Stylistics
(最新整理)Stylistics(英语文体学)
II. What is style?
style as rhetoric — Gorgias（风格即 修辞）;
style as form — Aristotle（风格即形 式）;
style as eloquence — Cicero (风格即 雄辩术);
proper words in proper places —
2021/7/26
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Langue(语言)(Longman Dictionary P382)
The French word for “language”. The
term was used by the linguist Saussure
to mean the system of a language, that is the arrangement of sounds and
interpretation of the text; or in order to
relate literary effects to linguistic
‘causes’ where these are felt to be
relevant…. Stylisticians want to avoid
situationally-distinctive uses of
language, with particular reference to
literary language, and tries to establish
principles capable of accounting for the
saying the right thing in the most effective way — Enkvist（以最有效 的方式讲恰当的事情） ;
Stylistics中文文体学课件
3. I ‘m finding out that a lot of what I thought had been bonfired, Oxfam-ed, used for land-fill, has in fact been tidied away in sound archives, stills libraries, image banks, memorabilia mausoleums, tat troves, mug morgues.
Cf. A. The police are investigating the case of
murder. B. The police are looking into the case of
murder. (Lexically, Latin, French, Greek words are generally used in formal style; Words from old English are mostly used in informal style.)
F: He left early in order not to miss the train.
F: He left early in order that he would not miss the train.
6. 问句：
F: When are you going to do it?
IF: When
place all the same.
F: He endeavoured to prevent the marriage ; however, they married notwithstanding. 3. 非正式文体常用副词做状语；而正式文体常 用由介词和与该副词同根的词够成的介词短 语：
Stylistics 2 words
英语表示并列和从属关系的连接词种类和数 量比汉语多，使用频率比汉语高。汉译英时 常常要增补连接词。 ---他来，我走。 好好学习，天天向上。 车未停稳，不准上下。 喝水不忘掘井人。 无事不登三宝殿。 酒不醉人人自醉。
英语是语调语言，汉语是声调语言。 ---You may not go. / You may not go. All cats don’t like water. / All cats don’t like water. 我叫他去。/我叫他去。 我想起来了。/ 我想起来了。
新闻照片press photo新闻标题news headings/headlines 慢车local train 低价格商 品inexpensive goods 白酒spirits/liquor干货 dried food and nuts自行车出租bikes for hire 街道妇女common housewives/common neighborhood women国际大都市/ 旅游胜地a cosmopolitan city/resort national/state taxes, local taxes, customs duties, tariff rates, bonded warehouse area. Guangxi Zhuang Autonomous Region, Xixiangtang District, special economic zone, disaster area, exhibition area, press’s corner
Stylistics & Translation
II. Words
Just-for-fun examples:
Word choices and styles
Stylistics 1 文体学课件
English stylistics has developed on the basis of traditional rhetoric which may be traced back to Aristotle’s time. Nevertheless, it was the ‘three revolutions’ in social sciences (Lott, 1988) that brought it to the right track and brought about its present status.
Stylistics is an area of study which straddles two disciplines: literary criticism and linguistics. It takes literary discourse (text) as its object of study and uses linguistics as a means to that end.
One of the revolutions is the modernist movement in art and literature, lasting from 1890 to the beginning of World War II. To a great extent, the revolution was a break with tradition in the ways it influenced both the content and language of literature. From this movement onwards, creative writers exercise no restraints on the sort of language they use in their writings. In modernist literature, readers could find much to surprise them in respect of content as well as language.
[英语学习]文体学1
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• •
• Implication: (Assumptions) • A.Linguistics should be most helpful in analyzing and interpreting literary texts. • B) literature is a type of communicative discourse.
• The Purposes for study of stylistics • To appreciate the English literature works • To master some general knowledge about variations of English • To improve English level • To construct a critical view towards matter • To build a new way of thinking
ቤተ መጻሕፍቲ ባይዱ
• 1 Definition of Stylistics • Stylistics=style+ linguistics • STYLE: Chapter Two • Linguistics: the study of language in which theories on languages have been fully investigated • Take some language theories as example • Cooperative principles • Politeness principles • Ambiguity of languages
• Implication: stylistic features do not occur randomly in it but form patterns. And stylisticians can account for literary texts not just intrasententially but also intersententially, not only in terms of linguistic facts and theory but also in terms of sociolinguistic facts and theory.
Stylistics
Stylistics is a branch of linguistics which applies the theory and method ology of mod ern linguistics to the study of style.It studies the use of language in specific contexts and attempts to account for the characteristics that mark the language use of individuals and social groups. It is usually concerned with the examination of written language, particularly literary texts. The stylistic analysis of a text involves the d escription of a writer’s/speaker’s verbal choices which can be abstracted as style.Concepts of style:1.”styl e” may refer to some or all of the language habits of one person. 2.The word may refer to some or all of the language habits shared by a group of peopl e at one time,or over a period of time. 3.the word may be used in an evaluative sense, referring to the effectiveness of a mod e of expression. 4.Partly overlapping with the three senses just mentioned, the word may refer solely to literary language.The needs for stylistics:1.styl e is an integral part of meaning. 2.Stylistics may help us to acquire a “sense of styl e”. 3.Stylistics prepares the way to the intrinsic study of literature.The concept of text: A text is any passage, spoken or written, of whatever length, that forms a unified whole. A text is realized by a sequence of language units, whether they are sentences or not.The concept of context: “Context” has been und erstood in various ways. It may be linguistic or extra-linguistic. Linguistic context is alternatively termed as CO-TEXT, which refers to the linguistic units preceding and/or following a particular linguistic unit in a text. Extra-linguistic context refers to the relevant features of the situation in which a text has meaning. The term CONTEXT may includ e not only the co-text, but also the extra-linguistic context of a text.An elliptical sentence is contextually conditioned. The ellipsis is recoverable from the preceding linguistic context. The ellipsis avoids repetition so as to focus on the new information.Incomplete sentences: sentences in which for some reason the speaker never reaches the end of what he intends to communicate.Reiteration refers to the use of an alternative expression as a replacement for an expression in the preceding context.Collocation may refer to: A. the conventional restriction of the ways in which words are used together. B. a tend ency of co-occurrence. Sets of words tend to turn up together.Medium refers to graphic signs or speech sounds by meas of which a message is conveyed from one person to another.Attitud e is related to the Role Relationships in various situations. Role Relationships range from temporary to permanent. Some role relationships are easier to id entify by the language than others.Fiel d of discourse refers to the type of social activity in which language plays a part. One aspect of the field is the subject matter. The subject matter can be practically anything, ranging from technical to non-technical: the theory of relativity, physiology and medicine.Another important aspect of the field—the purpose which the language serves in a social activity.The administration=the government/ apartment=flat/attorney=solicitor or barrister/automobile=car/bar=pub/biscuit=scone/can=tin/cookie or cracker=biscuit/elevator=lift/engineer=engine driver/faculty=staff/fall=autumn/first floor=ground floor/gas or gasoline=petrol/mail=post/movie=firm/one way ticket=single(ticket)/overpass=flyover/round-trip ticket=return(ticket)/sneakers=plimsolls/store=shop/truck=lorry or van/yiel d=give awayslang: baby=girl or woman/bad=good or excellent/hip=sophisticated or uptodate/high=a non-intoxicated feeling of exhilaration/square=a conventional person/swell or super or some=good or excellent or outstanding or notable or distinguished/a couple of=a few/kind of or sort of=somewhat or rather/a lot or lots of=a great d eal or many/sure=surely or absolutely/awfully or so or plenty or real=very or extremely or exceedingly or acutelyeuphemisms: senior citizen for ol d man or woman/newly single for divorced/memorial park for graveyard/funeral director for und ertaker/sanitation collector for garbage collector/industrial action for strike/to eliminate for to kill or to murd er/domestic helper for servant/hair stylist for barber/airhostess for waitress aboard a plane/knowl edge-based nonpossessor for idiot/the South, or the developing countries for countries that have littl e industrialization and low standard of living/Two freedom fighters took the oppressor’s life away for The general was murdered by two terrorists头韵：Alliteration/腹韵：Assonance/辅韵：Consonance/倒韵：Reverse Rhyme/头尾韵：Pararhyme/韵:Rhyme。
语言学讲义 考研 9 Stylistics
• In addition, stylistics is a distinctive term that may be used to determine the connections between the form and effects within a particular variety of language.
