Contents 1. Valentina Bianchi. An asymmetry between personal pronouns and other DPs.

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My_Sisters_Keeper_Questions

My_Sisters_Keeper_Questions

My Sister’s Keeper Brenda ChapmanReading Level: Grade 3 Interest Level: AdultChapter One1. What questions do you haveabout Anna Sweet and her familyafter reading Chapter One?2. Anna Sweet is working in abar in an oil town in Texas.Have you ever worked at ajob that you did not like?3. If you could choose any job inany place in the world—wherewould you choose to live andwhat type of work would you do?Chapter Two1. Anna Sweet flew home to helpher sister the same day thatshe was asked. Have you everhad to drop everything to helpsomeone with a problem?2. Discuss the expression “bloodis thicker than water”. Canyou think of a time in yourown life that this was true? 3. Describe Anna’s relationshipwith her father.Book SummaryAnna Sweet, ex-cop turned waitress, is bar-hopping her way across the U.S.A. But a middle-of-the-night phone call to Anna’s hotel room in Kermit, Texas,is about to end her life on the road. The brakes on her sister Cheri’s car have failed, and she’s lying banged up in an Ottawa hospital. Cheri warns that unless Anna comes right home, she will be dead by Christmas.Anna has more than enough reason to stay away from her hometown. Yet her sister’s terror is a calling card she cannot ignore. Is Cheri’s life really in danger? Or is this another bid for attention? A doubting Anna Sweet is about to find out…Chapter Three1. Like Cheri, everyone hasstress in their life. But canstress be good sometimes?2. What do you find stressful?3. What are some ways to lessenor to manage your stress?Chapter Four1. What have you learned sofar about Anna Sweet?2. Anna and Cheri are sisterswith very different characters.How does the author use theirdifferences to create conflict?Chapter Five1. What does Cheri believe willhappen if she files a police report?2. If you were in Cheri’s position,would you have gone tothe police before now?Chapter Six1. Anna finds out a lot about peopleby their physical appearanceand body language. Do youthink that these are good cluesto a person’s character?2. Jada Price says that she istired of being the ‘token blackwoman’. Discuss this statement.3. In your opinion, do women andvisible minorities have equalityin the workplace today?Chapter Seven1. Anna Sweet’s dad taughther not to show when shewas hurting and to act likea champion. Are these goodlessons to teach children?2. Anna appears to haveforgiven Cheri for stealing herfinancé. What does this sayabout Anna’s character?Chapter Eight1. Stereotyping is when we thinkof a group of people as actingor looking the same way, suchas bike gang members. Doyou think that people, ingeneral, can be stereotyped?2. What is the danger of pre-judgingor stereotyping people by theirjob, culture, organization etc.3. Have you ever had to changeyour initial opinion of someoneafter getting to know them?Chapter Nine1. In this chapter, we find out a keypiece of information about Anna’spast. What is revealed in herconversation with her ex-partner?2. Ryan Hunter tells Anna thatshe should “get back in thegame”. What does he mean?3. Have you ever quitsomething but then decidedto give it another try?Chapter Ten1. Anna suspects that Jimmyis cheating again. Do youthink that she is being fair?2. What does Anna mean by“twice is a pattern”?3. Do you believe that peoplecan really change?Chapter Eleven1. Anna now wonders whetherCheri made herself look like avictim to get Jimmy and Evanback. Does this fit with what youknow about Cheri’s character? 2. How does the author buildsuspense in this chapter?Chapter Twelve1. Anna wonders if Cheri is1) innocent of the hit and run2) had lost her mind or3) was putting on a great act.Discuss the choices. Which doyou believe is most likely true? 2. If you were Anna Sweet,what would you do nextto find out the truth?Chapter Thirteen1. Jimmy and Anna still have aconnection even after breakingup and five years apart. Have youever met a friend after years apartand felt like no time had passed?2. What qualities do you lookfor in a close friend?3. Do you believe Jimmy’sversion of what is going on?Chapter Fourteen1. What does the author revealabout Cheri that helps toexplain her behaviour?2. Do you feel more sympathyfor Cheri after learningthis new information?3. What is Anna doingto get at the truth?4. Do you have any ways totell if someone is lying?Chapter Fifteen1. Why do you think Annastands by Cheri when shehas good reason not to?2. What does Anna mean when shesays that Jimmy looks ‘too good’?3. Sometimes we have to give updoing or having something thatwe want because it would hurtanother person. Can you thinkof a situation where you havehad to make a difficult choice? 4. Do you think Anna’splan will work?Chapter Sixteen1. Do you believe as Anna now doesthat Cheri made everything upto get Jimmy and Evan back?2. Why do you think Cheri pickedthis moment to tell Anna thattheir father might be ill?3. Do you think that thisinformation will changeAnna’s plans?Chapter Seventeen1. Explain Anna’s thinkingas she puts together thepieces of the puzzle.2. Who do you think is inthe house with Cheri?3. What would you do ifyou were Anna?Chapter Eighteen1. Anna listens to a personexplaining their reasons for actingas they have. Are you surprisedby what Anna finds out?2. Do you enjoy competing insports and games or at work?3. Do you think that we shouldencourage competitionamongst children?4. Would you call Annaa heroic person?Chapter Nineteen1. Why do you think that Anna toldthe reporters that they had hermixed up with someone else?2. What does Anna learn aboutJimmy when he enters the house?3. Has Anna’s relationshipwith her father changed overthe course of the book?4. Do you think Jada Priceand Anna Sweet willmake a good team?。

门娜丽莎的微笑英语作文

门娜丽莎的微笑英语作文

门娜丽莎的微笑英语作文The Mona Lisa's Enigmatic SmileThe Mona Lisa, one of the most iconic and celebrated works of art in the world, has captivated the minds and imaginations of people for centuries. This enigmatic portrait, created by the renowned Italian Renaissance artist Leonardo da Vinci, has been the subject of countless studies, interpretations, and debates, each attempting to unravel the mystery behind the subject's elusive and captivating smile.At first glance, the Mona Lisa appears to be a simple portrait of a woman, yet there is an undeniable depth and complexity to her expression that has intrigued and perplexed viewers throughout history. Her gaze is direct yet serene, her lips curl upwards in a subtle smile that seems to hold a secret, a hidden emotion that remains just out of reach.One of the most striking aspects of the Mona Lisa is the way in which her expression seems to change depending on the viewer's perspective. From certain angles, her smile appears warm and inviting, while from others, it can seem distant and enigmatic. Thisquality has led many to speculate about the nature of her inner thoughts and emotions, and the possible meanings behind her expression.Some have suggested that the Mona Lisa's smile is a reflection of her own self-awareness and self-possession, a testament to her confidence and inner strength. Others have interpreted it as a sign of her deep contemplation, a glimpse into the workings of a complex and introspective mind. Still others have seen it as a representation of the universal human experience, a symbol of the inherent mystery and ambiguity that lies at the heart of the human condition.Regardless of the specific interpretation, the Mona Lisa's smile has become a powerful and enduring symbol of the power of art to captivate and inspire. It has been the subject of countless scholarly analyses, artistic interpretations, and popular cultural references, each offering a unique perspective on this timeless masterpiece.One of the most intriguing aspects of the Mona Lisa's enduring appeal is the way in which it has continued to capture the imagination of people across cultures and generations. From the Renaissance era to the present day, the Mona Lisa has remained a source of fascination and inspiration, inspiring artists, writers, and thinkers to delve deeper into the mysteries of human expression and the power of visual art.In many ways, the Mona Lisa's smile can be seen as a metaphor for the human experience itself – a complex and multifaceted expression that defies easy interpretation, yet resonates deeply with our shared experiences and emotions. It is a testament to the enduring power of art to capture the essence of the human condition, and to inspire us to explore the depths of our own inner lives and the world around us.As we continue to gaze upon the Mona Lisa and ponder the secrets of her enigmatic smile, we are reminded of the profound and enduring impact that art can have on our lives. Whether we see in her expression a reflection of our own experiences, or a window into the mind of a master artist, the Mona Lisa's smile remains a powerful and enduring symbol of the human spirit, and the endless potential of the creative mind.。

奥斯卡经典影片《最后一站》完整版英文剧本(word format)

奥斯卡经典影片《最后一站》完整版英文剧本(word format)

