英语文体学Chapter 4 Deepstructure DeviationWord文件下载.docx
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英语文体学Chapter 4 Deepstructure DeviationWord文件下载.docx
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132).LetusnowconsidersomeexamplesfromthefollowingpassagesbyDickens.
(1)Asthewretchedcreaturemumbledandchuckledinherhideousmerriment,theundertakerturnedtogoaway.
(OliverTwist)
(2)Themajoragainpressedtohisblueeyesthetipsofthefingersthatweredisposedontheedgeofthewheeledchairwithcarefulcarelessness,aftertheCleopatramodelandMr.Dombeybowed.
(DombeyandSon)
ThewretchedcreatureinPassage
(1)referstoanoldwomanwhoisdescribedinthenovelasbehavinginmanywayslikeanidiot.Thesurfacecontradictionofthetwowordshideousandmerrimentaptlyshowstheextentoftheoldwoman'
sidiocy.
ThesemanticclashisevenmoreapparentinthetwoantonymscarefulandcarelessnessinPassage
(2).Thegroupingtogetherofthetwoantonymsvividlyandunreservedlydemonstratesthepretenceandaffectednessofthemajor.
4.1.2Paradox
Aparadoxisastatementwhichisabsurdbecauseitisself-evidentlyfalse.Agoodexampleofparadoxiscontainedinthefollowingpassage.
(3)Nurse:
HisnameisRomeo,andaMontague.
Theonlysonofyourgreatenemy.
Juliet:
Myonlylovesprungfrommyonlyhate.
Tooearlyseenunknownandknowntoolate!
Prodigiousbirthoflovethatitistome,
ThatImustlovealoathedenemy.
(Shakespeare,RomeoandJuliet)
ThestatementthatMyonlylovesprungfrommyonlyhateisabsurdbecauseloveandhatehaveoppositemeanings,anditisinconceivablethatlovecanspringfromhate.Intheplay,however,Juliethasfallenmadlyinlovewiththesonofthefamilyshehasbeenbroughtuptohate.Thus,theparadoxhereeffectivelyexpressesJuliet'
smixedfeelingsforwhatshehasdoneandatthesametime,dulyanticipatesherfinaltragedy.
AnotherinterestingexampleofparadoxisfoundintheopeningofOrwell'
sNineteenEighty-Four:
(4)Itwasabright,colddayinApril,andtheclockswerestrikingthirteen.
Thesecondclauseofthesentenceisastatementthatisextremelyabsurdforinrealitynoclockstrikesbeyondtwelve.Throughtheuseoftheparadox,Orwellseemstohintthatthewholestorywillbeabsurd.
Inbrief,oxymoronandparadoxaredevicesthatallowtheliterarywritertoexpressacertaintruthormessagethroughapparentfalsehood.
4.2Transference
Inliterature,transferenceofmeaningistheprocesswherebyliteraryabsurdityleadsthemindtocomprehensiononafigurativeplane.Itissoimportantanelementinliteraturethatpoetsandcriticsalikehavetendedtoconsiderittheonlythingthatreallymattersinliterature.Transferenceinliteraturereferstosuchtraditionalfiguresofspeechassynecdoche,metonymyandmetaphor.Weshallexaminethesedeviceswithillustrationsinturn.
4.2.1Synecdoche
Synecdocheisatypeoftransferenceofmeaningwhichinvolvesthesubstitutionofapartforthewhole.Agoodexampleofsynecdocheisfoundinthefollowinglines:
(5)Returntoher?
...
No,ratherIabjureallroofsandchoose...
Tobeacomradewiththewolfandowl.
(Shakespeare,TheTamingoftheShrew)
Here,roofsdonotrefertotheoutsidecoveringsontopofbuildings;
buttowholehousesorbuildings.Ifweextendalittlethedefinitionofsynecdoche,wemaysaythateventhewolfandtheowlcanbesaidtobesynecdochic,forthewolfinthiscontextrefersnottooneparticularwolfbuttoallthewolvesandallbeastsofpreyandtheowlrefersnottooneparticularowlbuttoalltheowlsandallthebirdsofprey.
Synecdochecanalsobeinterpretedmorebroadlytoincludesubstitutionofthewholeforapart,e.g.thesubstitutionof'
thearmy'
for'
asoldier'
.However,weneednotgofurtherintothishere.
4.2.2Metonymy
Metonymyisanothertypeoftransferencewhichinvolvessubstitution,andthereforehasoftenbeenconfusedwithsynecdoche.However,metonymyisthesubstitutionofawordreferringtoanattributeofthethingthatismeant,ratherthanthesubstitutionofapartforthewhole,orthewholeforapart.ThefollowingpoemoncequotedandstudiedbyFengCuihua(1983:
50)containsexcellentexamplesofmetonymyandisthusrequotedandfurtherstudiedhere.
