The development of Stylistics
语言类型Patterns in Language
Broadly speaking, we can say that from the perspective of the content, the events and activities described, style is saying different things in different ways; From the perspective of the ways of expression used, style is saying the same thing in different ways; From the perspective of the users of language, style is different speakers using language in different ways; From the perspective of the function of the text, style is the functions of texts for different purposes.
ቤተ መጻሕፍቲ ባይዱ
1.2 Definition of Style
1.2.1 style as saying different things in different contexts Different events, activities, topics and subject matters should be described by different types of language, and so it will result in different styles. For example: On fours, fall in!Attention! Eyes right! Ready front! Shoulder arms! Forward march! In such a situation, the language is directly associated with the actions of the soldiers. In this sense, the commands given should be as short as possible. As a result, the sentences are all elliptical or absolute constructions, including nouns, noun groups, verbal phrases, prepositional phrases and elliptical sentences.
文体学简介 Chapter 1
Main contents in stylistics
Part One: Theoretical Preliminaries and Major Varieties of Eng lish Chapter 1 Style and Stylistics 1.1 Introduction 1.2 Definitions of Style 1.3 Definitions of Stylistics 1.4 The Development of Stylistics 1.5 The Scope of Study Chapter 2 Procedure of Stylistic Analysis 2.1 Linguistic Description 2.2 A Checklist of Linguistic Description 2.3 Textual Analysis 2.4 Contextual Factors Analysis Chapter 3 Stylistic Functions of Linguistic Items 3.1 Stylistic Functions of Speech Sounds 3.2 Stylistic Functions of Graphological Items 3.3 Stylistic Functions of Lexical Items 3.4 Stylistic Functions of Syntactic/Grammatical Items
General description
1. Less difficult 2. More interesting 3. More practical
Course related Questions
Who
– Who is the founder of stylistics?
1 The Content of Stylistics
1.4 Language Varieties and Function
c.
Textual function is to create written or spoken TEXTs which cohere within themselves and which fit the particular situation in which they are used.
引言:文体学的发展史
50年代末以前
文体学的发展势头较为弱小,而且 主要是欧洲大陆展开(在英美盛行为新 批评)。俄国的形式主义布拉格学派和 法国的结构主义等均对文体学的发展作 出重要贡献。
引言:文体学的发展史
60-70年代:现代文体学的兴盛时期
在60和70年代,西方科学主要思潮 盛行,语言学和结构主义蓬勃发展,带 动了文体学的发展。现代文体学的兴盛, 表现在流派纷呈,如:“形式文体学”、 “功能文体学”、“话语文体学”、 “社会历史、文化文体学”、“文学文 体学”、“语言学文体学”。
1.4 Language Varieties and Function
Jacobson:
referential, emotive, poetic, conative, phatic, metalingual Informative, performative, interpersonal, emotive, phatic, recreational, metalingual
1.4 Language Varieties and Function
Language variety: different types of a language In all the varieties, language performs various communicative roles, i.e. functions. M A K Halliday: three metafunctions of language: ideational function interpersonal function textual function
时尚单品演变过程英语作文
时尚单品演变过程英语作文The evolution of fashion items has been a fascinating journey, reflecting the ever-changing tastes and trends of society. From the timeless elegance of thelittle black dress to the iconic status of the denim jean, fashion items have undergone significant transformations over the years. In this essay, we will explore the evolution of several key fashion items, tracing their origins and examining how they have evolved to become the wardrobe staples they are today.Let's start with the little black dress, a classic piece that has stood the test of time. Originally popularized by Coco Chanel in the 1920s, the little black dress was a revolutionary departure from the ornate and restrictive fashions of the time. Its simple, elegant design made it a versatile and timeless piece that could be dressed up or down for any occasion. Over the years, the little black dress has been reinterpreted by countless designers, each putting their own unique spin on this iconic garment. From Audrey Hepburn's iconic Givenchy dress in'Breakfast at Tiffany's' to modern iterations by designers like Victoria Beckham and Stella McCartney, the little black dress remains a symbol of effortless chic.Another fashion item that has undergone a remarkable evolution is the denim jean. Originally designed as durable workwear for miners and cowboys in the American West, denim jeans have evolved into a global fashion phenomenon. In the 1950s, Hollywood stars like James Dean and Marlon Brando popularized denim jeans as a symbol of rebellion and youthful cool. In the decades that followed, denim jeans became a symbol of casual, everyday style, with countless variations in washes, cuts, and embellishments. From the bell-bottoms of the 1970s to the skinny jeans of the 2000s, denim jeans have continuously adapted to reflect theprevailing trends of each era.Moving on to footwear, the evolution of the high heel is a particularly intriguing story. Originally worn by men in the 10th century to improve stability while riding horses, high heels eventually became associated with femininity and glamour. In the 17th century, King Louis XIV of France popularized high heels as asymbol of status and power, a trend that quickly spread throughout Europe. Over time, high heels have been reimagined in countless styles, from the stiletto tothe platform heel. While they have been the subject of much debate regarding their impact on foot health, high heels continue to be a staple of women's fashion, evolving to reflect changing tastes and attitudes towards femininity and empowerment.In the realm of accessories, the evolution of the handbag is a testament tothe enduring appeal of functional yet stylish items. From the reticule bags of the 18th century to the iconic designs of luxury fashion houses like Chanel and Hermès, handbags have evolved to become both practical and status-defining accessories. The modern handbag industry is a multi-billion dollar market, with a dizzyingarray of styles, sizes, and materials to suit every taste and occasion. From the practical crossbody bag to the statement-making clutch, handbags have evolved to become a reflection of personal style and status.In recent years, the evolution of fashion items has been shaped by a growing awareness of sustainability and ethical production. Consumers are increasingly seeking out items that are not only stylish, but also environmentally friendly and socially responsible. This shift in consumer attitudes has led to the rise of sustainable fashion brands and the popularity of vintage and second-hand shopping. As a result, fashion items are now being reimagined with a focus on longevity and ethical production, reflecting a broader shift towards mindful consumption and a more holistic approach to style.In conclusion, the evolution of fashion items is a rich tapestry of history, culture, and creativity. From the little black dress to denim jeans, high heels, and handbags, these items have continuously adapted to reflect the changing tastes and attitudes of society. As we look to the future, it is clear that fashion items will continue to evolve, driven by a desire for innovation, sustainability, andself-expression. The story of fashion items is a testament to the enduring powerof style and the ever-changing nature of fashion.。
韩礼德的系统功能语法
Systemic-Functional Grammar
3.1 Systemic Grammar
The central ponent of a systemic grammar is a chart of the full set of choices available in constructing a sentence, with a specification of the relationships between choices.
On a very general level, there is the Axis of Choice and the Axis of Chain:
Axis of Choice
Axis of Chain
Explanations:
(1) The axis of chain deals with the surface aspects of grammar, such as sentence structures, linguistic units, and their ranks (sentence, clause, group, word, and morpheme).
His Systemic-Functional Grammar has had great effect on various disciplines related to language, such as language teaching, sociolinguistics, discourse analysis, stylistics, and machine translation.
Language is inseparable from social activities of man. Thus, it takes actual uses of language as the object of study, in opposition to Chomsky’s TG Grammar which takes the ideal speaker’s linguistic petence as the object of study.
文体学
• 定义3: David Crystal • Investigating English Style • There are four commonly occurring senses of the term STYLE: • 1)some or all the language habits(i.e. speech and writing habits) of one person: Shakespeare, James Joyce, Hemingway.
• Familiarize yourself with different figures of speech, such as • oxymoron, paradox, synecdoche, metonymy, metaphor, irony, ambiguity, over/understatement, alliteration, rhyme, assonace, consonace, onomatopoeia, repetition, parallelism etc.
• • • • • • • •
Part Four: Some Practical Varieties 1. Coversation 2. Public speaking 3. English for Science and Technology 4. Journalese 5. Advertising 6. Literary English 7. Legal documents
• • • • •
Part Three: Situational Varieties 1 Varieties in relation to regions 2 Varieties in relation to media 3 Varieties in relation to attitude 4 Varieties in relation to social factors
王佐良英语文体学引论
3. A characteristic of “good” or “beautiful” literary writings. e.g. ornate style terse style plain style
Definition of style
Manner indicating prominent linguistic features, devices or patterns, most (or least) frequently occur in a particular text of a particular variety of language.