THE LAST STATIONBased on the Novel byJan PariniScreenplay byMichael HoffmanAll happy families are the same. Each unhappy family is unhappy in its own way.Leo Tolstoy- Anna Karenina1 EXT. COUNTRYSIDE. DAY. 1High angle of the steam train travelling through a wideriver valley. The stack belching smoke against the Russiansky.2 INT. SECOND CLASS CARRIAGE. COUNTRY SIDE. DAY. 2 Leo Tolstoy (80), sits writing on his lapboard. He is quitesimply the greatest living writer in the world. Hisdevotion to pacifism, his rejection of the trappings ofOrthodoxy in favor of a simple Christian lifestyle convincemany to regard him as a living saint. With him are his much younger wife, the COUNTESS SOFYA, favorite daughter SASHA, and his personal physician DUSHAN MAKOVITSKY. Sasha and Dushan write in their diaries. Sofya looks from one to thenext a little impatient. The train begins to slow.SOFYAWhy are we slowing down?No one responds. Slower. Slower.SOFYAWe‟re stopping. Why are westopping?SASHAI don‟t know, mother. No idea.Tolstoy look up from his work, asks a passing conductor. SOFYAExcuse me, why has the trainstopped?CONDUCTORIt‟s the crowd, ma‟m, the people.They‟re blocking the track.In the distance we can here voices.VOICES (O.S.)Long live Tolstoy! Long live theold warrior!SOFYABut if they block the track, thetrain can‟t go...YOU HAVE TO MAKETHEM MOVE.The conductor shrugs, walks away. She goes to the window to investigate. A crowd of a hundred peasants, students surround the engine, block the track. They carry a hugecloth banner honoring Tolstoy. We can hear voices chanting “Tolstoy. Tolstoy. Tolstoy”, voices crying “You are the truth.” “You are the hope of the Russian people.”SOFYAOh, they won‟t move. We aregonna die here. Leo, Leo, go andsay something to them. It‟s theonly way we are gonna get out ofhere.The chanting grows in intensity. Tolstoy gets to his feet, walks to the window, shows himself to the crowd. A great shout goes up. Tolstoy lifts his hand for silence.Gradually, it comes.TOLSTOYI have seen your banner. And I´veheard what you say. You think I´mthe hope of Russia, do you? Well,that´s not true. You are the hopeof Russia. The hope of all theworld. You say, you want a newway to live? Well, you are notgonna find it making a fuss overme. So, I suggest that you get onwith your work and let a poor oldmen get on with his.The cries begin. “Clear the tracks. Let them pass. Let them go.” Tolstoy closes the door and waves to the crowd as the train pulls away.3 EXT. COUNTRYSIDE. DAY. 3On the chanting crowd now as the train pulls away. Wefocus on a handsome young man, a little stiff maybe, alittle intellectual. This is VALENTIN FEDOROVITCH BULGAKOV. He can‟t contain his enthusiasm. Over the noise of the train.VALENTINDo you know who that is? That isthe greatest man in the world.The train pulls away into the distance.TITLE OVER BLACK: SPRING 19104 EXT. YASNAYA POLYANA. DAWN. 4The ancestral home of the Tolstoy family in the firstbudding of spring.2.Muzhiks (peasants) gather wood, carry water to the house. Acart arrives loaded down with mail bags.5 INT. YASNAYA POLYANA. SOFYA‟S BEDROOM. DAY. 5A handsome room, walls covered with generations of family photographs. Religious icons are given pride of place, atestament, not to piety, but to an ingrained socialconservatism, a certain position in the world.Countess Sofya mumbles her morning prayers before a makeshift altar. Wiping away tears, she leaves the room.5A INT. YASNAYA POLYANA. ENTRY/STAIR. DAY. 5ASofya walks down the stairs and through the entry passed anold servant asleep in a chair. She continues to thebasement.6 INT. YASNAYA POLYANA. TOLSTOY‟S BEDROOM/STUDY. DAY. 6 Tolstoy has moved himself out of the refined upper floorsinto a simple vaulted room he uses as both bedroom andstudy. The walls are bare except for a portrait of hisdaughter. The furniture is simple, some of it hand made: asmall bed against the wall, a little writing desk in onecorner stacked with books, littered with papers, more mail,opened and unopened. Pairs of rude homemade shoes line awork bench.Tolstoy sleeps in his bed. Though it‟s late March andstill cold, the window is open. Sofya closes it. Shestands very still, watching Tolstoy sleep. Sitting on thebed, she gently touches his hand, whispers.SOFYADarling.She lies next to him, something girlish, hopeful in herface, as if waiting for him to wake up and adore her, buthe sleeps on. She carefully takes his arm, positions itunder her neck, and rolling toward him, wraps it aroundher. The image of love‟s intimacy, of wedded bliss.His hand slips off her shoulder, once, twice. She movesawkwardly to replace it. He moves a little toward her. Shekisses his neck, his cheek. We don‟t know if he‟s awake,but even this shadow of intimacy penetrates her soul.7 OMITTED 73.8 INT. MOSCOW. STUDY. DAY. 8A handsome study in the Moscow townhouse of VLADIMIR GRIGOREVICH CHERTKOV, Tolstoy‟s most articulate and dedicated disciple. He‟s interviewing Tolstoy‟s newlyappointed secretary, VALENTIN BULGAKOV, the young man we met near the train, who, at the mention of sex, blushes alittle.CHERTKOVBut sex... You are twenty three.Not an easy age for abstinence,is it?VALENTINTolstoy does not approve ofsexual relations. I know this.CHERTKOVHe despises them, in fact...Chertkov reaches for a small tin of moustache wax. CHERTKOVI don't want to belabor thepoint, but I arranged for amanservant last year whoproceeded to ruin two housemaidsjust like that. He was veryupset.VALENTINThi s would not be a problem. I‟mcelibate. I‟m also a strictvegetarian.Chertkov nods his approval, begins to worry his moustache. CHERTKOVYes, I‟ve heard many good thingsabout you. I‟ve even read whatyou…ve written. So has he.Valentin‟s face flushes wit h pride. Chertkov steals aglance at his reflection in the glass bookcase. One side ofhis moustache droops a little. He tugs awkwardly at it. CHERTKOVMy dear boy, if you were tobecome Tolstoy‟s privatesecretary, you would be given agreat gift. You‟ll be with himevery day, eat together, walk inthe forest by his side.It‟s difficult to contain himself.4.VALENTINBelieve me, since becoming aTolstoyan, I have become so eagerto learn, so comitted todiscussing ideas, improving myvery soul.CHERTKOV(smiling)Well, we have a lot to do if weare to get his work to thepeople.VALENTINWe?They both laugh.CHERTKOVYes, we. If we can encourage thespread of passiveresistance...just think of itValentin thousands of ordinaryRussians casting off centuries ofspiritual and politicaloppression-VALENTINIn the name of truth and freedom.CHERTKOVTruth and freedom, yes but still,my boy, there are so many enemies-VALENTINEnemies?Chertkov walks to the window, signals Valentin to follow him. He points toTWO MEN IN PLAINCLOTHES standing in the street below. CHERTKOVThe Czar‟s police...You‟ll befollowed when you leavehere...and the church will stopat nothing to bring him back intothe fold. His children can‟t betrusted... only Sasha... and thenof course there is theCountess...(beat)Well, one doesn‟t like to comebetween married people whateverthe circumstances, but her doggedattachment to private property,her public criticism of ourmovement...5.(MORE)(beat)The point is, he needs a man ofyour intellectual gifts aroundhim. Someone who can help himwith the new work. Someone whounderstands his goals.Chertkov returns to the desk.CHERTKOVAnd although they‟ve allowed meto return to Russia, I can‟t seehim. They keep me under housearrest... They might as well keepme in a cage.Clearly upset, Chertkov pauses to get control of himself. He picks up a package, hands it to Valentin. CHERTKOVSo, I need you to put theseletters directly into his hands.One can't be sure what getsthrough to him.Valentin looks at him, quizzical.CHERTKOVSofya Andreyevna does not respecthis privacy.VALENTINShe wouldn‟t open his privatecorrespondence...Chertkov raises an eyebrow. An ominous silence. CHERTKOVI have another task for you, mydear.VALENTINPlease.CHERTKOVYou‟ll keep a diary for me.He hands Valentin a notebook.CHERTKOVI need to know everything thatgoes on at Yasnaya Polyana. Letme know who visits the house, anytalk of the copyright to hiswork, any contact with thechurch, what letters come and go.(beat)Anything Sofya Andreyevna says.6.CHERTKOV (cont'd)VALENTINAnything?CHERTKOVShe‟s very, very dangerous.9 EXT. MOSCOW. DOORWAY/STREET. EVENING. 9Chertkov kisses Valentin delicately on both cheeks andushers him into the dying light.CHERTKOVGodspeed, my boy.Valentin makes his way to the droshky that awaits him.CHERTKOVAnd remember what I said.He turns back to the dark figure in the doorway.CHERTKOVWrite everything down! Go!10 EXT. YASNAYA POLYANA. GROUNDS. MORNING. 10SOFYA. Black and white film of her being handed thenewspapers at the step. She looks up at the camera,irritated by its presence.CUTTING OUT TO COLOR we see a cinematographer on the lawn cranking away at his camera. She goes into the house.11 INT. YASNAYA POLYANA. TOLSTOY‟S BEDROOM/STUDY. MORNING.11Where Tolstoy, awake and dressed, sits on his bed, pen inhand, writing in his diary. Dushan sits next to him, takinghis pulse.TOLSTOYNothing‟s working... Hand me myother boot, my friend, will you?DUSHANLet me finish.TOLSTOYIt doesn‟t matter. If my hearthad stopped beating, I‟d still goriding today.DUSHANYour pulse is myresponsibility...7.(MORE)and if you must ride, I insistyou wear a coat. Even the sun iscold today.He puts Tolstoy‟s arm down and han ds him his riding boot. Sofya comes ranting into the room carrying several Russian and international dailies.SOFYAThis is impossible! It really is!These people are parasites!Look...(reading)“Countess Tolstoy has becomeestranged from her husband. Theybarely speak.”She throws the paper on the floor.SOFYAYou know who spreads all thisrubbish....She opens another paper, a French daily.SOFYAC‟est la meme en France. Theygossip about us in Paris... “Theydo not share a similar view ofeither religio n or politics.”Incroyable!TOLSTOY(smiling)Peut-etre. You think that‟sinaccurate?SOFYAI think it‟s none of the world‟sbusiness.She looks at Dushan who is transcribing every word into his diary. He does it with all the master‟s conversations. SOFYAWhat are you doing? Don‟t dothat.TOLSTOY(smiling)Dushan Petrovich, you‟rescribbling again?Tolstoy moves with energy and purpose toward the door. SOFYADarling, where are you going?8.DUSHAN (cont'd)TOLSTOYRiding with Sasha. Don‟t expectus for lunch.Something strikes him. He walks to his desk, picks up his pen and quickly writes a sentence on a scrap of paper. SOFYALeovochka, why do you insist ondressing like that.TOLSTOYWhat do you mean?SOFYALike the man who looks after thesheep.TOLSTOYI t‟s not meant to offend you.SOFYABut it does offend me, because itoffends reason. You‟re a Count,for God‟s sake.He puts his pen down, goes to her, kisses her gently on the forehead and leaves the room.SOFYAOh darling, I have something elseto say.TOLSTOY (O.S.)I doubt it not, my dear.DUSHANHe‟s forgotten his coat.He runs after him, tripping over the long fur garment. DUSHAN (O.S.)Count Tolstoy, you‟ve forgottenyour coat.Meanwhile Sofya notices a photographic portrait of Chertkov on the wall. She takes it down and tosses it in thecorner.12 EXT. YASNAYA POLYANA. GROUNDS. DAY. 12As Tolstoy appears on the porch, we hear the WHIR ofcameras. A crowd of photographers, film cameramen, journalists, and disciples try to catch a glimpse of the master. Dushan steps in front of him.9.DUSHANLet him walk. Let him walk.JOURNALISTCount Tolstoy, you‟re no doubtdistressed by the Czar‟streatment of your secretaryNikolai Gusev ?TOLSTOYThese people are bandits.DUSHANI said, let him walk.TOLSTOYThey come into my house andarrest a man whose only crime isto express a view of life sanerthan that which prevails.JOURNALISTSo Gusev is innocent?TOLSTOY(nods)Of course, I‟m the guilty one. Ireject the Orthodox church. Icondemn the established order andI make no secret of it.A young peasant shouts from the crowd.PEASANTGod bless you, Tolstoy. Thankyou.DUSHANLet him walk. Let him walk.(to Tolstoy)But you don‟t banish these peoplevery much to your credit...I wishI had your largeness of spirit.A photographer‟s flash goes off. An old Muzhik touches Tolstoy‟s sleeve, as if expecting a miracle.Sasha, her father‟s soulmate, leads two horses toward them, her mount and her father‟s black gelding, Delire.SASHAPapa.TOLSTOYSasha!10.SASHADid you ride this morning?A small crowd collects to watch father and daughterembrace, kiss.A WIDE SHOT of the riders- cutting around we are13 INT. YASNAYA POLYANA. ENTRY/STAIR. CONTINUOUS. 13 Sofya watches her husband and daughter ride away.14 EXT. RIVER VALLEY. DAY 14A steam train snakes through a broad valley.15 INT. TRAIN CARRIAGE. DAY. 15Valentin in his buttoned up suit looks a little out ofplace in the overcrowded third class carriage. He writes inthe diary given him by Chertkov. He glances up to see, onthe bench across, a young mother taking out her breast tonurse her baby. He blushes, doesn‟t know where to look. Anold peasant catches his eye, winks at him, laughs.16 EXT. TELYATINKI. DUSK. 16Seven miles from Tolstoy‟s estate, this is Telyatinki, acommunal center created by Chertkov dedicated to the studyand practice of Tolstoyism.SERGEYENKOTelyatinki was created byVladimir Grigorevich as a centerfor the movement. Just last weekwe had a visitor from India. Wetalked to the group about thehealing properties of cobravenum.VALENTINOh, goodness..It‟s a beautifulday.SERGEYENKOYes, but we will pay for it.Sergeyenko, Chertkov‟s joyless secretary, and Valentinstand on a second storey porch looking out across thecentral lawn where a number of young Tolstoyans tend the garden, work to put up a chicken coop.11.SERGEYENKOThe meeting room is behind us.This is the tool shed. Thedormitory ahead.He points out a larger building across the way.17 INT. TELYATINKI. SLEEPING AREA. NIGHT. 17 They enter the building.SERGEYENKOTelyatinki is a place of freedom.Nothing is forbidden here.Except everything.SERGEYENKOEach man is alone with hisconscience and his God.(beat)The kitchen is below. You‟ll beexpected to assist with meals atleast twice a week ...and to givea hand in the garden. We‟re allequals here, you know...asTolstoy teaches us.They start up the stairs.INT. SLEEPING PORCH. TELYATINKI. DAY SERGEYENKOYou are expected at YasnayaPolyana in the morning, firstthing.VALENTINI look forward to it.SERGEYENKOYes... you‟re lucky....We‟re allenvious.12.18 INT. TELYATINKI. VALENTIN‟S ROOM: NIGHT 18 Small, sparse, perfect for the novice ascetic. Valentin nods his approval.SERGEYENKOVladimir Grigorevich is anxiousthat you begin your reports assoon as possible. You have thenotebook he gave you?VALENTINOf course.SERGEYENKOYou understand we must keep theexistence of the diary a secret.Valentin smiles.SERGEYENKOWhat is it?VALENTINJust that...secrecy doesn‟t seemto me the es sence of Tolstoy‟sthought.SERGEYENKOBut you‟ll admit, you‟re noexpert.VALENTINYes, I...I‟ll see you in themorning.SERGEYENKOIf we‟re spared.Sergeyenko leaves Valentin to his bare, little room.19 EXT. TELYATINKI COMPOUND. MORNING. 19The sun rising. Already, disciples are at work the gardens.20 INT. TELYATINKI. VALENTIN‟S ROOM. MORNING. 20 Valentin sleeps in his tiny room. A knock on the door. VALENTINCome in.A lovely girl at his door. She‟s tall, twenties, high cheek bones, short blonde hair. This is MASHA.13.MASHAI‟ve brought you a glass of tea.VALENTINThat‟s very kind of you.MASHAIt‟s your first day. Enjoy it.She sits on the bed. He‟s a little taken aback, not used to this degree of familiarity. It makes no impression on Masha.MASHAYou met Sergeyenko?VALENTINLast night.MASHAAd what do you think?VALENTINHe seems very sincere.Masha hands him his tea.VALENTINThank you. Why are you laughing?MASHASay that again.VALENTINI said he seems very... Why?MASHAIs that what you think?VALENTINI just arrived...What‟s yourname?MASHAMasha. But you should still saywhat you think. Not just abouthim. We all should.VALENTINThank you for the tea.Their eyes meet, hold. Valentin‟s discomfort increases. MASHATomorrow you can make your own.She walks to the door, turns to see him still watching her.14.MASHAHe‟s a sorry old tight-assedstick in the mud...but yes, he‟ssincere.21 EXT. ROAD TO YASNAYA POLYANA. DAY. 21A modest horse drawn cart. Valentin sits beside the driver, contemplates the birch trees that line the road, the long shadows they cast. Above, crows make lazy circles in the sky.22 OMITTED 2223 INT. YASNAYA POLYANA. ENTRY WAY/STAIRS. DAY. 23 Valentin stands in the entry way, waiting. He looks lost. VALENTINHello...hello...VOICE (O.S.)You‟re the new secretary.He looks up to see Sasha examining him from the landing above.SASHAPapa‟s out. You can wait in thelibrary. Ivan will show you up.She disappears. He hears a door close. He notices a surly house servant, IVAN, who, inexplicably, leads a goatthrough the house. He points upstairs and walks away.24 INT. YASNAYA POLYANA. LIBRARY. DAY. 24Alone now among Tolstoy‟s books, Valentin makes his way slowly to a writing table, the holy of holies, on which Warand Peace and Anna Karenina were written. He runs his hand along the old wood top. Emboldened by a backward glance, he sits in Tolstoy‟s chair. Before him are stacks of letters,pens and pencils, a pot of India ink. There‟s a notebooklying open. He leans forward to read it. A noise in thehall stops him.Tolstoy enters from the dining room, red cheeked, beard dripping wet, the energy of a man ten years younger than he is. Valentin stands.TOLSTOYI‟m glad you‟re here. So glad.15.He tromps across the room, kisses the boy enthusiasticallyon both cheeks. Valentin is overcome by the great man‟s warmth.VALENTINI‟m... I‟m... Here is-Valentin interrupts himself with a sneeze.TOLSTOYGod bless you.VALENTINI‟m sorry. Sometimes I...Valentin pulls out a letter of introduction. Tolstoy takesit out and puts it down without a glance.TOLSTOYVladimir Grigorevich has alreadywritten about you at length. Ineed your help badly. Themanifesto against the governmentis hard work. They commit theiridiotic abuses faster than I cancatalogue them...and the newbook...VALENTINHe told me about it...It‟s veryexciting.Tolstoy nods.TOLSTOYI‟ve become convinced that allthe world‟s religions have asingle organizing principle. Canyou guess what it is? Love!Love! Simple... Now, I want totalk about you. How are you? Howwas your journey? Come, sitdown.Tolstoy sits on the old sofa. Valentin follows suit.TOLSTOYYou know, I was born on thissofa...Valentin gets right back up. Tolstoy laughs, pats the sofa. TOLSTOYSit. Sit.Valentin sits down.16.TOLSTOYMyself, my brother, my children,at least five or six of them,right here.(beat)Now, I‟ve read your essays. How…syour work progressing?Valentin looks into the great man‟s kind old face. He triesto speak but he‟s overcome wi th emotion and begins to weep. TOLSTOYMy boy, what is it?(beat)I upset you in some way. Was itthe sofa? It‟s only a sofa.Valentin shakes his head, smiling through his tears. VALENTINI‟m very happy. You are verykind. I‟m no one and you are...you are Leo Tolstoy and you askme about my work.Tolstoy takes Valentin‟s hand, sits him back on sofa. TOLSTOYYou rest for a moment and I‟llfetch you a glass of tea. Rest,because there‟s work for both ofus together.He smiles and goes, leaving Valentin to contemplate his fortune.25 OMITTED 2526 OMITTED 2627 OMITTED 2728 EXT. YASNAYA POLYANA. GROUNDS. DAY. 28 Sofya, Sasha, Valentin, ANDREY, Tolstoy‟s son, and Tolstoy all clustered around a table taking tea. Dushan stands near the group fiddling with a gramophone that sits on a small table.SOFYAThese people have nothing.17.DUSHANIt really is the mostextraordinary thing.Absolutely ignoring him.SOFYAIt‟s not for lack of land thatthe muzhiks live in poverty.They have no will power and theydrink too much.TOLSTOYI‟m not suggesting they be givenland. Private property is theroot of the problem... We shouldbe giving ours away.ANDREYGive it to whom?SOFYAIt‟s all ridiculous. You thinkthat poverty makes the peasantssomehow morally superior.TOLSTOYI believe that wealth corrupts usall, yes I do.A pause. Valentin fills the silence.VALENTINIt‟s a keystone of the movement.SOFYAOh, I know all about themovement.A pause. Valentin notices that people from the front lawn have moved up to watch all this. Life in the fishbowl, the Tolstoys seem neither to notice nor care.TOLSTOYIf the peasants had money, theywouldn‟t surround themselves, aswe do, with footmen costing tenrubles a month.SOFYANo, they‟d spend it on drink andwhores.TOLSTOYValentin Fedorovich, do you thinkfifty years from now, people willeat while grown men walk aroundand wait on them hand and foot?18.Valentin doesn‟t know what to say. A giggle from Dushan. DUSHANOh, that‟s good...that‟s good.Dushan, having sat at table, tries surreptitiously to get down Tolstoy‟s words in the diary he holds below the table. Sofya flushes with anger.VALENTINI think...(sneeze)SOFYAStop scribbling!(points to her husband)You all think he‟s Christ, don‟tyou? He thinks he‟s Christ.There is an awkward pause.DUSHAN(flustered)I‟m not...I don‟t believe LeoNikolayevich is Christ. Christ isChrist but...SOFYABut what?DUSHANI believe he‟s one of theprophets. God speaks through him.I recognize the cadence in hisvoice.SOFYAThis is unbearable. No wonder Ifeel lonely. I‟m surrounded bymorrons.SASHAMama, you're being ridiculous.SOFYAAm I? I sit here and listen tothis talk of love and God andequality, knowing full well thatCount Generosity here is fullyprepared to give away everythingwe have.TOLSTOY(exhausted)You keep going on like that...Whydo you think we should profitfrom the work I´m doing which isonly meant for the sake of thepeople.19.She turns to see Dushan scribbling again.SOFYASTOP IT! STOP WRITING NOW!Valentin glances at Sasha, uncomfortable at these outbursts. A long pause. Dushan tries to relieve the tension.DUSHANIn defense of my gift, let medemonstrate. It‟s quiteremarkable, really.He gets up, places a record on the gramophone, needle on the record. W hat comes forth is not music, but Tolstoy‟s voice.It is a recording of a recent speech against capital punishment. His voice booms, tinny and distorted. Dushan walks to the machine, stares at it in awe. Valentin is completely caught up in the technology.VALENTINIt‟s your voice. It‟s wonderful.They all listen for a moment, look to Tolstoy for a response.TOLSTOYIt‟s tiresome. Anotherremarkable invention willsupercede it.Valentin blushes and looks at the table. Dushan tries to hide his disappointment.TOLSTOYPlease excuse me.Tolstoy rises, leaves the table, walks out onto the lawn.Dushan gets up quickly, bumping the table as he goes. Tea spills. Valentin moves to wipe it up, sneezes, a barrage of irritable blessings.DUSHANLeo Nikolayevich is something ofa Luddite, I fear.Sofya crosses to the machine, removes the record from the gramophone, replaces it with another Dushan has brought. Suddenly, the air is filled with the final duet fromMozart‟s Il Nozze di Figaro. She returns to her place. There is a long moment where all take in the sublimity of it. Tolstoy walks slowly back to the table. He stands completely still. Tears fill his eyes and roll down his cheeks.20.TOLSTOYOh, that´s better. That´s nice.Very nice indeed.Sofya crosses to her husband, wipes the tears off his face. Valentin watches as they embrace.VALENTIN (O.S.)Do your parents often speak toeach other so...bluntly?29 INT. YASNAYA POLYANA. LIBRARY. EVENING. 29 Across from Tolstoy‟s writing desk is Sasha‟s world, a makeshift office lined with more bookcases where she does her work, sending cables, editing manuscripts, answering endless stacks of mail. Valentin sits near her, learningthe ropes.SASHAMy mother doesn‟t understand myfather‟s goals, not since hiswork as a novelist becamesecondary. His commitment tothe spiritual life offends her.They‟ve fought about it foryears.VALENTINI‟m sure she means well.Sasha just looks at him.VALENTINYour father is the greatestwriter in the world.SASHAQuite.A pause.VALENTINI mean to say, I feel privilegedto be here. It‟s an... honor.Valentin feels himself slip further into mundanity. Sasha goes back to her letter. Valentin SNEEZES.SASHAGod Bless You.They read together for a moment. He sneezes again. SASHA(irritated)God bless you.21.VALENTINI‟m sorry. Sometimes I sneezewhen I‟m nervous.She regards him like an animal in the zoo. Ivan appears at the door.SASHAWhat is it?IVANIt´s a note, for him.He nods toward Valentin.SASHAWell, give it to him then.Valentin reads the note.VALENTINIt´s from your mother. She wantsto see me.As Valentin goes,SASHAShe is looking for allies. Payattention. This is war.30 INT. YASNAYA POLYANA. SITTING ROOM. NIGHT. 30 Sofya is settled on a divan in a small room off the dining room. Valentin sits beside her holding a glass of tea. SOFYAI see a fine young man before me.Clear eyes. Nice features, ratherhandsome in a peculiar way.VALENTINThank you, Countess...SOFYA。

