文体学.docx
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文体学.docx
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文体学
Stylistics1
1.Whatisstylistics?
(1)D.Crystal:
Linguisticsistheacademicdisciplinethatstudieslanguagescientifically,andstylistics,asapartofthisdiscipline,studiescertainaspectsoflanguagevariation.
InvestigatingEnglishStyle
(2)G.N.Leech:
Stylisticsisalinguisticapproachtoliterature,explainingtherelationbetweenlanguageandartisticfunction,withmotivatingquestionssuchas“why”and“how”morethan“what”.
StyleinFiction:
ALinguisticGuidetoEnglishPoetry
(3)W.V.Peer:
StylisticsisdevelopedfromRussianFormalismviaPragueStructuralism,followingtheconceptof“estrangement”--“deviationfromnormalusages”.
StylisticsandPsychology
(4)Halliday:
Linguisticsisnotandwillneverbethewholeofliteraryanalysis,andonlytheliteraryanalyst--notthelinguist--candeterminetheplaceoflinguisticsinliterarystudies.Butifatextistobedescribedatall,thenitshouldbedescribedproperly,bythetheoriesandmethodsdevelopedinlinguistics,whosetaskispreciselytoshowhowlanguageworks.
DescriptiveLinguisticsinLiteraryStudies
(5)H.G.Widdowson:
Stylisticsinvolvesbothliterarycriticismandlinguistics,asitsmorphologicalmakingsuggests:
the“style”componentrelatingittotheformerandthe“istics”componenttothelatter.Stylisticsisameansofrelatingdisciplinesandsubjects,asshowninthefollowingdiagram:
Disciplines:
linguisticsliterarycriticism
↖↗
Stylistics
Subjects:
↙↘
(English)language(English)literature
StyleandtheTeachingofliterature
(6)H.H.Zhang:
Stylisticsisanintensivestudyofliterarytextonanadvancedlevel,bymakingouttheparticulareffectoftheparticularchoiceoflanguageincommunication
2.Whatisstyle?
AccordingtoThomasS.KaneinWritingProse:
Styleisapatternoflinguisticfeaturesdistinguishingonepieceofwritingfromanother,oronecategoryofwritingsfromanother.Therefore,
1)Styleincludesthewriter’swayofthinkingabouthissubjectandhischaracteristicwayofpresentingitforaparticularreaderandpurpose.
2)Styleresultsfromlinguisticchoices,whicheffectivelyexpressthewriter’suniquethoughtandfeeling.
3)Styleisameansofdiscoveryforbothwriterandreader.
4)Stylesharpensexpressivemeaningaswellasreferentialmeaning,intensifyingthetoneofwriting,makingprosemorepersuasive.
5)Styleisnotmereornament;ratheritconveysimportantsubtletiesofmeaningandevaluation,whichdefinethenatureofthewriter,hisbasicattitudes,hispresuppositions,hismoralstance,andhisrelationtohissubjectandhisreader.
AccordingtoDavidCrystalinInvestigatingEnglishStyle:
TherearefourcommonlyoccurringsensesofthetermSTYLE:
1)thelanguagehabitsofoneperson:
Shakespeare’sstyle,JamesJoyce’sstyle,Hemingway’sstyle,UNIQUENESS.
2)thelanguagehabitssharedbyagroupatonetime:
theAugustanpoets,theOldEnglish‘heroic’poetry.
3)sayingtherightthinginthemosteffectiveway—goodmanners:
‘clear’or‘refined’style.
4)evaluationanddescriptionofliteratureinliterarycriticismorappreciation:
‘good’‘effective’‘beautiful’writing.
AccordingtoG.N.LeechinStyleinFiction,
Therearesomecontroversialviewsofstyle:
1).Dualism:
betweenformandmeaning“styleaschoicesofMannerratherthanMatter,ofExpressionratherthanContent”;asa“wayofwriting”ora“modeofexpression”originatedfromAristotle’sliterarytheory.
Styleasthe“dressofthought”,claimedbyRenaissanceandrationalism,makesitsomekindof“adornment”ofthoughtormeaning.TheAestheticsofform(parallelism,alliteration…)tendstoattractthereader’sattentionmorethanthemeaningdoes,asseeninpoeticlines.
⏹Styleas“mannerofexpression”,asRichardOhmanputit,“Astyleisawayofwriting”inwhich“thewordsonthepagemighthavebeendifferent,ordifferentlyarranged,withoutacorrespondingdifferenceinsubstance.”
2).Monism:
“Itislikebodyandsoul:
formandcontenttomeareone”(Flaubert,saidonDec.12,1857,originatedfromPlato’sliterarytheory).
⏹AsarguedbyDavidLodge,inLanguageofFiction(1966),itisimpossible
⏹toparaphraseliterarywriting;
⏹totranslatealiterarywork;
⏹todivorcethegeneralappreciationofaliteraryworkfromtheappreciationofitsstyle,fortheinevitablelossofthehidden,metaphoricalmeaning.
3).Pluralism:
analyzingstyleintermsoffunctions,characterizedbyHalliday’sthreemajorfunctionsof“ideational”,“interpersonal”and“textual”……………………………….
3.Whatisthemainpurposeofstylistics?
⏹1)toanalyzelanguagehabits--toidentify,fromthegeneralmass,thosefeaturesrestrictedtocertainkindsofsocialcontext
⏹2)toexplainwhysuchfeatureshavebeenusedasopposedtoothers
Theorganizationofwrittenlanguageintographicunitsisrathersimilar.Thecontrastbetween(6a)and(6b)canbecapturedinwritingbytheuseofanextrapunctuationmark:
(6a)Nextweek,I’mstartingajobinLondon.
