Chapter_1__A_survey_of_stylistics
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?
北京理工大学博士研究生入学考试英语试题附答案和详解
北京理工大学博士研究生入学考试英语试题附答案和详解北京理工大学20XX年博士研究生入学考试英语试题Part ⅠReading Comprehension (40 points)Directions：In this part there are four passages for you to read. After each passage there are five questions, below each of whom there are four answers marked A, B, C and D. Choose the best answer and mark the corresponding letter with a pencil on the MA CHINE-SCORING ANSWER SHEET with a single line through the center.Passage OneI was introduced to the concept of literacy animator in Oladumi Arigbede's (1994) article on high illiteracy rates among women and school dropout rates among girls. According to Arigbede, literacy animators view their role as assisting in the self-liberating development of people in the world who are struggling for a more meaningful life. Animators are a family of deeply concerned and committed people whose gut-level rejection of mass human pauperization compels them to intervene on the side of the marginalized. Their motivation is not derived from a love of literacy as merely another technical life skill, and they accept that literacy is never culturally or ideologically neutral.Arigbede writes from her experiences as an animator working with women and men in Nigeria. She believes that literacy animators have to make a clear choice about whose culture and whose ideology will be fostered among those with whom they work. Do literacy educators in the United States consider whether the instruction they pursue conflicts with their students' traditional cultures or community, or fosters illiteraciesin learners' first or home languages or dialects and in their orality?Some approaches to literacy instruction represent an ideology of individualism, control, and competition. Consider, for example, the difference in values conveyed and re presented when students engage in choral reading versus the practice of having one student read out loud to the group. To identify as a literacy animator is to choose the ideology of “sharing, solida rity, love, equity, co-operation with and respect of both nature and other human beings.” Liter acy pedagogy that matches the animator ideology works on maintaining the languages and cultures of millions of minority children who at present are being forced to accept the language and culture of the dominant group. It might lead to assessment that examines the performance outcomes of acommunity of literacy learners and the social significance of their uses of literacy, as opposed to measuring what an individual can do as a reader and writer on a standardized test. Shor (1993) describes literacy animators as problem-posing, community-based, dialogic educators. Do our teacher-education text books on reading and language arts promote the idea that teachers should explore problems from a community-based dialogic perspective?1．A literacy animator is one who ______.A．struggles for a more meaningful lifeB．frees people from poverty and illiteracyC．is committed to marginalize the illiterateD．is concerned with what is behind illiteracy2．The author suggests that literacy educators in the US in a way ______.A．promote students' home languagesB．force students to accept their cultureC．teach nothing but reading and writingD．consider literacy as of non-neutral nature3．Arigbede worked with Nigerians probably to ______.A．teach American customs and ideologyB．make a choice of culture to be fosteredC．reject the values of the dominant classD．help maintain Nigerian language and culture4．According to the author, “choral reading” may represent ______.A．individualism B．collectivismC．competition D．immersion5．Animator ideology emphasizes more on ______.A．the social function of literacyB．students' performance in testsC．the dominant group’s languageD．the attainment of life skillsPassage TwoAccording to one survey of 12,000 people, about 30 percent of those making New Year'sresolutions say they don't even keep them into February. And only about 1 in 5actually stays on track for six months or more, reports ediets．com, a consumer diet and fitness Web site.But don't let those odds make you reach for the nearest bag of potato chips. Experts say you can keep those resolutions long term, even if you're struggling now.“The motivation comes from within, and so when you find that you're declining in your healthy eating program, and then just ask yourself, ‘Is this going to get me the results that I want?',” says Leslie Stewart, a registered dietitian and licensed nutritionist．“And if you're doing something every day to eat heal thy, then that's going to pay off in the long run.”Stewart advises to use what she calls the 90-10 eating rule.“If you're eating healthy 90 percent of the time, then 10 percent of the time, you can cut yourself some slack and eat pleasurably.”She says s he believes that “healthy eating is evolution instead of resolution.”The same principle can be applied to a lagging exercise resolution, too.Staying motivated is key to long-term success, and reviewing original goals can help strengthen a weakening workout program.Adding variety to a fitness regime also can prevent you from hanging up those exercise shoes. After a few weeks of well-intentioned workouts, boredom may be creeping you're your routine.Setting goals too high is another common mistake. “If you're not running a marathon at the end of the month, don't worry,” say Mayo Clinic experts. A too intense workout—and the resulting pain and stiffness—is discouraging and may force most to abandon a pro gram. Starting slowly is key.But if your goals already have fallen by the wayside，Uria says to start up again immediately.“A little setback is OK; get back on the horse and ride...drive toward that goal,” he says.6．According to the author, only about 20% people keeping their resolutions does not necessarily mean that ______.A．the figure is rather depressing and unexpected as wellB．those who have made their resolution should give up their effortC．whoever keep their resolutions should start eating potato chipsD．long-term resolutions are not important for those facing troubles7．What is the idea behind the 90-10 eating rule according to the passage?A．You should keep eating healthy 90% of the time.B．You should feel free to eat 10％of the time.C．You should learn to eat healthy gradually.D．Sudden change will be more efficient and effective.8．Which of the following you should avoid to keep yourself interested in exercise?A．Hanging up your exercise shoes if you feel tired.B．Keeping boredom away from your daily activity.C．Making a schedule with too high goals in it.D．Running a marathon at the beginning of the month.9．How many suggestions at least have been introduced concerning the exercise resolution?A．Four. B．Five. C．Six. D．Seven.10．What is critically important in making long-term resolutions successful?A．You should be struggling with yourself all the time.B．You should constantly evaluate the results you want.C．You should try to keep yourself motivated.D．You should try your best to diversify your fitness practice.Passage ThreeOur present generation of cultural critics, arriving after the assault of postmodernism and the increasingly widespread commercialization of culture, has been cast adrift, with out any firm basis for judgments. Publications and institutions to supportserious criticism, in this view, either no longer exist or are few in number.Critics today, it is also claimed, are too cozy behind the ivied walls of academe, con tent to employ a prose style that is decipherable only to a handful of the cognoscenti. The deadly dive of university critics into the shallow depths of popular culture, moreover, reveals the unwillingness of these critics to uphold standards. Even if the reasons offered are contradictory, these Jeremiahs huddle around their sad conclusion that serious cultural criticism has fallen into a morass of petty bickering and bloated reputations.Such narratives of declension, a staple of American intellectual life since the time of thePuritans, are misplaced, self-serving, and historically inaccurate and difficult to prove. Has the level of criticism declined in the last 50 years? Of course the logic of such an opinion depends on the figures that are being contrasted with one another. Any number of cultural critics thriving today could be invoked to demonstrate that cultural criticism is alive and well.But many new and thriving venues for criticism and debate exist today, and they are not limited solely to the discussion of literary works. Actually, they became so encrusted with their own certitude and political judgments that they became largely irrelevant. Today the complaint is that literary culture lacks civility. We live in an age of commercialism and spectacle. Writers seek the limelight, and one way to bask in it is to publish reviews that scorch the landscape, with Dale Peck as the fatuous, but not a typical, case in point. Heidi Julavits, in an essay in The Believer, lamented the downfall of serious fiction and reviewing. She sur veyed a literary culture that had embraced “snark”, her termfor hostile, self-serving reviews.The snark review, according to Julavits, eschews a serious engagement with literature in favor of a sound-bite approach, an attempt to turn the review into a form of entertainment akin to film reviews or restaurant critiques. A critic found cultural criticism to be in “critical condition.” For him, the postmodern turn to, theory, in its questioning of objectivity, cut the critical, independent ground out from under reviewers. The rise of chain bookstores and blockbuster best sellers demeaned literary culture, making it prey to the commercial values of the market and entertainment.The criticism does not seem discontinuous. Nor should we forget that civility rarely reigned in the circles of New York intellectuals. The art critic Clement Greenberg physically pummeled the theater critic Lionel Abel after Abel rejected the view that Jean Wahl, the French philosopher, was anti-Semitic. Though Robert Peck has the reputation of a literary hatchet man, so far as I know his blows thus far have all been confined to the printed page.Cultural criticism has certainly changed over the years. The old days of the critic who wielded unchallenged authority have happily passed. Ours is a more pluralistic age, one not beholden to a narrow literary culture. The democratization of criticism—as in the Amazon system of readers' evaluating books—is a messy affair, as democracy must be. But the solution to the problems of criticism in the present is best not discovered in the musty basements of nostalgia and sentiment for the cultural criticism of a half-century gone. Rather the solution is to recognize, asJohn Dewey did almost a century ago, that the problems of democracy demand more democracy, less nostalgia for a goldenage that never was, and a spirit of openness to what is new and invigorating in our culture.11．What is the possible connection between cultural critics and publications and institutions?A．Cultural critics attack postmodernism and commercialization cherished by publications and institutions.B．Postmodernism and commercialization are attacked by the serious publications and institutions.C．Cultural criticism is short of judgments and will not exist without the support of publications and institutions.D．Publications and institutions show almost no interest in serious cultural criticism.12．How do the university critics like the serious cultural criticism?A．Cultural criticism is not serious enough when the articles are written in the cozy prose style.B．Popular culture is so prevailing that serious critics are not willing to keep to the shallow standards.C．Serious cultural criticism is full of insignificant quarrels and the public do not real ly trust it.D．Cultural critics have become so serious as to tell the stories imbued with American intellectual Puritanism.13．What is the author's opinion of the current complaint about the literary expansion into the other fields?A．When literary critics discuss issues with political judgments, their views are likely to be meaningless.B．It is reasonable for writers to seek limelight since we are living in the age of com mercialism.C．