5
• Other features of stylistics include the use of dialogue, including regional accents and people‘s dialects, descriptive language, the use of grammar, such as the active voice or passive voice, the distribution of sentence lengths, the use of particular language registers语域, etc.
4
• Stylistics also attempts to establish principles capable of explaining the particular choices made by individuals and social groups in their use of language, such as socialisation, the production and reception of meaning, critical discourse analysis and literary criticism.
However, in Linguistic Criticism, Roger Fowler makes the point that, in non-theoretical usage, the word stylistics makes sense and is useful in referring to an enormous range of literary contexts, such as John Milton‘s ‗grand style‘, the ‗prose style‘ of Henry James, the ‗epic‘ and ‗ballad style‘ of classical Greek literature, etc. (Fowler, 1996: 185).12题三：Chiming 谐音
Stylistics summary
Stylistics summarystylisticsThe scope of chapter 1What is stylistics? Stylistics is a subject that teaches us how touse language and how to apply different styles of language.Stylistics specifically refers to the stylistic feature, refer to apply to the concept of modern linguistics and its skills, learning a language style used in a discipline, including general stylistics and literary stylistics.What is language, different people's definition of language, the development of time, the definition of language is constantly changing and improving. Language is essentially a social activity.Philosophic view holds that language system is the function and activity of language in society.Words are compared to languages. The word code usually refers to a series of symbols, symbolizing the transmission of information. Thesmall amount of information is the process of translating a series of words into a voice and allowing the receiver to receive the information.The use of speech in speech. Language is constantly used in human social activities, and in the speech is determined by three bad circumstances: the normative, the size and the type of the activity.Language variations and functions: the use of language is influenced by the use of the occasion, and different languages must be used indifferent contexts. Different scenes, different people, different times, different places, different media, different social situations use different languages.Language in this ancient, script and spoken English, have a conceptof function and functional points (a service for expression of speaker, a service) for writing the real world.Style is the key to distinguishing between different language habits. Each person has their own language style. For example, "the salsa style." A style is a person's language habit and a group language.The study of style: the study of stylistics is called style, and the study of stylistics is very early in the west. And stylistics as an independent language specification we need to have a full understanding to him, stylistic study of learning style tend to be more standardized, theoretical, make a linguistic description of the more strict specification.The learning of stylistics is the essence of modern science. It hasto do with literature; She is the continuation and development of rhetoric; He approaches critical literature with a new image andprovides a point of support for it.The second chapter is necessary to study the stylisticsThe study of stylistics helps us to develop a correct sense oflanguage.Language is not a unifying phenomenon. He is a broad collection.Only in different situations can people communicate properly withdifferent correct languages. Therefore, it is necessary to cultivate a good sense of language that makes it easier for us to communicate.The study of stylistics makes it easier to understand and appreciate the work of literature.In critical literature, there are three stages: the descriptive stage, the interpretation stage and the evaluation stage. In literary creation, the author will continue to make the choice and judgment of language, including the choice of words and sentence structure. When we interrupt the regular use of a new language structure, we call it "variation." This is called "repetition" when we overuse a structure. This departure from the reader's mind is a psychological one.In addition to the prospect,Some authors also for some special effect, a large number of imitation, some of great lethality is because they are significant difference between the novel and drama opened the way you talk, use a lot of dialect makes the language more vivid, close to life.Study of stylistics helps us gains in terms of translation, the role of language in different function in a different language series, each kind of display is the same rule of language features, the translation is not enough to simply express the original meaning of a sentence. The translation must conformto the meaning of the language, which should be combined with the structure of the sentence and the analysis of the style, which makes the translation of the language more perfect. In translation, it isnecessary to put our energy in the same height, the same level, as the sentence.Chapter 3: variations of languageIncludes the dialect variant and the language domain variantDifferent characteristics of speech in different bad circumstances make the language different. The learning of language features has evolved, and modern linguistics has been divided into a series of divisions.Dialect variants are divided according to the user's differences; The language domain variant is determined by the use of bad situations.Dialects can be divided into individual dialects, time dialects, regional dialects, social dialects, and standard dialects. Social dialects can be subdivided into socioeconomic status variations, ethnic variations, gender variations, age variations.The language domain includes: the range of discourse, the way of discourse, the concept of the tone of the discourse.Most of our work has to do with our work, which is to use different languages for our different jobs. Discourse means the tools that language users use when communicating. The tone ofthe speech is about the relationship between the individual and the speaker/writer, listener/reader. A series of actions spoken by language speakers for speech purposes are called functional language.The presence of a variation in the language domain helps us get alot of information about a person, such as who we can judge from aperson's accent.The language domain and the dialect are interdependent. Language variants are of great social significanceThe purpose of language description in literature. In this relationship, it is to prove the theoretical analysis. At the level, language can be divided into: vocabulary, grammar, phonetics/handwriting.The grammar level can be divided into grammar and syntax; Grammar is the key of linguistics. In the study of lexical learning, the choice of special terms, the analysis of linguistic level.Stylistic feature mainly appear in semantics, grammar and vocabulary phonetics graphology, in the first level in stylistic feature, semantic features are: the segmental features (onomatopoeia, phonetic symbols, sound assimilation, alliteration/half harmonics), super sound characteristics (melody). A feature (rereading, rhythm, intonation,pitch/pitch/pitch/pitch/pitch/pitch/pitch/sound).The second level of stylistic features: grammatical featuresshould be considered in terms of words. The types of sentences are: statements, questions, imperative sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences,sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences, sentences Clause/sentence types are: independent, non-independent, non-finite, and sentence elements.Phrases (nouns, pronouns, numerals, non-qualifier and noun structure (noun pre/post phrases); Verb phrase (verb, prepositional verb), passive and abbreviative.The word types have (roots, prefixes, suffixes) the high frequency compound words, composite words, mixtures, temporary words, conversions and pun.The general tendency is to notice six "no matter" and connotation, denotation, jargon, new