流动的性别-酷儿理论视角下的《新夏娃的激情》

流动的性别-酷儿理论视角下的《新夏娃的激情》

摘要安吉拉·卡特(1940-1992),英国最具独创性的女性作家之一。

她的作品以天马行空的想象力见长,在西方是一位有较大影响力并被广泛阅读的作者。

《新夏娃的激情》是安吉拉·卡特的第七部小说。

小说中,卡特彻底颠覆现存的生理性别与社会性别,呈现给读者一个混乱、颠倒、流动的全新两性世界。

酷儿理论( Queer Theory)是20世纪90年代在西方兴起的文学批评理论。

“酷儿 (Queer)”指的是在文化中所有非常态的表达方式,是所有在性倾向方面与主流文化和占统治地位的社会性别规范或性规范不一致的人。

它批判性地研究生理的性别决定体系、社会的性别角色和性取向。

酷儿理论认为性别认同和性取向不是“天生”的,而是在社会和文化的同化过程中形成的。

酷儿理论质疑传统的异性恋霸权,反对传统的性别观点对人们的压制和禁锢。

安吉拉·卡特的作品是伴随着酷儿理论产生的背景及发展过程而创作出来的。

特别是她的重要小说《新夏娃的激情》,阐述了“酷儿理论”的许多新视点,如男权下的异性恋、扭曲的一元世界、和谐的双性同体、超性别之恋以及性别操演。

小说描述了主人公艾弗林变性前后对自身性别认知的心理变化,“母亲”和“零”扭曲的一元世界,特里丝岱莎的变装,以及新夏娃和特丽丝岱莎的超性别之爱。

这些现象表明,安吉拉‧卡特理想中的两性关系是超二元对立,即男女霸权话语均得到消解后两性完美的融合,是打破性别约束之后的自我重建。

本文的意义在于通过分析《新夏娃的激情》所体现的酷儿思想,使人们对生理性别及社会性别有更好的理解,从而建立更加和谐包容的两性社会。

关键词:安吉拉·卡特;《新夏娃的激情》;酷儿理论;流动性AbstractAngela Carter (1940-1992), is one of the most original female writers, and her works make a feature of wild and fantastical imagination. She is also an influential writer whose works are widely read in west. The Passion of New Eve is Angela Carter‘s seventh novel, it is set in the background of American Civil War. In the novel, Carter completely subvert biological sex and cultural gender, presents to the reader a chaotic, reverse and flowing world.The ―Queer Theory‖ is a new critical theory that rose in the west in 1990s. As the abnormal expression of the culture, the ―Queer‖refers to those people whose sexual orientations are different from the mainstream culture and the dominant social gender and sexual norms. This theory conducts the research about the physiological sex-determination system, the social gender role and the sexual orientation critically. According to this theory, the gender identity and the sexual orientation are not inborn but develop in the process of social and cultural assimilation. The ―Queer Theory‖ opposes against the hegemony of the traditional heterosexuality and the imprisonment of the traditional gender perspective.Angela Carter‘s works are produced under the background of Queer Theory‘s emergence and development. Especially, The Passion of New Eve, one of her major works, interprets many new viewpoints of Queer Theory, such as the androcentric heterosexuality under male patriarchy, the twisted monistic world, harmonious androgynies, drag performance of Tristessa and the performativity in New Eve. The novel describes Evelyn‘s change of gender identity before and after the transsexual surgery, the twisted monistic world created by Mother and Zero, Tristessa‘s drag performance and the ultra-sex love between Tristessa and New Eve. All these parts illustrate that the author‘s ideal sexual relations is to go beyond the binary oppositions between man and woman—the perfect combination in men and women after decomposing hegemonic discourse, and theself-construction after breaking the binary gender constraints.The significance of this thesis is that by analyzing The Passion of New Eve, we may have a better understanding of sex and gender and it will be helpful to build a more harmonious and inclusive society.Key Words: Angela Carter; The Passion of New Eve; Queer Theory; fluidContents摘要 (i)Abstract .......................................................................................................................... i i Chapter 1 Introduction (1)1.1 Angela Carter and Her Works (1)1.2 Literature Review (4)1.2.1 Overseas Research Status (4)1.2.2 Domestic Research Status (7)1.3 Angela Carter and Queer Theory (8)Chapter 2 Queer Theory (10)2.1. The Modern Background of Queer Theory (11)2.1.1 The Emergence of Feminist Literary Criticism (11)2.1.2 Michel Foucault and Discourse Space Theory (12)2.1.3 Jacques Derrida and the Deconstruction of Logocentrism (13)2.1.4 Jacques Lacan and the Three Orders (14)2.2 The Major Points of Queer Theory (15)2.2.1 Queer Theory and Heterosexuality & Homosexuality (16)2.2.2 Queer Theory and Androgyny (17)2.2.3 Queer Theory and Gender Performativity (19)Chapter 3 Rebellion Against Dichotomy of Gender (21)3.1 Evelyn and Leilah: the Androcentric Heterosexuality (21)3.2 The Twisted Monistic World (23)3.2.1 ―Mother‖ and Her Female Utopia (24)3.2.2 Zero and His Patriarchy Kingdom (25)Chapter 4 Fluid Gender in The Passion of New Eve (28)4.1 The Performativity in New Eve (28)4.2 The Drag Performance of Tristessa (31)4.3 New Eve and Tristessa: Harmonious Androgynes (33)Chapter 5 Conclusion (36)5.1 Major Findings (36)5.2 Limitations of the Present Study (37)Bibliography (38)Papers Published During the Study for M. A. Degree (42)Acknowledgements (43)Chapter 1 Introduction1.1 Angela Carter and Her WorksAngela Carter (1940-1992) was one of the Britain‘s most disturbing, original and controversial writers of the late 20th century, who won les models and Somerset Maugham Award. In 2008, Carter was ranked tenth in Times‘ list of ―The 50 greatest British writers since 1945‖(Times Jan.5, 2008). The year, 2006, has been called ―Carter‘s Year‖by English because of the unprecedented prosperous research achievements on her works. In the course of her career, Angela Carter wrote novels, short stories, journalism, radio plays, fairy tales, academic articles and pieces of cultural commentary. She could be variously described as a novelist, a short story writer, a journalist, a dramatist, a teacher or a critic. As Abigail Dennis said, ―Attempts to pin her oeuvre to a particular style or genre have been hampered by the discursive and thoroughly original nature of her writing, drawing as it does on sources as diverse as classical mythology, European folklore and fairytale, medieval fable, French surrealism, and popular culture, as well as postmodernist, feminist, psychoanalytic, and literary theories‖ (Dennis, 1999: 119).Angela Carter was born in Eastbourne, a large town in the south coast of England, and brought up by her maternal grandmother in industrial south Yorkshire since she was a child. In some sense, she breathed the world tales. Throughout her teenage years, she fought against anorexia. Her youth was also the neorealist fifties—the era of the ―glum poetry of domestic complaint‖ (Sage, 1994: 119). On the contrary, Angela Carter began to read the works of Symbolist poets such as Blake, Dada, the decadents, James Joyce, Baudelaire and Nabokov. And her reading brought her a dim view of the English literary fashions of her youth. This experience left traces in her later work and that‘s one of the reasons why she couldn‘t be found any sign of an English writer.After attending Streatham & Clapham High School in south London, she began working as a journalist on the Croydon Advertiser, following in his father‘s footsteps. Meanwhile, She married Paul Carter at twenty-one before she attended Bristol University, where she read English and majored in medieval literature. When she was in college, she widely read psychology, sociology, anthropology, myth and folklore.In the 1960s, she was reading Melville and Dostoevsky, plus ―the camp fiction of Ronald Firbank, the fables of Isak Dinesen, and the surrealist fiction of Cocteau‖(Showalter, 1998: 324). 1960s was also a period that the second wave of feminist movement fully launched like a raging fire. The influences of these movements would be found in her later novels. She wrote in Notes from the Front Line, ―The women‘s movement has been of immense importance to me personally, and I would regard myself as a feminist writer. ‖ ―I began to question … the nature of my reality as a woman. How that social fiction of my ‗femininity‘ was created, by means outside my control, and palmed off on me as the real thing‖ (Carter, 1997: 3). As an introduction John Smith wrote in 1997 in Shaking a Leg: Collected Journalism and Writings—―for she is in many senses a child of the 1960s‖ (Carter, 1997: 3). As well as Elaine Showalter described her ―As a thinker and writer, Carter was very much a product of the 1960s‖ (Showalter, 1998: 37). Angela Carter wrote her first novel, Shadow Dance, in 1965. In 1967, she won the John Llewellyn Rhys Prize with only her second novel, The Magic Toyshop, and her third, Several Perceptions, won the Somerset Maugham Award in 1968. In 1969, she published her fist post-apocalyptic novel Heroes and Villains.In 1969, Angela Carter left her 12-year marriage. She used her Somerset Maugham Award, 500 pounds, to travel all across the United States. This fellowship has been set up to help young English writers under the age of 35 to travel abroad. Then she went to live in Japan from 1969 to 1972 and relocate to Tokyo, where she claimed in Nothing Sacred(1982) that she ―learnt what it is to be a woman and became radicalized.‖ Her geographical distance from the British literary circlesintensified her sense of being an outsider. This is the period in which she claimed that her time in Japan was paradoxically responsible for both stimulating her fascination with the graphic extremism of pornographic forms and awakening her feminist consciousness. Over this decade, her fiction was increasingly self-reflexive and experimental, and also deliberately courted controversy. Her novels written over this period, including Heroes and Villains (1969),Love (1971), The Infernal Desire Machines of Doctor Hoffman (1972) and The Passion of New Eve(1977)remain among her most shocking and experimental, even though received a very lukewarm reception on their publication. She also wrote about her experiences there for New Society and her story collection, such as the story: A Souvenir of Japan in Fireworks: Nine Profane Pieces (1974).She then explored the United States, Europe and Asia, and she spent much of the late 1970s and 1980s as a teacher of writing in residence at universities, including the University of Sheffield in South Yorkshire, Brown University in the USA and the University of Adelaide in Australia. She also taught writing at the University of East Anglia from 1984 to 1987. ―Just as Carter spent much of her time travelling both in Britain and abroad, so the characters in her novels journeyed to America, Russia or Siberia‖ (Gamble 1997: 145).In 1977, Carter married Mark Pearce. In the same year, The Passion of New Eve was published. It is her only non-mythic novel, she mentioned it in Notes, ―I wrote one anti-mythic novel in 1977, The Passion of New Eve– I conceived it as a feminist tract about the social creation of femininity, amongst other things‖ (Gamble, 1997: 37). Her collection of short rewritten fairy tales, The Bloody Chamber and Other Stories, gained widespread attention. It was first published in the UK in 1979 and won the Cheltenham Festival Literary Prize in the same year. There was much controversy when Carter's penultimate novel, Nights at the Circus first published in 1984, but then it became that year's winner of the James Tait Black Memorial Prize for fiction.Angela Carter also translated the fairy tales of Charles Perrault in 1974, and inthe early nineties she edited The Virago Book of Fairytales (2 volumes). Her journalism appeared in almost every major publication; a collection of the best of these pieces was published by Virago in Nothing Sacred (1982). She also wrote poetry and film script. Her story ‗The Company of Wolves‘was made into a film together with Neil Jordan in 1984 and ‗The Magic Toyshop‘ was adapted for Granada Television in 1987. It was produced by Steve Morrison and directed by David Wheatley. Her last novel, Wise Children, was published to widespread acclaim in 1991. Angela Carter wrote this novel after she knew she had been diagnosed with cancer. She had a small son and a husband whom she would be leaving behind.Angela Carter‘s death at age fifty-one in February 1992 ―robbed the English Literary scene of one of its most vivacious and compelling voices‖ (Barker 1995: 14-16). Carter‘s enthusiasm for Japanese popular culture, American movies and magical realism, French surrealism, perverse sexuality, and carnivalesque masquerade marked a totally new turn in the English female literary tradition (Showalter 1998: 323). Categorizing Carter‘s mode of writing is quite difficult because of the fact that throughout her career, her narratives constantly negotiate and adjust their position on the margins of a variety of literary forms. C arter‘s acute observations are blend ed with her incisive matter-of-factness, her exceptional wit, her addiction for mockery, and her passion for the absurd. Carter persistently explores new territories and overturns old ideas. She loved to upset expectations, outrage convention and challenge preconceptions, which meant that the only thing she could be relied upon to do was the unexpected (Gamble 1997:2).1.2 Literature Review1.2.1 Overseas Research StatusOver Carter‘s 35-year‘s writing career, she published nine novels, six short fictions, five children‘s books and also some poetry collections, dramatic works,translations, radio plays, etc. Carter is the favorite of scholars and critics as always, ―She has been adopted, though not without disse nt, as one of the most astute feminist writers and critics of her generation‖ (Barker, 1995: 14-16).As Sarah Gamble notes, ―Since her death in 1992, Angela Carter's reputation has passed into academic urban legend. The story goes that, among the requests for grants for doctoral study received by the British Academy in the academic year 1992–3, there were 40 proposals to study Carter's work: more — and this is the punch-line —than the Academy received for the entire eighteenth century‖ (Gamble 1997:1).Her relationship with feminist critics and women's studies was an extremely ambivalent one. One of the most controversial areas of her work as far as feminists are concerned is both her apparent support for pornography, and her depictions of violence against women in her writing, which have led some critics to conclude that, in spite of the feminist opinions she began expressing from the late 1960s onwards, she actually only furthers reactionary portrayals of women as nothing more than the objects of male desire.One of the major researchers is Beth A. Boehm. In Wise Children: Angela Carter‟s Swan Song, Beth A. Boehm valued Wise Children as her ―swan song‖ which would burst forth into full and glorious song when it felt the approach of death, and she also valued the ending of Wise Children is ―Carter at her finest.‖ (Boehm 84) In her another essay published in Critique in 1995 entitled ―Feminist Metafiction and Androcentric Reading Strategies: Angela Carter‘s Reconstructed Reader in Nights at the Circus‖, she m ade a comparative study of account of the critical reception of Doris Lessing‘s The Golden Notebook (one of the first contemporary feminist metafictions) and Angela Carter‘s Wise Children. Lessing once bitterly complained about the many ―misreading‖ produc ed by critics of her novel and Gayle Greene explains why her intentions are always overlooked, ―the political implications of Lessing critique of ‗the forms‘ have still not been much noticed, which is why the novels feminism continues to be misunderstood.‖Then Beth A. Boehm labeledAngela Carter‘s Nights at the Circus ―a complex metafictional feminist novel‖ based on former premises. Upon Adam Mars Jones and Carolyn‘s failure to ―enter the authorial audience for Carter‘s texts‖ and their misreading result from their ―attempts to decode the novel using the very androcentric reading strategies that it attempts to undermine‖, Beth A. Boehm pointed out Nights at the Circus―offers a new model of erotic relationship between teller and be told‖ and she also indicated that ―Carter‘s feminist metafictions demand that … transforming ourselves into her ‗authorial‘ readers.‖Salman Rushdie called Wise Children Carter‘s ―finest‖ novel: ―In it, we hear the full range of her off-the-page, real-life voice. The novel is written with her unique brand of deadly cheeriness. It cackles gaily as it impales the century upon its jokes.‖ This passage Angela Carter, 1940-1992: A Very Good Wizard, a Very Dear Friend was published in New York Times Book Review in 1992.In Elaine Showa lter‘s A Literature of Their Own: British Women Novelists from Bronte to Lessing (1998), she talked about Angela Carter‘s female writing and her experimenting with an avant-garde literary style. Elaine Showalter concentrates on the Gothic and modernity in The Bloody Chamber and She pointed out that Angela Carter‘s fairy tale and the fable have provided a form for the women writers of her period.Studies on Carter's work are unprecedented widespread and ever-growing, employing more forms of essays, reviews and conference papers than book-length studies. Such as Feminist Metafiction and Androcentric Reading Strategies: Angela Carter‟s Reconstructed Reader in Nights at the Circus(1998) written by Beth A. Boehm in Critique, Patricia Juliana Smith‘s “The Queen of the Waste Land”: The Endgames of Modernism in Angela Carter‟s Magic Toyshop(2006)published in Modern Language Quarterly, Joanne Trevenna‘s Gender as Performance: Questioning the …Butlerification‟ of Angela Carter‟s Fiction(2002)in Journal of Gender Studies.Other researchers such as Lorna Sage, she is the editor of a volume of essays Flesh and the Mirror: Essays on the Art of Angela Carter (1994) and the author of Angela Carter (1994). Other Peach Linden‘s Angela Carter (1998),The Fiction of Angela Carter (2001), Angela Carter: A Literary Life (2004), Peter Childs‘s Contemporary Novelists: British Fiction Since 1970 (2005)and Critical Essays on Angela Carter (1998) edited by Tucker Lindsey. And other academic monographs include Lee Alison‘s Angela Carter (1997), Sarah Gamble‘s Angela Carter: Writing from the Front Line (1997) and Angela Carter and the Fairy Tale (2001) editied by Danielle M. Roemer & Critina Bacchilega.1.2.2 Domestic Research StatusThe domestic study of Angela Carter is not as prosperous as the studies abroad. it is quiet fall behind neither in quantity nor in quality. The Passion of New Eve has long been neglected. Not until 2005 did Taiwan scholar Yanyun translated her work Wise Children, then The Passion of New Eve in 2009 and Burning Your Boats in 2012. And then Wang Yuping introduced The Company of Wolves. The domestic researches on this novel mostly center on the fairy tales and the issues of feminism such as androgyny, binary opposition, anti-patriarchy etc. The studies on Angela Carter can be roughly divided into three aspects: the studies on feminism in her works, the studies on demythologizing or deconstructionism, the studies on modernism in her works. And it is generally confined to the research of her other works such as The Magic Toyshop, Heroes and Villains, The Infernal Desire Machines of Doctor Hoffman, Nights at the Circus and Wise Children,which seldom covers The Passion of New Eve.Both the doctoral theses ―Breaking the Magic Spell: From Body to Subject in Angela Carter‘s Rewriting of the Fairy Tale‖(2009) written by Mu Yang, ―Subversive Representation of Reality and Subjectivity in Angela Carter‘s Fiction‖ (2012) writtenby Zeng Xuemei make a detailed introduction of Carter.The theses ―Research on Carnivalization in Angela Carter‘s Novels‖(2012) written by Zhang Jun and ―Carnivalization in a Feminist World—Research on Nights at The Circus From The Perspective of Carnival Theory and Feminism‖(2012) written by Chai Yu explores the carnivalesque features in the novel. ―Means to Demythologize: On Intertextuality in Angela Carter‘s Short Stories‖ (2008) written by Lei Li and ―Towards a Harmonious Heterosexual Relationship in Angela Carter‘s Wolf Trilogy‖(2011) written by Tan Na and ―The Gothic in Angela Carter‘s Short Stories‖(2008) written by Hua Li analyze the postmodernism features in Angela Carter‘s works. In ―The Subversion of Gender Identity: An Introduction of The Passion of New Eve From the Postmodern Feminist Perspective‖ (2011) written by Jin Yidan and ―From Deconstruct ion to Reconstruction: On the Female Characters in Angela Carter‘s Fictions‖ (2009) written by Mo Fan, the authors analyze how Carter deconstruct convention about both gender and fairy tales.1.3 Angela Carter and Queer TheoryThe Passion of New Eve is Angela Carter‘s seventh novel published in 1977, while most of Angela Carter‘s works were created during her 1960s to 1980s. Queer Theory, at that time, is experiencing the stages of burgeon, development, prosperity and ripeness. As a matter of fact, the foundation of Queer Theory are derived from feminist criticism and women‘s stud ies, such as gay/lesbian issues. There has been a huge overlap in both research content and development time. What‘s more, queer theorists are predominantly feminists at its embryonic stage. For Angela Carter sees herself as a feminist writer, in her ―Notes from the Front Line‖, ―I would regard myself as a feminist writer, because I am a feminist everything else‖ (Tucker, 24).As a feminist, Angela Carter has been very deeply influenced by Queer Theory in various ways. Many of her works touch the queer phenomenon such as androgyne,homosexual and transvestites. Of all her novels, The Passion of New Eve is the perfect embodiment of all these elements. So it is significant to explore the implied modern meanings of The Passion of New Eve from the perspective of Queer Theory.Chapter 2 Queer TheoryQueer Theory is a post-structuralist critical theory that emerged in the early 1990s out of the fields of women's studies and queer studies.The word ―queer‖ was once used to describe the people who once called themselves gay or lesbian as an insult, but now it has a broader definition and it was proudly claimed as a marker of transgression.The term ―Queer Theory‖ was coined by Italian feminist and fil m theorist Teresa de Lauretis in a conference on lesbian and gay sexualities that she organized at the University of California in February 1990. She introduced the phrase later in a special issue Differences: A Journal of Feminist Cultural Studies (vol.3,no.2,1992), entitled ―Queer Theory: Lesbian and Gay Sexualities.‖ In that essay, de Lauretis stated that, ―queer unsettles and questions the genderedness of sexuality.‖ One of de Lauretis‘s motives was to link up the theoretical activities of academics with the activist politics of the gay and lesbian rights group. The other motive was to distinguish the theorists who were questioning the gender identity and sexual orientation and those who were happy with the stable gender identity.According to New Zealand queer writer Annamarie Jagose who wrote in Queer Theory: An Introduction in 1997, ―Queer focuses on mismatches between sex, gender and desire. Unknown to many, queer is in association with more than just gay and lesbian, but also cross-dressing, hermaphroditism, gender ambiguity and gender-corrective surgery‖ (Jagose, 1996: 176). For most, queer used to be a slang for homosexual, only refers to gay and lesbian. While, n owadays, ―queer‖ usually refers to those lesbians, gay men, bisexuals, transgender and other groups whose sexualities are defined against the norm of heterosexuality rather than simply associated with those who are identified as lesbian and gay.The main queer theorists are Annamarie Jagose, Lee Edelman, Michael Warner, David Halperin, Judith Butler, William Pinar, Adrienne Rich and Diana Fuss, they are all largely influenced by the work of feminists or following the works of MichelFoucault. Some of the well-known essays which influenced Queer Theory are Luce Irigaray‘s This Sex Which Is Not One, and Eve Kosofsky Sedgwick‘s From Epistemology of the Closet. Some of the main queer theorists‘ works are Lee Edelman‘s Homographesis, Michael Warner‘s Homo-Narcissism; or, Heterosexuality, and Judith Butler‘s Gender Trouble: Feminism and the Subversion of Identity, etc.2.1. The Modern Background of Queer Theory2.1.1 The Emergence of Feminist Literary CriticismThe main feminist writers who inspired queer theorist are Kenneth Ruthven, Toril Moi, Helene Cixous,, Luce Irigaray and Elaine Showalter etc. Speaking of feminism, it is hard to ignore The Second Sex written by French feminist Simone de Beauvoir in 1949. She explicated the ways in which woman becomes the site of alterity for men—always an Object, never allowed to attain the status of Subject on her own, ―One is not born a woman, but, rather, becomes one.‖The influence of feminist literary theory on Queer Theory are self-evident, in a number of ways, the issues of Queer Theory overlap with those of feminist criticism, such as lesbian feminist criticism. It is one branch of feminist theory and confronts of the same difficulties as heterosexual feminism, such as whether lesbian writing has a historical continuity apart from the writing of women, and whether a female writer should establish her sexual orientation first.One of the main feminists who has great impact on the Queer Theory is Luce Iragaray. Her critique of Freud is largely of his theories of sexual differences (like the notions of penis envy and the castration complex). Freud perceived that men and women are more or less adequate versions of the same (male) norm, whereas Iragaray hold that men and women are actually different. In her essay ―This Sex Which Is Not One‖(1997), she characterizes ―both males and females as essentiall y like their primary genitalia: men, like the phallus, are single (-minded), hard, simple, direct; women, like the two lips of the vulva and their sensations, are multiple, diffuse, soft, indirect‖ (Richter, 2006:1436).Another feminist and also a queer theorist is Helene Cixous. She sets up a series of binary oppositions (active/passive, culture/nature, father/mother). Each pair can be analyzed as a hierarchy in which the former term represents the masculine and positive and the latter the feminine and negative. Cixous suggests that, in each case, the masculine term is forced to ―kill‖ the feminine one. It is a critique of logocentrism and phallogocentrism, having much in common with Jacques Derrida's earlier thought. In h er essay ―The Laugh of the Medusa‖, she supports ―the other bisexuality‖ which is a forerunner of Queer Theory's later contents.While Queer Theory and gender studies become areas of theory that are distinct from feminist criticism and women‘s studies, it would be misleading to ignore the connections between these schools. Gender studies became possible as a result of the projects of feminist criticism, and Queer Theory has drawn both energies and insights from feminist thinkers. In their first books, queer theorists such as Luce Iragaray, Helene Cixous, Judith Butler and Eve Kosofsky Sedgwick all defined their work as feminist, and Butler, especially, is still very sensitive to the connections between gender theory and feminism.2.1.2 Michel Foucault and Discourse Space Theory―Discourse‖ is the most imp ortant and complex concept in his theories, and also the basic idea of his studies. In Foucault‘s theory, ―discourse‖ is not just another word for speaking, but a historically situated material practice that produces power relations. In The order of discourse written in 1970, Foucault himself produce a new form of discourse, an ―ungrounded language‖, in which the inclusion/exclusion, inside/outside, opposition of reason and madness would be erased. Foucault writes, ―the production of discourse is controlled, organized, redistributed, by a certain number of procedures whose role is to ward off its powers and dangers‖ (Young, 1981: 48). For Foucault, discourse is a violence that we do to things, or in any case ―a practice that we impose on them‖.Foucault said that the nature of power that operates in our society is repressive,such as the intensity of pleasures, and irregular modes of behavior. It is the discourse power that controls people‘s body and head. Foucault‘s ―power‖ and ―discourse‖ studies employed by a feminist may be concerned with patriarchal shaping of identities, by a queer theorist would be concerned with discourse shape people‘s thought. Foucault also points out that discourse is a ―free game‖, a discourse which is reborn absolutely new and innocent at first, and reappears constantly and ultimately until it is set permanently. This ―free game‖ liberated discourse from the worship to meaning or forms and contributes to the queer theorist to build up their own discourse theory. As Tamsin Spargo s aid, ―Foucault‘s work and life, achievements and demonization, have made him a powerful model for many gays, lesbian and other intellectuals, and his analysis of the interrelationships of knowledge, power and sexuality was the most important intellectual catalyst of Queer Theory‖(Spargo, 1999:41).2.1.3 Jacques Derrida and the Deconstruction of LogocentrismDeconstruction can be traced back to structuralism of 19th century. The word ―deconstruction‖ is derived from Jacques Derrida's work Of Grammatology in 1967. Deconstruction has a significant influence in diverse areas of the humanities and social sciences, including sociolinguistics, linguistics, psychoanalysis, feminism, gay and lesbian studies.In all traditional western literature and philosophy, deconstruction rests upon the metaphysics of presence and it denies the possibility of pure presence and stable meaning. While in logocentrism, every term has its opposition, e.g. speech/writing, mind/body, man/woman, interior/exterior, marginal/central, sensible/intelligible, nature/culture. Derrida points out that in a classical philosophical opposition, we are not coping with the peaceful coexistence of a vis-a-vis, on the contrary, we dealing with them with a violent hierarchy. That is, one of the two terms governs the other, or has the upper hand: signified over signifier; intelligible over sensible; speech over writing; activity over passivity, etc.。