Critics should be encouraged to write and publish poignant articles which would scorch the landscape.D．It is the critics' responsibility to lament the downfall of serious fiction and reviewing.14．What does “the snark review” refer to according to Heidi Julavits?A．Cultural reviews which are unfriendly and selfish.B．Literary reviews avoiding serious criticism.C．Entertainment reviews in the film industry.D．Postmodern reviews independent of objectivity.15．In order to find a way out the current dilemma for the cultural criticism, the author suggests that ______.A．we should return to the old days when the critics passed their judgments without challengesB．pluralism should be held back, reinforcing the unchallenged authority in the literary criticismC．democratic criticism should not be adopted because it is rather messy as proved in the Amazon systemD．we should encourage more democracy, dismiss nostalgia and cultivate an open attitudePassage FourIn July, almost unnoticed by the national press, a deadly bird virus arrived on a pheasant farm in Surrey. Experts from the Department for the Environment, Food and Rural Affairs (Defra) identified Newcastle disease, a virus usually mortal to turkeys and geese but not humans, in a flock of 9,000 pheasant chicks imported from France ahead of the shooting season.Within hours of the diagnosis, veterinary experts had swung into action, throwing up a 3 km exclusion zone around the farm near Cobham and culling 10,000 birds. The carcasses were burned and premises cleaned to stop the virus escaping. It was four weeks before Defra's Veterinary Exotic Diseases Division feltit was safe for poultry movements in the area to resume．This weekend, with the news that H5N1, a far more deadly bird virus, has reached Turkey, similar emergency plans are being readied by officials from Defra and other agencies. The scenario they are preparing for is that the H5N1 virus, which so far has led to the culling of billions of chickens in south-east Asia and 60 human deaths, will soon arrive on these shores.What happens next depends on where the outbreak occurs, whether it can be contained and—most important of all—whether it mutates to become infectious between people. So far, only poultry workers or those directly exposed to chicken faeces or blood are thought to be at risk, though direct human-to-human transmission cannot be ruled out. “Eve ry time a new person getsinfected with the virus there is a small chance that person will trigger a pandemic,” said Neil Ferguson, a scientist at Imperial College, who has been running simulations on what might happen were H5N1 to reach Britain. “It's a v ery small chance, probably 1 in a 1,000, 1 in 10,000 or less. ”Should diseased birds reach Britain, the first step for veterinary officials would be to contain the outbreak as they did with Newcastle disease. An amber alert would be sounded and samples sent to the Veterinary Laboratory Agency (VLA) in Weybridge, Surrey. If Ian Brown, the head of avian virology there, confirms the cause of death as H5N1, the alert level will be raised to red and a whole series of emergency procedures, from quarantine, restriction of poultry movements to culling, will swing into action. Other agencies, such as the Department of Health, the Health Protection Agency and the Ministry of De fence, would be brought into the loop. In the event that theoutbreak cannot be contained, Defra may have to consider mass culling programmes and the possibility of vaccination.At this point, with the risk of the virus spreading to human populations, the Department of Health would appoint a UK national influenza pandemic committee to coordinate the response of hospital trusts and local authorities. The Civil Contingency Secretariat (CCS) of the Cabinet will also be alerted and Cobra, the emergency committee which coordinates Whitehall's response to terrorism, readied for a possible breakdown in civil order.The Department of Health's pandemic preparedness plan published in March envisages as many as 54,000 Britons dying in the first few months of a flu pandemic. But in June, CCS officials warned that that could be an underestimate. The more likely figure, they said, was 700,000—projection the Department of Health is expected to take on board when it updates its pandemic preparedness plan later this month.In the most serious case, officials estimate there would be as many deaths in the 12weeks of an epidemic as there usually are in a year. At the peak of the pandemic, 19,000people would requite hospital beds, prompting councils to requisition schools to accommodate the sick.To treat the dying, the government would begin drawing down its stockpiles of Tamiflu (药名), an anti-viral drug that treats flu. But with only 14 courses, enough for a quarter of the population, likely to be available, sooner or later rationing would have to be imposed, with health professionals and essential civil servants the first in line. The government would also come under pressure to release stores of its precious flu vaccine. At present there are contingency plans for justtwo to three million doses. But there is no guarantee that vaccines which protect against annual human flu strains will also work against H5N1．The consequences hardly bear thinking about. Earlier this year, in a dress rehearsal in the East Midlands codenamed, Operation Arctic Circle, officials quickly concluded that mass mortuaries would be needed to bury the dead. But no one knows whether, in the event of a pandemic, any of these measures will prove effective. John Avizienius, senior scientific officer at the RSPCA and a member of Defra's avian influenza stakeholder group,said: “All you can do is plan for the worst case scenario.”The fear is that wild geese moving from western China to Siberia may have spread the virus to several species of ducks and gulls that briefly visit British shores on their annual migration north. These ducks, many of which may not show signs of illness, may be passing on the virus to poultry on British farms.In the hope that they are not, Defra and the Wildfowl and Wetland announced last week that they would be conducting tests on 11,000 wild birds—three times the normal level. “The risk of avian influenza spreading from eastern Russia to the UK via migrating birds is still low,” said Defra's chief vet, Debby Reynolds. “Howe ver, we have said all along that we must remain on the look out.”16．What does the “scenario” in Paragrap h 2 mean to Turkey?A．Turkey will be exposed to the nationwide aggression of the deadly virus as the most severely attacked country on these shores.B．Turkey must kill billions of chicken and other kinds of poultry.C．Turkey has to be responsible for the arrival of H5N1 on these shores.D．All the veterinary experts in Turkey will soon swing into action.17．What is, according to Neil Ferguson, the possible risk of bird flu if one gets infected?A．Anyone's infection will trigger pandemic though it is probably one in ten thousand.B．Each time a person gets infected with the virus will cause an enormous pandemic bird flu.C．The person infected with the virus will do great harm to people around him. D．It is impossible that the virus infection of a certain persons will cause a national bird virus spreading.18．The change of alert colors from amber to red implies that__.A．all poultry workers must leave their working places as soon as possibleB．the officials in the Department of Health must call for much more of international assistanceC．the most serious situation of bird flu has appearedD．the change of the color functions greatly as the weather reports do19．What are the steps taken by the Department of Health of UK with the risk of the virus spreading to human population?A．The Department of Health required Civil Contingency Secretariat to publish documents for the pandemic preparedness.B．The Department of Health required the UK national committee to co-work with hospital trusts and local authorities.C．The Department of Health required Civil Contingency Secretariat to make a pandemic plan as soon as possible.D．The Department of Health requires every hospital to store Tamiflu, the precious flu vaccine.20．British government's fear of the wild geese from western China to Siberia is due to ______.A．the domestic ducks and gulls infected by the imported geese to BritainB．the poultry on British farms has been infected by the immigrated wild geeseC．the migration of the wild geese every winterD．British shores infected by the geese virusPart ⅡTranslation (40 points)Section A Directions: Translate the following short paragraphs into Chinese. (20 points) 21．Everyone has something they are ashamed of, afraid of or that they feel guilty about.Each of us, in our own way, has devised a neat little method of handling our dark side. We may know how to hide it. Few of us know how to heal it. When we refuse to admit what we have done in the past, we block our path to the future. No matter how terrible we think we are, how bad we believe we have been, how low we think we have fallen, we can clean our minds and begin again.22．We expend so much energy trying to fix who we are, we rarely get to know our selves. If werealized how precious the gift of life is, we would not waste a moment trying to improve it. If we really understood how precious we are to the gift of life, we would not waste time trying to fix ourselves.23．We cannot draw to us more than we believe we are worth.Everything that happens to us and every choice we make is a reflection of what we believe about who we are. Our inspiration comes from our self-acceptance. Our motivation comes from our self-reliance. When we accept ourselves and rely on ourselves, we feel good about ourselves. When you feel good about something, you believe in it. When you believe in it, it will work for you !24．It is of little consequence what your past has been. What matters to you and for you is right now. It is not your concern what others may be saying or doing. When you are taking care of yourself, you have very little time to pay attention to others. People can love you or hate you, ignore you or dote on your every word. No matter what anyone else may think or do or say, it has very little impact on who you really are. It is only in your mind that you build or destroy the esteem for your “self”. Self-esteem begins and ends with you, the self. When you have it, you have it and no one can take it away from you.Section BDirections：Translate the following paragraph into English．(20 points)现在，成千上万的美国人沉湎于对身材苗条的追求之中。
英语文体学教程Ch1
Course arrangements
16 weeks, 16 units→1 unit per week
Introduction
Final marks (100%)
Final test (70%) Assignments (20%) Attendance (10%)
Unit 1 The concern of stylistics
Unit 1 The concern of stylistics
Modern stylistics: modern linguistics
2 subdivisions: General stylistics Literary stylistics General stylistics: general features of various types of language use Literary stylistics: unique features of various literary works
Unit 1 The concern of stylistics
HW:
Read the unit carefully & try to understand the concepts on stylistics. Think about the “Study Questions” on p13 while reading the unit. Preview Unit 2: The need for stylistic study.
Unit 1 The concern of stylistics
1.3 Aspects of the speech event
3 aspects: 1. Substantial aspect — substance →sound/marks 2. Formal aspect — form →meaningful internal patterns 3. Situational — situation →relevant extratextual circumstance /context→meaning of the utterance
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.
Literary Stylistics Chapter 1 Introduction
Some basic English and Chinese concepts and terms in stylistics, such as style, variety, register, and genre and their definitions and mutual differences
2. Do the terms have identical or different concepts? If not, how do you tell them from each other?
3. Do scholars deal with the terms always in the same way in English and in Chinese?
7
1.1.1 The definition of style
Richard Nordquist, on a webpage of the website, likewise offers dozens of definitions under 6 broad headings.
4. How to achieve a delicate balance between innovation and inheritance when rendering the terms into the target language?
2
Chapter 1 Introduction Questions for you to consider
Some of the definitions listed are very familiar to us.