words, and slang. Notice the combination of words.Stylistics third level: the semantic unit, linguistic connection [word cohesion should pay attention to the turning point ofwords/phrases, grammar structure of ellipsis, substitution, refers to each other on the (refers to, refer to below), vocabulary reuse three aspects], segmentation, discourse/textual patterns, rhetoric (metaphor meaning [metaphor, metonymy], ridiculous words and deeds cheat)/rhetoric/escape situation, semantic role.Note the four steps, the actual description and the analysis of the linguistic description.Chapter v the comparison of formal language of formal languageThe interpersonal function of language, the function that surrounds language, the interpersonal function that speaks language. Further theformal degree of language, functional language and formal degree. There are five levels of classification: informal, formal, z...The formal and phonetic characteristics of the language: the formal and informal language of the language depends on our words, the relationship to phonology, syntax rules, semantics.To establish a similar characteristic, the formal and informal language of the language depends on the vocabulary, phonology morphology, syntactic semantics. The article finally explains the difference between the content of the intervention and the informal language.Chapter 6 comparisons of spoken and written languagesProminent differences: different listening/readers, different linguistic, and different preparation statesThe difference of stylistics: speaking and writing are different in grammar, and different in terms of vocabulary, but also inphonetics/handwriting. After telling the difference between the two, there are plenty of examples to compare thetwo.The more subtle difference between the way of discourse: the difference in lifestyle, the way in which it is written,It includes: style, tone, rangeChapter 7 English conversationThe text tells the necessity of learning how to speak, the necessity of learning the conversation.Learning content of the session: economy, politics, theinternational situation, culture, education, science, sports, entertainment, news, family, children, the friendship, the weather, andso on.Adapt to the way the session is copied. The text lists many examplesof informal conversationsGeneral characteristics of English conversation:In terms of language levels of stylistic feature: grammatical features, preference for short and loose sentence, often adapt toelliptical sentence and incomplete sentences, often adapt to questions, using a simple noun and verb phrase structure; Vocabularycharacteristics, like to use short words and inaccurate expression, high frequency of acronyms, idioms, and a lot of phrasal verbs, use exaggerated words and slang. In phonetic features, the frequent use of some basic metrical features, the rhythmic variation in the tones, andtheemergence of the sublinguistic effects of freedom; A series of viewson semantic characteristics,Rough synonyms, even using illogical languages.Summary: the conversation sometimes relies heavily on the bad background knowledge of the time.Other session types include: discussion, telephone conversation, etc.。
Stylistics-1-2
General Stylistics
Literary Stylistics
Literary Text Style
Variety Features
Genre Features
2. Object of stylistics: it studies the stylistic features of the main varieties of language, covering 1). functional varieties功能变体 from the dimension of fields of discourse (different social activities), 2). formal vs informal varieties from the dimension of tenors趋向 of discourse (different addresseraddressee relationships), 3). spoken vs written varieties from the dimension of modes of discourse (different mediums). 4). various genres体裁 of literature (fiction, drama, poetry) in its study.
Example
(From a novel)After a quarrel between the two lovers: With a flow of words, she started to argue with him, then she checked herself and said calmly, ―listen, John, I imagine you‘re tired of my company. There‘s no sense in having tea together. I think I‘d better leave you right here.‖ ―That‘s fine,‖ he said. ―Good afternoon.‖ ―Good-by‖
Chapter 9 Stylistics
• Style was first presumably involved in classical rhetoric (McArthur, 1992), the art of good speaking in the time of Aristotle. Style in classical rhetoric is mainly concerned with how the arguments in persuasion or public speaking can be dressed up into effective language.
• Widdowson (1975: 3): “the study of literary discourse from a linguistic orientation”.
• Baldick(1991) a branch of modern linguistics devoted to the detailed analysis of literary style, or of linguistic choices made by speakers and writers in non-literary contexts.
WHAT IS STYLISTICS
WHAT ISINTRODUCTIONSTYLISTICS?Some years ago, the well-known linguist Jean-Jacques Lecercle published a short butdamning critique of the aims, methods and rationale of contemporary stylistics. Hisattack on the discipline, and by implication the entire endeavour of the present book, wasuncompromising. According to Lecercle, nobody has ever really known what the term'stylistics' means, and in any case, hardly anyone seems to care (Lecercle 1993: 14).Stylistics is 'ailing'; it is 'on the wane'; and its heyday, alongside that of structuralism, hasfaded to but a distant memory. More alarming again, few university students are 'eager todeclare an intention to do research in stylistics'. By this account, the death knell ofstylistics had been sounded and it looked as though the end of the twentieth centurywould be accompanied by the inevitable passing of that faltering, moribund discipline.And no one, it seemed, would lament its demise.Modern stylisticsAs it happened, things didn't quite turn out in the way Lecercle envisaged. Stylistics inthe early twenty-first century is very much alive and well. It is taught and researched inuniversity departments of language, literature and linguistics the world over. The highacademic profile stylistics enjoys is mirrored in the number of its dedicated book-lengthpublications, research journals, international conferences and symposia, and scholarlyassociations. Far from moribund, modern stylistics is positively flourishing, witnessed ina proliferation of sub-disciplines where stylistic methods are enriched and enabled bytheories of discourse, culture and society. For example, feminist stylistics, cognitivestylistics and discourse stylistics,to name just three, are established branches ofcontemporary stylistics which have been sustained by insights from, respectively,feminist theory, cognitive psychology and discourse analysis. Stylistics has also becomea much valued method in language teaching and in language learning, and stylistics inthis 'pedagogical' guise, with its close attention to the broad resources of the system oflanguage, enjoys particular pride of place in the linguistic armoury of learners of secondlanguages. Moreover, stylistics often forms a core component of many creative writingcourses, an application not surprising given the discipline's emphasis on techniques ofcreativity and invention in language.So much then for the current 'health' of stylistics and the prominence it enjoys inmodern scholarship. It is now time to say a little more about what exactly stylistics is andwhat it is for. Stylistics is a method of textual interpretation in which primacy of place isassigned to language.The reason why language is so important to stylisticians is becausethe various forms, patterns and levels that constitute linguistic structure are an importantindex of the function of the text. The text's functional significance as discourse acts inturn as a gateway to its interpretation. While linguistic features do not of themselvesconstitute a text's 'meaning', an account of linguistic features nonetheless serves toground a stylistic interpretation and to help explain why, for the analyst, certain types ofmeaning are possible.The preferred object of study in stylistics is literature, whether thatbe institutionally sanctioned 'Literature' as high art or more popular 'noncanonical' formsof writing. The traditional connection between stylistics and literature brings with it twoimportant caveats, though.WHAT IS STYLISTICS? 