(6b)Nextweek,I’mstartingajob—inLondon.
Butbecausegraphicunitstendtobelongerthantoneunits,(6b)seemsunusuallyemphatic,andperhapsthenormalwrittenrenderingwouldhavenointernalpunctuationatall:
6c)NextweekI’mstartingajobinLondon.
2)thesignificanceofsentencelength
---force/weight
3)periodicstructure
---producingtensionandsuspense
(1)Thetruthisthattheyhavesufferedthroughnegligence.
(2)Thattheyhavesufferedthroughnegligenceisthetruth.
(3)Sophiasailedintotheroomwithhereyesablaze.
(4)Withhereyesablaze,Sophiasailedintotheroom.
Parentheticaldependentconstituentsbelongtotheanticipatorycategory:
(5)Sophia,withhereyesablaze,sailedintotheroom.
4)loosestructure---producingrelaxationandcomfort
(1)ThismorningIwastroubledwithmyLordHinchingbroke’ssendingtoborrow$200ofme;butIdidanswerthatIhadnone,norcouldborrowany;forIamresolvedIwillnotbeundoneforanybody,thoughIwoulddomuchformylordSandwich,foritistoanswerabillofexchangeofhis;andIperceivehehasmadeuseofallothermeansintheworldtodoit,butIamresolvedtoservehim,butnotruinmyself.
Tosumup,periodicstructureandloosestructurearetwopolesbetweenwhichstylesofsentencestructurecanvary.LookingbackoverthehistoryofEnglishprose,wecansaythatthemostneutralstyleofwritingisonethatcombinesbothanticipatoryandtrailingelements,andthusachievesabalancebetween‘art’and‘nature’.
5)thelastisthemostimportantforwrittenlanguage---end-focus/climaxprinciple:
Governedbyend-weightprinciple,wewillprefer
Itisadvisableforustobeabletotell
documentaryEnglishfromspokenEnglish.
toTobeabletotelldocumentaryEnglish
fromspokenEnglishisadvisableforus.
Insteadof
Thathewaspreparedtogotosuch
lengthsastoundedme.
wechoosetowrite
Iwasastoundedthathewas
preparedtogotosuchlengths.
Governedbyend-focusprinciple,thenucleartone’sneutralpositionisattheendofthetoneunit,especiallyonthelastlexicalitem,or‘contentword’:
(1a)ShecompletelyDENIEDit.
(1b)ShedenieditCOMPLETELY.
(2a)He’sgraduallyIMPROVING.
(2b)He’simprovingGRADUALLY.
Thedifferencethismakesisbroughtoutifweimagine(1a)and(1b)asanswerstothefollowingquestionsrespectively:
(3a)DidJoanadmittheoffence?
No,ShecompletelyDENIEDit.
(3b)DidJoandenytheoffence?
Yes,ShedenieditCOMPLETELY.
End-focushasimportantimplicationsinsyntax,wheretheorderingoftheelementsofthemessageislargelydetermined.Itcan,forexample,influencethechoicebetweenactiveandpassivesentences:
(4a)JohnwrotethewholeBOOK.
(4b)ThewholebookwaswrittenbyJOHN.
Inotherwords,thereadernaturallylooksfornewinformationattheendofthegraphicunit.
Thisconclusioncanbetriedoutonthefollowing:
(5a)Insteadofmorphine,thepatientwasgivenopium.
(5b)Insteadofmorphine,opiumwasgiventothepatient.
Theprincipleofend-focuspredictsthatthereaderwillfind(5a)a‘happier’sentencethan(5b)
6)thefirstisthemostimportantforspokenlanguage
Aspeakerisrarelyabletoplanthewholeofhisutteranceinadvance,sohetendstobeginwiththethingwhichisuppermostinhismind.This‘firstismostimportant’principleaccountsforsomesyntacticinversionsanddislocationscharacteristicofordinaryspeech:
‘Thatdinneryoucookedlastnight—Ireallyenjoyedit’;
‘Gotacoldhaveyou?
’;
‘Relaxationyoucallit!
’
ThesamefactoraccountsforfrequentdisregardinspokenEnglishoftheend-focusprinciple:
forexample,thelastsentencequotedwouldbepronounced:
↘
RELAXATIONyoucallit!
7)simpleandcomplexsentences
Wecanmakethegeneralpointthatcomplexsentencesaretobepreferrediftheaimofthewriteristopresentuswithacomplexstructureofideas,acomplexreadingexperience.
‘Thecomplexformgivesandwithholdsinformation,subordinatessomeideastoothermoreimportant,coordinatesthoseofequalweight,andtiesintoaneatpackageasmanysuggestions,modifiers,andasidesasthemindcanattendtoinonestretch.
Asuccessionofsimplesentences,ontheotherhand,leavesonlysequencetoplaywith.Comparethefollowing:
(1a)Jimthrewtheball.Theballbrokeawindow.Thenoiseattractedtheowner’sattention.TheownerscoldedJim.
(1b)Throwingtheball,Jimbrokeawindow.Thenoiseattractedtheattentionoftheowner,whoscoldedhim.
(1c)WhenJimthrewtheballandbrokethewindow,hewasscoldedbytheowner,whoseattentionwasattractedbythenoise.
Obviously,(1a)representsanaïvenarrativestylewithnoindicationoftherelatio
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