发现英语中的对称美研究成果

发现英语中的对称美研究成果

发现英语中的对称美研究成果AbstractThe concept of 'symmetry' has always been a matter of great fascination in the English language, more so due to its vast variety of structures and word forms. This paper attempts to explore the intriguing forms of symmetrical beauty in the English language, with particular focus on the various forms of wordplay and the multiple ways in which words and phrases can be arranged symmetrically. Through the study of literature, linguistics, and everyday speech, this essay discovers that there is a wide variety of symmetrical beauty in the English language which has been enjoyed by both native speakers and learners of the language.Keywords: Symmetry, English Language, Wordplay, Literature, Linguistics.IntroductionThe concept of symmetry has always been an integral part of the aesthetics of the English language, and has been acknowledged in many aspects of its usage. Writers and poets have utilized the concept of mirrored symmetry to create a sense of beauty and harmony in their work, both in form and in content. In the same vein, linguists have explored the ways in whichEnglish words and phrases can be arranged symmetrically, while observing the conventions of grammar and syntax. Moreover, symmetry is present in everyday conversations in the form of wordplay and other forms of puns.In this paper, I will focus on the various forms of symmetry present in the English language, with a special emphasis on the way this concept plays an important role both in literature and linguistics. Through exploring various classic and contemporary works of literature, as well as the insights of linguists and experts in the field, I aim to come to a greater understanding of how the concept of symmetry is expressed in the English language.Symmetry in LiteratureThe concept of symmetry has been an integral part of literature since time immemorial. Writers and poets utilize symmetry to create a sense of beauty and harmony in their work, both in form and in content. In particular, poetic devices such as alliteration and assonance are often used to create a sense of pattern and structure throughout a poem.For example, in the famous poem “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge, the long, winding lines of the poem have an inherent symmetrical beauty to them whichhelps to create a sense of order and structure. In addition to this, the poem also contains many examples of alliteration and rhyme (such as “slumber” and “number”, “path” and “wrath”), which creates a strong sense of symmetry in the poem.Symmetry can also be seen in the structure and form of a poem. In the classical sonnet, for example, the poem is written in a strict form of 14 lines, with a specific rhyme scheme and meter. This structured form creates a feeling of symmetry and order which helps to add to the beauty of the poem.Symmetry in LinguisticsSymmetry is also an important concept in linguistics, as it can be used to create structure and form in the English language. There are many different ways in which words and phrases can be arranged symmetrically in order to create a sense of balance and harmony in language.One of the most common forms of linguistic symmetry is wordplay. Wordplay is when words are arranged in a way which creates a pun or a joke. For example, a popular example of wordplay is the phrase “time flies like an arrow”, which plays on the idea of time “flying”.Symmetry can also be seen in other forms of language such as sentences and phrases. In this instance, symmetry isachieved by arranging words in a certain way to emphasize a particular meaning or feeling. For example, in the phrase “beauty is in the eye of the beholder”, the symmetrical arrangement of the words creates a sense of balance and structure which helps to emphasize the deeper meaning of the phrase.ConclusionAfter exploring the various ways in which symmetry is expressed in the English language, it is clear that there is a wide variety of symmetrical beauty in the language. This beauty can be seen in classic and contemporary works of literature, as well as everyday conversations and speech. Through the study of literature, linguistics, and everyday speech, it can be seen that symmetry is an integral part of the aesthetics of the English language.。

综合英语4 unit6 notes

综合英语4 unit6 notes

UNIT 6 A FRENCH FOURTHSection One Pre-reading Activities (2)I. Audiovisual supplement (2)II. Cultural Background (2)Section Two Global Reading (4)I. General analysis of the text (4)II. Structural analysis of the text (4)III. Rhetorical features of the text (4)Section Three Detailed Reading (5)I. Questions (6)II. Words and Expressions (7)III. Sentences (9)Section Four Consolidation Activities (11)I. Vocabulary (11)II. Grammar (14)III. Translation (15)IV. Exercises for Integrated Skills (17)V. Oral Activities (18)VI. Writing (18)Section Five Further Enhancement (21)I. Text II (21)II. Memorable quotes (23)Section One Pre-reading ActivitiesI. Audiovisual supplementFrom The Gua-Sha TreatmentWatch the movie clip and answer the following questions.Script:Jian Ning:Denise, why did you hit Paul?Denise: He hit me too.Jian Ning:It doesn’t matter. You don’t hit people. You know better than that.Xu Datong:Denise, I want you to apologize to Paul.Quinlin: It’s no big deal.Xu Datong:Yes, it is. Come on, apologize to Paul.Denise:Going to win.Xu Datong:Say you’re sorry.Quinlin: The kids are fine; they make up. Let it go.Xu Datong:Come on. Count three. One … two … two and half …(Denise spit on Paul and Li Datong hit Denise on the head)Jian Ning:Datong!Xu Datong:Say that you’re sorry.Denise:He said that you’re stupid.Li Datong’s father:当面教子背后教妻,啊?Questions for discussion1.Why did Denise hit Paul?Answer: Because Paul said that his father was stupid.2.Why do you think Xu Datong insists on Denise apologizing to Paul?Answer: Because no matter what, one does not hit people and Denise should know better than that.3.What’s Paul’s father, Quinlin’s attitude towards the matter?Answer: It is no big deal. Kids will make it up themselves.4.What do you think are the differences in educating children between Chinese and theAmericans?Answer: open-ended.II. Cultural Background1. Independence DayIn the United States, Independence Day, commonly known as the Fourth of July, is a federal holiday commemorating the adoption of the Declaration of Independence on July 4, 1776, declaring independence from the Kingdom of Great Britain. Independence Day is commonly associated with fireworks, parades, barbecues, carnivals, picnics, concerts, baseball games, political speeches and ceremonies, and various other public and private events celebrating the history, government, and traditions of the United States.2. American FlagFor more than 200 years, the American flag has been the symbol of the nation’s strength and unity. It’s been a source of pride and inspiration for millions of citizens.On June 14, 1777, in order to establish an official flag for the new nation, the Continental Congress passed the first Flag Act: “Resolved, That the flag of the United States be made of thirteen stripes, alternate red and white; that the union be thirteen stars, white in a blue field, representing a new Constellation.”Today the flag consists of thirteen horizontal stripes, seven red alternating with six white. The stripes represent the original thirteen colonies, the stars represent the fifty states of the Union. The colors of the flag are symbolic as well: Red symbolizes Hardiness and Valor, White symbolizes Purity and Innocence and Blue represents Vigilance, Perseverance and Justice.Section Two Global ReadingI. General analysis of the textIn this text, the author discusses the costs and benefits of living in a foreign culture. He also points out that globalization is diminishing the divide between cultures.II. Structural analysis of the textThis text talks about the cultural influence of a foreign culture on expatriated families. It can be divided into three parts.Part I (Paragraphs 1 – 3): The author describes his way of celebrating his home country’s National Day, i.e. the Independence Day of the United States.Part II (Paragraphs 4 – 9): The author makes a contrastive analysis of the costs and benefits of the expatriated people.Part III (Paragraphs 10 – 12): The author talks about the effect of globalization, and argues that globalization has produced more negative than positive effects on cultural diversity.III. Rhetorical features of the textThe author of this text follows a “specific-to-general” pattern in his discussion, i.e. he first talks about what it means to his children to hang out the national flag of their native land in a foreign country on July 4th every year and then expresses his view on the importance for expatriated people in general to keep their cultural identity, especially when the whole world is undergoing a process of globalization.The specific points can be found in his discussion of the costs and benefits of raising children in a foreign culture in Paragraphs 4 – 9 while the general conclusion can be found in Paragraphs 10 – 12, especially Paragraph 12.Section Three Detailed ReadingA FRENCH FOURTHCharles Trueheart1Along about this time every year, as Independence Day approaches, I pull an old American flag out of a bottom drawer where it is folded away-folded in a square, I admit, not the regulation triangle. I’ve had it a long time and have always flown it outside on July 4. Here in Paris it hangs from a fourth-floor balcony visible from the street. I’ve never seen anyone look up, but in my mind’s eye an American tourist may notice it and smile, and a French passerby may be reminded of the date and the occasion that prompt its appearance. I hope so.2For my expatriated family, too, the flag is meaningful, in part because we don’t do anything else to celebrate the Fourth. People don’t have barbecues in Paris apartments, and most other Americans I know who have settled here suppress such outward signs of their heritage -or they go back home for the summer to refuel.3Our children think the flag-hanging is a cool thing, and I like it because it gives us a few moments of family Q&A about our citizenship. My wife and I have been away from the United States for nine years, and our children are eleven and nine, so American history is mostly something they have learned -or haven’t learned -from their parents. July 4 is one of the times when the American in me feels a twinge of unease about the great lacunae in our children’s understanding of who they are and is prompted to try to fill the gaps. It’s also a time, one among many, when my thoughts turn more generally to the costs and benefits of raising children in a foreign culture.4Louise and Henry speak French fluently; they are taught in French at school, and most of their friends are French. They move from language to language, seldom mixing them up, without effort or even awareness. This is a wonderful thing, of course. And our physical separation from our native land is not much of an issue. My wife and I are grateful every day for all that our children are not exposed to. American school shootings are a good object lesson for our children in the follies of the society we hold at a distance.5Naturally, we also want to remind them of reasons to take pride in being American and to try to convey to them what that means. It is a difficult thing to do from afar, and the distance seems more than just a matter of miles. I sometimes think that the stories we tell them must seem like Aesop’s (or La Fontaine’s) fables, myths with no fixed place in space or time. Still, connections can be made, lessons learned.6Last summer we spent a week with my brother and his family, who live in Concord, Massachusetts, and we took the children to the North Bridge to give them a glimpse of the American Revolution. We happened to run across a reenactment of the skirmish that launched the war, with everyone dressed up in three-cornered hats and cotton bonnets.This probably only confirmed to our goggle-eyed kids the make-believe quality of American history.7Six months later, when we were recalling the experience at the family dinner table here,I asked Louise what the Revolution had been about. She thought that it had something todo with the man who rode his horse from town to town. “Ah”, I said, satisfaction swelling inmy breast, “and what was that man’s name?”“Gulliver?” Louise replied. Henry, for his part, knew that the Revolution was between the British and the Americans, and thought that it was probably about slavery.8As we pursued this conversation, though, we learned what the children knew instead.Louise told us that the French Revolution came at the end of the Enlightenment, when people learned a lot of ideas, and one was that they didn’t need kings to tell them what to think or do. On another occasion, when Henry asked what makes a person a “junior” or a “II” or a “III”, Louise helped me answer by bringing up kings like Louis Quatorze and Quinze and Seize; Henry riposted with Henry VIII.9I can’t say I worry much about our children’s European frame of reference. There will be plenty of time for them to learn America’s pitifully brief history and to find out who Thomas Jefferson and Franklin Roosevelt were. Already they know a great deal more than I would have wished about Bill Clinton.10If all of this resonates with me, it may be because my family moved to Paris in 1954, when I was three, and I was enrolled in French schools for most of my grade-school years. I don’t remember much instruction in American studies at school or at home. I do remember that my mother took me out of school one afternoon to see the movie Oklahoma! I can recall what a faraway place it seemed: all that sunshine and square dancing and surreys with fringe on top. The sinister Jud Fry personified evil for quite some time afterward. Cowboys and Indians were an American cliché that had already reached Paris through the movies, and I asked a grandparent to send me a Davy Crockett hat so thatI could live out that fairy tale against the backdrop of gray postwar Montparnasse.11Although my children are living in the same place at roughly the same time in their lives, their experience as expatriates is very different from mine. The particular narratives of American history aside, American culture is not theirs alone but that of their French classmates, too. The music they listen to is either “American” or “European,” but it is often hard to tell the difference. In my day little French kids looked like nothing other than little French kids; but Louise and Henry and their classmates dress much as their peers in the United States do, though with perhaps less Lands’ End fleeciness. When I returned to visit the United States in the 1950s, it was a five-day ocean crossing for a month’s home leave every two years; now we fly over for a week or two, although not very often. Virtually every imaginable product available to my children’s American cousins is now obtainable here.12If time and globalization have made France much more like the United States than it was in my youth, then I can conclude a couple of things. On the one hand, our children are confronting a much less jarring cultural divide than I did, and they have more access to their native culture. Re-entry, when it comes, is likely to be smoother. On the other hand, they are less than fully immersed in a truly foreign world. That experience no longer seems possible in Western countries -a sad development, in my view.I. Questions1. Why does the author hang the American flag from his fourth-floor balcony in Paris? (Paragraph 1)Answer: He does it for two reasons. First, as an American living in Paris, he does not want toforget his native heritage and flag-hanging is the only thing he can do to celebrate Independence Day. Second, he wants to use the flag-hanging as a special means to teach his children about American history and as a reminder of their American identity.2. The author has kept the old flag for a long time. Why didn’t he get a new one? (Paragraph 1) Answer: The text does not tell us explicitly, but it is very likely that this flag was brought to Paris from the U.S. a long time ago. To the author, the old flag is a better reminder of his home country than a new one.3. What are the costs and benefits of raising children in a foreign culture? (Paragraph 4) Answer: According to the author, it is difficult for children to understand and identify the virtues of their native country without living in it, so they need to go back to their native country to make up for the ineffective family education. But the practice of raising children in a foreign culture has its merits. For example, it helps the children to acquire the new culture without being exposed to the disadvantages of their native culture.4. Why do the author and his family go back home for the summer? (Paragraph 5)Answer: As expatriates, they have little access to the traditional culture of their motherland. So they go back home to trace the heritage of Americans. In addition, because their children are reared up in a completely foreign culture, they have the obligation to teach their children the culture and history of their motherland.5. What are the differences between the author and his children as expatriates at about the same age? What causes the differences? (Paragraph 9-10)Answer: They are different in both behavior and mentality. His children are quite like their French peers in behavior and dress style, while when the author was a child he was quite different from his French peers. These differences are due to the rapid social changes and cultural merging that have been happening all over the world. The world is becoming a huge melting pot in which different cultures are mixing up.6. Why does the author say the development is sad? (Paragraph 12)Answer: Because globalization becomes the keynote of life in the world today. Cultures are merging with each other; distinctions between different cultures are becoming blurred. Children cannot tell the exact differences between their own culture and other cultures and it is impossible for them to relive the author’s experience of living in a foreign culture. This kind of development of cultural globalization is a sad thing in the author’s view.II. Words and ExpressionsParagraph 1-31) fold away: fold into a smaller, neater shape for easy storagee.g. These camping chairs can be folded away and put in the trunk.The piece of paper was folded away carefully and tucked into her purse.foldaway (i.e., collapsible) bed/iron board2) regulation: a. in accordance with the regulations; of the correct or designated typee.g.As we walked along the street, we could see the noisy cheerful group of people inregulation black parade tunics.He had the short regulation haircut of a policeman.3) prompt:v. cause or bring about an action or feelingDerivation: prompt n.→ prompt a.→promptly ad.e.g.The Times article prompted him to call a meeting of the staff.My choice was prompted by a number of considerations.4) refuel: v.(1) supply a vehicle with more fuele.g.The authorities agreed to refuel the plane.(2) take on a fresh supply of knowledge, information, etc.e.g.In a society of intense competition, people have to refuel every year .5) twinge: n.(1) If you feel a twinge of an unpleasant emotion, you suddenly feel it.e.g.John felt a twinge of fear when he saw the officer approaching.(2) A twinge is a sudden, sharp pain.e.g.I feel a twinge in my back now and again.Paragraph 4-96) exposed to:If you are exposed to something dangerous or unpleasant, you are put in a situation in which it might harm you.Derivation: expose v.→exposure n.e.g.Poor John was exposed to the wind and rain.Translation:吸二手烟的青少年长大以后患心脏疾病的机率比较高。