3 The first is that creativity and innovation in language use should not be seen as the exclusive preserve of literary writing. Many forms of discourse (advertising, journalism, popular music - even casual conversation) often display a high degree of stylistic dexterity, such that it would be wrong to view dexterity in language use as exclusive to canonical literature. The second caveat is that the techniques of stylistic analysis are as much about deriving insights about linguistic structure and function as they are about understanding literary texts. Thus, the question 'What can stylistics tell us about literature?' is always paralleled by an equally important question 'What can stylistics tell us about language?'.In spite of its clearly defined remit, methods and object of study, there remain a number of myths about contemporary stylistics. Most of the time, confusion about the compass of stylistics is a result of confusion about the compass of language. For instance, there appears to be a belief in many literary critical circles that a stylistician is simply a dull old grammarian who spends rather too much time on such trivial pursuits as counting the nouns and verbs in literary texts. Once counted, those nouns and verbs form the basis of the stylistician's 'insight', although this stylistic insight ultimately proves no more far-reaching than an insight reached by simply intuiting from the text. This is an erroneous perception of the stylistic method and it is one which stems from a limited understanding of how language analysis works. True, nouns and verbs should not be overlooked, nor indeed should 'counting' when it takes the form of directed and focussed quantification. But the purview of modern language and linguistics is much broader than that and, in response, the methods of stylistics follow suit. It is the full gamut of the system of language that makes all aspects of a writer's craft relevant in stylistic analysis. Moreover, stylistics is interested in language as a function of texts in context, and it acknowledges that utterances (literary or otherwise) are produced in a time, a place, and in a cultural and cognitive context. These 'extra-linguistic' parameters are inextricably tied up with the way a text 'means'. The more complete and context-sensitive the description of language, then the fuller the stylistic analysis that accrues.The purpose of stylisticsWhy should we do stylistics? To do stylistics is to explore language, and, more specif-ically, to explore creativity in language use. Doing stylistics thereby enriches our ways of thinking about language and, as observed, exploring language offers a substantial purchase on our understanding of (literary) texts. With the full array of language models at our disposal, an inherently illuminating method of analytic inquiry presents itself. This method of inquiry has an important reflexive capacity insofar as it can shed light on the very language system it derives from; it tells us about the 'rules' of language because it often explores texts where those rules are bent, distended or stretched to breaking point. Interest in language is always at the fore in contemporary stylistic analysis which is why you should never undertake to do stylistics unless you are interested in language.Synthesising more formally some of the observations made above, it might be worth thinking of the practice of stylistics as conforming to the following three basic principles, cast mnemonically as three 'Rs'. The three Rs stipulate that:4INTRODUCTIONοstylistic analysis should be rigorousοstylistic analysis should be retrievableοstylistic analysis should be replicable.To argue that the stylistic method be rigorous means that it should be based on an explicit framework of analysis. Stylistic analysis is not the end-product of a disorganised sequence of ad hoc and impressionistic comments, but is instead underpinned by structured models of language and discourse that explain how we process and understand various patterns in language. To argue that stylistic method be retrievable means that the analysis is organised through explicit terms and criteria, the meanings of which are agreed upon by other students of stylistics. Although precise definitions for some aspects of language have proved difficult to pin down exactly, there is a consensus of agreement about what most terms in stylistics mean (see A2 below). That consensus enables other stylisticians to follow the pathway adopted in an analysis, to test the categories used and to see how the analysis reached its conclusion; to retrieve, in other words, the stylistic method.To say that a stylistic analysis seeks to be replicable does not mean that we should all try to copy each others' work. It simply means that the methods should be sufficiently transparent as to allow other stylisticians to verify them, either by testing them on the same text or by applying them beyond that text. The conclusions reached are principled if the pathway followed by the analysis is accessible and replicable. To this extent, it has become an important axiom of stylistics that it seeks to distance itself from work that proceeds solely from untested or un testable intuition.A seemingly innocuous piece of anecdotal evidence might help underscore this point.I once attended an academic conference where a well-known literary critic referred to the style of Irish writer George Moore as 'invertebrate'. Judging by the delegates' nods of approval around the conference hall, the critic's 'insight' had met with general endorsement. However, novel though this metaphorical interpretation of Moore's style may be, it offers the student of style no retrievable or shared point of reference in language, no metalanguage, with which to evaluate what the critic is trying to say. One can only speculate as to what aspect of Moore's style is at issue, because the stimulus for the observation is neither retrievable nor replicable. It is as if the act of criticism itself has become an exercise in style, vying with the stylistic creativity of the primary text discussed. Whatever its principal motivation, that critic's 'stylistic insight' is quite meaningless as a description of style.Unit A2, below, begins both to sketch some of the broad levels of linguistic organ-isation that inform stylistics and to arrange and sort the interlocking domains of language study that playa part in stylistic analysis. Along the thread, unit Bl explores further the history and development of stylistics, and examines some of the issues arising. What this opening unit has sought to demonstrate is that, over a decade after Lecercle's broadside, stylistics as an academic discipline continues to flourish. In that broadside, Lecercle also contends that the term stylistics has 'modestly retreated from the titles of books' (1993: 14). Lest they should feel afflicted by some temporary loss of their faculties, readers might just like to check the accuracy of this claim against the title on the cover of the present textbook!STYLISTICS AND LEVELS OF LANGUAGESTVLlSTICS AND LEVELS OF LANGUAGE5In view of the comments made in Al on the methodological significance of the three Rs, it is worth establishing here some of the more basic categories, levels and units of analysis in language that can help organise and shape a stylistic nguage in its broadest conceptualisation is not a disorganised mass of sounds and symbols, but is instead an intricate web of levels, layers and links. Thus, any utterance or piece of text is organised through several distinct levels of language.Levels of languageTo start us off, here is a list of the major levels of language and their related technical terms in language study, along with a brief description of what each level covers:level of languageThe sound of spoken language;the way words are pronounced.The patterns of written language;the shape of language on the page.The way words are constructed; words and their constituent structures.The way words combine with other words to form phrases and sentences.The words we use; the vocabularyof a language.The meaning