前景化-胡壮麟语言学教程

前景化理论始于俄国形式主义的“陌生化”概念，指的是通过一系列的前景化手段实现语言的超常规化和非自动化。

从
布拉格学派开始，这一理论被广泛运用于文学文本的分析。

肖克洛夫斯基认为，艺术的魅力可通过前景化来实现。

利奇
将前景化分为两类，质量前景和数量前景。

质量前景主要通过变异来实现，是指为了满足人们心理上对新奇，超常规的
追求而采用的系列手法，包括书写、词汇、语法、语义和语域等方面的变异；而数量前景则是指某个语言成分以过高或
过低的频率出现以达到突出的效果，主要体现在语音，词汇和句法层面。

前景化理论主要运用于文学文本的分析，然而将其运用于非文学文本的解析和翻译则较少。

In literary texts, the grammatical system of the language is often exploited, experimented with. or in Mokarovsky's words,made to "deviate from other, more everyday, froms of language , and as a result creates interesting new patterns in form and in meaning. "
在文学文本里，语言的语法系统常常被“开发”和“实践”，或者，用穆卡洛夫斯基的话说，就是“使其偏离于其他日
常语言形式，结果是在形式和意义上都创造出有趣的新模式”。

前景化的概念来自于视觉艺术，与“背景”一词相对应，已经成为文体学的常用术语。

俄国形式主义语言学家、布拉
格学派学者和现在文体学家，如Leech（1969）都曾在文体研究中使用这一术语。

它被定义为“以艺术手法为动机的偏离”（Leech&Short，1981）。

这种偏离，或非常规用法，覆盖了语言的所有层面：词汇、语音、句法、语义以及语相等。

（Wales，1989/2000）重复的手法也是偏离的一种，因为通过不断再现，重复打破了语言使用的常规。

重复性模式（比如语义或语
法层面的）被添加到了期待正常用法出现的背景上，显得不同寻常，从而引起读者关注。

因此，许多通过重复使用的词
汇来实现的修辞手法或者技巧，如头韵、平行等在文学语言前景化过程中被普遍采用。

胡壮麟.语言学教程［M］.北京：北京大学出版社，2006.211-212.
Originally coming from visual arts and in contrast with backgrounding, the concept of FOREGROUNDING, now a popular term in STYLISTICS, was made use of in literary studies by the Russian Formalists, Prague School scholars, and modern stylisticians such as Leech(1969).It is defined as "artistically motivated deviation"（Leech&Short，1981）.This deviation, or uncommon usage, involves all levels of language: vocabulary, sound, syntax, meaning, graphology, etc. Repetition is also a kind of deviation as it violates the normal rules of usage by over-frequency. Repetitive pattern (of sound or syntax, for example) are superimposed on the background of expectations of normal usage and so strike the readers' attention as unusual. Alliteration, parallelism, and many figures of speech or schemes involving repetition of lexical terms are thus commonly exploited in foregrounding in literary language （Wales，1989/2000）
AIDA Model as the framework of the present study
From the perspective of linguistics，a piece of advertisement is a discourse．According to Huang，every type of discourse has its Own way to organize its components，which is decided by the genre of the discourse．It is not the arbitrary combination of sentences．The different parts of a discourse are not only coherent and cohesive formally and semantically，but also have their own role respectively．A certain discourse requires a certain discourse pattern．(Huang，200 1：6)In advertisements，this requirement is just clearly represented and fulfilled by AIDA Model．Each step of the AIDA Model can be regarded as the realization of a certain function，which is supported by both linguistic and non—linguistic devices．To play different functions，the linguistic devices also vary in many aspects． This has also been realized by advertisers．In their Contemporary Advertising，William and Bov6e mention some typical linguistic features in different steps of AIDA Model．For instance，in the attention—getting part，a provocative question call be used to engage the reader．To arouse desire，advertisers often initiate visualization by using words and phrases like“Picture yourself’，“Imagine”，‘‘Be the first”，etc．
In this sense，linguistic theories and AIDA Model agree with each other here．It is reasonable to use AIDA Model as a framework to conduct the study on the linguistic features of advertising English．Furthermore，when we make this study within the framework of AIDA Model with the help of linguistic theories，we are able to discover more about the linguistic features of advertising English in a more systematic and more comprehensive way．。