniversityD-79085Freiburg,Germany http://www.coling.uni-freiburg.deAbstractWe propose a formal criterion for delineating literal fromfig-urative speech(metonymies,metaphors,etc.).It is centered around the notion of categorization conflicts that follow from the context of the utterance.In addition,we consider the prob-lem of granularity,which is posed by the dependence of our approach on the underlying ontology,and compare our dis-tinction with alternative reference-based explanations.IntroductionFigurative language use comes in different varieties(e.g.,as metonymy in example(2)and as metaphor in example(3) below),and is typically contrasted with literal language use(e.g.,example(1))on the basis of some notion of deviance.(1)“The man left without paying.”(2)“The ham sandwich left without paying.”(3)“The Internet is a gold mine.”Cognitive linguists have been struggling for decades to draw a proper distinction between literal andfigurative utter-ances.Their interest derives from the question how a basic, lexical meaning representation must be conceived from which figurative(and possibly literal)readings can be derived.This viewpoint implies to assume a computational process and, hence,requires to be explicit about the representational foun-dations from which to proceed.Currently,two approaches prevail,which spell out this dis-tinction.Thefirst one,e.g.,Lakoff&Johnson(1980),simply regards deviation from literal reference as a sufficient condi-tion forfigurativeness.No formal criteria for the nature of such a deviation are given so that the discrimination of literal andfigurative meaning rests on subjective ascription.The second approach(Fass,1991;Pustejovsky,1991;Stal-lard,1993)introduces such a formal criterion.Each time selectional restrictions are violated,e.g.,through type con-flicts,an instance offigurative speech is encountered.Spe-cial reasoning patterns are then activated,like type coercion for metonymies(Pustejovsky,1991)or analogy-based struc-ture mapping for metaphors(Carbonell,1982;Gentner et al., 1989),in order to cope with the triggering instance such that a reasonable interpretation can be derived,one that no longer violates the underlying constraints.The proponents of this approach present a lot of supporting evidence for their methodological claims(cf.example(4))but obviously fail to cover a wide range of residual phenomena(example(5)lacks any violation of selectional restrictions though beingfigura-tive,at least,assuming the“writings-by-Chaucer”reading):(4)“I read Chaucer.”(5)“I like Chaucer.”In this paper,we aim at providing a formal framework from which a proper distinction between literal andfigurative lan-guage use can be made.Rather than formalizing the notion ofdeviation with recurrence to selectional restrictions,we will base our distinction on conceptual criteria that incorporate theinfluence from the context of an utterance.These criteria al-low us further to focus on the dependence of literal andfigura-tive speech on individual ontologies.Considering granularityissues of ontologies we may even overcome the influence of subjectivity by taking additional formal criteria into account.Lexical MeaningWe will base our considerations on the notion of context-independent lexical meaning of lexemes,from which the no-tions of literal andfigurative meaning in context will be de-rived.Lexical meaning will be a function from lexemes to categories(concepts)of an ontology.So,let be the set of lexemes of a given natural lan-guage and let be the subset of lexemes containing nouns,main verbs and adjectives only(e.g.,man or police-man are elements of).We also assume an ontology com-posed of a set of concept types:=M AN,P OLICEMAN, H AM-S ANDWICH,,a set of instances:=man-1, policeman-2,related to concept types,and a set of relations:=has-part,part-of,agent,,which link concept types or instances.We take a set theoretical seman-tics for granted as is commonly assumed in description logics(Woods&Schmolze,1992).The lexical meaning can then be defined as a relation.While we refrain from considering the linkage between lexemes and ontological entities in depth(cf.,e.g.,Cruse(1986)or Jack-endoff(1990)),we require the relation to fulfill the fol-lowing properties:1.If is a proper name,then a unique lex-eme.i with,lexeme.i)ex-ists such that lexeme.i.Thus,every proper name is linked to a single instance in the domain knowledge base.2.If is not a proper name,then a con-cept.CON must exist so that.CON).Also,no instance lexeme.iexists such that,lexeme.i).3.For reasons of simplicity,we will now restrict appro-priately.If is not a proper name,then we re-quire for all i that i can be referred to byin a context-independent way.Hence,we assumethat reference to any i via is always possible.