IV. A brief introduction to the development of stylistics
Rhetoric (Aristotle) Beginning (Charles Bally) Development (L. Spitzer) Flourish (Investigating English Style)
2. Some or all of the language habits shared by a group of people at one time,or over a period of time. e.g. Elizabethan style the style of legal document the style of news reporting
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.
英语文体学
Chapter OneStyle and Stylistics1.1 Introductione.g.(1)“Take an egg, and make a perforation in the base and a corresponding one in the apex. And then, apply the lips to the aperture, and by forcibly inhaling the breath, the shell is entirely discharged of its contents.”“It fair beats all how folks do things nowadays. When I was a gal, they made a hole in each end and sucked.”e.g.(2)(1) My beloved parent has joined the heavenly choir.(2) My dear father has passed away.(3) My father has died.(4) My old man has kicked the bucket.分析:(1) My beloved parent has joined the heavenly choir.(This sentence is very pompous and sententious, elevating the event of John Smith‟s death to a divine status, probably said with respect in a poem or a formal ceremony, addressing an audience of high social status or nobility.)(2) My dear father has passed away.(This sentence is still a bit formal, with sincere loving sentiment, expressing a kind of deep emotion fro his father’s death, addressing people of or above middle class status in a relatively formal occasion.)(3) My father has died.(This sentence is a everyday kind of expression with no emotions revealed, said in an informal occasion, addressing his peers or friends. )(4) My old man has kicked the bucket.(This sentence is slangy, said in a very informal occasion showing disrespect for his father.)e.g.(3)(1) Expectoration is forbidden.(2) Please do not spit.(3) No spitting.(The three sentences state the same fact that : spitting is not allowed, but, they are of different styles.)e.g.(4) (参见教材P.4)(1) When his dad died, Peter had to get another job.(2) After his father‟s death, Peter had to change his job.(3) On the decease of his father, Mr. Brown was obliged to seek alternative employment.I.2 Definitions of StyleSome general senses of the word “style”:(1) A person‟s distinctive language habits, or the set of individual characteristics of language use.e.g. Shakespeare‟s styleHemingway‟s styleHe nry James‟s styleMark Twain‟s style(2) Style may refer to a set of collective characteristics of language use, i.e. language habits shared by a group of people at a given time. Here the concentration is not on the individual of the speaker or writer, but on their similarities in a given situation.e.g. Elizabethan stylethe style of public speakingthe style of news reporting(3) Style mar refer to a characteristic of “good” or “beautiful” literary writings.e.g. ornate style , grand styleterse style , lucid styleplain style(4) Style may refer to the effectiveness of a mode of expression, which is implied in the definition of style as …saying the right thing in the most effective way‟ or …good manners‟, as a …clear‟ or …refined‟ style advocated in most books of composition.Many different views of style from different scholars:Le style, c‟est I‟ homme meme. (Style is the man. )(Buffon)Style as form. (Aristotle)(form and content )Style as eloquence.(Cicero)(skill to use language persuasively)(the relation with rhetoric)Style as personal idiosyncrasy.(Murry)Saying the right thing in the most effective way.(Enkvist)Style is a set of individual characteristics. It is the man himself. (Enkvist)Style as equivalence. (Roman Jacobson)(between form and function)Style as the choice between alternative expressions. (Enkvist)Style as deviation.(Mukarovsky & Spitzer)Style as foregrounding. (Leech Mukarovsky)Style as prominence.(Halliday)Style is meaning potential. (Michael Halliday)Style as the selections features partly determined by the demands of genre, form, themes, etc. (Traugott & Pratt)Style as linguistic features that communicate emotions and thought.(Enkvist)(参见教材:P5-7)Longman Dictionary of Applied Linguistics defines style as:“the manner of expression in writing or speaking which changes at all times according to the actual situational elements, e.g., the participants, time, topic, etc. of the communicative event, from very formal to very informal.”(见教材P.5)The Definition of style used in the textbook:Manner indicating prominent linguistic features, devices or patterns, most (or least) frequently occur in a particular text of a particular variety of language. (见教材P.7)分析:e.g. (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-bye.”总结:So broadly speaking, we can say that, from the perspective of the content, the events and activities described, style is saying different things in different ways; from the perspective of the ways of expression used, style is saying the same thing in different ways; from the perspective of the users of language, style is different speakers using language in different ways; and from the perspective of the function of the text, style is the functions of texts for different purposes.1.3 Definitions of Stylistics(1) Stylistics is a branch of linguistics which applies the theory and methodology of modern linguistics to the study of style.(2) Stylistics is the study of varieties of language whose properties position that language incontext. 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‟.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.(3) Stylistics is a discipline that studies the ways in which language is used; it is a discipline thatstudies the styles of language in use.(4) Stylistics is a linguistic approach to literature, explaining the relation between language andartistic function, with motivating questions such as “why” and “how” more than “what”.---- G. N. Leech: Style in Fiction: A Linguistic Guide to English Poetry (5) Stylistics is a branch of linguistics which studies the principles of choice and the effect of choice of different language elements in rendering thought and emotion under different conditions of communication. (I. R. Galperin)(6) Stylistics is a branch of linguistics which studies style in a scientific and systematic wayconcerning the manners / linguistic features of different varieties of language at different levels.(见教材P8)(7) Linguistics is the academic discipline that studies language scientifically, and stylistics, as a part of this discipline, studies certain aspects of language variation.---- D. Crystal: Investigating English Style(8) 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)分析:e.g. Housewife to milkman:Which sentence is appropriate?a. Can you leave one bottle and four yoghurts tomorrow please?b. Leave one bottle and four yoghurts tomorrow and don‟t forget.c. It would be greatly appreciated if you kindly leave one bottle and four yoghurts tomorrow.d. Would you leave one bottle and four yoghurts tomorrow, just for me.1.4 The Development of StylisticsLead-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?In the West:Modern stylistics got its development in the 19th and 20th centuries from rhetoric and from interpretation of literature.Rhetoric (Aristotle)Beginning (Charles Bally)Development (L. Spitzer)Flourish (Investigating English Style)总的来看,现代文体学是现代语言学理论与现代文学批评理论的基础之上发展起来的一种研究形态,并且处于进一步的发展之中。