我为悲剧女性代言作文英语

我为悲剧女性代言作文英语

我为悲剧女性代言作文英语Title: Advocating for Tragic Female Figures: A Reflection。

In literature, tragic female figures often serve as poignant symbols of the complexities of the human experience. From Shakespeare's Ophelia to Hardy's Tess, these characters resonate with audiences, sparking discussions on societal norms, gender roles, and the human condition. As we delve into their narratives, we uncover layers of depth and meaning that compel us to empathize, analyze, and ultimately advocate for their recognition and understanding.One such figure is Ophelia from William Shakespeare's "Hamlet." Despite her limited agency within the play, Ophelia embodies the struggles of women trapped in patriarchal societies. Her descent into madness and eventual death serve as a stark commentary on the constraints placed upon women's autonomy and mental well-being. Through Ophelia's story, we are compelled toconfront the societal pressures that dictate women's roles and behaviors, urging us to advocate for greater gender equality and mental health awareness.Similarly, the character of Tess in Thomas Hardy's "Tess of the d'Urbervilles" confronts the harsh realitiesof classism, sexism, and fate. Tess's tragic journey from innocence to despair highlights the injustices faced by women from lower socioeconomic backgrounds, particularly in the context of Victorian England. Her story prompts us to reflect on the intersections of gender and class oppression, inspiring advocacy for social and economic reforms that address systemic inequalities.In contemporary literature, characters like Offred from Margaret Atwood's "The Handmaid's Tale" continue toresonate with audiences, drawing attention to the ongoing struggles for women's rights and autonomy. Offred's dystopian reality serves as a chilling reminder of the fragility of women's freedoms and the dangers of authoritarian regimes. Through her narrative, we arereminded of the importance of vigilance in safeguarding reproductive rights, bodily autonomy, and gender equality.Beyond literature, tragic female figures find resonance in history, mythology, and popular culture. Figures like Cleopatra, Joan of Arc, and Frida Kahlo serve as enduring symbols of resilience, defiance, and creativity in the face of adversity. By exploring their stories, we gain insights into the complexities of female agency, identity, and empowerment, fostering a deeper appreciation for thediverse experiences of women throughout history.In advocating for tragic female figures, we seek to amplify their voices, honor their struggles, and challenge the narratives that seek to diminish or erase their significance. Through education, activism, and artistic expression, we can cultivate empathy, understanding, and solidarity with women who have been marginalized, oppressed, or silenced.In conclusion, the advocacy for tragic female figures transcends the boundaries of literature, inviting us toconfront societal injustices, champion gender equality, and celebrate the resilience of the human spirit. By amplifying their stories and engaging in meaningful dialogue, we contribute to a more inclusive and compassionate world where every woman's voice is heard and valued.。

安兹乌尔恭英文作文

安兹乌尔恭英文作文

安兹乌尔恭英文作文"英文,"As an avid fan of the Overlord series, I am thrilled to delve into the character of Ainz Ooal Gown. Ainz, also known as Momonga, is the central figure in this captivating tale of fantasy and power. His journey from being a regular gamer to the ruler of the Great Tomb of Nazarick is nothing short of mesmerizing.One of the most intriguing aspects of Ainz's character is his adaptability and strategic mindset. Despite being transported to a different world, he quickly grasps the intricacies of his new environment and utilizes his knowledge from his gaming days to his advantage. This adaptability is exemplified when he forms alliances with various factions, such as the lizardmen and the humans, to strengthen his position in the world of Yggdrasil.Another fascinating trait of Ainz is his complex moralcompass. While he is undeniably ruthless when it comes to protecting Nazarick and its inhabitants, he also exhibits moments of compassion and empathy, especially towards those who are loyal to him. This dichotomy adds depth to his character and keeps the audience guessing about his true intentions.Furthermore, Ainz's leadership skills are truly commendable. Despite initially being hesitant to take on the role of a supreme ruler, he gradually grows into the position and earns the respect and loyalty of his subordinates. His ability to inspire and motivate his followers, even in the face of adversity, is a testament to his charisma and charisma.In conclusion, Ainz Ooal Gown is a multifaceted character who continues to captivate audiences with his complexity and depth. From his strategic prowess to his moral ambiguity, he embodies the essence of what it means to be a compelling protagonist in the realm of fantasy literature."中文,"作为《Overlord》系列的忠实粉丝,我对安兹·乌尔恭的角色充满了热情。

亚洲文学英语作文

亚洲文学英语作文

亚洲文学英语作文Growing up in Asia, I was surrounded by a rich tapestry of cultures and traditions that shaped my identity. Fromthe vibrant colors of traditional clothing to the spicy aromas of street food, every aspect of Asian culture hasleft a lasting impression on me.One of my favorite memories from childhood is sitting with my grandmother as she told me ancient folk tales passed down through generations. The stories were filledwith mythical creatures and moral lessons that taught methe value of kindness and humility.As I grew older, I began to explore contemporary Asian literature and was captivated by the raw emotion and vivid imagery in works by authors such as Haruki Murakami and Arundhati Roy. Their writing transported me to different worlds and challenged me to think beyond my own experiences.Despite the diversity of languages and dialects in Asia,there is a common thread that runs through our literature a deep respect for nature and a profound sense of interconnectedness with the world around us. Thisconnection to the natural world is reflected in the themesof many Asian literary works, reminding us of our place in the universe.In today's fast-paced world, it is more important than ever to preserve and celebrate the rich literary heritageof Asia. Through storytelling and poetry, we can keep alive the traditions and values that have been passed down for centuries, ensuring that future generations will continueto be inspired by the beauty and wisdom of Asian literature.。

选择性必修第二册 UNIT 6 THE MEDIA

选择性必修第二册 UNIT 6 THE MEDIA

Ⅰ.阅读单词——会意1.microblog n.微博2.candidate n.候选人;考生3.dismiss v t.否定4.up-to-date adj.包含最新信息的;新式的;时髦的5.complicated adj.难懂的;复杂的6.tournament n.锦标赛7.comic n.连环漫画adj.滑稽的8.non-fiction n.非小说类文学作品9.biography n.传记10.autobiography n.自传11.ghost writer代笔人12.liberty n.自由;自由权13.definite adj.清楚的,明确的14.technical adj.技术上的15.generate v t.产生,创造16.version n.版本17.high-definition adj.高清晰度的18.corporation n.大型公司;企业集团19.fundamental adj.根本的;基本的;基础的20.agency n.代理处21.commercial adj.商业的,商务的22.neighbourhood n.社区,住宅小区,街坊23.beast n.野兽24.fairy n.仙子,小精灵25.tale n.故事;传说26.fairy tale童话;神话27.prince n.王子;亲王28.servant n.仆人,佣人29.castle n.城堡,堡垒Ⅱ.重点单词——记形1.hence ad v.因此,由此,所以2.broadcast n.广播节目;电视节目v i.& v t.广播;播送3.via prep.通过(某人、某机器等)传送4.political adj.政治的;政府的5.campaign n.(政治、商业或社会性)运动v i.发起运动;参加活动6.debate n.& v i.& v t.讨论,辩论7.available adj.可获得的,可用的;有空的8.interpret v t.解释v i.& v t.口译9.outline v t.概述n.纲要;外形10.precisely ad v.确实如此;精确地11.consult v t.查阅v i.& v t.咨询;商议12.alternative adj.可替代的;另外的n.可供选择的事物13.purchase v t.购买n.购买(物)14.classic adj.经典的n.名著;经典作品15.critic n.评论家,批评家16.appropriate adj.恰当的;合适的17.cast n.演员阵容,全体演员v t.投射(光或影)18.category n.类别,种类,范畴19.upload v i.& v t.(使)上载,上传n.上载(上传)的信息20.interactive adj.互动的,交互的;合作的21.witness v t.亲身经历;目击n.目击者;证人22.spot n.地点23.sew v i.& v t.缝,缝纫;缝制;缝补24.budget n.预算v i.& v t.把……编入预算25.boost n.增长v t.促进,推动26.link v t.把……联系起来n.联系,关联27.anticipate v t.预期,预料28.profit n.利润,收益,盈利29.welfare n.幸福,健康;福利30.sponsor v t.赞助,资助;为……担保n.赞助商;资助者31.creature n.生物;动物32.prisoner n.犯人,囚犯33.trap v t.困住,使陷入危险中34.theme n.主题35.transform v t.使转化,使改观36.fault n.缺点,缺陷;责任,过错37.splendid adj.极好的;壮丽的38.convey v t.表达,传达Ⅲ.拓展单词——悉变1.economic adj.经济(上)的→economy n.经济(情况)→economics n.经济学→economical adj.经济的;节约的2.diverse adj.各种各样的→diversity n.多样性;差异3.election n.选举→elect v t.选举;选择4.coverage n.新闻报道;覆盖范围→cover v t.报道;覆盖5.acknowledge v t.承认→acknowledgement n.承认;感谢;收件复函6.mixture n.混合→mix v.混合7.expectation n.期待,预期,预料→expect v.期待,预期,预料8.pessimistic adj.悲观的→pessimist n.悲观主义者→pessimism n.悲观;悲观主义9.novel n.(长篇)小说→novelist n.小说家10.adaptation n.改编版;适应→adapt v.改编;适应→adaptive adj.适应的;有适应能力的11.rating n.(电影、电视的)收视率排行榜;等级,程度→rate n.速度v.评价;划分等级12.visualise v t.设想,想象→visual adj.视觉的,视力的→vision n.视力,视觉;想象13.proof n.证明→prove v t.证明14.advertise v i.& v t.为……做广告→advertiser n.广告商→advertising n.广告(业)→advertisement n.广告15.recording n.录制品→record n.记录;唱片;纪录v.记录;录制→recorder n.录音机16.freedom n.自由→free adj.自由的17.technological adj.技术的;科技的;工艺的→technology n.科技18.originate v t.创始,创造→origin n.起源;出身→original adj.最初的;独创的n.原件,原稿19.locate v t.位于→location n.地方;地点→located adj.坐落于,位于20.suitable adj.合适的,适宜的→suit n.套装;西装v t.合身;适合21.attract v t.吸引→attraction n.吸引;有吸引力的事或地方→attractive adj.有魅力的;吸引人的22.competitive adj.竞争性强的,有竞争力的→compete v i.竞争→competition n.竞争→competitor n.比赛者,竞争者23.combine v i.& v t.(使)结合,(使)组合→combination n.结合,组合;结合体24.genuinely ad v.真正地→genuine adj.真(实)的;真诚的;可信赖的25.participate v i.参加,参与→participation n.参加,参与→participant n.参与者26.beauty n.美人;美丽;美感→beautiful adj.美丽的,漂亮的;极好的→beautify v t.美化27.abnormal adj.不正常的→normal adj.正常的28.appearance n.外表,外观;出现→appear v i.出现→disappear v i.消失29.frightening adj.令人害怕的,吓人的→frighten v.(使)惊恐;(使)害怕→frightened adj.受惊的;害怕的30.withdrawal n.脱瘾(过程);取消;取款→withdraw v.(使)撤回,撤离1.overreact/ˌəʊvəri'ækt/v i.反应过激2.accomplishment/ə'kʌmpl Iʃmənt/n.成就,成绩3.lessen/'lesən/v i.& v t.(使)降低,(使)减少4.inclined/I n'kla I nd/adj.有……天赋的;倾向于……5.intuitive/I n'tjuːI t I v/adj.(出于)直觉的6.manuscript/'mænjuskr I pt/n.手稿,底稿;手抄本7.emphatic/I m'fæt I k/adj.强调的;有力的8.affirmative/ə'fɜːmət I v/adj.肯定的;同意的9.maximize/'mæks I ma I z/v t.使增加到最大限度,使最大化10.puzzle/'pʌzəl/n.益智游戏;拼图游戏11.inadequate/I n'æd I kwət/adj.不够好的,不足的,不强的12.psychologist/sa I'kɒlədʒI st/n.心理学家Ⅳ.背核心短语1.consist of由……构成2.be appropriate for对……适合3.fall down倒塌,跌倒;失败4.have a huge impact on对……影响巨大5.be unsatisfied with对……不满意6.be adapted from改编自7.go through经历8.along with和……一起9.amounts of许多10.separate...from...把……和……分开/区别开11.stand out突出,引人注目12.make a contribution to为……做贡献13.participate in参与Ⅴ.悟经典句式1....it’s normal to have high expectations when a film of a favourite book is made.(It is normal to do...做……是正常的)……当人们最喜欢的书籍被翻拍成电影时,他们对电影的期待值自然更高,这种现象很正常。

高二英语北师大版选修七课件Unit19SectionⅡVarietiesofEnglishBodyL

高二英语北师大版选修七课件Unit19SectionⅡVarietiesofEnglishBodyL

D.what are the most common gestures
④In the fifth paragraph, the word “negotiate” can be taken the
place of by ________. A.cut down
B.raise
C.decide
D.bargain
h.Being aware 答案:Paras.1~7 efbhadg
2.Choose the best answer according to the text. ①The father showed his satisfaction to his son by ________.
A.smiling and patting his son on the back B.patting his son's head and smiling C.crossing his hands before his body D.waving his hands and cheering ②Spoken language is different from body language because the latter (后者) is ________. A.not always clear in meaning B.sometimes simple and short C.brief to convey the feelings D.often doubtful to others
Ways
circumstances.
Body language Body language can sometimes be ⑧_a_m__b_i_gu__o_u_s.