文体学答案
English StylisticsAnswers to Questions and TasksI. Introduction1. What is stylistics? Why is it considered to be a sub-branch of linguistics?Stylistics is a science dealing with styles. It is relegated to linguistics because it studies styles using the theories and methods of modern linguistics. It is concerned with the characteristic use of language by an individual or a group.2. What is style?Style refers to the habitual use of language typical of an individual or a group, including the effectiveness of language use in a particular context.3. Can we call the compositions written by a class of middle school students different styles?Explain.It is not appropriate to call the compositions of students of a class ‘different styles’ because students are still learning the language and they have not formed a linguistic habit yet. As they progress in language learning with time, they will improve their ability of using the language. As a result, the language they produce will be different. Only when they have a relatively fixed ways of using the language can we refer to their writings different styles.4. Name a few types of language habitually used by a group.The language that a group of people habitually use is usually known as a variety—the characteristic use of language in a particular context for a specific purpose, such as news report, business letter, advertisement, poetry, play, short story and so on.5. In what way can stylistics help us in our comprehension of the text?A very important part of comprehension is to get the meaning of a text. A grammarknowledge can only help us to understand the text in terms of its surface meaning. The study of style, however, can deepen our understanding and lead us to go beyond the surface and dig out the hidden meaning or the writer’s intended meaning such as class background, social status, region, occupation, education, political attitude, etc.6. How can stylistics help us in our study of a foreign language?Language is the most important means of communication. We learn a foreign language because we need it in communication. The most difficult problem in language learning is the appropriate use. Making correct sentences does not guarantee our effective use. Without a sense of style, it is impossible to achieve effective communication. As a foreign language learner, we can not acquire this sense of style as a native speaker does. We have to learn it formally and consciously. Once we internalize this conscious knowledge, we can improve our sense of style, which in turn leads to a better use of language.7. Explain how stylistics can help improve our study of literature.Each piece of literature is a piece of art. The understanding and appreciation of a literary work should be based on the study of the work itself. Since stylistics focuses on the study of literary language and explain how language contributes to the literary achievement of the text, it is scientific and convincing. Stylistics will introduce us to the theories and techniques of such intrinsic study, and this will no doubt raise our literary awareness and develop our ability of literary study and appreciation.8. What is the coverage of this course of stylistics?In simple terms, stylistics studies the language in use. It studies both spoken and written varieties, both literary and non-literary varieties, and both long and short texts. It covers a variety of genres. Because of the restraint of the time, we shall choose a few very practical varieties and make a detailed analysis.II. Procedures of Analysis1. What is text?A text is a passage, long or short, spoken or written, which is logically arranged and naturallyconnected.2. What makes a text a text?A text should be coherent. That is the whole text should center around one main idea.Meanwhile, a text should be cohesive. That is all the language units should be naturally connected.3. Comment on the following dialogue. Can we call it a text? What is missing?A. You come back for dinner, Darling?B. It’s Monday, Mum.C. OK.On the surface, the utterances seem not to come together as a text because they are not naturally connected. What is missing is cohesive devices. But put in the context that B is on night shift every Monday, and this knowledge is shared by Mother, the text can be said to be coherent and make sense. The coherence of the text is achieved by pragmatic implications. 4. What is wrong with the following passage consisting of three sentences in terms of text? (Thethree sentences are numbered (1),(2),(3)for the sake of discussion.)(1) I bought a new car yesterday. (2) His father got hurt in a car accident the daybefore. (3) Accidents are frequent nowadays.Although the three sentences are linguistically related, for example, in (1) a new car is mentioned, in (2) the same word car appears and in (3) accident used seems to refer back to car accident. But in terms of idea, the three sentences do not form a whole as a text because the three sentences are semantically unrelated.5. What is linguistic context?Linguistic context refers to the language environment in which a linguistic item is used and its meaning is defined. Such a language environment can consist of a phrase, a clause, a sentence, a paragraph, a passage, and even the whole book.6. What is non-linguistic context?Non-linguistic context refers to the physical situation, in which an utterance or a piece of discourse is produced. The meaning of the utterance or discourse is defined by the contextual factors.7. What are the components of the context of situation?The context of situation is non-linguistic context. It is composed of such factors relating to the user as: age, sex, family background, ethnic group, social status, education, economic status, etc. and factors relating to the use such as: setting, role-relationship, medium, etc.8. Comment on the following linguistic choices and classify them according to contextualfactors.1) What’s the time now?2) How is the enemy?3) Excuse me, but could you tell me the time me?4) Time?5) Would you mind telling me the time?6) My watch has stopped.7)Who’s got time?9. Find an example from any source to illustrate the mutual influence of linguistic choices andcontext.Professor: Good morning, good morning…You are…er…I suppose you really are … the new pupil?Pupil: Yes, Sir. Good morning, sir. You see I came at the right time. I didn’t want to be late.Professor: Good. Yes, that’s very good. Thank you. But you shouldn’t have hurried too much, you know. I don’t know quite how to apologise to you for having kept youwaiting…I was just finishing…you understand, I was just…er…I do beg your pardon…I hope you will forgiveme…Pupil: Oh, but you mustn’t, Sir. It’s perfectly all right, Sir.Professor: My apologies(Eugene Lonesco, The Lesson, pp.183-4)The role-relationship between the professor and the pupil requires more polite language on the part of the pupil. But through the conversation we can see the professor is polite and nervous and too polite for his status. It indicates the unusualness of the pupil. Although the language used by the pupil is polite, it implies dignity and sort of superiority of the pupil.10. In what way do we usually describe a text?A text can be described by its phonological level and graphological level. A text has itsphonological features such pronunciation, intonation, stress, rhethm and so on. The intonation and stress can often change the meaning of the utterance. Graphological forms of the utterance consist in spelling, capitalization, punctuation and so on. The former is to be heard and the latter is to be read. In terms of lexis and grammar, an utterance is the result of connecting a number of words by grammatical rules to convey meaning. The re-arrangement of words may lead to the change of meaning.11. What is the use of frequency in stylistic analysis?The style of a text is usually related to the high frequency of certain features. When the writer or speaker makes linguistic choices, s/he normally has the meaning in mind. The high frequency indicates their preference or intention. For example, if the writer wants to be friendly and intimate, s/he frequently uses informal features. If s/he wants to be cold and distant, s/he makes frequent choices of formal features.12. What is the effective way of making out the sense of a text?The effective way of making the sense of a text is to place the text in a context. Only when the contextual factors are determined, can we interpret the text validly.13. What is norm? How is norm formulated?Norm is the normal practice in speech or writing. That is language use according to conventional rules. These rules are usually based on the language practice by comparison. If in the same context, most people use language in a certain way, that usage can be said to be the norm. Unusual or peculiar ways of using the language is considered abnormal—against the norm. This norm results from comparison of large quantities of linguistic data.14. Look at the following passage. In what way is the high frequency of passive voice related tothe style of the text and its effect?We are now looking at another process. The heated plastics material is extrudedthrough a die in the form of threads. The threads are now drawn through a bath, tocool them. Then they are chopped into granules.This is a piece of scientific and technological English. Of the four sentences, three are in the passive voice. The high frequency of passive voice makes the writing impersonal, objective and formal. The one sentence in the active is concerned with people. In all the rest, focus is put on the material.15. Put the following text in three different contexts and give an interpretation for each.It will be raining tomorrow.In general cases, this is a statement, informing people there will be rain tomorrow. Suppose a class of students have planned to have a picnic in the open-air, this means “We must change our plan and postpone or cancel it.” If one is going to travel, i t asks the traveler to take an umbrella or rain coat along. If a place suffers from draught, this statement may mean get ready for the crop, and so on.III. Style Markers in Phonology1. What is usually dealt with in phonology?In phonology, we usually discuss speech sounds, stress, pitch, tempo, loudness, intonation patterns and so on.2. Identify and classify patterns of sound repetition in the following examples.1) Words and phrasesshilly-shally super-duper high and mightyfair and square k ith and kin toil and moilpart and parcel b y hook or by crookshilly-shally = pararhymesuper-duper = rhymehigh and mighty = assonancefair and square = rhymekith and kin = reverse rhymetoil and moil = rhymepart and parcel = reverse rhymeby hook or by crook = rhyme2) Titles and headlinesPride and PrejudiceThe Love’s labour LostOf Mice and ManBill Rogers, Marvelous Marathon ManFather in a FixWitch WatchThe Wonder of WaterfallPride and Prejudice = alliterationThe Love’s labour Lost = alliterationOf Mice and Man = alliterationBill Rogers, Marvelous Marathon Man = alliterationFather in a Fix = alliterationWitch Watch = alliterationThe Wonder of Waterfall = alliteration3) Advertisements--Drinka Pinta Milka Day--Extra Pintas Warma Winta--Be different daily. Be dreamy or dramatic. Ex-periment, but still economise.Be bold and be beautiful—but don’t break the bank.--Drinka Pinta Milka Day = sound elision--Extra Pintas Warma Winta = sound elision--Be different daily. Be dreamy or dramatic. Experiment,but still economise. Be bold and be beautiful—but don’t break the bank. = (in order)alliteration; alliteration; reverse rhyme; alliteration3. The underlined word(s) in each of the following examples is (are) understood as patterned insound on a word (or words) not present in the sentence. Can you explain the function of the implicit sound patterning?1) A chimp (chimpanzee) is named as Nim Chimpsky.2) A man called his tommy cat Romeow.3)Moby Disc—A Whale of a Record shop. (Advert)1) Nim Chimpsky sounds like Noam Chompsky, who believes that man has a languagelearning device in the mind, which enables the child to learn the language howeverbadly it is taught. This makes man different from animal, which does not have such adevice. That is why chimpanzee (who is considered to be the most intelligent animal)can never learn the language however hard it is taught.2)Romeow is a word imitating the sound made by a cat and shares the same pronunciationwith the main character in Shakespeare’s tragedy Romeo and Juliet. Romeo has deep love for Juliet. It indicates that Romeow the cat has affection for the master.3) Record shop named Moby Disc, which implies it is a huge shop of its kind, for it remindsone of the Moby Dick, a book which depicts people hunt a huge whole called Moby Dick.4. Point out phonological devices in the following extract.A creak of hinges and a booming thud at the back of the church indicates the arrival of alatecomer. As the priest turns back to the altar to read the offertory prayer, and the rest flutter the pages of their missals to find the English translation in its proper places, all hear the hurried tiptap of high-heeled shoes on the tiled surface of the central aisle.(David Lodge, How Far Can You Go)In this passage the authors uses alliteration high-heeled, assonance tiled surface of the central aisle. What is more conspicuous is the use of onomatopoeic words such as creak, booming thud, flutter, tiptap, which present the different kinds of noises heard in the church. The use of such words help the reader share the same experience of the writer and make the description vivid and believable.IV. Style Markers in Graphology1. What is graphology concerned with?Graphology deals with types of letters, spelling, capitalization, italicization, punctuation, hyphenation, paragraphing and all other forms.2. Explain the functions of punctuation.The written language is considered to be the graphological form of the spoken language.Punctuations take the place of pause, intonation, stress, tempo, loudness and so on in spoken form. A good writer can always manipulate punctuations to express different kinds of mood, tone, emotions such as anger, happiness, excitement, urgency, warning, surprise and so on. 3. How would you account for the role of paragraphing?As we know, each genre such as poem, pose, letter, and advertisement has its conventional graphological forms and requires different ways of paragraphing. The proper way of arranging paragraphs can contribute to the meaning of the text as well as attract attention and arouse the reader’s interest. For example, journalists favour short paragraphs, re gulations and rules are usually arranged in blocks numbered, business letter and a letter to a friend certainly require different paragraphing, and so on. In a novel, the conversations between characters and the language of the narrator are clear because of the paragraphing. Often just by paragraphing, reader can understand the intention of the writer.4. Read the following extract from the novel Adventures of Tom Sawyer and comment on thegraphological forms.