of words and sentences. The way words and sentences are used in everyday situations; the meaning of language in context. Branch of language study phonology; phonetics graphologymorphologysyntax; grammarlexical analysis; lexicology semanticspragmatics; discourse analysisThese basic levels of language can be identified and teased out in the stylistic analysis of text, which in turn makes the analysis itself more organised and principled, more in keeping so to speak with the principle of the three Rs. However, what is absolutely central to our understanding of language (and style) is that these levels are inter-connected: they interpenetrate and depend upon one another, and they represent multiple and simultaneous linguistic operations in the planning and production of an utterance. Consider in this respect an unassuming (hypothetical) sentence like the following:(1) That puppy's knocking over those potplants!In spite of its seeming simplicity of structure, this thoroughly innocuous sentence requires for its production and delivery the assembly of a complex array of linguistic components. First, there is the palpable physical substance of the utterance which, when written, comprises graphetic substance or, when spoken, phonetic substance. This-6INTRODUCTION'raw' matter then becomes organised into linguistic structure proper, opening up the levelof graphology, which accommodates the systematic meanings encoded in the writtenmedium oflanguage, and phonology, which encompasses the meaning potential of thesounds of spoken language. In terms of graphology, this particular sentence is written inthe Roman alphabet, and in a 10 point emboldened 'palatino' font. However, as if to echoits counterpart in speech, the sentence-final exclamation mark suggests an emphatic styleof vocal delivery. In that spoken counterpart, systematic differences in sound sort out themeanings of the words used: thus, the word-initial Inl sound at the start of 'knocking' willserve to distinguish it from, say, words like 'rocking' or 'mocking'. To that extent, thephoneme Inl expresses a meaningful difference in sound. The word 'knocking' also raisesan issue in lexicology: notice for instance how contemporary English pronunciation nolonger accommodates the two word-initial graphemes <k> and <n>that appear in thespelling of this word. The <kn> sequence - originally spelt <en> - has become a singleInl pronunciation, along with equivalent occurrences in other Anglo-Saxon derived lexisin modern English like 'know' and 'knee'. The double consonant pronunciation ishowever still retained in the vocabulary of cognate languages like modern Dutch; as in'knie' (meaning 'knee') or 'knoop' (meaning 'knot').Apart from these fixed features of pronunciation, there is potential for significantvariation in much of the phonetic detail of the spoken version of example (1). Forinstance, many speakers of English will not sound in connected speech the 't's of both'That' and 'potplants', but will instead use 'glottal stops' in these positions. This is largelya consequence of the phonetic environment in which the 't' occurs: in both cases it isfollowed by a Ipl consonant and this has the effect of inducing a change, known as a'secondary articulation', in the way the 't' is sounded (Ball and Rahilly 1999: 130).Whereas this secondary articulation is not necessarily so conditioned, the social orregional origins of a speaker may affect other aspects of the spoken utterance. A majorregional difference in accent will be heard in the realisation of the historic <r> - a featureso named because it was once, as its retention in the modern spelling of a word like 'over'suggests, common to all accents of English. Whereas this /rl is still present in Irish and inmost American pronunciations, it has largely disappeared in Australian and in mostEnglish accents. Finally, the articulation of the 'ing' sequence at the end of the word'knocking' may also vary, with an 'in' sound indicating a perhaps lower status accent oran informal style of delivery.The sentence also contains words that are made up from smaller grammatical con-stituents known as morphemes. Certain of these morphemes, the 'root' morphemes, canstand as individual words in their own right, whereas others, such as prefixes andsuffixes, depend for their meaning on being conjoined or bound to other items. Thus,'potplants' has three constituents: two root morphemes ('pot' and 'plant') and a suffix (theplural morpheme's'), making the word a three morpheme cluster. Moving up frommorphology takes us into the domain of language organisation known as the grammar, ormore appropriately perhaps, given that both lexis and word-structure are normallyincluded in such a description, the lexico-grammar.Grammar is organised hierarchicallyaccording to the size of the units it contains, and most accounts of grammar wouldrecognise the sentence as the largest unit, with the clause, phrase,STYLISTICS AND LEVELS OF LANGUAGE 7 word and morpheme following as progressively smaller units (see further A3). Much could be said of the grammar of this sentence: it is a single 'clause' in the indicative declarative mood. It has a Subject ('That puppy'), a Predicator ("s knocking over') and a Complement ('those potplants'). Each of these clause constituents is realised by a phrase which itself has structure. For instance, the verb phrase which expresses the Predicator has a three part structure, containing a contracted auxiliary '[i]s', a main verb 'knocking' and a preposition 'over' which operates as a special kind of extension to the main verb. This extension makes the verb a phrasal verb, one test for which is being able to move the extension particle along the sentence to a position beyond the Complement ('That puppy's knocking those potplants over!').A semantic analysis is concerned with meaning and will be interested, amongst other things, in those elements of language which give the sentence a 'truth value'. A truth value specifies the conditions under which a particular sentence may be regarded as true or false. For instance, in this (admittedly hypothetical) sentence, the lexical item 'puppy' commits the speaker to the fact that a certain type of entity (namely, a young canine animal) is responsible for the action carried out. Other terms, such as the superordinate items 'dog' or even 'animal', would still be compatible in part with the truth conditions of the sentence. That is not to say that the use of a more generalised word like, say, 'animal' will have exactly the same repercussions for the utterance as discourse (see further below). In spite of its semantic compatibility, this less specific term would implicate in many contexts a rather negative evaluation by the speaker of the entity referred to. This type of implication is pragmatic rather than semantic because it is more about the meaning of language in context than about the meaning oflanguage per se. Returning to the semantic component of example (1), the demonstrative words 'That' and 'those' express physical orientation in language by pointing to where the speaker is situated relative to other entities specified in the sentence. This orientational function of language is known as deixis(see further A7). In this instance, the demonstratives suggest that the speaker is positioned some distance away from the referents 'puppy' and 'potplants'. The deictic relationship is therefore 'distal', whereas the parallel demonstratives 'This' and 'these' would imply a 'proximal' relationship to the referents.Above the core levels of language is situated discourse. This is a much more open-ended term used to encompass aspects of communication that lie beyond the organisation of sentences. Discourse is context-sensitive and its domain of reference includes pragmatic, ideological, social and cognitive elements in text processing. That means that an analysis of discourse explores meanings which are not retrievable solely through the linguistic analysis of the levels surveyed thus far. In fact, what a sentence 'means' in strictly semantic terms is not necessarily a guarantor of the kind of job it will do as an utterance in discourse. The raw