《可怜的芬奇小姐》(第1-5章)英汉翻译报告

《可怜的芬奇小姐》(第1-5章)英汉翻译报告

摘要摘要随着全球化的进程日益加快,各国间的联系日益紧密,文化交流也日益频繁。

大量的外来文学作品涌入中国,小说作品的翻译在促进中外文化的交流方面具有重要作用。

本文基于英国19世纪的小说家威尔基·柯林斯的中篇小说《可怜的芬奇小姐》(第1到5章)的英汉翻译实践报告。

小说讲述的是一位盲女重获光明与双胞胎兄弟陷入一段三角纠葛关系之中。

本文属于奇情小说,小说当中的我,普拉托隆戈夫人,以第一人称口吻,叙述主人公芬奇小姐的境遇和其情感。

翻译过程中,译者通过对比分析英汉双语的表达习惯与运用标准的差异,把握英汉两语的语言特点,从而使得译文表述得当并为中国读者所接受。

笔者以德国功能主义学派的目的论作为本次翻译实践的理论指导,通过阐述介绍目的论的概念与原则,且基于对源文本语言和其风格特征的理解分析,结合案例分析来论证目的论适用于小说作品的翻译。

本文分为五个章节,第一和第二章是翻译项目介绍和译前准备。

第三章简要介绍了目的论的概念,发展过程,和其三个基本翻译原则。

第四章,笔者通过案例分析来阐述在翻译过程中如何运用操作翻译目的论,从而使得译文达到本翻译活动的目的,即中国读者能够接受。

第五章则总结了本次翻译实践的收获与不足。

关键词:《可怜的芬奇小姐》;翻译目的论;奇情小说ABSTRACTAs the globalization process accelerates gradually, the interactions between countries are increasingly close, in term of which, the cultural exchanges are increasingly frequent. With more and more foreign literature works are introduced to China, the translation of novels plays an important role in promoting the cultural exchanges between China and other countries.This passage is the report on the English-Chinese translation of Poor Miss Finch(chapter1-5) which is wrote by the19th British novelist, William Wilkie Collins. It is a story about a blind girl regains sight while finding herself in a romantic triangle with twin brothers. The source text is a sensational story in which the “I”, Madame Pratolungo narrates the basic information of the protagonist Miss Finch and her love feelings from the first-character perspective.During the translation process, through analyzing and comparing the expression habits and standards of Chinese and English, the translator masters the characteristics of the two languages so as to make the translation appropriate and acceptable to Chinese readers. The author takes the skopos theory which belongs to the German functional school as the guidance of the translation, through narrating its concept and rules, on the basis of the understanding of the source text language and its style characteristics, to prove the skopos theory can guide the translation of novels via case studies.The passage consists of five parts. The first and second parts are about the translation project introduction and pre-translation preparations. The third part is the basic information about the skopos theory including its concept, development and three basic translation rules. In the fourth part, the author describes the application of the theory to make the version acceptable to Chinese readers by the way of case study. The last is the gains and limitations of the translation activity.Key words:Poor Miss Finch;skopos theory; sensational novelContents摘要 (I)ABSTRACT (II)Contents ....................................................................................................................... I II Chapter One Introduction . (1)1.1 Origin of the Translation Practice Project (1)1.2 Significance of the Translation Practice Project (1)1.3 Structure of the Translation Report (2)Chapter Two Pre-task Preparation (4)2.1 The Author and the Novel (4)2.2 Features of the Novel (6)2.2.1 Linguistic Features of the Novel (6)2.2.2 Stylistic Features of the Novel (6)2.3 Related Literature Review (7)Chapter Three Theoretical Framework (9)3.1 Three Rules of the Skopos Theory (10)3.1.1 Skopos Rule (10)3.1.2 Coherence Rule (11)3.1.3 Fidelity Rule (11)Chapter Four Case Studies (13)4.1 Application of the Skopos Rule (13)4.2 Application of the Coherence Rule (17)4.3 Application of the Fidelity Rule (20)Chapter Five Conclusion (24)5.1 Gains of the Translation Practice (24)5.2 Limitations of the Translation Practice (25)5.3 Future Expectations (25)Acknowledgements (27)References (28)Appendix (29)Chapter One Introduction1.1 Origin of the Translation Practice ProjectIn Sept. 26th, 2018, the author selected a novel as the translation practice project. It is named as Poor Miss Finch written by British novelist William Wilkie Collins. The novel was first published in 1872 and republished in 2012, 2014, 2016 and 2017, however, it has not been translated in Chinese.The novel is a story about a blind young lady, Lucilla who is the daughter of the wealthy rector of Dimchurch Sussex regains her sight and then, finds herself in a romantic triangle with two twin brothers, Oscar and Nugent.What special for the novel is that it is told in the first person by the narrator, namely, Madame Pratolungo through whose eyes to narrate the story about the leading characters, which arouses readers’ interests. In term of this, the author cannot wait to read the story. After finishing the reading, the author selects the chapter one to five with the total words of 10468 as the translation practice project. In these chapters, the narrator Madame Pratolungo presents first and then goes to meet and serve her paid companion with what she sees and hears along the way as well as her first impression on the main characters and their families.1.2 Significance of the Translation Practice ProjectNowadays, in the context of the globalization, more and more countries are active to introduce other countries’ literature works to promote the cultural exchanges. In the same way, China is also included in them. Therefore, the translation of the literature works is of great significance.Literature, as the reflection of the inner word of people, is one of the effective means for those who wants to know the culture of a country and becoming a window for exchanges between peoples. Among this, the novel plays an irreplaceable role in furthering the spiritual connections between peoples. Love is the everlasting topic of people and the sensational love novels are extremely popular among peoples. Besides, these stories which are not only reflecting human feelings and emotions but also havetheir own unique linguistic and stylistic features which are still of high research values.However, with more and more such foreign sensational novels brought into China, the number of their translations is not so optimistic. Therefore, the author would like to take the Poor Miss Finch as the translation practice project to enrich the domestic translation of the sensational novels, meanwhile, bring the splendid foreign sensational works into China and make more and more Chinese readers can enjoy the foreign emotion world.Furthermore, now, researches on the works of William Wilkie Collins are mostly about his detective novels and seldom about his sensational novels in China. Many Chinese readers almost rarely know that the British detective novelist, William Wilkie Collins also has some sensational works. In order to enrich the domestic studies on the sensational works of William Wilkie Collins and make more and more Chinese readers understand and read his excellent works, the author would like to take the Poor Miss Finch, one of his sensational novels as the translation practice project.Besides these, although the Poor Miss Finch, was published in 1872 and republished in 2012, 2014, 2016 and 2017, at present, it still has not been translated into Chinese. So, the author hopes the translation report could help those who are reading the Poor Miss Finch get a better understanding of the story and those who have no knowledge of the book can have an interest in reading it. What’s more, the translation is also provided the first-hand western reading material for Chinese readers to enjoy the foreign love stories in the 19th England.1.3 Structure of the Translation ReportThis paragraph is mainly about the structure of the translation report which forms five chapters.Chapter one is about the introduction which consists of the origin and significance of the translation practice project and the structure of the translation report.Chapter two gives the introduction of the translation preparation. It gives the basic information of the author and the novel as well as the features of the novel including the linguistic and stylistic features.Chapter three is the part of the information of the translation theory basis which is generally about the main concept and development as well as three rules of the skopos theory.Chapter four is the case study to give the analysis of the translation practice project with the three rules of the skopos theory—skopos rule, coherence rule and fidelity rule.Chapter five is the conclusion of the translation report which first points out the gains and limitations of the translation practice activity and then, the future expectations.Chapter Two Pre-task PreparationThis part is about what the author has prepared before the source text was translated into the targeted text. It can help the author get a quicker and better understanding of the source text and make it translated appropriately. The author learned about the whole life of William Wilkie Collins through searching the Baidu and Wikipedia. Moreover, the author has read his representative works, like The Woman in White, No Name and The Moonstone to learn his writing features. Besides, the author also read some other sensational novels and related papers to get better understanding of such language characteristics before starting to do the translation practice project. The preparation work is mainly on the author and the novel as well as the features of the novel.2.1 The Author and the NovelWilliam Wilkie Collins, the author of the Poor Miss Finch, is the British detective novelist. Many Chinese people only know his well-known detective works but hardly know he still has written some sensational works. He was born in the family of painter William Collins in London and grew up in Italy and France, hence, he also was a master of French and Italian, which is helpful to his writings.In 1850, William Wilkie Collins’s first novel, Antonina was born, meanwhile, he met Charles Dickens who became his a close friend and mentor. Later, Collins’s some works were first shown in Dickens's journals All the Year Round and Household Words and they also had cooperation on dramas and fictions (Wikipedia, Wilkie Collins). In 1860, The Woman in White, his best-known work was published, for which he achieved financial stability and some international followings, however, he suffered from the gout, and then, he was addicted to taking opium for the pain. For this, the quality and quantity of his works in the 1870s and 1880s were all affected due to his health.The Poor Miss Finch, preceded by another his excellent work, The Moonstone and followed by The Law and the Lady, was dedicated to Frances Minto Elliot. The whole book consists of 50 chapters with the total words of more than 164,000 (Wikipedia, Poor Miss Finch), which tells the story about the leading character, twenty-one-year-old Lucilla Finch, the independently wealthy daughter of the rector of Dimchurch, Sussex, has been blind since infancy. Shortly after the narrator, Madame Pratolungo,arrives to serve as her paid companion. Lucilla falls in love with Oscar Dubourg, her shy and reclusive neighbor, also wealthy, who devotes himself to craftsmanship in precious metals. Later, Oscar is attacked and knocked unconscious by robbers and then, nursed by Lucilla, for which he falls in love with her and they become engaged.Meanwhile, Oscar's twin brother, Nugent, returns from America, where he has dissipated his fortune pursuing a career as a painter. Knowing of Lucilla's blindness, Nugent has arranged for her to be examined by a famous German oculist, Herr Grosse. Lucilla elects to be operated on by Herr Grosse, who believes he can cure her. After the operation, but before the bandages are taken off, Madame Pratolungo pressures Oscar into telling Lucilla of his disfigurement, but his nerve fails and, instead, he tells her it is Nugent who has been disfigured.Nugent is secretly infatuated with Lucilla and now manipulates her into believing that he is Oscar. As Lucilla gradually regains her sight, Herr Grosse forbids family and friends from undeceiving her, since the shock might imperil her recovery. Oscar goes abroad, resigning his fiancee to his brother in despair. Madame Pratolungo intervenes decisively with Nugent, appealing to his conscience and threatening him with exposure if he continues with his plan to marry Lucilla under Oscar's name. He promises to go abroad to find his brother and return him home.Nugent soon returns to England and tracks Lucilla to the seaside, where, on Herr Grosse's orders, she is staying with her aunt, away from her immediate family. He pressures her to marry as soon as possible, without her family's knowledge, and works to poison her trust in Madame Pratolungo, who is away in Marseilles attending to her wayward father. Detecting but not understanding the change in her supposed fiance, Lucilla becomes distraught, over-strains her eyes and begins to lose her vision.In the novel's denouement, Madame Pratolungo locates Oscar with the help of a French detective. His experiences have revealed an unexpected strength of character, and she conceives a new respect for him. The two of them race home to England to stop the marriage while there is still time. Held virtually prisoner at a Dubourg cousin's house, Lucilla is again totally blind. With the help of a kindly servant, she escapes to meet them, immediately recognizes the true Oscar, and is told the full story by Madame Pratolungo. A penitent Nugent returns to America, where he later dies on a polar expedition. Lucilla and Oscar settle in Dimchurch to raise a family, with Madame Pratolungo as her companion. Perfectly content in her blindness, she refuses Herr Grosse's offers to attempt another operation.2.2 Features of the Novel2.2.1 Linguistic Features of the NovelThroughout the whole text, except the conversations between leading characters, much of the left content is the narrator’s inner activities and self-narrations. On the one hand, much of the inner activities and self-narrations are paragraphs consisted by many short simple and logical sentences. On the other hand, much of the conversations between characters are long sentences and even short paragraphs which are of strong sense of rhythm. Therefore, the translator should pay attention to the translation of different language styles so as to meet the aim of the translation practice project. Besides, the original text takes many 19th English expressions and words, thus, there are a lot of names of people and places with no corresponding names in Chinese which need to be taken special treatments. In addition, many cultural elements also need to be taken into consideration.The language of Poor Miss Finch is characterized in the briefness and conciseness and the novel is narrated in the first person by Madame Pratolungo, the narrator who tells the story from her eyes. Certainly, it also includes the dialogues, mental activities, landscape and person descriptions. In response to these linguistic characteristics, the translator repeatedly stresses the word choices, and logical relations between sentences and paragraphs so that the target text is appropriate to read and understand for Chinese readers.2.2.2 Stylistic Features of the NovelThe Poor Miss Finch is one of the representative sensational works and its author is William Wilkie Collins, a British detective novelist who is regarded as the master of writing sensational novels. The whole text is full of novelty and the plots are of ups and downs. Its author does not only grasp the linguistic characteristics but also the written style, therefore, which poses the requirements of the translation to the translator. The requirements include: (1) the translator should make the translation purpose and the meaning of the source text understood clearly and expressed appropriately; (2) on the guarantee of the communicative purpose, the translator still has to keep the original features of the vocabulary and syntax of the text and make them in an appropriate expression so as to get a higher level of the translation; (3) on the basis of the preparations of the novel and its author, the translator should catch the language andstylistic characteristics and reproduce them into the translation.2.3 Related Literature ReviewIn order to catch the steps of literary translation, the translator also read some books related to the literary translation, including Principles of Literary Translation (Zhangjin, 1987), Advanced Literary Translation (He Qixin, Zhong Weihe & Xujun, 2010), and Literary Translation(Zhang Baohong, 2011). Furthermore, prior to translating the project, the translator also got a lot of materials from the Baidu Baike and Wikipedia to get a better understanding of the background information of the novel and its author, and downloaded many literary periodicals and magazines from the CNKI (China National Knowledge Infrastructure) to improve the quality of the translation and make it in line with the Chinese expression standard.Although the materials related to the sensational novels are rare, the translator still reads many literary documents about the literary translation because the sensational works are also the literary ones. Furthermore, the novel translation also belonged to the literature translation (Ye Xueqing, 2018, (02):56-57). So, the translator read a lot of documents about the literary translation to get a better understanding of the key points which needed to be taken into consideration when doing the translation activity. The following were the summed-up results which were of great use for the author in the process of translation.Song Xuezhi (2014) said that the literary translation activity was one of the ways of culture exchange and to translate the literature works was the result of the culture exchange. Huang Qiaoliang (2016) also pointed that the translation of literature works was not merely the language activity but also rooted in the culture of two cultures. Chen Qingbing (2015) has mentioned that translation was the process of the language transformation while culture was an important factor exerting influence on the translation process and result. In addition, Chang Hao (2018) has stated that during the translation, the translation purpose was very helpful for a translator and hence, the translator has to pay attention to it. Zhao Lihua (2017) pointed out that the translation of the reasonable language environment and sentence function was of great importance to promote literature works. Xu Hong (2015, 04, 185) mentioned the literature translation must be of literariness first. Besides, according to Wu Jian (2017, 19(04):104-110), to convey the stylistic meaning was the key factor of the literatureChapter Two Pre-task Preparationtranslation.In term of this, when doing the translation project, the translator should take the cultural element into account so that the translation can be in line with the expression standard of Chinese and easier to be accepted by the targeted readers.Besides, the translator still has to get the deep understanding of the source text first in order for the correct assurance of the style, grasp the in-depth meaning under the culture, and then catch the differences between two languages. On the basis of these, the translation can be clear and appropriate.Chapter Three Theoretical FrameworkIn this part, the translator mainly writes the translation theory. In the Culture and Translation, Guo Jianzhong (2000) has said “any translator, in the process of translation, is guided by certain translation theories, or is subject to a certain kind of translation belief.” Therefore, before starting to do the translation project, the translator has read some books about the translation theories which includes Western Translation History (Tan Zaixi, 2004), English-Chinese Translation Tutorials (Zhang Peiji, 2009), A Series of Translation Studies in China (Guo Yanli, 1998), Translating as a Purposeful Activity: Functionalist Approaches Explained (Nord, 2001), English Verities and Translation 2nd Edition (Liu Miqing, 2007) and so on. Finally, the translator selected the skopos theory as the translation theory guidance of the translation activity after finishing and reviewing these literature documents.The translation skopos theory put forward by the German functionalist school was one of the most representative and influential translation theories in the contemporary German (Tan Zaixi, 2004:18). In the end of 1970 to the beginning of 1980, Katharina Reiss first put forward the skopos theory. Then, Hans Vermeer, Reiss’s student, broke the limitation of the equivalence theory and developed and created the translation skopos theory on the basis of behavioral theory. Another two German translators, Justa Hertz Mantari and Christian Nord made the theory of further development, and Nord perfected the theory and expanded its application fields.In addition, Zhong Weihe and Zhong Yu (1999) in the German Functionalist Translation Theories pointed that the skopos theory took the use of the skopos concept into translation and held that every activity had its own purpose, hence, translation was also a certain kind of inter-cultural communicative activity and the translator should take the translation strategies according to the translation purpose. Due to the differences in the language and culture, the target version was impossible to be completely consistent to the original text. However, what to keep and what to change as well as to make the version consistent to the original text in the form and content or meet the needs of the target readers all depended on the translation purpose.In other words, the theory regards the translation purpose as the starting point and basis of translation tasks. Moreover, the choice of translation strategies and methods and the selection between the styles and contents of the original works as well as theformation of the target texts all take the translation purpose as the reference. The translation process takes the purpose as the guidance and the intra-linguistic and interlingual consistency and fidelity as the means to evaluate.What’s more, the most important part of the theory are the three rules which constitute the basic rules of the theory. The more information about the basic rules is provided at the following paragraphs.3.1 Three Rules of the Skopos TheoryThe skopos rule, coherence rule and fidelity rule are the fundamental contents of the skopos theory. The skopos rule is the most important one among the three rules and the coherence rule is more important than the fidelity rule.3.1.1 Skopos RuleAccording to the skopos theory, the predominant principle all translation activities have to follow is the skopos rule which means the translation can function in the targeted-language context and culture by the way as the targeted accepters expect. The purpose of the translation activity determines the whole translation process, that is to say, the purpose determines the use of methods.However, a translation activity can have more than one purpose which can be divided into three categories. “There are at least three possible purposes for a translator to do translation: the first is the translator’s purpose-some translators may simply do translation for making money. The second is to achieve the aim of exchanges, for instance, teaching readers knowledge. Yet another aim is achieved by choosing a post-translation strategy, such as translating a text literally to represent its structure features” (Reiss, 2004).Nevertheless, as usual, the purpose refers to the communicative purpose of the translation, namely, “the translation provides the communicative function for the target receiver in the target language context and culture” (Venuti, 2001). Therefore, the translator should define his or her specific purpose in the given translation context and in term of the purpose decides to adopt the translation methods-literal translation, free translation, or the method between the both.The rule gives the solution to the problem existing in the literary translation-whether it should be faithful to the source text or take the method of free translation. With the rule, the translator takes the literal translation, free translation, or the methodbetween the both in the light of the requirements of the translation purpose.3.1.2 Coherence RuleThis rule is an another important one of this theory. The coherence rule refers to the translation must be in line with the standard of the intra-textual coherence, that is to say, the translation is of readability and acceptability, able to make the receivers understood and meaningful in the target-language culture and the translation-used communicative context.In other words, the coherence rule stresses that the translation does not only be coherent and consistent with the target-language culture and context but makes the target readers understand the main idea and its profound meanings of the original text.Therefore, what the translator has to do is to make the translation version meaningful to the target readers and understood by them. Besides, based on their culture background, knowledge structure, and social conditions, they could accept that the version is worthy of reading.3.1.3 Fidelity RuleAlthough the most important rule of the skopos theory is the skopos rule, it does not mean that in order to meet the translation purpose, the translator can change the original text dramatically and arbitrarily. In fact, the translation version is original from the source text, and hence, the translator still has to follow the original text, that is to say, the translator needs to take the fidelity rule into consideration when doing translation activities.The fidelity rule refers that the inter-textual coherence should be existent in the original text and target text, which equals to the faithfulness to the source text the other translation theories emphasize. In other words, “in short, the target language text (TLT) should be faithful to the source language text (SLT)” (Nord, 2001:32). Though the fidelity rule requires the translator should be faithful to the original text, it is different from the previous translation theories which give emphasis on the faithful principles because according to Huang Haijun & Gao Lu (2003:17), the degree and form of the faithfulness to the source text depend on the translation purpose and the translator’s understanding about the original text .However, that is not to say that the translation should be always translated by word for word because the first consideration of the fidelity rule is the skopos rule. Sometimes, in order to reach the skopos rule, the translation should make some changesabout the faithfulness to the original text, and at this moment, the fidelity rule would make concession to the skopos rule.Chapter Four Case StudiesAbove this chapter, the author has given the introduction that she takes the skopos theory as the guidance of the translation project. As mentioned above, all the translation activities have their own translation purposes which determine the choices of the translation methods used in the translation tasks. So does this translation activity. This translation project is the sensational novel which has its own certain characteristic and style; thus, the translator should consider about the receivers’ reading joy from the perspective of the translation purpose.On the one side, the translator should focus on the source text, keep consistency of its content, and make the translation version full of readability. On the other side, the translator should express the main characters’ personalities and its plot ups and downs of the original text faithfully so that the readers’ reading interests and resonances can be aroused. However, the translator also cannot seek the blind consistence with the source text and ignore the difference between the reader’s reading and understanding.In term of this, on the basis of the three rules of the skopos theory, the author takes a lot of translation skills in a flexible way so as to keep the wonderful charm of the original text and convey this to the readers, surmount the discrepancies between Chinese and English expression habits and make the translation version more in accordance with the Chinese expression standard.The the application of the three rules of the skopos theory in translating the Poor Miss Finch is as follows through the way of showing examples.4.1 Application of the Skopos RuleAs the above mentioned that according to this rule, the translation behavior is dependent on the translation purpose, in other words, the purpose determines the choice of the method and strategy to a large extent. Just as the earlier mentioned that usually, the translation purpose means the translation can function in the certain context. So, in this translation report, the skopos rule refers that the Chinese translation of the Poor Miss Finch is supposed to be in accordance with the Chinese language expression habit and its readers’ reading preferences to catch their understandings about the text. Here are the groups of examples the translator tries to follow the skopos rule.Example:1。