“TOM!”No answer.“Tom!”No answer.“What’s gone with that boy, I wonder? You, TOM!”No answer.The old lady pulled her spectacles down and looked overthem about the room, then she put them up and looked out under them. She seldom or never looked through them for so small a thing as a boy; they were her state pair, the pride of her heart, and were built for “style”, not service—she could have seen through a pair of stove lids just as well. She looked perplexed for a moment, and then said, not fiercely, but still loud enough for the furniture to hear:“Well, I lay if I get hold of you I’ll—”She did not finish, for by this time she was bending downand punching under the ed with the broom, and so she needed breath to punctuate the punches with. She resurrected nothing but the cat.“I never did see the beat of that boy!”She went to the open door and stood in it and looked outamong the tomato vines and “jimpson” weeds that constituted the garden. No Tom. So she lifted up her voice at an angle calculated for distance, and shouted:“Y-o-u-u, Tom!”There was a slight noise behind her and she turned just intime to seize a small boy by the slack of his roundabout and arrest his flight.“There! I might ‘a’ thought of that closet. What you beendoing in there?”“Nothing.”“Nothing! Look at your hands. And look at your mouth.What is that truck?”“I don’t know, aunt.”--Mark TwainThis is one episode of the novel Adventures of Tom Sawyer, depicting how Granny is looking for Tom, who is naughty and hiding under the bed. The different form of letters with punctuation marks indicates how Granny speaks. When we read it, we have the feeling of watching Granny on a stage play. For example, “TOM!” is said louder than “Tom!”. “Y-o-u-u, Tom!” indicates Granny drawls her voice and with unusual loudness so as to be heard far away. The exclamation marks “!” show her emotion, and the dash “—“ implies her sudden stop. The italicized through emphasizes the contrast with “over” and “under”, humorously implying her glasses are intended for ornament rather than practical use. In the whole passage, we see the only character Granny, who is speaking to herself. It is very much like a stage monologue. After reading, we have a vivid image of Granny in our mind. And there is a touch of humour all through.V. Style Markers in Syntax1. What are the major elements of basic clause structure?The major elements of basic clause structure is SV(O)(C)(A).S stands for subject which can be a noun phrase, a pronoun and a noun clause. V is the short form for verb, which can be a single verb or a verb phrase. (O) (C) (A) mean the elements are optional; (O) stand s for ‘object’, (C) for ‘complement’ and (A) for ‘adverbial’. For example,SentenceS V O C AJohn found his dog dead in the yard.2. What are the criteria for clause classification?There are usually three ways of classifying clauses, i.e. classification according to constituents, verb phrase and functions. By constituents clauses can be grouped into SV(A), SVO(A), SVC, SVOO, SVOC. By verb phrase we have finite clause, non-finite clause and verbless clause. By functions clauses can be categorized either as independent clause or dependent clause.3. Differentiate a finite clause from a non-finite clause.A finite clause is one in which the verb is affected by the subject in number or person and bythe context in terms of time. For example,The earth moves around the sun.Zhang set out for the train station at 8:00 in the morning.A non-finite clause, however, is one in which the verb does not change. Such a cause can bean infinitive clause, participial clause or gerundial clause. For example,I heard Mary singing in the next room half an hour ago.He suggested going to the lecture.To be honest, I don’t like the movie.4. Explain the difference between an independent clause and a dependent clause.An independent clause is one which can stand alone such as:The Great Wall is really a wonder!She bought a notebook computer yesterday.Whereas a dependent clause can not stand alone but is always a subordinate element in a sentence. For example,I know that she bought a notebook computer yesterday.That the Great Wall is one of the seven wonders is known to many people across the world. *5. What is situation type?Clauses can be viewed as means of representing patterns of one’s objective and subjective experience in the world. Each of these clauses is called a situation type. All the clauses can be categorized into a number of situation types*6. How do we distinguish situation types?Situation types can be distinguished according to verb meaning, i.e. whether the meaning is dynamic or stative. Dynamic meaning refers to a happening or occurrence, which has a beginning and an end. It may be momentary or durative, e.g.He left for Beijing two hours ago.The students have been play basket ball for more than an hour.Stative meaning refers to a situation thought of as existing, continuous and unchanging, e.g.Who owns the house?I understand what you mean.*7. Name the participant roles in action types?The participant roles in action types are: agentive role (doer of the action), external force (causer of the action), intrumental role (tool to do the action with), recipient role (receiver of the action) and objective role (the affected or the result of the action).*8. What are the participant roles in stative types?Stative types involve such participant roles as (1) relational: identifier and the identified, and carrier and the attribute, e.g.a. Cathy is diligent.b. Tom is our class president.In a Cathy is the carrier and diligent the attribute, and in b Tom is the identified and our class president is the identifier.(2) mental: sensor and the phenomenon, e.g.The dog smelled the handbag and started barking.In this example, the dog is the sensor and the handbag is the phenomenon.*9. Why do we need to analyse situation types of clauses in a text?In language agency, animacy, dynamic action, mental states and so on seem to be the basic categories to show how hunman beings present the world and their experiences through language. Consistent choice and avoidance of certain types suggests the mind-style of a writer or speaker. For instance, the emphasis of objective or instrumental role manifests the writer’s intention to disclaim the agent’s responsibility as in “Penalty is enforced when books are taken out of the library” rather than “We shall penalize those who take books out of the library.”10. What is sentence?A sentence is the largest language unit, which expresses a complete thought and is able tostand alone; it begins with a capital letter and ends with full stop, question mark or exclamation mark when it is written on paper. But it ends with a long pause or in rising tone or falling tone.11. What is a simple sentence?A simple sentence conforms to the basic clause structure SV(O) (C) (A).12. What is a multiple sentence?A multiple sentence consists of more than one clause. It may be either a compound sentence,a complex sentence, or a mixed sentence. A compound sentence contains two or morecoordinating clauses. A Complex sentence is composed two or more clauses, among which one must be the main clause and the rest is or are subordinate clauses. A mixed clause comprises both compound and complex sentence, and sometimes called compound-complex sentence.13. What is the difference between a minor sentence and an incomplete sentence?Neither type conforms to the basic clause structure. But a minor sentence is supposed to be “complete” in the sense that it is finished. An incomplete sentence never comes to its end because of sudden interruption or other reasons. For example,(1) Attention, please.(2) Help!(3) Going to the lecture?(4) Why are you late?Because I—Of the four sentences, (1) (2) (3) are minor sentences whereas (4) is an incomplete.14. Analyse the text below, considering such aspects as:(Day Survey written by Phyllis Walden, a housewife, married to a farm labourer.)9 o/c I get up, wash, make tea, cook breakfast and feed everyday. He says he’ll help withthe housework, as Jay has contracted a skin complaint and I have to dress her badplaces’. This takes half an hour. Clear away wash up. We both tidy dining room. Hehelps me upstairs too. Then at 10:30 I start to prepare dinner. This consists of roastbeef, potatoes, beans and marrow all from own garden. Apple pie and custard tofollow.2:15 Dinner on the table at last. I am surprised I’ve not had a ‘wigging’ from himself at it being so long after one o/c our usual time. But I just couldn’t hurry today. We allenjoy meal.3:30 Clear away we wash up together. Children out in garden. I make scones for tea.4:45 Sit down. Look at the wireless programme—Decide to tune in at 5 o/c.6 o/c Rouse to the tune of crockery being put on the table. Himself getting tea ready.Good gracious! I’ve been asleep an hour. Rush to wash and change.Looks verydull going to rain I think.7:30 Put children to bed. Himself sits nursing cat. I curl up in a low armchair. Listening to wireless. Going to get dark early tonight. Raining. We sit in the twilight….1) the average length of the sentences;The passage has 230 words and 32 sentences. The average sentence length is 7.2 words.This shows the style is colloquial, casual.2) the ratio of simple to multiple sentences;The ratio of simple to multiple sentences is 32: 4.3) the ratio of minor to major sentences.The ratio of minor to major sentences is 59(19 minor S):41(13 major S).15. What is noun phrase?A noun phrase is a phrase with a noun as the key word and functions as a noun in a sentence16. What are the major components of a noun phrase?A complete noun phrase consists of four constituents: determiner, pre-modifier, head andpost-modifier. The determiner can be an article, numerals, numeral pronouns; all the words between the determinative and the head are pre-modifier, whatever part of speech they belong to; the head can be a noun or a pronoun; the post-modifier is usually a prepositional phrase, a noun phrase, a non-finite clause, a relative clause, etc.17. What is the use of pre-modification?Frequent use of pre-modification in newspaper headlines can economize space, and arouse the reader’s interest as well because pre-modification is usually short, thus cannot spell out details. This keeps the reader in suspense and kicks up their eagerness to find out.Pre-modification tends to be informal and appears in less formal style.18. What is the function of post-modification?Post-modification can be very long and complicated. Using post-modification can give enough room for details and for further information. Therefore, it is frequently used in moreformal contexts, for instance, written language. Written legal English prefers post-modification in noun phrases, because the composer of a legal document must ensure that it conveys meaning exactly and explicitly, guarding against any possible misinterpretation.19. The following is a text from From Russia with Love written by Ian Fleming, follwed by a listof noun phrases. Please mark the constituents in number (1, 2, 3, 4).Breakfast was bond’s favourite meal of the day. When he was stationed in London it was always the same. It consisted of very strong coffee, from De Dry in New Oxford Street, brewed in an American Chemex, of which he drank two large cups, black and without sugar. The single egg, in the dark blue egg cup with a gold ring round the top, was boiled for three and a third minutes.It was a very fresh, speckled brown egg from French Marans hens owned by somefriend of May in the country. (Bond disliked white eggs and, faddish as he was inmany small things, it amused him to maintain that there was such a thing as theperfect boiled egg.) Then there were two thick slices of whole wheat toast, a large patof deep yellow Jersey butter and three squat glass jars containing Tiptree ‘LittleScarlet’ strawberry jam; Cooper’s Vintage Oxford marmalade and Norwegian HeatherHoney from Fortnum’s. The coffee pot and the silver on the tray were Queen Anne,and the china was Minton, of the same dark blue and gold and white as the egg cup.very strong coffee from De Bry…sugaran American Chemextwo large cups, black and without sugardark blue egg cup with a gold ring round the topa very fresh speckled brown egg from French…countryFrench Marcans hens owned by …countrytwo thick slices of wholewheat toastwholewheat toasta large pat of deep yellow jersey butlerdeep yellow jersey butlerthree squat glass jars containing…Fortnum’stiptree ‘Little Scarlet’ strawberry jamcooper’s Vintage Oxford marmaladeNorwegian Heather Honey from Fortnum’sVery (1) strong (2) coffee (3) from De Bry…sugar (4)An (1) American (2) Chemex (3)Two (1) large (2) cups (3), black and without sugar (4)dark blue egg (2) cup (3) with a gold ring round the top (4)a (1) very fresh speckled brown (2) egg (3) from French…country (4)Fre nch Marcans (2) hens (3) owned by …country (4)two (1) thick slices of wholewheat (2) toast (3)wholewheat (2) toast (3)a (1) large pat of deep yellow jersey (2) butler (3)deep yellow jersey (2) butler (3)。
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.。
English-Stylistics1
1.2 The Necessity of Stylistics
The eventual thrust of literary criticism is to evaluate works of literature. But interpretation comes before evaluation, and description comes before interpretation. Stylistic analysis, by starting with linguistic facts, relates description to interpretation and formal features to their artistic function. It thus forms an essential part of literary critical activity.