(Wecannot,e.g.,relate the lexeme fool to M AN as not everyman can be referenced by fool independent of the context.)The condition of context-independence may,however,stillhold for several concepts that stand in a subsumption rela-tion to each other.So,when we regard the lexeme,this condition holds for both the concepts M AN and P O-LICEMAN,as all i P OLICEMAN and all i MAN canbe referenced by.We then regard the most generalconcept to which this unconditioned reference relation ap-plies(here,M AN)as the lexical meaning,and,in general,consider lexical meaning as a function:.By convention,we denote by.CON.Lexical meaning is thus considered as a context-independent function from lexemes to categories(concepts)of an ontology.As there is no agreement on canonical ontolo-gies,this mapping introduces subjective conceptualizations.Finally,we extend our definition to words of a discourseso that their corresponding lexeme be.We simplyassume:=.We distinguish the rangeof that mapping by w.i for proper names and.CON in allother cases.Hence,the lexical meaning of the word“man”in example(1)is given by the concept M AN.Literal vs.Figurative MeaningWhile in the previous section we have been dealing with theisolated lexical meaning of a word only,in this section wewill incorporate the context of an utterance in which a wordappears.Hence(cf.Fig.1),we introduce the word withrespect to which word is syntactically related—is ei-ther head or modifier of.Such a dependency relation(ei-ther a direct one or a well-defined series of dependency re-lations)at the linguistic level induces a corresponding con-ceptual relation at the ontological level(Romackeret al.,1999).The conceptual relation links the concep-tual correlates,w.sf and w.sf,of and,respectively.Accordingly,we may now say that a corre-sponding domain entity w.sf;alternatively,w.sf is calledthe(intended)meaning of.The comparison of w.sf with.CON or w.i lies at the heart of the decision criterion weThe least general concept.CON with w.sf.CON isthe intersection of all concepts C with w.sf C.are compatible,as no categorization conflict arises.This also holds for all previously discussed examples.As a conse-quence,the notion of categorization conflict turns out to be-come crucial for our distinction between literalness andfig-urativeness—the latter being based on an underlying cate-gorization conflict,whereas the former is not.We summarize these observations in the following definition:Definition1(Literalness via Syntactic Constraints)A word in an utterance is used according to its literal meaning,if for every instance w.sf which StandsFor, one of the following two conditions hold:if is a proper name(1)CON else(2) Especially,.CON.CON holds for non-proper nouns.We here restrict the notion offigurative speech to those re-lationships between w.sf and the lexical meaning of in terms of CON,which are not inclusive ones.A literal use of the word for an instance w.sf inst-of.CON is only possible,if.CON CON.If,however,a catego-rization conflict occurs,i.e.,.CON CON,then we call the use offigurative(as illustrated by“ham sandwich”in example(2)or by“gold mine”in example(3)).We would like to stress the following implications:1.We can determine exactly the place where subjectivitycomes in when a distinction between literalness andfig-urativeness is made—it is mirrored by subjectivity in cat-egorization.“fool”in example(8)can only be considered as literal,if the concepts F OOL and P OLICEMAN are con-sidered as being compatible(in the set theoretic sense in-troduced above).If one does not share this conceptualiza-tion,this usage of“fool”must be considered asfigurative (or even absurd).Thus,we capture the subjectivity offig-urativeness formally in the ontological premises,not via intuitive considerations.2.Definition1does not depend on the violation of selectionalrestrictions.The example(5)(“I like Chaucer.”)allows for the same analysis as example(4)(“I read Chaucer.”), because the intended patient of like are,in both cases, Writings-by-Chaucer(=w.sf),although this is not indicated by selectional restrictions at all.In both cases .CON CON,i.e.,figurativeness holds.GranularityThe(non-)inclusion criterion we have set up for the distinc-tion between literal andfigurative speech in Definition1in-troduces a particularly strong tie to the underlying ontology. One of the problems this might cause lies in granularity phe-nomena of domain knowledge bases and their impact on lit-eral/figurative distinctions.Given different levels of granular-ity,it may well happen that a word an instance w.sf inst-of.CON with.CON CON,though,intuitively,one would rate the usage of as a literal one.As-sume we have a knowledge base in which C PU happens to be PART-OF M OTHERBOARD,while M OTHERBOARD it-self turns out to be PART-OF C OMPUTER.If we analyze the example(9)“The CPU of the computer...”accordingly,we end up with the determination of afigura-tive usage for(=)“computer”,since M OTHERBOARD C OMPUTER(cf.Fig.2).inst-ofMFigure2:Example(9)AssumingIf we assume,however,a representation in a knowledge base such that C PU is an immediate PART-OF C OM-PUTER,then we derive a literal usage for(cf.Fig.3).CFigure3:Example(9)AssumingIn order to lower the dependence on knowledge base gran-ularity we may derive a weaker condition of literalness from Definition1.Assume w.sf and w.sf to be related by a conceptual relation(technically,w.sf w.sf).Thus,for literal usage of the following conditions hold:if is a proper name(3) CON:else(4) (3)immediately follows from(1)in Definition1,since w.sf w.sf(w.i)holds.