介绍莫纳丽莎的六年级英语作文

介绍莫纳丽莎的六年级英语作文

介绍莫纳丽莎的六年级英语作文Mona Lisa is a world-renowned painting created by the renowned Italian artist Leonardo da Vinci. This enigmatic portrait has captivated art enthusiasts and casual observers alike for centuries, sparking endless discussions and interpretations about the identity of the sitter and the meaning behind her mysterious smile.The Mona Lisa is a oil painting on a poplar wood panel, measuring approximately 30 inches by 21 inches. It depicts a half-length portrait of a woman who gazes directly at the viewer with an expression that has been described as serene, pensive, and even slightly enigmatic. The woman's face is framed by dark hair that falls softly around her shoulders, and she is dressed in a simple yet elegant gown of muted colors.One of the most striking features of the Mona Lisa is the subject's gaze. Her eyes are fixed directly on the viewer, creating a sense of engagement and intimacy that has captivated audiences for centuries. The slight smile on her lips has been the subject of much speculation and debate, with some art historians and criticssuggesting that it reflects a deeper emotional complexity or psychological depth.The Mona Lisa's background is also a source of fascination. The landscape behind the subject is rendered in a hazy, atmospheric style, creating a sense of depth and distance that contrasts with the sharp focus of the portrait itself. Some scholars have interpreted this background as a representation of the natural world, while others have seen it as a symbolic or metaphorical element that adds to the painting's overall meaning.One of the most intriguing aspects of the Mona Lisa is the identity of the sitter. While it is generally accepted that the painting depicts a real person, the identity of this individual has been the subject of much debate and speculation. Some scholars believe that the Mona Lisa was a portrait of Lisa Gherardini, the wife of a Florentine merchant named Francesco del Giocondo, while others have suggested that the painting may have been a composite of multiple models or even a self-portrait of the artist himself.Regardless of the sitter's identity, the Mona Lisa has become an enduring symbol of Renaissance art and a touchstone of Western culture. Its influence can be seen in countless works of art, literature, and popular culture, from Andy Warhol's iconic silk-screen prints to Dan Brown's bestselling novel "The Da Vinci Code."The Mona Lisa's enduring popularity is a testament to the power of art to captivate and inspire. Its enigmatic qualities have sparked the imagination of viewers for centuries, and it continues to be a source of fascination and wonder for art lovers around the world. Whether one is drawn to the technical virtuosity of da Vinci's brushwork, the psychological depth of the subject's expression, or the broader cultural significance of the painting, the Mona Lisa remains one of the most compelling and iconic works of art ever created.。

介绍埃及的小说英文作文

介绍埃及的小说英文作文

介绍埃及的小说英文作文英文:Egyptian literature has a rich history, with a variety of genres, including poetry, drama, and prose. One of the most popular genres is the Egyptian novel, which has gained international recognition in recent years.One of the most well-known Egyptian novels is "The Yacoubian Building" by Alaa Al Aswany. The novel explores the lives of the residents of a Cairo apartment building, touching on themes of corruption, sexuality, and class struggle. It has been translated into over 20 languages and adapted into a film.Another notable Egyptian novel is "The Cairo Trilogy" by Naguib Mahfouz. The trilogy follows the lives of three generations of a Cairo family, tracing their experiences from the early 1900s to the 1950s. The novels offer a glimpse into Egyptian society and politics during a time ofgreat change.Other notable Egyptian authors include Nawal El Saadawi, who writes about women's rights and social justice, and Ahmed Mourad, whose novels often blend elements of crimeand mystery with social commentary.Overall, Egyptian novels offer a unique perspective on the country's history, culture, and society. They are often characterized by a blend of realism and magical realism,and explore themes such as identity, social justice, and political upheaval.中文:埃及文学拥有丰富的历史,包括诗歌、戏剧和散文等多种文学体裁。

读后续写:修辞改装法(原卷版)-新高考英语读后续写满分攻略

读后续写:修辞改装法(原卷版)-新高考英语读后续写满分攻略

读后续写技能训:修辞改装法(原卷版)目录Part 1修辞改装法 (1)第一种修辞:比喻 (2)第二种修辞:拟人 (7)第三种修辞:夸张 (10)其他修辞法: (11)Part 2 翻译练习 (17)(第一组) (17)(第二组) (18)(第三组) (18)(第四组) (19)(第五组) (19)(第六组) (20)Part 3 综合演练【模拟题】 (21)1.读后续写模拟专练 (21)2.(2022.湖南.一模) (23)3.(2022.辽宁大连.模拟预测) (24)Part 1修辞改装法今天我要分享的主题是:如何用三种修辞手法来升级我们的句子。

适当的修辞可以让我们的句子增光添彩。

试着比较一下,下面两个句子:第1个句子:Jenny was very happy. (Jenny很开心。

)第2个句子:Jenny couldn't resist her inner joy, flying into the door like a bird.(Jenny控制不住内心的喜悦,像小鸟一样飞进了家门。

)是不是感觉第二个用了比喻后,Jenny开心的画面跃然纸上,非常生动。

今天我们这节课,就学习简单的几个修辞手法的技巧,分别是比喻,拟人和夸张。

这三种在我们的读后续写中,用的较多。

第一种修辞:比喻(1)Simile明喻俗称直喻,是依据比喻和被比喻两种不同事物的相似关系而构成的修辞格。

如:1.The country, covered with cherry tree flowers, looks as though it is coveredwith pink snow.开满樱花的乡村,看起来有如粉红雪铺满地。

2.The smile on her face shone like a diamond.她的笑容像宝石一样闪闪发光。

3.The scenery along the Lijiang River in Guilin is just like abeautiful landscape painting.桂林漓江的沿途风景就像一幅美丽的山水画。

silence in communication

silence in communication

Japan
Silence is a friend who will never betray .
Indian
Eastern country
China The Japanese view of silence is also reflected in the following proverbs : It is the duck that squawks that get shot. Japan Numerous words show scanty wares.
★ ★


Eastern country
China The Chinese philosopher Confucius hold the view of silence is that: Believe not others’ tales // Others will lead thee far astray
“what is real is, and when it is spoken it becomes unreal”. unreal” .
事实就是,当你说出来的 时候它就变得不真实了。 佛曰不可曰/不可名状
Different countries have different views of silence
Easterners’Views For many Asian people ,silence is often used as a means of avoiding conflict. A typical practice among many Asian people is to refuse to speak any further in conversation if they cannot personally accept the speaker’s attitude, opinion, or way of thinking about particular issues or subjects.

桂梅的英语作文

桂梅的英语作文

桂梅的英语作文Gui Mei is a diligent student who has always been passionate about learning English. She spends hours every day practicing her vocabulary, grammar, and listening skills. Her dedication is evident in the way she approaches her English composition assignments.In her latest essay, Gui Mei writes about the importanceof cultural exchange. She believes that learning a new language opens doors to understanding different cultures and traditions. She uses her essay to explore the beauty of Chinese festivals and how they can be appreciated by people from all over the world. Gui Mei's essay is not only informative but also engaging, as she weaves in personal anecdotes about her experiences celebrating the SpringFestival with her family.She also touches on the challenges of language learning, such as the complexities of idiomatic expressions and the nuances of pronunciation. Gui Mei suggests that patience and consistent practice are key to overcoming these challenges. Her essay is a testament to her own journey as an English learner, and she encourages her peers to embrace the process with an open mind.In conclusion, Gui Mei's English composition is a well-crafted piece that reflects her love for the language and her desire to bridge cultural gaps. Her writing is clear, concise,and full of insights that resonate with readers who are also on the path of language learning.。

US Woman Breaks Record for Spelling Backwards

US Woman Breaks Record for Spelling Backwards

US Woman Breaks Record for Spelling Backwards Pam Onnen has broken the Guinness World Record for the most words spelled backwards in one minute. She spelled 56 words backwards, beating the previous record by 17.Onnen, who's from Hastings in the US state of Minnesota, said she wanted to break the record to make her city famous for something.The words she spelled came from a list that is chosen ahead of time by Guinness World Records. The list includes four, six and eight-letter words that are read out in a random order.This isn't the first time Onnen has tried to break the record. On her first attempt, she tied with the previous record of 39. The second time, she was disqualified for breaking the rules. On July 14, the day she broke the record, Onnen had tried about 10 times before getting 56 words."I've always been a good speller," said Onnen in an interview with WCCO Radio. She said that she discovered she was good at spelling backwards in school and college, where she would sometimes write notes backwards in class.In an interview with Guinness World Records, Onnen said that she didn't know anyone who spelled backwards, but checked if there was a record, and then decided to try and beat it. Onnen said that she thinks she could increase her record by one or two words, but would only try again if someone broke her record of 56.。

播放奇妙的作文英语

播放奇妙的作文英语

播放奇妙的作文英语英文回答:Writing a superb essay that captivates readers and leaves a lasting impression requires meticulous planning, skillful execution, and a touch of creativity. To craft a masterpiece, consider the following steps:1. Brainstorming and Research:Delve into your prompt, extract keywords, and formulate a thesis statement.Conduct thorough research to gather facts, statistics, and quotes that support your arguments.2. Structure and Outline:Organize your ideas into a logical outline with an introduction, body paragraphs, and a conclusion.Ensure each body paragraph has a central topic sentence that supports your thesis.3. Paragraph Development:Begin each body paragraph with a strong topic sentence that clearly states its purpose.Provide specific evidence, examples, and reasoning to support your arguments.Use transitions to connect ideas and ensure smooth flow.4. Language and Style:Employ precise and descriptive language that engages the reader.Utilize literary devices such as metaphors, similes, and anecdotes to make your writing memorable.Proofread carefully for errors in grammar, spelling, and punctuation.5. Conclusion:Summarize your main arguments and restate your thesis statement.Offer a final thought or call to action that leaves a lasting impact.中文回答:构思、收集素材:透彻理解写作要求,提取关键词,概括出中心论点。

楚楚老师英语讲义

楚楚老师英语讲义

楚楚老师英语讲义Part I:Basic WritingThis part will cover:●Elements of Writing●Narrative●Description●ExpositionChapter 1 Elements of writingI.Paragraph structure identificationGoldGold,a precious metal,is prized for two important characteristics.First of all,gold has a lustrous beauty that is resistant to corrosion.Therefore,it is suitable for jewelry,coins,and ornamental purposes.Gold never needs to be polished and will remain beautiful forever.For example,a Macedonian coin remains as untarnished today as the day it was minted twenty-three centuries ago.Another important characteristic of gold is its usefulness to industry and science.For many years,it has been used in hundreds of industrial applications.The most recent use of gold is in astronauts?suits.Astronauts wear gold-plated heat shields for protection outside the spaceship.In conclusion,gold is treasured not only for its beauty,but also for its use.HurricanesHurricanes,which are also called cyclones,exert tremendous power.These violent storms are often a hundred miles in diameter,and their winds can reach velocities of seventy-five miles per hour or more.Furthermore,the strong winds and heavy rainfall that accompany them can completely destroy a small town in a couple of hours.The energy that is released by a hurricane in one day exceeds the total energy consumed by mankind throughout the world in one year.Famous School“Failures”Albert Einstein,one of the world?s geniuses,failed his university entrance examinations on his first attempt.William Faulkner,one of America?s noted writers,never finished college because he could not pass his English courses.Sir Winston Churchill,who is considered one of the masters of the English language,had to have special tutoring in English during elementary school.These few examples show that failure in school does not always predict failure in life.。