1.1 The Definition of Stylistics
Definition: The study of style (Wales, 1989:437) The study of literary discourse from a linguistic
orientation (Widdowson,1975:3) The study of the use of language in literature, a
新视野大学英语视听说教程第4册听力练习录音文本和答案
ÐÂÊÓÒ°´óѧӢÓïÊÓÌý˵½Ì³ÌµÚËIJáÌýÁ¦Á·Ï°Â¼ÒôÎı¾ºÍ´ð°¸Uint1II. Basic Listening Practice1. ScriptM: I¡¯m beside myself with joy. I¡¯m so lucky. Guess what? I¡¯ve won a lit of money in the lottery.W: Yeah? Well, you do know that money is the root of all evil, right?Q: What does the woman mean?2. ScriptW: Mary was furious. Her son wrecked up her car.M: He shouldn¡¯t have driven a car without a driver¡¯s license. He¡®s still taking driving lesson.Q: What do we know about Mary¡¯s son?3. ScriptM: Susan, I hear you¡¯re going to marry that guy. Some people think you¡¯ll regret it.W: Is that so? Only time tell.Q: What does the woman imply?4. ScriptM: Mary, I just want to say how sorry I was to learn of your mother¡¯s passing. I know how close you two were?W: Thank you. It was so sudden. I¡¯M still in a state of shock I don¡¯t know what to do.Q: Which of following is true?5. ScriptW: I get furious at work when my opinions aren¡¯t considered just because I¡¯m a woman. M: You should air your view more emphatically and demand that your vice be heard. Q: What is the woman complaining about?Keys: 1.C 2.B 3. D 4.A 5.DIII. Listening InTask 1: Soft answers turn away wrath.Mary: Dam! You¡¯re spilled red wine on me. My new dress is ruined.John: I¡¯ m terrible sorry! What can I do to help? Here¡¯s some water to wash it off. Mary: Stop splashing water on me! Oh, this is so embarrassing! I¡¯m a mess. John: Well, you do look a little upset. Please don¡¯t blow up. Don¡¯t lose your cool. Mary: Hmm, you¡¯ve got the nerve talking like that! Who shouldn¡¯t fly off the handle? This dress cost a fortune.John: You look really cute when you¡¯re mad. I kid you not. Some people do look attractive when they are in a rage.Mary: This is very expensive dress. I saved for months to buy it, and now it¡¯s ruined. Look at this stain!John: Accidents do happen. Give me your dress, and I¡¯ll take it to the cleaners.Mary: Sure! You want me to take it off right here in public and give it to you? I don¡¯t even know you!John: This might be a really goof time to get acquainted. I¡¯m John Owen.Mary: Mmm, at least you¡¯re polite. I guess I really shouldn¡¯t have flared up. After all, it was an accident. I¡¯m Mary Harvey.John: Come on. I¡¯ll take you home. You can change your clothes, and I¡¯ll get the dress cleaned for you.Mary: Now you¡¯re talking. Thanks. You¡¯re a real gentleman.John: You¡¯d better believe it. I¡¯m glad to see that you¡¯ve cooled down. Feel look a bite to eat afterward? I¡¯m starving.Mary: Ok. You¡¯re pretty good. I¡¯m not nearly as mad. If you can get this stain out, I¡¯ll be very happy.John: I¡¯ll try my best. But if I can¡¯t get the stain out, please don¡¯t let your happiness turn to wrath.1. Which of the following would be the best title for the dialog?2. Why does the woman get angry?3. What does the man say to please the woman when she looks angry?4. Why does the woman say the man is a real gentleman?5. What is the man¡¯s final proposal?Keys: 1D 2.A 3.C 4.B 5.CTask 2: Big John is coming!ScriptA bar owner in the Old West has just hired a timid bartender. This (S1) owner of the establishment is giving his new hire some instructions on (S2) running the place. He tells the timid man, ¡°If you ever hear that Big John is coming to town, (S3) drop everything and run for the hills! He¡¯s the biggest, nastiest (S4) outlaw who¡¯s ever lived!¡±A few weeks pass (S5) uneventfully. But one afternoon, a local cowhand comes running through town (S6) yelling, ¡°Big John is coming! Run for your (S7) lives!¡± When the bartender leaves the bar to start running, he is knocked to the ground by several townspeople rushing out of town. (S8) As he¡¯s picking himself up, he sees a large man, almost seven feet tall. He¡¯s muscular, and is growing as he approaches the bar.He steps up to the door, orders the poor barkeep inside, and demands, ¡°I want a beer NOW!¡±He strikes his heavy fist on the bar, splitting it in half. (S9) The bartender nervously hands the big man a beer, hands shaking. He takes the beer, bites the top of the bottle off, and downs the beer in one gulp.As the terrified bartender hides behind the bar, the big man gets up to leave, ¡°Do you want another beer?¡± the bartender asks in a trembling voice.¡°Dang it, I don¡¯t have time!¡± the big man yells, (S10) ¡°I got to get out of town! Don¡¯t you hear Big John is coming?¡±Task3: A View of HappinessScriptDr. Smith has proposed a reasonable, if perhaps somewhat oversimplifies, view of happiness. According to his theory, happiness might be described as a state if balance. And when human or certain animals achieve that balance, they rend to remain in that condition in order to repeat the happy feeling.To illustrate this, we may study two magnets. When their positive and negative poles meet, they are comfortably joined, and they remain there. In other words, they have attained a balance or state of happiness. If on the other hand, one of the poles is reversed, and positive pole is presses against positive pole, there is resistance, instability, imbalance a state of unhappiness.Animals with some degree of intelligence seem to find happiness in reinforcement. Once they have gained one or more of their goals such as food, and water, they learn to repeat the actions that led to satisfaction of those goals. This repetition or reinforcement produces a state of balance or sense of happiness.According to this theory, only animals with a significant capacity to learn should be able to experience happiness. But in truth learning can take place through surprisingly simple short-term action such as scratching an itch, followed by pleasure, followed by more scratching, and so on. Thus learning can occur with almost no conscious thought.For human beings, blessed with the ability to reason, goals are not limited to the short-term satisfaction of needs. Indeed, there is a strong link between happiness and the fulfillment of long-term goals. Even if human strive for goals that are more complex and longer-term than the animals¡¯ goals, once those goals are gained, happiness is reinforced.1. Why does the speaker mention ¡°magnets¡±?2. According to the passage, what may animals do after they have got food?3. Which of the following is true according to the speaker?4. What does the speaker say is special about the goals of human beings?5. Which of the following best captures the main idea of the passage?Keys: 1D 2.C3. B 4.D 5.AIV. Speaking OutMODEL 1 Don¡¯t let it get to you!Susan: You look so angry. What happened?Chris: Nothing I¡¯d rather not talk about it. Just don¡¯t ask.Susan: Come on. Relax. Talk to me.Chris: All right. This morning I took my car to the garage to check the air conditioner. They only gave it a quick look, refilled it with some Freon, and charged me 300bucks! Susan: No wonder you¡¯re livid. I¡¯d be mad too if someone ripped me off like that. Chris: Yeah. And they were rude. They said I didn¡¯t know anything about cars, whichI don¡¯t, but they didn¡¯t have to be blunt!Susan: Sounds like you got a raw deal!Chris: What¡¯s worse, as I was leaving, I herd then saying, ¡°Don¡¯t trust that guy. He looks broke.¡± When I heard that, I almost hit the roof.Susan: Don¡¯t let it get to you. Better ignore them.Chris: I agree. I did manage to keep my cool.Susan: Well, the best thing you can do is to file a complaint with the Consumer Protection Agency.Chris: sounds like a good idea.MODEL2 I¡¯m too depressed.ScriptSusan: Chris, I hear you¡¯ve been down in the dumps, so I¡¯ve come to cheer you up. Chris: It¡¯s not gong o work. I¡¯m too depressedSusan: Come, on. Tell me what¡¯s on your mind.Chris: Everything. My girlfriend left me; my dog ran away; my wallet was stolen. Susan: Don¡¯t worry. I¡¯ll help you solve the biggest problem: finding you a new girlfriend.Chris: Forget it. Anyway, I¡¯m getting bad grades, and I was told that I¡¯d have to repeat a lot of courses next year. When I heard that, I almost lost it.Susan: Look, relax. I¡¯ll help you with those courses.Chris: Yeah, but I also have three week¡¯s laundry to do., and my room is a pigsty. Susan: Forget it. You¡¯re on your own.Chris: Come, on. What are friends for?Susan: To keep you in high spirits; not to do your laundry.MODEL3 You seem to be on top of the world.ScriptNora: Oh, hey, John!John: Hey!Nora: You seem to be on top of the world tonight. What¡¯s up?John: I¡¯m so happy I¡¯m about to burst. Guess what?Nora: You¡¯ve got me.John: It might be true that misfortunes never come singly, but you can also have a ¡°double blessing¡±. And that¡¯s what I had.Nora: You mean you¡¯ve had two happy events in your life?John: Exactly. You know, I was strong in all subjects except physics. Now I¡¯ve finally passed the test--the one I needed to qualify for a Bachelor¡¯s degree.Nora: Congratulations! You¡¯d failed it three times. Now wonder you¡¯re beaming. What¡¯s the other good news?John: The multinational I was dong my field project at offered me a job at a good staring salary.Nora: Wow, wonderful, simple wonderful.John: I feel like celebrating. Shall we go to a bar?Nora: Why not?Now Your TurnTask 1SAMPLE DIALOGA: You look furious. What happened?B: Nothing. I¡¯d rather not talk about it. Just don¡¯t ask.A: Come on. You shouldn¡¯t keep your feeling to yourself. You need to let off some stream. So, talk tome.B: All right. This morning I went to a shop to buy a digital camera, I only need an ordinary one. It is enough for my tours in the summer vacation. Buy they persuaded me to buy a professional camera, which cost three times as much.A: But you were willing to buy for it. Anyway, it must work better.B: You see, I know next to nothing about photography. So they simply tricked me into buying an expensive one.A: No wonder you¡¯re livid with rage. I¡¯d be mad too if I were robbed like that. What are you going to do?B: I already went back to them and asked to exchange it for a cheaper one.A: What did they say?B: Oh, they were rude. They insisted that they hadn¡¯t encouraged me to buy a professional camera, and that I bought it myself.A: Sounds like you got a raw deal!B: What¡¯s worse, as I was leaving, I heard they say, ¡°That guy looks broke. He shouldn¡¯t have bought any camera.