(4)can be deduced from(2) by defining i w.sf.Since these conditions provide weaker conditions of literal language use than the ones we have agreed upon in Defi-nition1,all literal usages determined by the strong condi-tion still remain literal(in particular,example(9)is consid-ered a literal usage of“computer”given).Consider-ing the granularity effects for example(9)with respect to,we may determine the literal usage of“computer”bythe following consideration.Since C PU is PART-OF M OTH-ERBOARD,and M OTHERBOARD is PART-OF C OMPUTER, we conclude with the transitivity of the PART-OF relationthat C PU is PART-OF C OMPUTER.Hence,criterion(4)is fulfilled(assuming i=computer-2,w.sf=cpu-1, w.sf=motherboard-2,and=PART-OF).Unlike the examples discussed previously,we do not have w.sf .CON(criterion(2)from Definition1).So,by moving from the strict criteria in Definition1to the weaker ones stated by criteria(3)and(4)we are able to balance granularity phe-nomena of knowledge bases,to a certain extent at least.Figurativeness and ReferenceOne might argue that the problem just discussed,the depen-dence of the distinction between literal andfigurative usage on knowledge base structures,follows from the dependence of on syntactic context.Accordingly,some re-searchers,koff&Johnson(1980),have proposed to build the definition offigurative speech upon the notion of reference.The assumption being made is that uniquely refers to a knowledge base item w.ref inst-of.CON and thatfigurativeness results from the deviation of this reference from literal meaning.Although their notion of deviance is not formalized,referentially-based literalness can now be de-fined straightforwardly in our approach by proceeding exactly along the lines of Definition1:Definition2(Literalness in the Referential Approach)A word is called literal in the referential approach,if:if is a proper name(5)CON else(6) Without doubt,we here circumvent the granularity prob-lem,since no change in reference occurs for example(9),no matter whether or is assumed.But the reference approach runs into severe problems when one considers,e.g., classical examples of metonymies such as(10)“I like to read Chaucer.He was a great writer.”We have=“Chaucer”as a typical example for a writer-for-writings metonymy(Lakoff&Johnson,1980).The as-sumption to link literal/figurative usage to reference relations isflawed by the fact that=“Chaucer”does not refer to the“writings by Chaucer”,because in this case the ref-erentially determined anaphor“He”could not be resolved. In particular,we have Chaucer.ref=Chaucer,there-fore w.ref=w.i.Hence,“Chaucer”must be considered,are talking about.The relation of class inclusion even leads to literal meaning as we have shown.Similar criticism ap-plies to Tourangeau&Sternberg(1982),Fauconnier(1984), Kittay(1987),Turner(1988),Nunberg(1995),and many oth-ers.The same shadowy definitions offigurative language are then often adopted by computational linguists(Fass,1991; Martin,1992).This leads to the fact that it is mostly not clear at all,which phenomena are treated by these approaches.In addition,a tendency can be observed in more formal approaches—pressed by the need to look for computation-ally feasible definitions of metaphor or metonymy—to con-siderfigurative language as a violation of selectional restric-tions(Carbonell,1982;Fass,1991;Hobbs et al.,1993;Puste-jovsky,1991)or communicative norms(Grice,1975;Searle, 1979).Such an approach equates an often used triggering condition,viz.constraint violation,with the phenomenon of figurative language(or,subsets,like metonymies).Hence, it confuses the possible,but not necessary effects of a phe-nomenon with the phenomenon to be explained.Despite the lack of formal rigor in previous work,it is worth to investigate how our formal criterion is compatible with other views onfigurative speech from cognitive science. The tendency to seefigurative speech rooted in conceptual categories,as we do,is becoming consensus in cognitive lin-guistics.The main trend is,e.g.,to treat metaphors as a means of categorization by way of similarity(Gibbs,1992)and to re-tracefigurative speech to cognitive procedures involving cat-egorization and(subjective)experience(Lakoff&Johnson, 1980;Fauconnier,1984;Lakoff,1987).So,Lakoff and John-son see metaphors rooted in our way of conceptualization via mappings.Kittay(1987)and Turner(1988)regard some kind of conceptual incompatibilities as the basis of metaphoriza-tion.Nevertheless,they do neither explicate their theory of categorization and incompatibility,nor do they recognize that these