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ISSN 1590-1807Published in Led on Line - Electronic Archive byLED - Edizioni Universitarie di Lettere Economia Diritto - Milano - Italyhttp://www.ledonline.itJune 2006CopyrightThe works included in Snippets are the property of their authors and are used by permission. Readers must apply the same principles of fair use to the works in this electronic archive that they would to a printed archive. These works may be read online, downloaded and printed for personal use, copied and freely distributed, or the URL of Snippets included in another electronic document. Any reference to material included in Snippets must cite the author and the source. The texts may not be published commercially (in print or electronic form), edited, or otherwise altered without the permission of the author.EditorsCarlo Cecchetto (University of Milan-Bicocca)Caterina Donati (University of Urbino)Orin Percus (Université de Nantes)Review BoardSigrid Beck (University of Connecticut)Rajesh Bhatt (University of Massachusetts, Amherst)Valentina Bianchi (University of Siena)Daniel Büring (UCLA)Danny Fox (MIT)Hisatsugu Kitahara (Keio University)Roumyana Pancheva (USC)Josep Quer (University of Barcelona)Norvin Richards (MIT)Anna Roussou (University of Patras)Uli Sauerland (ZAS, Berlin)William Snyder (University of Connecticut)Michal Starke (CASTL, Tromsø)E-mail: snippets@unimi.itSnippets - Issue 13 – June 2006EDITORIAL STATEMENT1. Purpose.The aim of Snippets is to publish specific remarks that motivate research or that make theoretical points germane to current work. The ideal contribution is the ideal footnote: a side remark that taken on its own is not worth lengthy development but that needs to be said. One encounters many short comments of this kind in the literature of the seventies. We feel that there no longer is a forum for them. We want Snippets to help fill that gap.2. Content.We will publish notes that contribute to the study of syntax and semantics in generative grammar. The notes are to be brief, self-contained and explicit. They may do any of the following things:•point out an empirical phenomenon that goes against accepted generalizations or that shows that some aspect of a theory is problematic;•point out unnoticed minimal pairs that fall outside the scope of any existing theory;•point out an empirical phenomenon that confirms the predictions of a theory in an area where the theory has not been tested;•explicitly describe technical inconsistencies in a theory or in a set of frequently adopted assumptions;•explicitly describe unnoticed assumptions that underlie a theory or assumptions that a theory needs to be supplemented with in order to make desired predictions;•call attention to little-known or forgotten literature in which issues of immediate relevance are discussed.We also encourage submissions that connect psycholinguistic data to theoretical issues. A proposal for a pilot experiment in language acquisition or language processing could make for an excellent snippet.The earliest Linguistic Inquiry squibs exemplify the kind of note we would like to publish. Some of them posed unobserved puzzles. For instance, a squib by Postal and Ross in LI 1:1 ("A Problem of Adverb Preposing") noted that whether or not we can construe a sentence-initial temporal adverb with an embedded verb depends on the tense of the matrix verb. A squib by Perlmutter and Ross in LI 1:3 ("Relative Clauses with Split Antecedents"), challenging the prevailing analyses of coordination and extraposition, noted that conjoined clauses neither of which contain a plural noun phrase can appear next to an "extraposed" relative that can only describe groups. Other squibs drew attention to particular theoretical assumptions. For instance, a squib by Bresnan in LI 1:2 ("A Grammatical Fiction") outlined an alternative account of the derivation of sentences containing believe and force, and asked whether there were principled reasons for dismissing any of the underlying assumptions (among them that semantic interpretation is sensitive to details of a syntactic derivation). A squib by Zwicky in LI 1:2 ("Class Complements in Phonology") asked to what extent phonological rules refer to complements of classes. None of these squibs was more than a couple of paragraphs; all of them limited themselves to a precise question or observation.Snippets - Issue 13 – June 20063. Submission details.Snippets is an electronic journal. We will solicit submissions twice a year: the submission deadlines are April 1 and October 1. The submissions that we accept will be posted on the journal website approximately 3 months after each deadline, and all accepted submissions will remain permanently on the website.Snippets is intended as a service to the linguistics community. Consequently, authors are advised that, when they submit to Snippets, we understand them as allowing their submission to be reproduced if published. At the same time, the rights for the notes themselves will remain with the authors. As a result, citation of Snippets material will have to indicate the author's name and the specific source of the material.We will accept electronic submissions at the address snippets@unimi.it. Electronic submissions may take the form of (a) the text of an e-mail message, or (b) an attached file. The attached file should be a simple text file, a Word file (Mac or Windows), or a Rich Text Format (RTF) file. All submissions must state the name and affiliation of the author(s), and a (postal or electronic) return address.Submissions are to be a maximum of 500 words (including examples), with an additional half page allowed for diagrams, tables and references. Given that we envision the submissions themselves as footnotes, the submissions may not contain footnotes of their own. The ideal submission is one paragraph; a submission of five lines is perfectly acceptable. We will not consider abstracts.4. Editorial policy.Submissions will be reviewed by our editorial board, and review will be name-blind both ways. While we guarantee a response within 3 months of the submission deadline, we will only provide a yes/no response to the submitter. We will not request revisions (barring exceptional cases). We allow resubmission (once) of the same piece.Snippets - Issue 13 – June 20061.Valentina Bianchi – University of SienaAn asymmetry between personal pronouns and other Dpsbianchi10@unisi.itItalian shows an asymmetry in partitive wh-phrases with the preposition di: when the partitive phrase contains a personal pronoun, the wh-pronoun chi 'who' is used, and the wh-determiner quale 'which' is disallowed:(1) Chi /*quale di noi (voi, loro) dovrà farlo?Who/*which of us (you, them) will-have-to do-itConversely, when the partitive phrase contains a DP which is not a personal pronoun, the wh-determiner quale is used and chi is deviant:(2) Quale/*chi dei tuoi studenti dovrà farlo?Which/*who of your students will-have-to do-itThis asymmetry sets apart personal pronouns (including third person) from other DPs, and suggests some form of agreement with respect to (pro)nominality between the wh-word and the DP in the partitive phrase. The interesting question is which feature(s) cause this asymmetry.The first possibility is the feature [+human], which is typical of strong pronouns and of impersonal pronouns. However, this feature is plausibly shared by lexical nouns like student, at least at the level where selectional restrictions apply. So, either we stipulate that the feature [+human] is syntactically visible on strong/im-personal pronouns only, or we have to assume two different features encoding humanness (cf. Hanson's (2003) [sentient] feature).Another possible source of asymmetry is the number feature. According to Kayne (2000) and Wechsler (2002), "plural" first/second person pronouns are not specified for number; Di Domenico (2004) and Sigurdhsson (2004) argue that the same holds of third person pronouns. The wh-pronoun chi too might be underspecified for number: although it triggers singular agreement on the verb, this can be a default inflection -- in fact, an answer to (1) may involve either a singular or a plural DP. The wh-determiner quale/quali is instead inflected for number. Thus, a principle of number compatibility would rule in chi in (1) – since both chi and the personal pronoun in the partitive phrase are underspecified for number – and rule out quale, which is specified for number; the converse would hold in (2), since the non-pronominal DP is specified for number. This account, however, only holds if third person pronouns too are underspecified for number (see Kayne 2000 and Wechsler 2002 for the opposite view).The third possible source of asymmetry is the person feature, but here we runinto serious troubles. Kayne (2000), Harley and Ritter (2002) and Wechsler (2002) argue that first and second person pronouns are specified for person, but "third person" pronouns – as well as non-pronominal DPs – are not. This would predict an asymmetry between first and second person pronouns, on the one hand, and all "third person" DPs (either pronominal or not), on the other. But this is not the split we observe in (1)-(2). Furthermore, if "third person" is simply person underspecification, there is no obvious way to express a difference between the wh-forms chi and quale.Finally, according to Harley and Ritter (2002), personal pronouns are characterized by a feature geometry which is not shared by non-pronominal DPs. How-ever, at least some features under their Individuation node (GROUP, encoding number, and CLASS, encoding gender) seem to be shared by non-pronominal DPs as well.Thus, it appears that all the recently proposed featural analyses of personal pronouns fail to capture the unitary behaviour of first, second and third person pronouns as a coherent set, opposed to non-pronominal DPs, in (1)-(2).ReferencesDi Domenico, E. (2004) “Placed, non placed, and anaphorically placed expressions.” Italian Journal of Linguistics: 16.1 (The syntax and interpretation of person features, ed. V.Bianchi and K. Safir), 63-105.Hanson, R. (2003) Masters thesis, University of Calgary.Harley, H. and E. Ritter. (2002) “Person and number in pronouns: a feature-geometric analysis.”Language 78: 482-526.Kayne, R.S. (2000) “Person morphemes and reflexives in Italian, French, and related languages.”In Parameters and universals. Oxford/New York: Oxford University Press, 131-162. Wechsler, S. (2002) “Number as person.” Ms., University of Texas at Austin. [To appear in the Proceedings of the Fifth Paris Syntax and Semantics Conference.]Sigurdhsson, H.Á. (2004) “The syntax of person, tense, and speech features.” Italian Journal of Linguistics:16.1 (The syntax and interpretation of person features, ed. V. Bianchi and K.Safir), 219-251.Snippets - Issue 13 – June 20062.Amy Rose Deal – University of Massachusetts, AmherstDoes English have a genitive case?amyrose@In written English, possessive pronouns appear without ’s in the same environments where non-pronominal DPs require ’s.(1) a. your/*you’s/*your’s bookbookb. Moore’s/*MooreWhat explains this complementarity? Various analyses suggest themselves.A. Possessive pronouns are contractions of a pronoun and ’s. (Hudson 2003: 603)B. Possessive pronouns are inflected genitives (Huddleston and Pullum 2002);a morphological deletion rule removes clitic ’s after a genitive pronoun. Analysis A consists of a single rule of a familiar type: Morphological Merger (Halle and Marantz 1993), familiar from forms like wanna and won’t. (His and its contract especially nicely.) No special lexical/vocabulary items need be postulated. Analysis B, on the other hand, requires a set of vocabulary items to spell out genitive case, as well as a rule to delete the ’s clitic following such forms, assuming ’s is a DP-level head distinct from the inflecting noun.These two accounts make divergent predictions for dialects with complex pronominals such as you all or you guys (and us/them all, depending on the speaker). Since Merger operates under adjacency, Analysis A predicts that intervention by all or guys should bleed the formation of your: only you all’s and you guys’ are predicted. There do seem to be dialects with this property, as witnessed by the American Heritage Dictionary (4th edition, entry for you-all). Call these English 1. Here, we may claim that pronouns inflect for only two cases, and Merger operations account for the rest.Given the simplicity of Analysis A, it would be nice if English 1 were the one and only English. It is in this sense unfortunate that dialects also exist with possessive forms your all’s and your guys’ — a fact totally unaccounted for if Analysis A holds universally.(2) I think that works with your all’s schedules. (White House press secretary Scott McClellan,March 22, 2005)(3) We’ve had a proposal that’s been out, subject to your all’s review …(White House press secretary Joe Lockhart, June 12, 2000)Such dialects (English 2) are clearly incompatible with Analysis A’s basis in con-traction; rather, the data suggest that possessive pronouns are being analyzed as inflected genitives, in line with Analysis B. In fact, English 2 forms like your all’s neatly showcase both halves of Analysis B: a genitive case feature is spelled out on your, and separately, the presence of all bleeds the rule deleting ’s. The doubly marked possessive of English 2 is reminiscent of the pattern of definiteness marking in Swedish DPs, where we find a doubled expression of definiteness: DET ADJ N-DET. English 1, for its part, mimics the definiteness pattern of Danish, where we find DET ADJ N(*-DET). Thus, dialectal variation within English mirrors wider crosslinguistic variation in Germanic. See Hankamer and Mikkelsen (2005).Since Analysis A is simpler than Analysis B — both require one rule, but A requires no special vocabulary entries — the existence of English 2 is puzzling. Why are some learners positing an unnecessarily complex grammar? One possible line of attack: is there a sense in which the Merger rule found in English 1 is more complex than the Deletion rule found in English 2?ReferencesHalle, M. and A. Marantz. (1993) “Distributed morphology and the pieces of inflection.” In The view from building 20: essays in linguistics in honor of Sylvain Bromberger, ed. K. Hale and S.J. Geyser. Cambridge, MA: MIT Press, 111-176.Hankamer, J. and L. Mikkelsen. (2005) “When movement must be blocked: a reply to Embick and Noyer.” Linguistic Inquiry 36: 85-125.Huddleston, R. and G. Pullum. (2002) The Cambridge grammar of the English language.Cambridge: Cambridge University Press.Hudson, R. (2003) “Gerunds without phrase structure.” Natural Language and Linguistic Theory 21: 579-615.Snippets - Issue 13 – June 20063.Bernhard Schwarz – McGill UniversityCovert reciprocity and Strawson-symmetrybernhard.schwarz@mcgill.caVon Fintel (1999) defines the notion of Strawson-entailment and argues that it plays a central role in the analysis of negative polarity items. This squib proposes that so-called covert reciprocity is another phenomenon where Strawson-entailment is at work.Covert reciprocal nouns are relational nouns whose bare plural forms in predicative position can be interpreted as though they combined with overt reciprocal complements. The equivalence of (1a) and (1b), for example, makes classmate a covert reciprocal.(1) a. They are classmates.b. They are classmates of each other.Other examples of covert reciprocals are colleague, neighbour and cousin. All of these nouns are symmetric: X is a N of Y entails Y is a N of X. Note that a non-symmetric noun like fan is not a covert reciprocal: They are fans is not equivalent to They are fans of each other. The obvious generalization, then, would seem to be that a relational noun is a covert reciprocal if and only if it is symmetric.This generalization does not seem to have been questioned in the literature. However, while it may be true that all symmetric relational nouns are covert reciprocals, the reverse is not the case. The sentences in (2) are equivalent, and so the noun sister is a covert reciprocal. But sister is clearly not symmetric. X is a sister of Y does not entail Y is a sister of X, since only the latter sentence conveys that Y is female.(2) a. They are sisters.b. They are sisters of each other.A revised generalization can be based on von Fintel’s (1999) notion of Strawson-entailment. φ Strawson-entails ϕ if and only if the conjunction of φ and the presupposition of ϕ entails ϕ. Extending the terminology, we can define a relational noun N to be Strawson-symmetric just in case X is a N of Y Strawson-entails Y is a N of X. The revised generalization, then, is that a relational noun is a covert reciprocal if and only if it is Strawson-symmetric.The definition of Strawson-symmetry guarantees that every symmetric predicate is also Strawson-symmetric, so the revised generalization still applies correctly to symmetric predicates like classmate. Moreover, assuming that the gender information carried by sister is presupposed, sister is Strawson-symmetric: insister of X. Therefore, assuming that sister presupposes its gender information, the revised generalization accommodates all the relevant cases.The assumption that sister presupposes its gender information is not implausible. The sentences in (3) seem to convey that Kim is a female, suggesting that the gender information carried by sister projects much like typical presuppositions do.(3) a. Kim isn’t his sister.b. Perhaps Kim is his sister.c. Is Kim his sister?In English, sister and its companion brother (and perhaps husband and wife) may be the only relational nouns that only a presupposition stops from being symmetric. But the amended generalization proposed here is likely to apply more widely in languages where gender information is routinely encoded through morphological means.Referencesvon Fintel, K. (1999) “NPI-licensing, Strawson-Entailment, and context dependency.” Journal of Semantics 16: 97-148.Snippets - Issue 13 – June 20064.Kazuko Yatsushiro – Humboldt Universität BerlinUli Sauerland (ZAS)[Feminine] in a high positionkazuko@ uli@In German, the names of many professions have both a masculine and a feminine form. The feminine form is often derived from the masculine by the suffix /-in/ (sometimes accompanied by a vowel change in the stem as in (1c)). (1) shows examples of this derivation:(1) a. Lehrer (‘male teacher’) --> Lehrerin (‘female teacher’)b. Politiker (‘male politician’) --> Politikerin (‘female politician’)c. Arzt (‘male medical doctor’) --> Ärztin (‘female medical doctor’)d. Friseur (‘male hairdresser’) --> Friseurin (‘female hairdresser’)When combined with a superlative, the gender-marked forms allow two distinct readings. We focus here on the feminine forms. Consider the newspaper headline in (2): It could be used to describe a situation where Merkel is now the most popular of the female politicians but there may be male politicians that are even more popular than her ((2a)). It can also be used in a situation where Merkel is the most popular of all politicians ((2b)).(2) Merkel jetzt beliebteste Politiker-in Deutschlands.Merkel now most popular politician-FEM Germanya. ‘Merkel now most popular female politician in Germany.’b. ‘Merkel now most popular politician in Germany.’(3) Merkel ist die beliebteste Kanzler-in aller Zeiten.Merkel is the most popular chancellor-FEM of all timesa. ‘Merkel is the most popular female chancellor of all times.’b. ‘Merkel is the most popular chancellor of all times.’Reading (2b) must be considered distinct from reading (2a) for two reasons. For one, the occurrence of jetzt (‘now’) (2) implicates that the assertion of (2) is false for past times. But (2b) can be used at a time when Merkel has already been the most popular female politician for a while, but has only just edged out her male rivals. In this situation, the implicature of paraphrase (2a) would not be satisfied. The second reason (2b) is distinct from (2a) is that (2) could be used in a situation where Merkel is the only female politician. Reading (2a) would amount to a presupposition failure in such a situation because the superlative presupposes that there are items for comparison. Thisis corroborated by that fact that (3) is acceptable in the current situation where Merkel is the only female German chancellor ever. Paraphrase (3a) would be a presupposition failure in the current situation, while reading (3b) must be available.Example (4) shows that the ambiguity arises also in non-copular sentences. This rules out the possibility that gender agreement between Merkel and the superlative DP is responsible for the ambiguity.(4) Selbst die beliebteste Kanzler-in aller Zeiten macht Fehler.even the most popular chancellor-FEM of all times makes mistakesa. ‘Even the most popular female chancellor of all times can make a mistake.’b. ‘Even the most popular chancellor of all times can make a mistake.’While the male and female forms of the professions exhibit the ambiguity just described, the adjective female in (5a) and the non-profession noun sister in (5b) only allow the interpretation corresponding to (2a) and (3a).(5) a. die beliebteste weibliche Politiker-inthe most popular female politicianb. meine jüngste Schwestermy youngest sisterSome other languages, such as Spanish and Bulgarian, seem to show the same pattern of data. We provide here Bulgarian data. (6) displays the same ambiguity as (2).(6) naj-populjarnata pianist-kamost-popular-the pianist-FEM‘the most popular female pianist’‘the most popular pianist’In English, however, we could not find nouns that display the ambiguity. Noun phrases like the best waitress, my youngest sister, and the tallest policewoman are unambiguous just like the German examples in (5).To explain the ambiguity illustrated in (2), we propose that gender marked profession names are ambiguous between two kinds of lexical entries: 1) a lexical entry where gender is part of the lexical item such that Politikerin means the same as female politician; 2) a lexical entry where gender is a grammatical feature of the noun which is licensed by a agreement with a gender feature in a higher position that is interpreted outside the scope of the superlative.Snippets - Issue 13 – June 2006。

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