¡±A: Don¡¯t let it get to you. Better ignore their rude remarks.B: I agree. I did manage to keep my cool.A: Well, the best thing you can do is to file a complaint with the Consumer Protection Agency. If they talk to the shop, maybe they will give you a refund.B: Sounds too good to be true.V. Let¡¯s TalkScriptHello, everyone. Today I invite you to join me in an exploration off the causes of depression. There ate many factors involved, but I believe some deserve special attention.Heredity certainly plays a role. .The tendency to develop depression may be inherited; there is evidence that this disorder may run in families.Physiology is another factor related to depression. There may be changes or imbalances in chemicals which transmit information in the brain called neurotransmitters. Many modern antidepressant drugs attempt to increase levels of certain neurotransmitters so as to increase brain communication. While the causal relationship is unclear; it is known that antidepressant medications do reliever certain symptoms of depression. Researchers also study psychological factors. They include the complex developmentof one¡¯s personality and how one has learned to cope with external environmental factors, such as stress. It is freeqently observed that low self-esteem and self-defeating thinking are connected with depression. While it is not clear which is the cause and which is the effect, it is known that sufferers who are able to make corrections to their thinking patterns can show improved mood and self-esteem. Another factor causing depression is one¡¯s early experiences. Events such as the death of a parent, the divorce of the parents, neglect, chronic illness, and severe physical abuse can also increase the likelihood of depression later in life. Some present experiences may also lead to depression. Job loss, financial difficulties, long periods of unemployment, the loss of a spouse or other family member, or other painful events may trigger depression. Long-term stress at home, work, or school can also be involved.It is worth nothing that those living with someone suffering from \depression experience increased anxiety which adds to the possibility of their also becoming depressed.Depression-causing Factors Problem Description SolutionHeredity It is inherited and run in families.Physiology changes or imbalances in chemicals called neurotransmitters, which transmit information in the brain Antidepressant drugs relieve certain symptoms of depression.Psychological Factors Low self-esteem and self-defeating thinking are connected with depression. Sufferers who make correction to their thinking patterns can show improved mood and self-esteem.Early Experiences Event like the death of a parent, the divorce of parents, neglect, chronic illness, and severe physical abuse can increase the likelihood of depression.Present Experiences Job loss, financial difficulties, long periods of unemployment, the loss of a spouse or other family member, or long-term stress may trigger depression.Living with somebody with depression This causes increased anxiety, which adds to the possibility of their also becoming depressed.VI. Further Listening and SpeakingTask1: Reason and EmotionScriptEmotion is sometimes regarded as the opposite of reason; s is suggested by phrase such as¡± appeal to emotions rather than reason¡± and ¡°don¡¯t let your emotions take over¡±. Emotional reactions sometimes produce consequences or thoughts which people may later regret or disagree with; but during an emotional state, they could not control their actions. Thus, it is generally believed that one of the most distinctive facts about human beings is a contradiction between emotion and reason.However, recent empirical studies do not suggest there is a clear distinction betweenreason and emotion. Indeed, anger or fear can often be thought of as an instinctive response to observed fact. The human mind possesses many possible reactions to the external world. Those reactions can lie on a continuum, with some of them involving the extreme of pure intellectual logic, which is often called ¡°cold¡±, and others involving the extremes of pure emotion not related to logical agreement, which is called ¡°the heat of passion¡±. The relation logic and emotion merits careful study. Passion, emotion, or feeling can reinforce an argument, event one based primarily on reason. This is especially true in religion or ideology, which frequently demands an all-or-nothing rejection or acceptance. In such areas of thought, human beings have to adopt a comprehensive view partly backed by empirical argument and partly by feeling and passion. Moreover, several researchers have suggested that typically there is no ¡°pure¡± decision or thought; that is, no thought is based ¡°purely¡±¡± on intellectual logic or ¡°purely¡± on emotion¡ªmost decisions are founded on a mixture of both.1. What results does the speaker may some from emotional reactions?2. What is the popular belief about reason and emotion?3. What does the speaker mean by ¡°cold ¡°?4. According to the passage, what should people do in religious matters?5. What is the speaker¡¯s conclusion?Keys: 1.A 2.B 3.C 4.C 5.DTask 2: DepressionScriptPat: You look depressed. Are you feeling blue? I¡¯ve come to cheer you up.Ted: But there¡¯s nothing that can cheer me up. I¡¯m down in the dumps. Life¡¯s miserablePat: You have to try to get your mind off things.Ted: But I can¡¯t. I just feel there¡¯s too much pressure on me sometimes!Pat: You can¡¯t let things get you down. Learn to relax and stop worrying all the time. What¡¯s your problem?Ted: I failed my last exam, and another exam is coming, I get bored.Pat: If I were you, I¡¯d start working hard. If you work hard for a long time, you¡¯re bound to get better grades. You see, ¡°no pain, no gain¡±.Ted: It¡¯s easier said than done! If I read for fifteen minutes, I get bored. Pat: You have to learn some self-discipline.But how can I stay cheerful all the time?Ted: Worse than that! If I read for half an hour, I get a headache. Then I start to worry about passing the next exam.Pat: It¡¯s all in your mind. If you stay cheerful like me, everything will soon be OK.Ted: But how can I stay cheerful all the time?Pat: Try to look on the bright side of things.Ted: But what if there isn¡¯t a bright side?Pat: You know the saying: Every cloud has a silver lining. It means there¡¯re always tow sides to everything¡ªboth the dark and the bright sides. So, try to identify your strengths and bring then into full play.Ted: Oh, no! Your corny old sayings are making me even more depressed.Keys: TFFTFTask3: AngerScriptAnger is an emotion that can be hard to control. Despite this, we should learn how to manage anger in a constructive manner. In the most intense moments of anger, we usually have two choices: to fight or to run. Some choose the option of violence, which is a negative reaction to anger; and others choose to run. Some may think running means you are a coward. But the option of walking away and claiming down is the more productive method of handling anger. It is difficult to walk away, especially when your heart is racing, and your anger is boiling over.There are constructive ways of handling anger in any situation. First, you have to stop for a brief moment and think before you act. Take that moment and calm down id you feel yourself being pushed.At that moment you should admit you are angry. If you refuse to admit you¡¯re angry or hurt, or if you make it appear that everything is peaches and cream, you are not managing angry in a productive way. You should first admit you are angry and let your feelings out before you blow up. Foe example, you can stay in a quiet place by yourself and shout; or you can talk to a close friend to vent your rage. If you do not acknowledge your anger, it only builds up inside you and will eventually explode like a volcano Then, in order to manage your angry, you can ask yourself an important question that we all must ask ourselves, ¡°What made me angry?¡± When you get the answer, and then ask yourself, ¡°Why did that made me angry?