semantic information transmitted by sentence (1), for instance, may only partially explain its discourse function in a specific context of use. To this effect, imagine that (1) is uttered by a speaker in the course of a two-party interaction in the living room of a dog-owning, potplantowning addressee. Without seeking to detail the rather complex inferencing strategies involved, the utterance in this context is unlikely to be interpreted as a disconnected remark about the unruly puppy's behaviour or as a remark which requires simply a-8INTRODUCTIONverbal acknowledgment. Rather, it will be understood as a call to action on the part of theaddressee. Indeed, it is perhaps the very obviousness in the context of what the puppy isdoing vis-it-vis the content of the utterance that would prompt the addressee to lookbeyond what the speaker 'literally' says. The speaker, who, remember, is positioneddeictically further away from the referents, may also feel that this discourse strategy isappropriate for a better-placed interlocutor to make the required timely intervention. Yetthe same discourse context can produce any of a number of other strategies. A lessforthright speaker might employ a more tentative gambit, through something like 'Sorry,but I think you might want to keep an eye on that puppy .. .'. Here, indirection serves apoliteness function, although indirection of itself is not always the best policy in urgentsituations where politeness considerations can be over-ridden (and see further thread 9).And no doubt even further configurations of participant roles might be drawn up toexplore what other discourse strategies can be pressed into service in this interactivecontext.SummaryThe previous sub-unit is no more than a thumbnail sketch, based on a single illustrativeexample, of the core levels of language organisation. The account of levels certainlyoffers a useful springboard for stylistic work, but observing these levels at work intextual examples is more the starting point than the end point of analysis. Later threads,such as 6 and 7, consider how patterns of vocabulary and grammar are sorted accordingto the various functions they serve, functions which sit at the interface betweenlexico-grammar and discourse. Other threads, such as 10 and 11, seek to take someaccount of the cognitive strategies that we draw upon to process texts; strategies thatreveal that the composition of a text's 'meaning' ultimately arises from the interplaybetween what's in the text, what's in the context and what's in the mind as well. Finally, itis fair to say that contemporary stylistics ultimately looks towards language as discourse:that is, towards a text's status as discourse, a writer's deployment of discourse strategiesand towards the way a text 'means' as a function of language in context. This is not for amoment to deny the importance of the core levels of language - the way a text isconstructed in language will, after all, have a crucial bearing on the way it functions asdiscourse.The interconnectedness of the levels and layers detailed above also means there is nonecessarily 'natural' starting point in a stylistic analysis, so we need to be circumspectabout those aspects of language upon which we choose to concentrate. Interactionbetween levels is important: one level may complement, parallel or even collide withanother level. To bring this unit to a close, let us consider a brief illustration of howstriking stylistic effects can be engendered by offsetting one level of language againstanother. The following fragment is the first three lines of an untitled poem by MargaretAtwood:You are the sunin reverse, allenergy flows intoyou ...(Atwood 1996: 47)GRAMMAR AND STYLE 9At first glance, this sequence bears the stylistic imprint of the lyric poem. This literary genre is characterised by short introspective texts where a single speaking voice expresses emotions or thoughts, and in its 'love poem' manifestation, the thoughts are often relayed through direct address in the second person to an assumed lover. Frequently, the lyric works through an essentially metaphorical construction whereby the assumed addressee is blended conceptually with an element of nature. Indeed, the lover, as suggested here, is often mapped onto the sun, which makes the sun the 'source domain' for the metaphor (see further thread 11). Shakespeare's sonnet 18, which opens with the sequence 'Shall I compare thee to a summer's day?', is a wellknown example of this type of lyrical form.Atwood however works through this generic convention to create a startling reorientation in interpretation. In doing so, she uses a very simple stylistic technique, a technique which essentially involves playing off the level of grammar against the level of graphology. Ending the first line where she does, she develops a linguistic trompe l'oeil whereby the seemingly complete grammatical structure 'You are the sun' disintegrates in the second line when we realise that the grammatical Complement (see A3) of the verb 'are' is not the phrase 'the sun' but the fuller, and rather more stark, phrase 'the sun in reverse'. As the remainder of this poem bears out, this is a bitter sentiment, a kind of 'anti-lyric', where the subject of the direct address does not embody the all-fulfilling radiance of the sun but is rather more like an energysapping sponge which drains, rather than enhances, the life-forces of nature. And while the initial, positive sense engendered in the first line is displaced by the grammatical 'revision' in the second, the ghost of it somehow remains. Indeed, this particular stylistic pattern works literally to establish, and then reverse, the harmonic coalescence of subject with nature.All of the levels of language detailed in this unit will feature in various places around this book. The remainder of this thread, across to a reading in D2 by Katie Wales, is concerned with the broad resources that different levels of language offer for the creation of stylistic texture. Unit B2 explores juxtapositions between levels similar in principle to that observed in Atwood and includes commentary on semantics, graphology and morphology. In terms of its vertical progression, this section feeds into further and more detailed introductions to certain core levels of language, beginning below with an introduction to the level of grammar.Stylistics, Paul Simpson, 2004。
2020年stylistics1definition&introduction文体学参照模板
II. Concepts of Stylistics
1. Stylistics is a discipline that studies the ways in which language is used; it is a discipline that studies the styles of language in use.
Stylistics is a branch of linguistics which studies style in a scientific and systematic way concerning the manners / linguistic features of different varieties of language at different levels.
3. The level of syntax / grammar
• Syntax refers to rules for ordering and connecitng words into sentences.
4. The level of semantics
Semantics studies the overall meaning of a text, the meaning derived from the way sentences / utterances are used and the way they are related to the context in which they are used / uttered and some rhetoric devices.
characteristics of language use
2. e.g. Hemingway’s style
谈论文学要知道哪些英语单词
谈论文学要知道哪些英语单词谈论文学要知道哪些英语单词文学是以语言文字为工具，形象化地反映客观现实、表现作家心灵世界的艺术，包括诗歌、散文、小说、剧本、寓言童话等，是文化的重要表现形式，以不同的形式即体裁，表现内心情感，再现一定时期和一定地域的社会生活。
文学就在我们生活里。
但你和外国人谈论文学时，一定要知道下面这些英语单词。
1).author n.作者，作家The author of this novel must be a detective这本小说的作者一定是一个侦探。
2).write v.书写，写作If you miss me, please write letters to me如果你念我，就请给我写信。
3).literature n.文学，文学作品As far as literature is concerned.I am very fond of classics就文学作品而言，我很喜欢古典作品。
4).work n.作品If my memory serves me right, the famous sonnet is Shakespeare's work如果我没记错的话，这首著名的十四行诗是莎士比亚的作品。
5).stylistics n.文体学，风格学Stylistics is a branch of linguistics文体学是语言学的一个分支。
6).poetry n.诗歌，诗集l often recite poetry as possible as I can in my spare time在我有空时，我经常尽可能的多背诗。
7).antithesis n. 对句，对偶The foreign friend is puzzled about the antithesis那个外国朋友看不懂对句。
8).verse n.诗，韵文From whom did you quote these verses?你从谁那里引用了这些诗句?9).ballad n.歌谣，民谣My mother likes ballads while I like pop music我妈妈喜欢民谣，但是我喜.欢流行音乐。
语体学(123)