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。
从文体学和叙述学的视点看《围城》中自由间接引语的翻译
苏州大学硕士学位论文从文体学和叙述学的视点看《围城》中自由间接引语的翻译姓名:***申请学位级别:硕士专业:外国语言学及应用语言学指导教师:***201105摘要叙述学和文体学在当代叙事小说中占有非常重要的位置。
两个学科都具有旺盛的生命力,且都属于跨学科研究,二者通过利用语言学的模式来研究文学。
由于二者重视文本并将文学作品视为自成一体的艺术品,所以归为形式批评主义下的两个分支。
随着20世纪形式主义的兴起,叙述视点成为学者激烈探讨的话题。
其作为叙述技巧,对文本描写叙述起着非常重要的作用。
本文采用视点理论来研究文体学和叙述学框架下的自由间接引语翻译。
虽然文体学和叙述学在研究主题、研究方向和研究目的侧重不同,但在视点理论上二者有重合之处,皆可应用于小说叙事分析。
叙述学通过结构主义和形式主义分析,着重研究叙述形式及其对特定语境的影响。
通过分析,叙述学家可以了解到原文是否很好地再现与译文中,译文的叙事效果是否与原文一致。
在叙事小说及叙事小说翻译研究中,叙述学能够帮助研究者考察源语文本中的叙事形式能否在译语文本中得到准确的重现。
文体学家侧重研究语言表达方式对文学效果的影响。
在文学翻译研究中,文学文体学可以通过阐述文学文体学的本质、功能和有效性,来探讨表达人物语言和思想的词句的作用及其对文本自身的影响。
本文通过对文体学和叙述学理论的整合,对小说《围城》中的自由间接引语的翻译进行研究,同时探讨了译文中译者的痕迹对译文的影响,为自由间接引语的汉英翻译提供了参考。
文章立足于文体和叙述两大领域,结合翻译研究中的视点理论,对比分析了自由间接引用原文和译文,探索了引起译文变化的原因。
关键词:视点;自由间接引语;文体学;叙述学ABSTRACTNarratologyandstylisticsoccupyveryimportantpositionsincontemporarycriticaltheoriesofnarrativefiction.Beinginterdisciplinarysubjectswithgreatvitality,bothnarratologyandstylisticsemploylinguisticmodelstostudyliterature.Theypayattentiontotextsandregardliteraryworksasself-containedartisticworks.thusbelongingtothetwomembersinthefamilyofformalcriticism.Narrativepointofview,followingtheriseofformalismin20mcentury,becamealivetopic.Asanarrativetechnique,itplayedanimportantroleinnarration.Thepresentthesisadoptsthetheoryofpointsofviewtostudyfreeindirectspeechtranslationintheframeworkofstylisticsandnarratology.Althoughstylisticsandnarratologyaredifferentinsubjects,orientationsandpurposes,theygetsomehowoverlappedintheareaofthepointofview.BothCanbeappliedtofictionanalysis.Narratologyfocusesonrelationbetweennarrativeformandnarrativeeffectinaparticularcontextwithstructuralismandformalismanalysis.Inthisway,researchersknowwhethersourcetextiswellreproducedintargettextandwhetherthenarrativeeffectisideal.NarratologyCanhelpresearcherstoexaminewhetherthenarrativeformsofthesourcetextarewellproducedinthetargettext.Stylisticscentersonhowliteraryeffectsareachievedbymeansofdiscourseform.Byexplicatingnature,functionandvalidityofliterarystylisticsasadiscipline,literarystylisticsCanbeusedinliterarytranslationstudiesfromtheaspectsoflexicalexpressionandsyntaxforspeechandthoughtpresentation.Combiningtheoriesandmethodologiesofthetwodisciplines,thisthesismakesanattempttostudyfreeindirectspeechtranslationinnovelFortressBesiegedandthechangeofthetextfeelresultedfromthetranslators’presence,whichprovidesreferenceforthetranslationofChinesefreeindirectspeechintoEnglish.Thisthesisplacesitselfinthetwofields,bringingtogetherananalysisofpointofviewwithinatranslationstudyononehandandfocusingontheelaborationofacomparativemethodtoanalyzetheoriginaltextanditstranslationontheother.Keywords:pointofview;freeindirectspeech;stylistics;narratologyACKNOWLEDGEMENTS1wouldliketothankmytutorandfriendsfortheinvaluablesupporttheyhavegivenmeinwritingthisthesis.Myacademicadvisor,ProfessorWangHonghasexchangedwithmeideasontheissuesinvolvedbeforeIstartedtowrite,andhasprovidednumerousimprovementsinthecontentthroughreadingthemanuscriptversions.Hispatientinstruction,continuousinspirationandincisivecommentshelpedmealot.ButwhatIlearnedfromhimiSunlimitedintheacademicfield.Then,1wouldliketoexpressmydeepthankstoProfessorWangRongpei,ProfessorFangHuawen,ProfessorDuZhengming,andProfessorHongQingfu.Ithankthemalotforteachingmetheimportantprinciplesandmethodsabouttranslationstudies.Lastbutnottheleast,1wanttosaythankstotheauthorsfromwhoseworksIhavebenefitedquitealotandlearnedquitealotinmythesiswriting.L.X.ListofTablesTable2.1ClassificationofPointofView……………………………………………………………·15Table3.1ClassificationofFreeIndirectDiscourse………………………………………………·21ChapterOneIntrOduCtionThischapteristogivefundamentalsofthethesiswithpurposesofintroducingrationaleandsignificanceofthethesis,thespecificresearchquestionsandtheorganizationofthethesis.1.1RationaleandSignificanceoftheThesisAlthoughthenarratologyandstylisticsinfictionhavebecomeawidelydiscussedtopicinrecentyears,theirsubordinate,theissueofpointofview,hasremainedrelativelyunexplored.Butsimilarstudiescomingclosesttoallinvestigationofpointofviewinoriginalsandtheirtranslationsarethose,forinstance,byBrianMossop(1983),whichthroughpointofviewinvestigatestherelationshipbetweentranslationandreportedspeech.Mossopconsidersthattranslationisreporteddiscourseinwhichthetargettext(TT)isthereportingdiscourseandthesourcetext(ST)thereporteddiscourse.Thisparticulartypeoftranslatorvisibilityhasreceivedmoreattentionsince1996,whenTheoHermans(1996)usedtheconceptofthetranslator’Svoiceinanattempttopinpointthe‘other’voiceintranslation.Corpus·basedtranslationstudieshavealsofocusedonrecurrentfeaturesoftranslatedlanguage,andcorpustechniquesandtoolsarebeingemployedincreasinglytoidentifythetranslator’S“style”intheirtranslations(Baker2000).Allthesearerelatedtopointofviewintheirdiscussions.Thethesisseekstoexplorefurtherthenatureofthetranslator’Sdiscursivebetweenpresencebyinvestigatingcertainnarratologicalaspectsoftherelationoriginalsandtranslations.Alsothatiswherenarrativepointofviewfunctions.Thestudyofpointofview,i.e.fromwhatpositionaspeaker/writeradoptsinasuccessivestory·tellinghaslongbeenthesubjectofconcemofnan'atologists.Italsoattentionofstylisticianswhoarguethatlinguisticfeaturescontributetothegetsdiscussionofpointofview.In20t}lcenturypointofviewisthecoreconceptintherealmoffictioncriticismanditrelatestoatext’Sentirecomprehending.Nevertheless,thetwoschoolsofscholarslayemphasisdifferently.Theformerhavetreatedpointofviewasatechniquesincetheendofnineteenthcentury.Andtheproblemofpointofviewattractednovelists’emergentandpracticalconcem.Inthelatter,analysisofthesiscombinesthebothstudieslinguisticfeaturesbecomesthepriority.Thecurrentwithpointofview,consideringfindingabalancebetweenthefieldsofnarratologyandandtranslations.