¡± Through such logical reasoning, one tends to calm down and move toward a sensible solution.News ReportU.S. Roller CoasterScriptThe world¡¯s first 4D roller coaster, ¡°X¡±, took on its first passengers last week at the Six Flags Magic Mountain theme park, just outside Los Angeles.After climbing on board and properly securing their safety harnesses, ¡°X¡± riders are first to a height of over 66meters. At the top, the passenger train is released and builds up enough speed to race and plummet around the track at speeds of over 130km an hour.The rider takes the daring passengers down an incredible 66m dive and over the top of a 62m loop, in cars that spin independently of the roller coaster train. This unique design allows riders to spin360degree, both forwards and backwards, through the entire ride.Passengers hurtle through this ride often moving in many different directions at the same time ad the cars somersault back and forth and the roller coaster twists, loops, and dives.The complicated series of maneuvers includes two raven turn, one front flip, one twisting front flip, and two back flips.Since passengers aren¡¯t always facing the right direction to see what¡¯s coming up next, the element of surprise is high. For ¡°X¡± riders, this adds to the thrill of the ride.The track of this newest roller coaster runs a total length of a little over1, 100meters. The passenger trains measure 6meters wide and 21meters long, large enough to carry 28 passengers at a time. At full capacity, the trains can take 1,600passengers for the ride of their lives each hour.The entire ride lasts for only a total about 2minutes, but you can tell from the exhilarated faces of passengers returning to the boarding dock that they were two of the most thrilling minutes of heir lives.Uint2II. Basic Listening Practice3. ScriptW: Did you hear? Helen got modeling jib! She¡¯s going to be sashaying down the catwalk. M: Wow, that¡¯s great! All that walking practice really paid off. And foe once she won¡¯t be complaining about being so tall.Q: Why did Helen get modeling job?4. ScriptM: Julia, come and see the Miss America contest on TV. All those beautiful girls are walking around in bathing suits, so the judges can decide who has the best figure. W: Bah! That¡¯s the worst kind of exploitation. They are treating women like toys for people to enjoy. I would never take part in this kind of contest.Q: What do the man and the woman think about the beautify contest?3. ScriptW: What shall I do? I¡¯m fat. I want to be slim and beauty, but I¡¯m fat. I¡¯ve tried all the new ideas, high carb and low carb, but nothing works.M: Those diets are just fads, popular for a while and then forgotten. Just follow the usual diet with fruits, vegetables, fish, water, and get plenty of exercise. Before long you¡¯ll see results.Q: What has the woman tried?4. ScriptW1: I think Lily is really attractive. She¡¯s half Spanish and has this really sultry look about her.W2: That explains why she tans so well. I¡¯ve always been jealous of her skin color in the summer.Q: Which of following is true of Lily?5. ScriptM: Trust me, it was tight there on the Internet: ¡°Plastic Surgery Increasing at a Faster Rate Among Men¡±. Apparently more and more men are trying to improve their appearance.W: I saw it too on the news. Face-lifts, nose jobs, and box to hide wrinkle are now very popular with men. Men say it¡¯s for business reasons, but we know it¡¯s vanity. Q: What does the woman think the real reason is that men have plastic surgery?Keys: 1.B 2.A 3. C 4D 5BIII. Listening InTask 1: A Friendly StylistStylist: Morning, sir. This chair, please. What can I do for you?Nick: A simple haircut: short on the back and sides.Stylist: Very good. I can, of course, do something fashionable for only $60. Nick: 60 dollars! That¡¯s highway robbery¡ªtwice what I ordinarily pay.Stylist: Perhaps, sir. But your haircuts haven¡¯t been in harmony with your character. Your hair is at war with your soul.Nick: I¡¯ve never heard of such a thing.Stylist: If I may say, I¡¯m an expert at matching hairstyle to personalities. Believe me; you¡¯re suffering a ¡°disjunction¡±.Nick: A disjunction? What the devil is a disjunction?Stylist: Your hair does not match you.Nick: This is utter nonsense. However, I¡¯d like to hear how you¡¯d solve this so-called problem.Stylist: Your character is artistic, imaginative. But your hair is dull. I can correct that imbalance in seconds.Nick: Okay, let me see what can you do about the¡-uh¡-disjunction, as you call it. Stylist: We¡¯re going to use scissors to create peaks, which we¡¯ll keep in place with a liberal helping of gel¡-.This tuft in the back we¡¯ll braid into a pigtail. Now, it¡¯s the new you!Nick: I love it. It¡¯s just like me: imaginative and artistic. Now what are you doing? What¡¯s wrong? Don¡¯t you see harmony in my new hairstyle?Stylist: Something¡¯s preventing your hairstyle from being a true fashionable statement.Nick: For heaven¡¯s sake, tell me what¡¯s missing.Stylist: Streaks. By putting in a few yellow streaks in your hair, it will become a work of art. Streaking will cost you more, but¡-Nick: Do it. Forget the cost. But, by the way, what is the total getting to be? How much am I paying to avoid disjunction?Stylist: That¡¯s¡-$135. Sir? Sir, are you all right? Oh, he fainted.6. When the stylist mentions $60, what does the customer say?7. What does the stylist think about the customer¡¯s hairstyle?8. What will the stylist do with the customer¡¯s hair?9. What will streaking do to the man¡¯s hair according to the stylist?10. What is the passage mainly about?Keys: 1C.A 3.D4.B 5.AFor Reference:1. It means there is no match between you and your hair.2. That¡¯s¡-$135. Sir? Sir, are you all right? Oh, he fainted.Task 2: The Voice LiftScriptAfter the face-lift, the forehead tightened, and the (S1) nose job, something still might be revealing your age: your (S2) voice.For patients who think their trembly, hoarse words don¡¯t (S3) match their newly face and figure, there¡¯s a procedure that claims to make them (S4) sound younger too: the voice lift.There are two general kinds of voice lifts. In some cases, implants (S5) inserted through an incision in the (S6) neck bring the vocal cords closer together. Doctors also use injections of (S7) fat or other substances to plump up the cords, so that the voice sounds younger.(S8) The voice lift is becoming more widely known among an aging population, who try to make themselves sound younger.¡°I speak in a great deal, or I was shouting, on a particular day, at the end of the day, I would feel exhausted,¡± said Robert Brown, 75, (S9) a retired construction engineer who underwent the voice lift several years ago, ¡°I don¡¯t know if I sound younger, but the hoarseness is gone, which is such a great improvement.¡±(S10) Voice lift can also benefit people like performers, lawyers, teachers, and telephone operators who need to have a strong voice and hope to shave years off the sound of their voice.Task3: A View of HappinessScriptMen are turning to plastic surgery and cosmetic procedures to brighten up their appearances at a faster rate than women, according to a survey released on Wednesday. Men¡¯s use of fat injections to soften deep wrinkles leaped 47 percent last year from the previous year. Women¡¯s use of the injections fell 36 percent, according to a survey by the American Academy of Facial and Plastic Reconstructive Surgeons. Men¡¯s use of botox injections to eliminate frown lines rose 88 percent, while women¡¯s botox use fell 8 percent.And for smoothing skin, the use of laser resurfacing among men rose 13percent, the survey showed. Meanwhile, women¡¯s use of laser resurfacing dropped 38 percent during the same time period.The number of men getting nose jobs rose 47 percent, while the number of women doing so rose 5 percent.Typically, men and women visiting plastic surgeons for cosmetic reasons were age 40 to 59.。
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。
文体学课件Chapter1
Instructed by Zhuying
Course related Questions
Who
– Who is the founder of stylistics?
What
– What does stylistics study?
Why is the course needed?
(1) Style is an integral part of meaning. Without the sense of style we cannot arrive at a better understanding of an utterance;
Questions
– What is style and stylistics?
Why
– Why do we study stylistics?
How
– How do we make stylistic analysis?
Who is the founder of stylistics?
The founder of stylistics: Chs the most influential linguist in the first generation in Geneva School which was founded by Saussure.
The study of English Stylistics will be done from Phonetics语音学 Phonology 音系学 Morphology 形态学，词态学 Syntax句法学 and Semantics 语义 学
新视角设计研究生英语读说写2课文原文加翻译和课后答案解析
新视野研究生英语读说写2英语原文加翻译及课后答案1.大学课堂：还有人在听吗？Toward the middle of the semester, Fowkes fell ill and missed a class. When he returned, the professor nodded vaguely and, to Fowkes’s astonishment, began to deliver not the next lecture in the sequence but the one after. Had he, in fact, lectured to an empty hall in the absence of his solitary student? Fowkes thought it perfectly possible.在学期中间，Fowkes 因病缺了一次课。
他回到课堂的时候，教授毫无表情地向他点了点头。
接着令Fowkes大吃一惊的是，教授并没有按照顺序讲下一课，而是讲了后面一课。
难道他真的在他唯一的学生缺席的情况下对着空教室讲了一课？Fowkes认为这太有可能了。
Today American colleges and universities (originally modeled on German ones) are under strong attack from many quarters. Teachers, it is charged, are not doing a good job of teaching, and students are not doing a good job of learning. American businesses and industries suffer from unenterprising, uncreative executives educated not to think for themselves but to mouth outdated truisms the rest of the world has long discarded. College graduates lack both basic skills and general culture. Studies are conducted and reports are issued on the status of higher education, but any changes that result either are largely cosmetic or make a bad situation worse.今天美国的大学（原本是以德国的大学为模型的）受到了各方面的严厉指责。
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.
Introduction_to_Stylistics文体学简介
A linguistic approach to literary understanding
Zhang Huahong School of Foreign Studies
References
Brown, Curtis: Philosophy of Language Talib, Ismail S.: Literary Stylistics Tinkler, John F.: History and Development of Prose Style 徐有志. 2005. 《英语文体学教程》.高等教育出版社. Crystal, D. 1979. Investigating English Style. London: Longman. Leech, G.N. 2003. Style in Fiction. New York: Longman. Leech, G.N. 1969. A Linguistic Guide to English Poetry. London: Longman. Halliday, M.A.K.1964. Descriptive Linguistics in Literary Studies. Peer, W.V. Stylistics and Psychology Eagleton, T. 2004. Literary Theory. London: Blackwell. Thornborrow, J. & Wareing, S. 2000. Patterns in Language. London: Routledge. Widdowson, H.G.1975. Stylistics and the Teaching of literature. London: Longman. Wright, L. & Hope, J. 2000. Stylistics: A Practical Coursebook. London: Routledge.