incompatibilities are relevant for other kinds offigura-tive speech,as well as for metaphors in the strict sense of the word.The dependence of lexical,literal andfigurative mean-ing on ontologies is,therefore,realized,but no explicit formal treatment is given of particular problems this implies.This is where we see the second major contribution of the paper.Once a formal distinction between literal andfig-urative meaning is given,it allows us to characterize sub-jectivity,so far an entirely informal notion,by reference to the particular ontology underlying the natural language un-derstanding process.We aim at adapting different ontolo-gies such that by way of abstracting away different gran-ularities of representation structures(e.g.,by generalizing morefine-grained representations to a coarser grain size, as in criterion(4))disagreement might turn into consen-sus(e.g.,considering example(9)).Contrary to that,the majority of researchers in ourfield of study attribute the difference in opinion to the existence of different,incom-patible ontologies,and leave it with that explanation with-out further attempt at smoothing(Lakoff&Johnson,1980; Turner,1988).An exception to this rule is the work by Veale&Keane (1994).While the authors still adopt an entirely informal def-inition of metaphors(close to the one from Turner(1988)), with all its drawbacks,Veale&Keane incorporate a concise, formal explication of how different viewpoints of different speakers influence metaphor interpretation.In contrast to our work,they offer the possibility to accept or reject beliefs in their knowledge base,depending on whether the speaker be-lieves the propositions to be true or not.This then accounts for connotations which might arise in the metaphor interpre-tation.Instead,we focus on the problem of granularity,offer-ing the possibility to derive coarse-grained views of the ontol-ogy fromfine-grained views,thus not(de)activating certain propositions but viewing the same propositions in different grain sizes.This is not meant to explain metaphorical effects, but to reconcile different notions of literalness.The third major proposal we make relates to the contex-tual embedding offigurative speech.The criterion we for-mulate is entirely based on syntactic relations that guide con-ceptual interpretation.In particular,and unlike most algorith-mic accounts(Norvig,1989;Fass,1991;Pustejovsky,1991; Hobbs et al.,1993),it does notlogical relationships(Blasko&Connine,1993).The essence of this is that pervasive and structured relations or relationsmade salient by the context(Inhoff et al.,1984)may be as easily available to comprehension as inclusion relations.ConclusionIn this paper,we have drawn a distinction between literal andfigurative speech which is based on formal criteria.These are grounded in the solid framework of description logics,inparticular,by relying on its set theoretic semantics.A cru-cial condition of whether language use is considered literal orfigurative is introduced by the particular ontology referredto.While earlier formal approaches appeal to semantic types, sortal constraints,etc.,this is not fully convincing,since the entire structure and granularity of the theory of the domainbeing talked about contributes to the understanding process, whether literally orfiguratively based.In particular,we cap-tured the notion of subjectivity in ontological premises and explained how granularity problems may be overcome.A recognition procedure forfigurative language is reportedin Hahn&Markert(1997).Contrary to almost all competing approaches,we do notinterpretations in parallel, i.e.,without preference for literal interpretations.The dis-tinction between both forms of interpretation(and the needfor a corresponding criterion)comes in,finally,when the text understander is required to disambiguate between competingreadings.Among the preference criteria we apply are the dis-tinction whether a reading is literal(preferred)orfigurative. The model we have presented does currently not accountfor neologisms,as those have no a priori lexical meaning, and many tricky cases of quantification and the use of proper names.In addition,we considered only rather simplefigu-rative descriptions(words or compounds),not touching the issue of compositionality offigurative speech.From a more technical perspective,we have also not scrutinized the differ-ent kinds of relations that are still required to hold between .CON and.CON,if.CON.CON.So,a neces-sary condition forfigurative speech has been established that needs to be supplemented by sufficient ones.We also have no criteria available right now that lead us to distinguish be-tween various types offigurative speech(e.g.,metaphors vs. irony).Finally,we stop short of distinguishing between inno-vativefigurative speech(like in the ham sandwich example) and conventionalizedfigurative speech(systematic polysemy (Pustejovsky,1991;Nunberg,1995)). 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