Chapter1 Introduction1. What do we mean by stylistics?Stylistics is the study of that variation in language (style) which is dependent on the situation in which the language is used and also on the effect the writer or speaker wishes to create on the reader or learner. Stylistics is concerned with the choices that are available to a writer and the reasons why particular forms and expressions are used rather than others. In addition, we can separate “Stylistic” into two pieces: “style”, is a component relating stylistics to literary criticism: “istics”, is component relation stylistics to linguistic. Frankly speaking, stylistics has close relationship with linguistic, language, literary criticism and literature.2. What does style refer to in the study of stylistics?Style is the variation in a person’s speech or writing. Style usually varies from casual to formal according to the type of situation, the person or persons addressed the location, the topic discussed. Style has both general sense and specific sense. Its general sense is also called “the present day sense”, is the variety of language. Its specific sense is referred to the literary style.3. How did the study of stylistics come into being?Stylistics developed on the basis of traditional rhetoric. In ancient Greece, rhetoric came into being. Later on the skills for speech and writing were developed into the figures of speech. Examples werecollected from the different writers’ works. In the early 20th century, some linguists studied the different types of writings according to the linguistic theories. Thus, stylistics first appeared on horizon. It has 3 revolutions, first, modernist movement in art and literature, lasting from 1890 to the beginning of WWII. Second, literary criticism having profound and radical influence on stylistic. The last one initiated by the works of Noam Chomsky and Michal Halliady.4. What’s the importance of learning stylistics?Learning stylistics can help us to use the right English in a right situation; help us to learn about the linguistic feature of each style; help us to know more about different elements of a language; help us with literary criticism; help us to translate better.Chapter2 Stylistic Function of Phonology1.What is the phonetic function to stylistics?The stylistic function of phonetics lies in is assistance to us in our adjustment and employment of different phonetic means to exploit the musical aestheticism of language in order to improve linguistic artistic charm.2.What aspects of phonetics influence stylistics?Phonetics involves several elements: stress, length and intonation. In English, there are word stress and sentence stress, which are used to express a special connection. Stress can be used for emphasis or fordistinction of parts of speech and senses. The length of sound in the connected speech is relative. And the lengthening of a sound may have rhetoric effect. However, the pitch has a very specific feature in stylistics.(1) The semantic function of intonation. By the semantic function of intonation, we mean that intonation may differentiate the meaning of an utterance. (2) The attitude to other people. The tone we use can tell people about our feelings, circumstance or surroundings. (3) Grammatical function of intonation. Intonation is closely related to grammar or, we might say, a part of grammar in much the same way, as punctuation is in the written language. (4) The accentual function of intonation. The intonation helps to produce the effect of prominence on syllables that need to be perceived as stressed. (5) The discourse functions of intonation. One role of intonation is to help lubricate and regulate this interaction by signaling certain feature of discourse.3.How do you understand the humorous function of puns?Pun is the humorous use of a word that has two meanings or different words that sound the same. They tried to reach the humorous effect by using polysemy and homonymy. Such as, “DARWIN IS RIGHT-INSIDE”. Darwin can refer to the English naturalist or to the shop owner, while right can mean correct or directly. So when one pauses before the dash, the sign means Darwin (the naturalist) is correct; when you read the whole sign in a breath, it means the shopowner is directly inside. It indicates that pun play with the form and meaning of words and thus give us a way of thinking and imagining.4.How important is pause in speech? Give an example.Pause has both specific sense and general sense. The general sense is lengthening or shortening the voiced or unvoiced sound, while the specific sense is the interruption of flow of speech sound. Silent pause has both grammar function and stylistic feature. V oiced pause has only stylistic feature, but no grammatical function. For example, the boy repairs the bicycle in the house. If we pause before “in the house”, it means the location is in the house. If we pause after “repairs”, it denotes the bicycle’s location is in the house.Chapter3 Stylistic Feature of Lexicon1.What function does diction serve in stylistics?We are told by teachers to be cautious in using: non-standard, colloquial, literacy, formal, slang, archaism. We now advocate that the properties lie in the harmonies of speaker, subject, audience and purpose. Just as Jonathan Swift once said, people should use the right word in a right pace. So dictions of a style show the character of it and are closely related to each other.2.How does semantics influence style?Semantics is the study of word meaning. Considering how the meanings of words in a language relate to each other. It is the system ofmeanings into which words fit and by taking their place in the system, acquire their meanings. Here are some examples, pool, pond, lake, sea and ocean; village, town, city, and metropolis. These words referred to similar things, but different in styles. That is to say, they appear on different situations.3.What style of language does slang represent?Slang is ranked as non-standard English. However, it is very popular in English speaking countries, not only in daily life, but also in many popular literatures. The average American grasps about 2,000 words. Slang’s stylistic function is very important for it occupies for 10%.。
Stylistics
Procedure of stylistic analysis:
• The components and the procedure of stylistic analysis. A stylistic analysis involves description, interpretation and evaluation. When discussing components of literary criticism, Short has pointed out: "the three parts are logically ordered: Description ← Interpretation ← Evaluation"
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• a grief ago • The phrase violates two rules of English: a)
the indefinite article clashes syntactically with the uncountable noun grief, because it normally modifies a countable one; b) the postmodifying adverb ago clashes semantically with the head word grief, for it usually is able to modify a noun to do with time. But grief is a word which expresses emotion. The highly deviant nature of the phrase
process which includes silent pause --- silent breaks between words, and filled pause, e.g. um, er, ah Caesura )
Stylistics and Translation
In all these varieties, language performs various communicative roles, ie FUNCTIONS. For example, language is used to communicate ideas, to express attitudes, and so on. The roles that language plays are ever changing and the number of the roles can be numerous. There have been many attempts to categorize these roles into a few major functions.
1.4. Language Varieties and Function When language is used, it is always used in a context. What is said and how it is said is often subject to a variety of circumstances. In other words, speech events differ in different situations, for different purposes, through different media, and amidst different social environments. We often adjust our language according to the nature of the situation. Some situations seem to depend generally and fairly consistently on a regular set of linguistic features: as a result, there have appeared different types of a language which are called VARIETIES OF LANGUAGE. For example, there are different types of English. There is no such thing as a homogeneous English.