Inotherwords,thisstylisticsSOastogetattributesofbothoriginalsthesistriestoshowtheproperunderstandingofpointofviewasatechniquecanhelpbettercomprehendbothauthor’Sandtranslator’Sstancetotheirnarrator,totheircharacterandtotheirreader.Andconsequently,thelinguisticfeaturesthatembodytheirpossiblestylisticvalues,liketoneandattitude,arealsoconducivetounderstandingtheappropriateuseofpointofview.1.2SpecificResearchQuestionInanovel,characters’speech,tosomeextent,decidesthework’Ssuccessandvalue.Astodepictvividandattractiveimages,anauthortriestomakespeechesappropriatetotheircharacters’personalities.Forreaders,theytrytogetknowledgeofcharactersfromtheirspeechesandthoughttogainapictureofcharacters’sociallife.Thusthekeytaskfortheauthoristocreateimpressiveimages.Toportraythecharacters’images,theauthorusuallypresentscharacters’speechtoreflecttheirsocialstatus,identity,education,personality,qualityandtheparticularsituation,environment,eventheculture,thustheirspeechshouldersallthosefactors.Inthisway,thereadersfullyunderstandcharacters’imagebeforetheycomprehendthenovelcompletely.Itshouldbenotedthatspeechesinnovelsarehighlypersonalized,butnotlikepeople’Scommontalk.Ascharacters’speechesarenecessarypartsfortheCreationofafiction,tosomeextent,itcontrolscharacters’personalities,effectofthestoryanddevelopmentspeedofthewholeplot.Forvariousaims,theauthorchoosesdifferentcardersofcharacters’andcontentspeechandthought,i.e.,differentwaysofspeeches.Henceboththeformofspeechneedseriousselectioninordertocoordinatewiththeentirestory.Iffiction2translationnotonlyrequirescommunicationofmeaning,butalsotruevalueoftheoriginaltext,translatorswouldneverneglectforms-ofspeeches.Theprocessmayhavedirecteffectonreader’Sfeeling.Whentranslatedtextsarecriticizedintermsofliteraturevalue,aresearchframeisputforwardfordeepexplorationbyleadingstylisticians,suchasRimmon-Kennan,BanfieldAnn,LeechGeoffrey,MichaelShortandNormanPage,peoplewhohaveresearchedcharacters’speechprofoundlyfordecades.Theyclassifyspeechesandanalyzethestyleoftexts,whichdrivehomelinguisticfeaturesofdifferentspeechforms.Thustheycontributetoasystematicwayofstyleanalysis,whichlessentheobjectivecriticismtooriginalsandtranslatedtexts.Basedonliteraturevalueequivalenceuponspeechandthoughttranslation,thisthesismainlyfocusesoneofthosespeechformnfreeindirectspeechorthought(FIS/T),aimingtointerpretessentiallynon—linguisticaspectsofthetextsinnarratologyintermsoflinguisticform.TofullyexhibitfeaturesofFIS,aclassicfiction,FortressBesieged,ischosen,createdbyQianZhongshu,awell-knownChineseauthor.Thethesisintendstorevealthenatureofthetrancesimprintedbytranslators’inventionsintranslatedtextandfurtherexploreshowthetextfeelofthetranslationischangedthroughinvestigatingthetranslationofFIS.1.3OrganizationoftheThesisThisthesisconsistsoffivechapterswhichwillbeelaboratedrespectivelyasfollows:ChapterOneservesasalead-intopresentsomefundamentalissues,includingtherationaleandsignificanceofthepresentthesisandthespecificresearchquestions.ChapterTwocriticallyreviewssomeofthemostimportantliteratureboundupwiththethesistopicwhichcontainsstudiesontheconnectionbetweenliteraturestylisticsandnarratology,studiesonspeechandthoughttranslationstudies,narrativepointofviewandnallratologyaswellasstudiesontheapplicationofpointofviewtospeechandthoughttranslationstudies.Attheveryendofthechapter,somecriticalthoughtswillbesummarizedtojustifythenecessityofthepresentthesis.frameworkforthecurrentChapterThreeisdedicatedtoconstructthetheoreticalthesis.ThissectionwillfirstlookthedefinitionofFIS,followedbythediscussionofFISfunctionsandthelastistherelationbetweenpointofviewandFIS.anditsChapterFourconcentratesonthecasestudyonFISinFortressBesiegedEnglishtranslation.Theindicatorsoffreeindirectspeechareintroducedindividuallyandananalysisoftwoparts(4.3and4.4)ispresented.Thetwopartsarerepresentativeoftheresultshighlightedforeachindicator.Andinthischapter,theresultsofthecaseandcommentedupon.studyonthetreatmentofpointofviewarepresentedTheconclusion,ChapterFive,concentratesonthecurrentthesis,includingmajorfindingsansweringthespecificresearchquestions,implicationsaswellaslimitationsofthepresentthesis.Attheendofthischapter,somesuggestionsforfuturestudieswillbeputforward.4ChapterTwoLiteratureReviewThischaptergivesallexpositionofrelevantstudiesonliterarystylisticsandfictiontranslationstudies,studiesonnarratologyandfictiontranslationstudies,andstudiesonthepointofviewtotranslationstudies.Finallyitgivesaconclusionofsomecriticalthoughttoveilfythenecessityofthethesis.2.1NarratologyandTranslationFowler(1975:10)holdsthatnarratologyandstylisticsareincomplementaryrelation.FangKairui(2007)statesthatanalyticalmethodsinbothnarratologyandstylisticsgivefictionresearcherrightaccesstostylisticfeaturesoftextsandcharacteristicsoftranslation,whichCanalsobeusedforexaminingthenarrativespeed.Stylisticsemphasizesmicrostructureoftexts,narratology,however,focusesontextswithvariousnarrativespeed.IthasreceivedwidesensethatthebothintegratingstudiesisofgreathelptotheanalysisoffictiontextsandCanservetocomprehensivelyhowthetextsarereconstructedintranslations.investigateTherearethreeareasintheresearchofnarrativetext,namelytense,modeandvoice,asproposedbyGeneae(1980)inastructuralanalysismodelfornarrativediscoursestudies.Tenserelatestointeractionofnarrativetimeandstorytimeinfiction.Moodisusedtomodulatenarrativedistanceandnarrativepointofview,i.e.focalization.Andvoiceinvolvestherelationbetweennarratorandpotentialreader.Concerningstructuralproblemaswellasskillproblem(ibid),allthethreeareasattractattentionsinbothclassicalandpostclassicalnarratology.Theycanbereadilyemployedinfictiontranslationstudies,asthethreeelementsareimportantcomponentsofnarrativeformsinafiction.What’Smore,Genette’Sproposaloffocalizationdifferentiatedfromvoicecatlbeseenasanew-risingquestionwhichbringsnewsubjectstofictiontranslationstudies.Moreaboutfocalizationwillbediscussedlater.ZhengMinyu(2001)drawsupontheapplicationofnarratologytofiction5translationstudies.Hemaintainsthatakeytothesuccessoffctiontranslationcanbeattachedtotheequivalenttransferenceofnarrativetype.Atranslatorshouldnotonlystrivefortheequivalenceatthelevelofstory,butalsothelevelofnarrativediscourseinwhichthestyleofafictionisembodied.BasedonGenette’S(1972:71—76)classificationoffiction,namely,histoire,r&itandnarration,Rimmon-Kenan(2002:3)putsforwardasimilartaxonomy:story,textandnarration.Shefullyanalyzeseventsandcharactersinastory,time,characterization,focalization,levelsofatextandspeechrepresentationandvoicesinnarration.Asnarratologydevelops,narrativeformsoccupysignificantpositioninthetextwiththeprogressofnarrationthroughoutthestory.ThusKenan’Sworkslayatheoreticalfoundationforfictiontranslationstudies.Atthesametime,Genette’Sdifferentiationconceptscopeisbroadenedbyaddingvisual,cognitive,emotiveandideologicalorientationinthelightofKenan’Sexertion,whichbringmorecontextualizedandextra-textualconsiderationintofictiontranslationstudies.FangKairui(2003)attachesgreatimportancetofiguralpointofviewinfictiontranslation.Heindicatesthatfiguralpointofview,asanarrativemodeinfiction,isalmosthardtodiscern.Andthetranslationoffiguralpointofviewregularlyconstitutestranslator.Sothetranslatorhasto“payadequateattentiontoagreatchallengetotheview’andappropriatelylinguisticformsintherepresentationoffiguralpointofrelevantnarrativeeffectembeddedinthetargettext.reproduceitsAsisknowntoall,from1960sto1980sclassicalnarratologyinthewestwiththegrowingofdevelopedagreatdealbeforepostclassicalnarratologyemergedfeminismnarratology,rhetoricalnarratology,cognitivenarratologyetc.Theseschoolsbringrelevanthistoric·socialandculturalcomponentsintotheinnerformandstructurefiction.Thesituationthatnewly-developednarratologyiscombinedwithofanarrativecontext.boundtextpushestheprogressoftranslationandexplainsthe‘rewriting’outofculturalandsocialconsiderationinthefictiontranslationrealm.2.2StylisticsandTranslation6Oneintrinsicproblemofliterarytranslationishowtomakeproperchoiceinstylisticvariantsbetweensourcetextandtargettext,eveniftheyfiregrammaticallycorrect.Issuesofliterarystylistics,inparticularfictionstylistics,havebeenstudiedselectivelybynumerousscholars.LeechandShortpaygreatattentiontothenecessityofstylisticanalysisinfictionstudies,emphasizingthat“examiningthelanguageofaliterarytextcanbeameanstoafullerunderstandingandappreciationofthewriter’Sartisticachievement”(2001).Byapplyingmodemlinguisticconceptsandtechnique,theysumupmethodsofstyleanalysisandmicrocosmicallyshowdifferentaspectsofstyleinfiction:words,grammar,rhetoric,coherenceandcontext,whichprovideadistinctapproachforfictionanalysis.Andmeanwhiletheymentionthreeexpressionorders:‘‘expressionorder’’‘'temporalorder’’and‘‘psychologicalorder'’(ibid).Theylayasolidfoundationfortheapplicationofstylisticstofictiontranslationstudies.QinXiubai(2001)hasalsotouchedupontheissueofstylisticfeaturesinfiction.InhisEssentialsofEnglishStylistics,heoutlinesstylisticfeaturesmainlyinthreefields:pronounandnarrative/descriptionangle,fictionaldialogue,anddirectspeechandindirectspeech.Sincetheseaspectsareincarnatedinfictionconcerninginvariablystylisticfeatures,hemakessomereferenceavailablefortranslatorwhomayexaminestylisticfeaturesfromthoseaspects.Fewscholarshavemadesystematicanalysisinthefieldoffictionanalysisassociatedwithtranslationstudies,althoughstudiesofstyleinfictionhaveachievedfruitfulresults.Nevertheless,literarystylisticshasbeenprogressivelyapplicabletofictiontranslationstudiesandhasdrawnpeople’Sattention.Forinstance,ZhangMin(2010:216—217)appliesstylisticanalysistonon—literarytranslationandhasprovidedapproachtomodifytranslatedtexts,whichisinspiringforintegratingliterarystylisticswithfictiontranslationstudies.NoliterarytranslationstudiesinthefieldofstylisticwereprofoundenoughuntilShenDanpublishedLiteraryStylisticsandFictionalTranslationin1995.She(1995:7)holdsthat“bysharpeningone’Ssensitivitytotheworkingsofthelanguagesystem,byimprovingone’Sunderstandingofthefunctionofstylisticnorms,andbyenhancingandthewriter’Screativeactscombinetoone’Sawarenessofhowliteraryconventions7makelinguisticformtakeonaestheticsignificance,stylisticsoperatestohelptheliterarytranslatortoachievefunctionalequivalenceorexpressiveidentity.”Shetranslationstudiesbyexplicateswhyandhowliterarystylisticscanb氐employedinandvalidityofliterarytranslation.Detailsrelatedtoanalyzingthenature,functionlexicalexpression,syntax,andspeechandthoughtpresentationarediscussedaimingtoeffectivelysolvetheproblemof“deceptiveequivalence”.ChenShukun(2010)discussesthequestionofbringingstylisticanalysistotranslationstudies,claimingthatstylisticfeaturesinSTshouldbemaintainedtothegreatestextentfortransmittingrhythmtoTT.DuetotheintrinsictraitsofdifferentmakeupuntranslatabilitybycreationSOthattargetlanguages,thetranslatorhastoreadershavethesimilarestheticfeelingtothosewhoreadtheoriginal.2.3ThreeCategoriesofPointofViewInthissection,thenotionofpointofviewisclarifiedinmainlythreecategories,andadetaileddiscussionofpointofviewasthenarrativetechniqueispresented.Theterm“pointofview'’hasbeenemployedinlinguistics,stylistics,narratologyandliteraturestudybydifferentscholars,thusitisessentialtobringoutthreesensesofpointofviewbeforethecoreconceptispresentedSOthatthedefinitionsappliedinthethesisareclarified.Simpson(1993)identifiesfourcategoriesofpointofview:thespatial,temporal,perceptualandideologicalpointofview.Inthisthesisthespatialandtemporalpointofviewaremergedasthefirstcategory,andthelefttwoandperceptualpointofviewrespectively.categoriesareideologicalpointofview2.3.1Spatio-TemporalPointofViewLanguageisconnectedtomeaningandsituations.Andthemeaningisassociated谢ththesituations,wherementalrepresentationsareembodied.Inordertodrawpeople’Sattentiontoobjectsfromanyrepresentedenvironment,referringandpointingformofdeixis.Theenvironmentisareusedtoselectthem;theseneedtheexperientialarepresentationofimmediatesituationaroundspeakersoritistheimaginationormemoryofthespeakers.Hencedeixisdealsmainlywithrelationsintimeandspace8andisoftenseenfromanindividual’sperspective,thusitisrelatedtospatio—temporalpointofview.Therearedifferentcategoriesofdeixis:persondeixis(e.g.磊you,sheandhe),definitearticles,demonstrativepronounsandadjectives(e.g.thisandthat,hereandthere,nOWandthen),locativeexpressions,spatialadverbs,andtemporalandtensecategories.Usuallydeixisisutteredbyaperson,aspeaker,andisaddressedtoanotherperson,thehearer.Itrelatesutterancestothetimeandspacecoordinatesofthespeechact.Deixisplaysaquiteimportantroleintheconstructionofpointofview,moreparticularly,ofthespatio-temporalpointofview.2.3.2IdeologicalPointofViewStyleinliteratureandlinguisticstudieshasbeenassociatedwithdifferentfeatures.Oneofthewaystodefineitistoweigh“someorallofthelanguagehabitsofoneperson…whenwediscussquestionsofdisputedauthorship’’(CrystalandDavy1969:9).Itiswidelyassumedthatthewaywritersconsistentlydrawonparticularpointofviewcontributestotheirstyle.Thatisideologicalpointofview,inwhichmodalwordsareconsidered.Toputitanotherway,modalityiscrucialinideologicalpointofview,bywhichacharacteroranarratormayindicatehisjudgmentsastothetruthorpossibility,valueanddesirabilityinaspeecheventandofpeoplereferredto.Thelinguisticfeatureofmodalityunderpinsthenotionofthetextureofthetext.AccordingtoSimpson(1993:47),therearefourtypesofmodality:1)modalauxiliaries(deonticmodality)suchasshould,mustandmayexpressingdutyandcommitment2)modalverbs(boulomaicmodality),likehope,wishandregretdenotingdesires,3)modaloperators(epistemicmodality)relatedtothespeaker’Sconfidenceorlackofconfidenceinthetruthofapropositionexpressed,forexample,sure,probab砂andcouldn}and4)perceptionadjectivesoradverbs(perceptionmodality)regardedasasubsetofmodaloperator,likeapparent(1y),obvious(1y)andclear(1y).Onthelevelofsyntax,LeechandShortindicatesthat“differingchoicesatthelevelofparticipantrelationsinoneclausecanindicatevaryingconceptualizationsofthesameevent”.Thereforecontextureofideologicalpointofviewthroughlinguisticchoiceinsentenceembodiesaconsistentfictionworld,givingrisetoanentiretyofmind—style,asnamed9byFowler(1986:150).2.3.3PerceptualPointofViewThethirdmajorsenseofpointofviewisperceptualpointofviewnamedbyFolwer(1986:134),orwhichUspenskypreferstonamepsychologicalpointofview(1973:80).AccordingtoSimpson(1993),itisdefinedasthepsychologicalperspectivethroughwhichastoryistold.Itaccountsforthedominantpositionadoptedinastory,nomatterthestoryisnarratedthroughfirst-personorthird-person,restrictedperspectiveoromniscientperspective.UsingperceptualpointofV论winnarration,narratorscanmanipulatetheroletoreportortocomment.Itisthetime-honorednarrativetechniquethatdrawsHenryJames’overdueinterestinhiswriting.Asasubsetofpointofviewtheperceptualpointofviewhascontroversialtypologies,whichhavetobefurtherdiscussedinsection2.5.2.4StudiesofPointofViewinNarratologyPointofviewisaterminologyfrequentlyappliedtorhetoricandliterarycriticism.Inthelatter,pointofviewmainlyreferstonarrativemethod,including“thevisual(perceptual)angleinnarration”and“literallyrevealedstandpoint,perspectiveandmannerofspeaking”(ShenDan,2004:205).Sincethebeginningofcontemporarywesternnovel,theviewpointinnarrationhaslongbeennoticed.Short(1999:172—186)UnderstandingTexts:PoRtofHewmaintainsthatitisthecoreconceptinfictioncriticismintwentiethcentury,whichrelatestoanyformoftext.Thecharacter’Sspeechandthoughtinmodemfictioniscloselyboundupwiththeabundantapplicationoffreeindirectspeech.In1970sand1980s,theresearchofpointofviewgottOitsunprecedentedclimax.However,beingattackedbybothsidesofdeconstructionandpoliticalculturalcriticism,itthenwentdowntoalowpoint.Inrecentyears,thefieldoflinguistics,particularlyfunctionallinguistic,holdsgreatinterestinpointofview,andSOisthatofpragmatics.VanDijk(1981:311)exploresthissubjectthoroughlyandenlargestheconnotationofitfortheapplicationofpragmatics,suchasmeaningandfunctionsinthetext.TheRussianFormalistsShklovskydistinguishesbetweenthestoryandthewayitistold,usingtheterms4,a6y.7aandcto.)lcem,whichequatetostoryanddiscourseinEnglish.These‘twomajordomainsofinquiryhavebeenfurtherdividedintothreelevels.Forinstance,MiekeBal(1985)distinguishesbetweenthreetextlevels:fabula,storyandtext,andRimmon—Kenan(1983)offersstory,textandnarration.However,thisdisparityofterminologyisnotrelevanttothisthesisbecauseitfocusesonthebasicdivisionbetweenstoryanddiscourseandbothbinaryandtriadicdivisionsdistinguishbetweenthesetwomainlevels.Thisdistinctionthusemphasizesthedifferencebetweenthefundamentaleventsofastoryanditspresentationinthenarration,sincethesameelementsofastorymaybetreatedwithdifferenttemporalorderingsandseenfromtheperspectiveofdifferentnarratingvoice(ibid.p15).Itisveryimportanttodistinguishbetweenstoryandnarrativewhenanalyzingaworkoffiction,sincethenotionofpointofviewislocatedintheareasofvariationinthetellingofastory.Anothercrucialprobleminthestudyofpointofview,theconfusionof‘'whosees?’’and‘‘whospeaks?’’sustainedforquitealongtime.Soitisnecessarytoputithere,whichisthetheoreticalfoundationofthisthesis.Genette(1990:74)inhisbookNarrativeDiscourseRevisitedtakestheterm‘‘focalization’’insteadof‘‘pointofview'’withthemeaningof‘'viewingpoint”fromwhichtheobjectsareseen.Heassumesthatfocalization,withadegreeofabstractness,istheinstrumentofthepossibleselectionofinformation,asortofpipethatallowspassageonlyofauthorizedinformation.Thusnarrativepointofviewinthisthesismeansfocalization.2.5ClassificationofNarrativePointofViewThisisasectionthatCanobtainaclearerunderstandingofpointofviewasanarrativetechnique.Anddifferentscholars’taxonomieswillbeshownbeforeaconclusionisreachedappropriatelyforthepresentthesis.2.5.1Friedman’SEight-termTaxonomyNormanFriedman(1955)proposesaverycomplexanddetailedclassificationwitheighttypes:EditorialOmniscience,NeutralOmniscience,I-as—witness,I-as-protagonist,MultipleSelectiveOmniscience,SelectiveOmniscience,TheDramaticMode,andTheCamera.Thedifferenceoffirsttwo。
《傲慢与偏见》两个汉译本经典片段对比赏析
校园英语 /《傲慢与偏见》两个汉译本经典片段对比赏析四川工商学院外国语学院/缪薇【摘要】本文以《傲慢与偏见》的经典片段为依据,探讨了孙致礼先生译本和张经浩先生译本的长处和不足,以及出现不同译本的原因。
通过从翻译策略的角度,对两个汉译本经典片段进行了对比赏析后,本文发现做类似于《傲慢与偏见》这样的文学翻译时,应采取异化为主,归化为补充,异化归化相结合的方法,才能创造出最佳翻译效果。
【关键词】《傲慢与偏见》 对比赏析 翻译策略英语文学数世纪以来,许多人已经承认,简•奥斯汀已经和莎士比亚并肩成为最受欢迎而长盛不衰的英语作家。
《傲慢与偏见》正是其发表于1813年的代表作。
小说不仅仅讲述关于爱情的浪漫,更多的是探讨18世纪末至19世纪初青年男女对婚姻的看法。
整部作品构思精巧,没有滂沱的气势,没有跌宕起伏的情节,简•奥斯汀用她淡然的气质,细腻的情感和嘲讽的笔法,为我们奉上了一场独特的艺术享受。
《傲慢与偏见》曾被翻译成25种文字,风靡了全世界。
这部小说在我国的汉语全译本就多达六种之多。
本文特意选取了孙致礼和张经浩各自翻译的《傲慢与偏见》两个个汉语译文片段为研究对象做对比赏析。
两个汉译本的出版虽然只隔了六年,但翻译的版本在很多方面都有不同,以下主要从翻译策略角度对其分析,以找出各自的不足和长处。
一、两种汉译本翻译策略的比较翻译策略可以分为两大类型:归化翻译和异化翻译。
归化翻译是指,一项翻译计划可能要与时下目的语文化中的主流价值观念相一致,对外国文本采取一种保守而公开的民族同化的方法,尽量利用这种方法来支应本土的文学规范、出版趋势和政治组合。
归化翻译的策略在欧洲有着悠久的历史,特别是在早期年代,这种翻译策略在法国和英国翻译传统中十分盛行。
与此相反,异化翻译则是指,一项翻译计划也可能要凭借边缘价值观念对主流价值观念进行抵抗和修正,恢复被本土主流文学规范所排斥的外国文本,发掘早期文本和翻译方法中残留的价值观念,从而培育新兴的价值观念。
《傲慢与偏见》三个中译本的功能文体学分析
摘 要 文学翻译成功的关键之一在于是否能够准确传达原文风格。
对于译者来说,文学翻译最棘手的问题莫过于原作风格的传达。
尽管传统文体学越来越多地被用于小说风格翻译,但是功能文体学却给文学翻译批评提供了崭新的视角。
功能文体学以韩礼德的系统功能语法作为理论基础,基于语言的三大元功能——概念功能、人际功能、和语篇功能对文本进行较全面的分析,是一门结合语言学描述和文学鉴赏的交叉学科。
本论文主要分析比较《傲慢与偏见》三个具有代表性的中译本风格(即文体特征)的传递及各个译本的优缺点, 这三个中译本分别是:王科一译(2007版),孙致礼译(2008版),张玲 & 张扬译(2009版)。
本文首先根据语域理论及小说情节的发展变化,选择了主人公伊丽莎白和达西之间的对话为分析语料,并将其划分为三个阶段。
通过对主人公典型对话的人际情态及评价语在特定语境中的文体学分析比较三个中译本风格(即文体特征)的传递。
本论文通过对三个中译本中主人公对话的功能文体学分析,阐述将功能文体学用于小说风格翻译的必要性及有效性,以期将功能文体分析方法更好地应用到小说翻译中,尤其是原文风格翻译的传达上。
本研究选择小说《傲慢与偏见》为分析语料,基于以下两个原因:该小说充满戏剧情节,人物之间对话睿智风趣,人物形象生动;小说风格幽默,富含文体特点,其人物在不同情境下的语域选择变化十分明显。
通过对三个中译本的对比分析,本文发现:1) 王科一译本在情态、意态等方面的传达上基本体现了原文的幽默反讽风格,但译文中多处地方忽略原句的形式对等及上下文语境,存在漏译和误译现象。
2) 孙致礼译本在对评价语的翻译上选词优美简洁,四字成语习语较多,译文通篇流畅简洁,但恰恰是这种自然流畅的特点折损了原文一些地方的幽默反讽风格。
在人物对话中,有些四字成语习语的运用不太符合原著人物的语域选择,在人际情态方面的风格传达上较多地沿用了王科一译本。
3) 张玲& 张扬译本总体采用直译法,最大限度地保留了原文的句法形式,并取得了较好的文体效果。
Stylistics
现代文体观(2):ห้องสมุดไป่ตู้离观
Style as deviations from the norm 偏离的方式: 数量 性质 偏离的理据: 偏离(deviation)和陌生化 (defamiliarization)突出 (foregrounding)
Development
Diachronic study Synchronic study
• STYLE?
Different definitions of style
Style as form (Aristotle) Style as eloquence (Cicero) Style is the man. (Buffon) Style as personal idiosyncrasy (Murry)
Scholars’ views on stylistics (2)
• Crystal & Davy (1969): Investing English Style [M] : 宏观方面,风格指的是在某时间或某一时期内,由某一群人共 享的语言习惯(Crystal & Davy, 1990:1-10)。
1. 2. 3.
4. 5.
• STYLISTICS?
Scholars’ views on stylistics (1) • Widdowson: By stylistics, I mean the study of literary discourse from a linguistic orientation and I shall take the view that what distinguishes stylistics from literary criticism on the one hand and linguistics on the other is that it is essentially a means of linking the two (1975: 3). • Leech: the study of the use of language in literature(1969:1), stylistics is a meeting ground of linguistics and literary study(ibid,2).
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。
英语文体学教学大纲
《英语文体学》课程教学大纲课程编号:ENGL3002课程类别:专业选修课授课对象:英语、英语师范专业开课学期:秋(第7学期)学分:2主讲教师:王军指定教材:《新编英语文体学教程》,董启明主编,外语教学与研究出版社,2008年。
教学目的:英语文体学是一门实用性非常强的学科,对阅读、翻译、文章分析、文章欣赏以及得体地使用英语都有很大的帮助,此外,英语文体学也是英语语言学研究重要的基础性学科之一。
作为一门课程,英语文体学主要由两部分构成:其一为文体学研究主要内容介绍,包括文体类型、文体特征、文体价值等方面,其次为具体文体分析方法介绍。
第一课Introduction to Stylistics课时:第一周,共2课时教学内容:What is stylistics and how is it associated with other linguistic studies?第一节:The position of stylistics in general linguistics.The importance of studying stylistics.第二节:What is stylistics?The major contents of this study.Issues that need to be born in mind.思考题:1.How to do stylistics in the framework of literature or translation?2.What do you expect to learn from this course?第二课Style and Stylistics课时:第二周,共2课时教学内容:The development and scope of stylistics第一节:The definition of style and stylistics.The relationship between appreciation and research.第二节:The development of stylistics.The scope of stylistics.思考题:1.What are the major differences between style and stylistics?2.What areas in society can the knowledge of stylistics be applied to?第三课Procedure of stylistic analysis (1)课时:第三周,共2课时教学内容:Linguistic description第一节:Linguistic description: methods and procedures.第一节:A checklist of linguistic description.The functions of each one.思考题:1.Why do we need linguistic description?2.Think about the significance of conducting linguistic description.第四课Procedure of stylistic analysis (2)课时:第四周,共2课时教学内容:Textual analysis and contextual factors analysis第一节:What is textual analysis?How to conduct textual analysis?第二节:A classification of contextual factors.How to analyze contextual factors?思考题:1.How do you understand the relationship between understanding and textual analysis?2.Are there other ways to classify contextual factors?第五课Stylistic functions of linguistic items课时:第五周,共2课时教学内容:Stylistic functions as defined at different levels第一节:Stylistic functions of speech sounds.Stylistic functions of graphological items.第二节:Stylistic functions of lexical items.Stylistic functions of syntactic/grammatical items.思考题:1.How do you evaluate the different kinds of stylistic functions?2.What is the significance of studying stylistic function?第六课Varieties in relation to regions课时:第六周,共2课时教学内容:Regional English第一节:A brief introduction to British English.The appearance of American English.第二节:Differences between British English and American English.British and American regional dialects.思考题:1.What are the major causes for the differences between British English and American English?2.How to deal with the use of the two regional English in actual learning or dailycommunication?第七课Varieties in relation to media课时:第七周,共2课时教学内容:Spoken English and written English第一节:Major features of spoken English and written English.What are the standards of using spoken English or written English?第二节:Electronic English.思考题:1.What is the situation like if one is only skilled in using spoken English or written English?2.What is the role of electronic English in the course of learning English?第八课Varieties in relation to attitude课时:第八周,共2课时教学内容:Attitude-related styles第一节:Degree of formality.Politeness.第二节:Impersonality.Accessibility.思考题:1.Think about the relationship between meaning and emotion expressions.2.What do you think of the relationship between formality and politeness?第九课Varieties in relation to social factors课时:第九周,共2课时教学内容:Social factors and their constraints on language第一节:Women’s English.Black English.第二节:Taboo and euphemism.Cultural factors involved in social factors.思考题:1.What are the reasons that maintain the existence of women’s English?2.How do you understand the status of black’s English and the black’s social status?第十课Review of the past lessons课时:第十周,共2课时教学内容:A summary and comment of the past lessons第一节:The watershed of the whole course.Recall what have been learned.第二节:What are the sections that interest you the most?Is there possibility for you to conduct further research?第十一课The English of conversation课时:第十一周,共2课时教学内容:Conversational English第一节:A general introduction to what to learn in the latter half of the term.About conversation.Phonological features.第二节:Lexical features.Syntactic/grammatical features.Semantic features.Sample analysis of a student.思考题:1.How do you understand conversation in terms of direct speech and indirect speech?2.Is conversational English always informal?第十二课The English of public speaking课时:第十二周,共2课时教学内容:Public speech and its features第一节:What is public speech?Public speeches’ phonological features.Lexical features.第二节:Syntactic/grammatical features.Semantic features.Sample analysis of a student.思考题:1.What are the major differences between public speaking and conversation?2.What are the major differences between public speech and written English?第十三课The English of news reporting (1)课时:第十三周,共2课时教学内容:General knowledge about news reporting第一节:What are news reports?Different kinds of newspapers and magazines.第二节:The make-up of news reports.A sample analysis of a piece of newspaper (New York Times/China Daily)思考题:1.Is there any difference between formal news report and informal news release?2.Specify the make-up of some pages of newspaper, both English and Chinese.第十四课The English of news reporting (2)课时:第十四周,共2课时教学内容:Stylistic features of news reporting第一节:Graphological features.Lexical features.第二节:Syntactic/grammatical features.Semantic features.Sample analysis of a student.思考题:1.What are the functions of each group of stylistic features in news reporting?2.What are the stylistic features that distinguish news reporting from other textual styles?第十五课The English of Advertising课时:第十五周,共2课时教学内容:The language styles in advertising English第一节:Something about advertisements.Graphological features.第二节:Lexical features.Syntactic/grammatical features.Semantic features.Sample analysis of a student.思考题:1.What are the major purposes of advertisements?2.Give some advertising examples that show the violation of some basic language rules inadvertising.第十六课Literary English课时:第十六周,共2课时教学内容:Literary English: novel and poetry第一节:Some basic facts about the novel.Aspects for the analysis of the novel.General stylistic features of the novel.第二节:Some basic facts about the poetry.Prosody.General stylistic features of poetry.思考题:1.Between fiction and reality, what kinds of stylistic features are most suitable for the novel?2.What effects does it have on appreciation to analyze the novel’s stylistic features?3.How to balance meaning expression and poetic features in poetry?4.What are the common stylistic features between poetry and novel?第十七课:The English of science and technology课时:第十七周,共2课时教学内容:Technical English第一节:Graphological features.Lexical features第二节:Syntactic/grammatical features.Semantic features.思考题:1.How to handle formality and politeness issues in technical English?2.How is objectivity achieved in technical English?第十八课:Review and answer questions课时:第十八周,共2课时教学内容:Review and answer questions第一节:Review.第二节:Answer questions.参考书目:1.王守元.《英语文体学要略》.济南:山东大学出版社,2000.2.徐有志.《英语文体学教程》.北京:高等教育出版社,2005.3.Thornborrow,J. Patterns in Language: Stylistics for Students of Language and Literature.Beijing: Foreign Language Teaching and Research Press, 2000.4.Wright, L. Stylistics: A Practical Coursebook. Beijing: Foreign Language Teaching andResearch Press, 2000.。
chapter_1_Style_and_Stylistics_教案
■Course: English Stylistics■Time: Sep.6—30■Course material: English Stylistics: A New Course Book《新编英语文体学教程》董启明编著外语教学与研究出版社■Teaching procedure: Part One Theoretical Preliminaries(理论预备) and Major Varieties(主要变体)of EnglishChapter 1 Style and StylisticsIntroductionWhat is Language? And in which aspects of language does stylistics focus on?A。
Language is the primary object of the study of linguistics, and linguists construct theories of language in general or of particular languages from differing points of view. The discussion of the concepts of style should focus on some essential aspects of language on which most linguists agree。
B. Language is viewed as a system of different types of linguistic organization such as phonology,syntax and lexicon. The English language consists of its pattern of sounds, sets of grammatical rules and a large body of vocabulary。
特效专业发展前景英语作文
特效专业发展前景英语作文The development prospects of the special effects industry are promising, as the demand for high-quality visual effects in film, television, and other media continues to grow. With advancements in technology and an increasing focus on immersive storytelling, the need for skilled professionals in the special effects field is on the rise. This has created a wealth of opportunities for individuals looking to pursue a career in this exciting and dynamic industry.One of the key factors driving the growth of the special effects industry is the increasing demand for visually stunning and realistic effects in film and television. Audiences have come to expect high-quality visual effects that enhance the storytelling experience, and this has led to a greater emphasis on the use of special effects in the entertainment industry. As a result, there is a growing need for talented individuals who can create these effects and bring a director's vision to lifeon the screen.Moreover, the rise of streaming platforms and digital media has further expanded the opportunities for special effects professionals. With the proliferation of original content being produced for online platforms, there is a growing demand for visual effects that can captivate and engage audiences. This has created a wealth ofopportunities for special effects artists to showcase their skills and creativity in a variety of new and exciting ways.In addition to the entertainment industry, the special effects field also plays a crucial role in areas such as advertising, gaming, and virtual reality. As theseindustries continue to evolve and expand, the need for skilled professionals who can create immersive andimpactful visual effects will only continue to grow. This presents a wide range of career opportunities forindividuals with a passion for creativity and a talent for bringing ideas to life through visual storytelling.Furthermore, the advancement of technology has openedup new possibilities for special effects professionals.With the development of cutting-edge software and tools, artists are able to create increasingly realistic and complex visual effects. This has not only expanded the creative potential of the industry but has also created new avenues for artists to explore and push the boundaries of what is possible in the world of visual effects.Despite the promising prospects of the special effects industry, it is important to recognize that the field is highly competitive and requires a high level of skill and dedication. Individuals looking to pursue a career inspecial effects must be willing to continually hone their craft, stay up-to-date with the latest technological advancements, and be adaptable to the ever-changing demands of the industry. However, for those who are passionateabout visual storytelling and have a strong creative vision, the special effects industry offers a wealth ofopportunities for growth and fulfillment.In conclusion, the special effects industry is poisedfor continued growth and offers a wealth of opportunitiesfor individuals looking to pursue a career in this dynamic and exciting field. With the increasing demand for high-quality visual effects in film, television, and digital media, as well as the advancement of technology and the expansion of new industries, the prospects for special effects professionals are promising. For those with a passion for creativity and a dedication to honing their craft, the special effects industry offers a fulfilling and rewarding career path with endless possibilities for innovation and artistic expression.。
发展艺术英语作文
发展艺术英语作文下载温馨提示:该文档是我店铺精心编制而成,希望大家下载以后,能够帮助大家解决实际的问题。
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The development of StylisticsIn the WestThe word “stylistics”first appeared in 1882,and the first book on stylistics was written by French scholar Charles Bally,student of the famous modern linguist Ferdinand de Saussure in 1902 and was published in1909,entitled Traite de Stylistique Francaise .This book is often considered as a landmark of modern stylistics.The subject of study in Bally’s time was oral discourse.Bally considered that apart from the denotative meaning expressed by the speaker,there was usually an “overtune”which indicated different “feelings”,and the tasks of stylistics was to find out the linguistic devices indicating these feelings.Later,the German scholar L.Spitzer,began to analyze literary works from a stylistic point of view,and therefore,Spitzer is often considered as the “father of literary stylistics”.From the beginning of 1930s to the end of the 1950s stylistics was developing slowly and was only confined to European continent.During this period,the Russian formalists,the Prague School and the French Structuralists all contributed to the development of stylistics. There emerged some well-known stylisticians,such as E.Auerbach, J.Marouzeau, M.Cressot, R.Jakobson.From the end of the 1950s to the present time,modern stylistics has reached its prosperity.This can be further divided into roughly fourperiods:The first period is from the end of the 1950s to the end of the 1960s,in which,Formalist Stylistics was the prevailing trend.The second period is the 1970s,in which Functionlist Stylistics predominated.The third period is the 1980s,in which Discourse Stylistics flourished.While in the fourth period, the1990s,the Socio-Historical/Socio-Cultural Stylistics or Contextualized Stylistics developed quickly.In the new century,stylistics has developed further.In the departments and institutes of language,literature and linguistics around many universities in the world,stylistics has been one of main courses or subjects of research.Monographs and textbooks on stylistics are published,and research papers on stylistics increasingly appear in the academic journals all over the world.The trend is interdisciplinary study,and narrative stylistics,cognitive stylistics,feminist stylistics,etc.In ChinaChinese stylistics can be traced back to work of literary criticism-The Carving of the Literary Mind by Liu Xie(465-532)in the Southern Dynasty ter there were the generic classification of the Tang poetry,Song prose poems,the Y uan verse poems,and the Ming and Qing novels.The beginning of modern Chinese stylistics is marked by Chen Wangdao’s Principle of Rhetoric(1932)In China,the modern study of stylistics can be divided into two periods.The first period is from the founding of the People’s Republic ofChina to the year 1976,which is the fundamental stage for the development of modern stylistics.Some scholars,such as Wang Zuoliang,Xu Guozhang,Xu yanmou,Yangrenjing,et al.,began to study stylistics in its modern sense.And later some other articles on stylistics got published.But generally speaking,in this period of 28 years,there is no more than 30 articles concerning stylistics got published in China .What is more,there were almost no academic studies during the 10-year “Culture Revolution”(1966-1976)(王守元,et al.,2004)The second period is from 1977 up to the present time.Professor Wang Zuoliang took the lead in this research of modern stylistics.In this period,appear many academic works and textbooks and a large number of articles on stylistics also got published and the number increased with each passing year.And in the new century,stylistics developing even faster.The founding of the Chinese Association of Rhetoric in 1980 marked the new era of Chinese stylistics research,while the founding of China Stylistics Association in 2004 in Henan University during the 4th National Symposium on Stylistics marked the era of studies of Western stylistics in China.The international Stylistics Conference held in Tsinghua University in June 2006 further indicated the development and achievements of stylistics in China.The Scope of StudyThe study of modern stylistics can be divided into three main aspects:General Stylistics,Literary Stylistics and Theoretical Stylistics.Now I introduce it one by one ,which mainly gives your a frame impression about their scopes of study.General StylisticsGeneral stylistics studies different varieties of language.For example,according to field of discourse,with the related functions of language used in different genres,there are varieties such as news reports,advertisement,publish speeches,novels,poetry,scientific treatises,and legal documents.According to attitude ,there are different degrees of formality used on different occasions,such as formal language and informal language.According to medium of communication(mode of discourse),there are spoken language,written language,and e-discourse.According to regions,there are British English,American English and other regional dialects.According to social groups,there are standard language and non-standard language,language used by people of different classes,different sexes,and so on.According to time,there are Old English,Middle English,Modern English,Contemporary English.Literary StylisticsLiterary stylistics studies literary significance as well as linguistic choices in literary texts and also the different styles of individual authors and their works,as well as period styles.Broadly speaking,it study variations characteristic of different literary genres-poetry,prose,novels,drama,etc.,with the purpose of promoting literary texts as communicative acts. Theoretical StylisticsTheoretical stylistics researches the theories,the origin,the trend,and the historical development of stylistics as well as characteristics of different branches of stylistics.It also studies the relationships between stylistics and other branches of learning.。