(6)Thegloriesofourbloodandstate,
Areshadows,notsubstantialthings;
Thereisnoarmouragainstfate;
Deathlayshisicyhandonkings;
SceptreandCrown
Musttumbledown
Andinthedustbeequalmade
WiththepoorcrookedScytheandSpade.
(Shirley,TheGloriesofourBlood)
Inthispoem,fourmetonymsareused:
Sceptre,Crown,Scythe,andSpade.SceptreandCrownarethingsthatkingsandqueenscarryandweartorepresenttheirpowerandauthority,andarethereforemetonymsforkingsandqueens.Scytheandspadearethingsusedbypeasantsorfarmworkers,andarethereforemetonymsforpeasants.WhatShirleyistryingtosayisthatdeathcomestoallpeople,thenobleandthehumblealike.Theideawouldhavebeenexpressedmuchlesseffectively,ifmetonymshadnotbeenused.
4.2.3Metaphor
Thefinalandthemostimportanttypeofmeaningtransferenceinliteratureismetaphor.Itisassociated,asLeechpointsout,withaparticularruleoftransferencewhichmaybecalledthe"
metaphoricrule"
(1969:
151).Thatis,thefigurativemeaningisderivedfromtheliteralmeaningoritis,asitwere,theliteralmeaning.Nowletustakealookattheexamplesbelow.
(7)Itisanempireruledbyoneman-aspecialistwhoisagiantinhisownnarrowfield,butwhootherwiseisaninferiorandpoisonoushumanbeing,mean,egotistic,suspicious,miserly,brutallyinsistenttothepointofbloodshedonhisownwhims,amoodydespotwithamindmoreprovincialthanthatofthemostbarbarousvillagebigot.
(Gold,MikeGoldReader)
(8)Life'
sbutawalkingshadow,apoorplayer
Thatstrutsandfretshishouruponthestage,
Andthenisheardnomore:
itisatale
Toldbyanidiot,fullofsoundandfury,
Signifyingnothing.
(Shakespeare,Macbeth)
InPassage(7),itwhichissaidtobeanempirereferstotheFordplant.Inthedictionaries,ofcourse,'
plant'
isnotdefinedasempire.Wecan,therefore,onlyinterpretitisanempirewithrecoursetothe"
.Thatis,wecanonlyunderstandthemeaningtobethatitislikeanempireoritis,asitwere,anempire.ThesamepointappliestoPassage(8),wherelifeissaidtobeawalkingshadow,apoorplayerandataletoldbyanidiot.Wemustunderstandthesedefinitionsoflifeinafigurativesense,i.e.lifeislikeawalkingshadow,apoorplayerandataletoldbyanidiot.
Therearethreeelementsinametaphor.ThemostgenerallyacceptedtermsforthemostexplicitlystatedelementsarethoseintroducedbyI.A.Richards(1936):
tenor(fortheliteralmeaning)andvehicle(forthefigurativemeaning).TheelementthatisnotovertlystatediswhatLeechtermstheground(ofcomparison),i.e.thelikenessperceivedbetweenthetenorandthevehicle.Leechpointsoutthateverymetaphorisimplicitlyoftheform"
XislikeYinrespectofZ"
(Xisthetenor,YisthevehicleandZistheground)(1969:
151).Inourfirstexampleabove,it(theFordplant)isthetenor,empireisthevehicleand,'
powerfulness'
'
exploitation'
and'
oppression'
canmostprobablybetakentobetheground.Theuseofthismetaphor,ascanbeclearlyseen,vividlyrevealsmonopolyinAmericanindustry.
Metaphorhasbeenclassifiedintotypesindifferentways.Therearefivemaintypesofmetaphor,groupedpartlyinaccordancewithChapman'
sorganization(1983:
81~82).
A.Onetypeofsensoryperceptionisexpressedintermsofanother,e.g.
(9)Ifmusicbethefoodoflove,playon.
(Shakespeare,TwelfthNight)
(10)Somebooksaretobetasted,otherstobeswallowed,andsomefewtobechewedanddigested.
(Bacon,OfStudies)
B.Anon-humanreferentisgivenhumanattributes,e.g.
(11)SoIuntomyselfalonewillsing
Thewoodshalltomeanswer,andmyechoring.
(Spenser,Epithalamion)
(12)'
Mistress,Iduguponyourgrave
Toburyabone,incase
Ishouldbehungrynearthisspot
Whenpassingonmydailytrot,
Iamsorry,butIforgot
Itwasyourresting-place.'
(Hardy,'
Ah,AreyouDiggingonmyGrave?
'
)
ThespeakerⅠinthesecondexampleisadog.
C.Anon-animatereferentisgivenanimatecharacteristics,e.g.
(13)Theskyrejoicesinthemorning'
sbirth.
(Wordsworth,ResolutionandIndependence)
D.Anabstractionistreatedasifitwereanimate,e.g.
(14)Aterriblebeautyisborn.
(W.B.Yeats,Easter1916)
E.Ahumanreferentistreatedeitherasaninanimatebeingor
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