Chapter_1__A_survey_of_stylistics
Chapter_1__A_survey_of_stylisticsBooks for references秦秀白《英语文体学入门》钱瑗《实用文体学教程》王守仁《英语文体学要略》申丹《文学文体学与小说翻译》张德禄《功能文体学》Thornborrow, J. & Wareing, S. (2000). Patterns in Language: Stylistics for Students of Language and Literature. 外语教学与研究出版社.Leech, G.N. (1969). A Linguistic Guide to English Poetry. London: Longman. Leech, G.N. (2007). Style in Fiction: A Linguistic Introduction to English Fictional Prose. London: Pearson Education.Jeffries, L. & McIntyre, D. (2010). Stylistics. Cambridge University Press. JournalsLanguage and LiteratureStyleJournal of Literary Semantics and English Text Construction Others优秀硕博士论文库（知网）Search engine：Google scholarChapter 1 Stylistics: A SurveyModern stylistics is a sub-branch of modern linguistics, exactly speaking, an interdisciplinary subject linking linguistics and literary criticism.2. Definition and classification of stylistics2.1 Defining stylisticsStylistics can be defined in its narrow sense （literarystylistics）as well as its broad sense （general/theoretical stylistics）2.1.1 Stylistics in its narrow sense: literary stylisticsWiddowson (1975: 3), stylistics is “the study o f literary discourse from a linguistic orientation”, which is essentially a means of linking literary criticism and linguistics.Leech (1969: 1-2) defines stylistics as the “study of the use of language in literature”and considers stylistics a “meeting-gro und of linguistics and literary study”.2.1.2 Stylistics in its broad sense: general stylisticsA sub-discipline of linguistics that is concened with the systematic analysis of style in language and how this can vary according to such factors as genre, context, historical period and author (Leech, 2008).---Analyzing style means looking systematically at the formal features of a text and determining their functional significance for the interpretation of the text in question.2.2 Tasks of stylisticsAccording to Lang (1987) and Toolan (1990), there are three tasks for stylistic studies:1) serving the purpose of teaching and learning foreign languages;2) providing a base for the application of linguistic theories, to be tested and verified, further improved and perfected; and3) offering a methodology for literary studies.2.3 Relation between stylistics and other disciplinesModern stylistics is rooted in modern linguistics, using models and methods of linguistic description in the stylistic analysis of texts. Stylistics is also closely related to literary theories.---its root in formalist school of literary criticism in Russia in the early 20th century with representatives such as Roman Jakobson. It aims to isolate properties and characteristics of literary language.---stylistics draws upon theories and models from other fields more frequently than it develops its own theories.2.4 Classification of stylisticsThere are various types of classification of stylistics based on different criteria:1) Based on the scope of studyliterary stylistics (such as Wang Shouyuan, 2000; Shen Dan, 1995; and Cook, 1999), non-literary stylistics, general/theoretical stylistics (such as Hu Zhuanglin, 2000; Wang Zuoliang & Ding wangdao, 1987; and Xu Youzhi, 2005),practical stylistics (such as Qian Yuan, 2006).2) Based on data or object of studya. literary stylistics including fictional stylistics, poetic stylistics, dramatic stylistics,essayistic stylistics, etc.;b. practical stylistics including advertising stylistics, journalistic stylistics, political stylistics, legal stylistics, stylistics of business language, oratorial stylistics, scientific and technological stylistics, hypertext/e-text stylistics, etc.3) Based on linguistic theoriesformalist stylistics, structuralist stylistics, functionalist stylistics, discourse stylistics, socio-historical and socio-cultural stylistics, contextualized stylistics, pragmastylistics/literary pragmatics, cognitive stylistics, corpus stylistics, etc.4) In the literature of stylistics, there is a special type ofstylistics termed“feminist stylistics”.2.5 Scope of stylistics---Range of texts: no restrictions though traditionally more emphasis on literary texts---Range of theories: open and eclectic,Originated in literary criticism of Russian formalismCognitive Psychology (cognitive stylistics): process in which readers respond to linguistic style Critical discourse analysis (critical stylistics): discover ideological assumptions embedded in the text (e.g. power relations)Corpus linguistics (corpus stylistics): computer analysis of large quantities of data Multimodal discourse by Kress & van leeuwen (2006): relating multimodality to stylistics2.6 process of stylistic analysisAccurate descriptionReasonable interpretationFair evaluation---Analyzing style means looking systematically at the formal features of a text and determining their functional significance for the interpretation of the text in question.2.7 Role and significance of stylistics researchStylistic analysis is of great importance for language teaching, literary criticism and appreciation, language communication, and translation.1) Stylistic study helps cultivate a sense of appropriateness;Example:Now allow me to propose a toast to the health of our friends!Here’s to the health of our friends!Cheers!2) stylistic study sharpens understanding and appreciation ofliterary works and helps to account for why a piece of work can be understood in a certain way;3) stylistic study helps achieve adaptation in translation. (Xu Youzhi 2005: 14-23) Example:他对小儿子说：”那时候，干一天活儿累得连炕都上不去，浑身疼得要命，睡也睡不着。
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.。
【精选】英语文体学 Chapter 2 The Need for Stylistic Study
1. “Now allow me to propose a toast to the
friendship between the peoples of China and the United States,…” --on a grant occasion, very formal
which all the varieties of English share to some degree and which constitute the major part of the linguistic picture for any single variety
To know only the common core will cause problem. For example, technical vocabulary
English Stylistics
Chapter 2 The Need for Stylistic Study
WANG Yao @ SDUT
Contents
1 A sense of appropriateness
2
Understanding and appreciation of literary works
Appropriate linguistic “manners” for different situations
Different varieties in different occasions
2.1 Stylistic study helps cultivate a sense of appropriateness
eg. Funny—a formal style in a casual context Offend—a colloquial style in a formal context
unit 1 The concern of stylistics
Aspects of speech events
Three crucial aspects
substance: audible sounds or visible marks form: order or pattern situation: extratextual circumstances
Style
Consider the pattern of choices instead of individual choices in isolation. Measure the frequency of features.
The study of style
The quality of written language. The art of writing. Descriptive and synchronical attitudes (Saussure, Bloomfield) Emphasis on “correctness” of speech and inherited system of rules. Renewed interest in literature. Modern stylistics (1960s- )
Language varieties and functions
Language functions Ideational/referential function Interpersonal/expressive/social function Textual function
Language varieties and functions
Stylistics and other spheres of study
Chapter 1 Style and Stylistics
Some Senses of style
9) Style is the relation among
linguistic entities that are stable in terms of wider spans of text than the sentence. (Nils Erik Enkvist) 10) Style is the linguistic features that communicate emotion or thought. (John Middleton Murry)
(2) Stylistics study helps cultivate a sense
of appropriateness. (grammar: correctness; stylistics: appropriateness);
• Who speaks what language to whom and when
General stylistics
Genres: news reports, advertisements, public speeches, scientific treatises, legal documents and other practical styles… Attitudes: formal and informal language Media of communication: spoken English, written English, e-discourse Regions: British English, American English and other regional dialects Social groups: standard and non-standard language ( varieties of language)
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Books for references秦秀白《英语文体学入门》钱瑗《实用文体学教程》王守仁《英语文体学要略》申丹《文学文体学与小说翻译》张德禄《功能文体学》Thornborrow, J. & Wareing, S. (2000). Patterns in Language: Stylistics for Students of Language and Literature. 外语教学与研究出版社.Leech, G.N. (1969). A Linguistic Guide to English Poetry. London: Longman. Leech, G.N. (2007). Style in Fiction: A Linguistic Introduction to English Fictional Prose. London: Pearson Education.Jeffries, L. & McIntyre, D. (2010). Stylistics. Cambridge University Press. JournalsLanguage and LiteratureStyleJournal of Literary Semantics and English Text ConstructionOthers优秀硕博士论文库（知网）Search engine：Google scholarChapter 1 Stylistics: A SurveyModern stylistics is a sub-branch of modern linguistics, exactly speaking, an interdisciplinary subject linking linguistics and literary criticism.2. Definition and classification of stylistics2.1 Defining stylisticsStylistics can be defined in its narrow sense （literary stylistics）as well as its broad sense （general/theoretical stylistics）2.1.1 Stylistics in its narrow sense: literary stylisticsWiddowson (1975: 3), stylistics is “the study of literary discourse from a linguistic orientation”, which is essentially a means of linking literary criticism and linguistics.Leech (1969: 1-2) defines stylistics as the “study of the use of language in literature”and considers stylistics a “meeting-ground of linguistics and literary study”.2.1.2 Stylistics in its broad sense: general stylisticsA sub-discipline of linguistics that is concened with the systematic analysis of style in language and how this can vary according to such factors as genre, context, historical period and author (Leech, 2008).---Analyzing style means looking systematically at the formal features of a text and determining their functional significance for the interpretation of the text in question.2.2 Tasks of stylisticsAccording to Lang (1987) and Toolan (1990), there are three tasks for stylistic studies:1) serving the purpose of teaching and learning foreign languages;2) providing a base for the application of linguistic theories, to be tested and verified, further improved and perfected; and3) offering a methodology for literary studies.2.3 Relation between stylistics and other disciplinesModern stylistics is rooted in modern linguistics, using models and methods of linguistic description in the stylistic analysis of texts. Stylistics is also closely related to literary theories.---its root in formalist school of literary criticism in Russia in the early 20th century with representatives such as Roman Jakobson. It aims to isolate properties and characteristics of literary language.---stylistics draws upon theories and models from other fields more frequently than it develops its own theories.2.4 Classification of stylisticsThere are various types of classification of stylistics based on different criteria:1) Based on the scope of studyliterary stylistics (such as Wang Shouyuan, 2000; Shen Dan, 1995; and Cook, 1999), non-literary stylistics, general/theoretical stylistics (such as Hu Zhuanglin, 2000; Wang Zuoliang & Ding wangdao, 1987; and Xu Youzhi, 2005),practical stylistics (such as Qian Yuan, 2006).2) Based on data or object of studya. literary stylistics including fictional stylistics, poetic stylistics, dramatic stylistics,essayistic stylistics, etc.;b. practical stylistics including advertising stylistics, journalistic stylistics, political stylistics, legal stylistics, stylistics of business language, oratorial stylistics, scientific and technological stylistics, hypertext/e-text stylistics, etc.3) Based on linguistic theoriesformalist stylistics, structuralist stylistics, functionalist stylistics, discourse stylistics, socio-historical and socio-cultural stylistics, contextualized stylistics, pragmastylistics/literary pragmatics, cognitive stylistics, corpus stylistics, etc.4) In the literature of stylistics, there is a special type of stylistics termed“feminist stylistics”.2.5 Scope of stylistics---Range of texts: no restrictions though traditionally more emphasis on literary texts---Range of theories: open and eclectic,Originated in literary criticism of Russian formalismCognitive Psychology (cognitive stylistics): process in which readers respond to linguistic style Critical discourse analysis (critical stylistics): discover ideological assumptions embedded in the text (e.g. power relations)Corpus linguistics (corpus stylistics): computer analysis of large quantities of data Multimodal discourse by Kress & van leeuwen (2006): relating multimodality to stylistics2.6 process of stylistic analysisAccurate descriptionReasonable interpretationFair evaluation---Analyzing style means looking systematically at the formal features of a text and determining their functional significance for the interpretation of the text in question.2.7 Role and significance of stylistics researchStylistic analysis is of great importance for language teaching, literary criticism and appreciation, language communication, and translation.1) Stylistic study helps cultivate a sense of appropriateness;Example:Now allow me to propose a toast to the health of our friends!Here’s to the health of our friends!Cheers!2) stylistic study sharpens understanding and appreciation of literary works and helps to account for why a piece of work can be understood in a certain way;3) stylistic study helps achieve adaptation in translation. (Xu Youzhi 2005: 14-23) Example:他对小儿子说：”那时候，干一天活儿累得连炕都上不去，浑身疼得要命，睡也睡不着。