stylistics文体学英文定义
stylistics文体学英文定义Stylistics is a branch of linguistics that focuses on the study of style in language. It is concerned with the analysis and interpretation of the linguistic features that contribute to the distinctive character of a text or a speaker's language use. Stylistics examines how language is used in different contexts and for different purposes, and how these choices can convey meaning and create particular effects.The study of stylistics involves the examination of various linguistic elements, such as vocabulary, grammar, syntax, and rhetoric, and how they are used to create a particular style or tone. Stylistics also considers the role of context, including the social, cultural, and historical factors that influence language use.One of the key aspects of stylistics is the concept of foregrounding, which refers to the use of linguistic features that draw attention to themselves and create a sense of prominence or emphasis. This can be achieved through the use of unusual or unexpected language, such as metaphors, alliteration, or unusual sentence structures.Stylistics also considers the relationship between form and content, and how the way language is used can shape the meaning andimpact of a text. For example, the use of formal or informal language, the choice of vocabulary, and the structure of sentences can all contribute to the overall tone and effect of a piece of writing.Another important aspect of stylistics is the analysis of literary texts, where the focus is on the distinctive linguistic features that contribute to the style and meaning of a work of literature. This can include the examination of narrative techniques, such as point of view and characterization, as well as the use of figurative language, symbolism, and other literary devices.Stylistics can also be applied to other forms of communication, such as speech, advertising, and political discourse. In these contexts, the analysis of style can reveal insights into the speaker's or writer's intentions, the target audience, and the broader cultural and social context in which the language is being used.One of the key challenges in the study of stylistics is the need to balance the objective analysis of linguistic features with the subjective interpretation of their meaning and effect. Stylistic analysis often requires a deep understanding of language, as well as a keen eye for detail and a willingness to engage with the nuances and complexities of language use.Despite these challenges, the study of stylistics remains an importantand influential field within linguistics. By examining the ways in which language is used to create meaning and effect, stylistics can provide valuable insights into the nature of language and communication, and can contribute to a deeper understanding of the human experience.。
英语文体学教案
第一章1.1 Definition of StylisticsStylistics has long been considered as a highly significant but very discussible branch of learning. It is concerned with various disciplines such as linguistics, semantics, pragmatics and literature. The word stylistics( ‘styl’ component relates stylistic to literary criticism, and the ‘istics’ component to linguistics). So stylistics is the bridge of linguistics and literature. Stylistics is the study of literary discourse from a linguistic orientation.” (文体学是从语言学的角度研究文学语篇)Stylistics is an interdisciplined branch of learning which studies various differences between formal and informal, between deviant and normal, between magnificent and plain, between professional and popular, between foreign and domestic, between this and that individual.1.2 The Development of StylisticsThe date when stylistics became a field of academic inquiry is difficult to determine. However stylistics is often considered as both an old and a young branch of learning. It is old, because it orig inated from the ancient “rhetoric”. The famous ancient Greek philosophers Socrates, Plato and Aristotle all contributed a lot to this branch of learning. It is young ,because the word “stylistics” first appeared only in 1882, and the first book on stylistics was written by a French scholar Charles Bally in 1902 and was published in 1909: Traite de Stylistique Francaise. This book is often considered as a landmark of modern stylistics. Consequently, a number of more coherent and systematic works of both a theoretical and a practical nature were published in the field.The subject of study in Bally’s time was oral discourse. Bally considered that apart from the denotative meaning expressed by the speaker4, there was usually an “overtone” which indicated differ ent “feelings”, and the task of stylistics was to find out the linguistic devices indicating these feelings.Later , the German scholar L.Spitzer(1887-1960), began to analyze literary works from a stylistic point of view, and therefore, Spitzer if often co nsider4ed as the “father of literary stylistics”.From the beginning of the 1930s to the end of the 1950s stylistics was developing slowly and was only confined to the European continent. From the end of the 1950s to the present time, modern stylistics has reached its prosperity.1.3 Definitions of StyleSo style is an integral part of meaning. It gives us additional information about the speaker’s/writer’s regional and social origin, education, his relationship with the his/her reader, his feelings, emotions or attitudes. Without a sense of style we cannot arrive at a better understanding of an utterance1）.Written---spoken in terms of channel2）The Differences between Formal and Informal Language3）modern----archaic in terms of time4）normal----deviated in terms of degree of novelty5）. common---professional in terms of technique（专业）Homework:1.What’s stylistics?2.What does stylistics study?3.Say something about the development of stylistics.4.Give examples to explain “Proper words in proper places makes the true definition of a style.”5.What does style study?6.Give example to illustrate the differences between spoken-- written,formal–informal, modern–archaic, norm—deviated, common---professional.第二章1. Definition of meanings of meaningAccording to Leech (1974 English linguists), meanings of meaning can be broken into seven kinds:1).Denotative meaningIt refers to literal meaning, refers to diction meaning.(super meaning) 词的概念意义。
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西方古代的文体学研究
古希腊时期
智者派(The Sophists, 500 - 300 B.C.) Oratory–Persuasion in public - Verbal Artistry– Embellishment
–Probability - Neutrality in Truth and Virtue – Logos and Pathos 柏拉图(Plato,427-347 B.C.)
Criticism of style over substance – Emphasis on ethical
application in training of rhetoric (or style)
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西塞罗和昆提良的文体层次说
High or grand style：calling for strong emotions and elevated
However, in Linguistic Criticism, Roger Fowler makes the point that, in non-theoretical usage, the word stylistics makes sense and is useful in referring to an enormous range of literary contexts, such as John Milton‟s „grand style‟, the „prose style‟ of Henry James, the „epic‟ and „ballad style‟ of classical Greek literature, etc. (Fowler, 1996: 185).
16th-century: Revival and Rebirth of Classical Rhe6-1536): Preference to elocution, and tropes and schemes, Latin Vives (1492-1540): Preference to letter writing, Latin
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Lead-in Questions
What do you know about the stylistic studies in China? How does linguistic theories affect the studies on stylistics?
What do you know about the different schools of thoughts in stylistics?
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In addition, stylistics is a distinctive term that may be used to determine the connections between the form and effects within a particular variety of language.
language, to move, or to sway an audience to resolution and decision Middle style：calling for sweetness, smoothness and flowingness, to please, or to win an audience by charming conciliation Low or plain style： calling for quiet simplicity and unadorned language, to teach, or to convince an audience by argument
St. Augustine (354-430): the rhetoric of the sermon 智者派占上风，强调雄辩技巧的重要性。
修辞文体研究的三个流派：
传统派：Five Canons 拉莫斯派：Elocution/style + delivery
修辞手段派：tropes
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3
Stylistics is the study of varieties of language whose properties position that language in context. For example, the language of advertising, politics, religion, individual authors, etc., or the language of a period in time, all belong in a particular situation. In other words, they all have „place‟.
2
Stylistics “studies the features of situationally distinctive uses (varieties) of language, and tries to establish principles capable of accounting for the particular choices made by individual and social groups in their use of language.” (Crystal 1980)
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Many linguists do not like the term „stylistics‟. The word „style‟, itself, has several connotations that make it difficult for the term to be defined accurately.
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Literary Stylistics: Crystal (1987) observes that, in practice, most stylistic analysis has attempted to deal with the complex and „valued‟ language within literature, i.e. „literary stylistics‟.
Therefore, stylistics looks at what is „going on‟ within the language; what the linguistic associations are that the style of language reveals.
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Review
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Stylistics also attempts to establish principles capable of explaining the particular choices made by individuals and social groups in their use of language, such as socialisation, the production and reception of meaning, critical discourse analysis and literary criticism.
Forensic: Judicial, to decide the truth/falsity of past events Deliberative: Political, to decide necessity of future actions Epideictic: Ceremonial, to praise or blame present values
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古罗马时期
西塞罗(Cicero, 106-43 B.C.)
五艺说（Five Canons): Invention, Disposition or arrangement,
Elocution or Style, Memory, Delivery
昆提良（Quintilian, 35-100 A.D.）
The scope is sometimes narrowed to concentrate on the more striking features of literary language, for instance, its „deviant‟ and abnormal features, rather than the broader structures that are found in whole texts or discourses. For example, the compact language of poetry is more likely to reveal the secrets of its construction to the stylistician than is the language of plays and novels.
Socrates'(469-399 B.C.) accusation and death of sophistry– True/False Rhetoric – Virtues - Ethos -
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亚里士多德（Aristotle,384-322 B.C.）
Three Offices: Invention, Arrangement, Style Three types of rhetorical proof: Logos, Pathos, Ethos Three types/genres of civic rhetoric: