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高中语文文学与修辞题型总结
高中语文文学与修辞题型是高中语文考试中常见的一类题型，要求学生能够理解和运用各种修辞手法，分析文学作品中的语言特点和修辞手法。
1. 比喻与拟人：这类题型要求学生能够理解和辨析比喻和拟人的用法，并分析其在文章中的作用和意义。
常见的题型有填空、翻译和解析。
2. 夸张与对比：学生需要通过阅读文学作品，理解夸张和对比的用法，并分析其对文学作品的表达和效果产生的影响。
题型可以是选择题、阅读理解和写作题。
3. 排比与倒装：这一类题型考查学生对排比和倒装的理解和运用能力，要求学生分析其在文章中的作用和表达的意义。
常见的题型有改错、填空和写作。
4. 比较与描写：学生需要通过描写和比较等手法来分析文学作
品中的语言特点和修辞手法的运用。
题型常见的有阅读理解、写作
和解析。
5. 联想与夸张：这类题型要求学生具备联想和夸张的能力，能
够运用联想和夸张来帮助理解文学作品中的难句和比喻等修辞手法。
常见的题型有填空、解析和翻译。
这些是高中语文文学与修辞题型的总结，通过对这些题型的研
究和分析，学生将能够更好地理解和运用各种修辞手法，提高语文
研究的能力和水平。
参考资料：
- 《高中语文教学大纲》
- 高中语文教材。
专题06 修辞1.下列句子中，没有．．运用修辞手法的一项是( )。
A.从此以后，科学、艺术和哲学作为一个整体，便成了支撑他一生的三大支柱，成了他的血和肉。
B.在古典音乐的气氛中，人类精神最美丽的花朵之一——理论物理学的思路，如处于春日阳光和雨露之中。
C.想象力比知识更重要。
D.音乐、绘画和文学诚然不会直接教你如何去解微分方程，但是却能拓展你的文化背景，丰富你的想象力，提高你的审美感和精神境界，从而有助于你成为爱因斯坦。
答案：C解析：A、B项，比喻。
D项，排比。
2.“在莽苍苍的原野上，这一组建筑遗迹宛如一列正在覆没的船只，而那丛生的荒草,便是海藻，杂陈的乱石，便是这荒野的海洋中的一簇簇泡沫了。
”对这一段话所用修辞手法的分析，正确．．的一项是( )。
A.这一段话共有三个比喻:第一个本体是荒野，喻体是海洋；第二个本体是荒草，喻体是海藻；第三个本体是乱石，喻体是泡沫。
B.这一段话共有四个比喻:第一个本体是荒野，喻体是海洋；第二个本体是荒草，喻体是海藻;第三个本体是乱石，喻体是泡沫;第四个本体是建筑遗迹，喻体是船只。
C.这一段话共有三个比喻:第一个本体是荒草，喻体是海藻；第二个本体是乱石，喻体是泡沫；第三个本体是建筑遗迹，喻体是船只。
D.这一段话共有两个比喻:第一个本体是荒草，喻体是海藻;第二个本体是乱石，喻体是泡沫。
答案：B解析：“荒野的海洋”将“荒野”比作“海洋”。
“宛如”是明喻，两个“便是”是暗喻。
3.“面对这奇景，语言中的一切华丽辞藻都黯然失色，积存在我记忆里的那些古人今人的文字，竟如同临阵脱逃的怯弱者，都躲藏起来，无影无踪了。
至于我的这支惯于唠叨的笔,为了免于留下以敝帚画西施的笑柄，也知趣地变成了哑子。
”对这一段文字中依次所运用的修辞手法判断正确．．的一项是( )。
A.拟人明喻拟人引用暗喻B.对比明喻拟人引用暗喻C.类比暗喻拟人引用明喻D.类比明喻拟人引用暗喻答案：B解析：“奇景”与“华丽辞藻”构成对比。
修辞手法专题复习教案第一章：复习导入1.1 教学目标：让学生回顾已学的修辞手法，包括比喻、拟人、夸张、排比、对偶、反复、设问、反问等。
帮助学生理解修辞手法的定义和作用。
激发学生对修辞手法的兴趣和运用能力。
1.2 教学内容：复习各种修辞手法的定义和特点。
通过例句和练习题，让学生识别和运用不同的修辞手法。
引导学生思考修辞手法在写作中的重要性。
1.3 教学步骤：1.3.1 回顾修辞手法的定义和作用。
1.3.2 通过示例和练习，让学生识别和运用比喻、拟人、夸张等修辞手法。
1.3.3 小组讨论，分享彼此的练习成果和心得体会。
第二章：比喻和拟人2.1 教学目标：让学生掌握比喻和拟人的修辞手法。
帮助学生理解比喻和拟人的定义和特点。
培养学生在写作中运用比喻和拟人的能力。
2.2 教学内容：比喻和拟人的定义和特点。
比喻和拟人在写作中的作用和效果。
比喻和拟人的练习和应用。
2.3 教学步骤：2.3.1 讲解比喻和拟人的定义和特点。
2.3.2 通过示例和练习，让学生识别和运用比喻和拟人。
2.3.3 小组讨论，分享彼此的练习成果和心得体会。
第三章：夸张和排比3.1 教学目标：让学生掌握夸张和排比的修辞手法。
帮助学生理解夸张和排比的定义和特点。
培养学生在写作中运用夸张和排比的能力。
3.2 教学内容：夸张和排比的定义和特点。
夸张和排比在写作中的作用和效果。
夸张和排比的练习和应用。
3.3 教学步骤：3.3.1 讲解夸张和排比的定义和特点。
3.3.2 通过示例和练习，让学生识别和运用夸张和排比。
3.3.3 小组讨论，分享彼此的练习成果和心得体会。
第四章：对偶和反复4.1 教学目标：让学生掌握对偶和反复的修辞手法。
帮助学生理解对偶和反复的定义和特点。
培养学生在写作中运用对偶和反复的能力。
4.2 教学内容：对偶和反复的定义和特点。
对偶和反复在写作中的作用和效果。
对偶和反复的练习和应用。
4.3 教学步骤：4.3.1 讲解对偶和反复的定义和特点。
➢AphesisDefinition: the omission of an initial part of a word.Example: Thou on whose stream, ’mid the steep sky’s commotion 暴动、暴乱(’mid --amid)➢SyncopeDefinition: the omission of a medial part of a word.Example: A voice so thrilling ne’er was heardIn spring-time from the cuckoo-birdBreaking the silence of the seasAmong the farthest Hebrides(ne’er--never)➢ApocopeDefinition: the omission of a final part of a wordExample: Till a’ the seas gang dry, my dear.And the rocks melt wi’ the sunI will love thee still, my dear,While the sands o’ life shall run(a’—all, wi’—with, o’--of)➢GraphologyDefinition: by graphology is meant the encoding of meaning in visual symbols.Example: shape of text; type of print; grammetrics; punctuation; indentation.(Eg of type of print) Me up at doesout of the floorquietly Starea poisoned mousestill who aliveis asking whathave i done thatYou wouldn’t have➢GrammetricsDefinition: By grammetrics is meant the ways in which grammatical units are fitted into metrical units such as lines and stanzasExample:This Is Just to SayI have eatenthe plumsthat were inthe icebox →and whichyou were probablysavingfor breakfast →Forgive methey were deliciousso sweetand so cold(“→→”means a very strong pulling-forward effect; “→”means a less strong pulling-forward effect. “eaten,the, in”all indicate a strong fulling-forward effect. )➢Marked themeDefinition: the literary writer places any of the rest of clause elements in the thematic position in order to achieve certain literary effect.Example: A lone she cuts and binds the grain,And sings a melancholy strain;O listen! for the vale profoundIs overflowing with the sound(“alone” is a fronting of the adjunct that can make the element highly noticeable) ➢AffixationDefinition: affixation is the addition of a prefix or suffix to an item which already exists in the languageExample: there was a balconyful of gentlemen.(“balcony+ful” is a vivid description of the number of people staying on the balcony.) ➢CompoundingDefinition: compounding is the combination of two or more items to make a single compound one.Example: Baby wakeOpen-eyed;Open-eyed:as a verbless adjective clause, express a result➢ConversionDefinition: conversion, described as “zero affixation” is the adaptation of an item to a new grammatical function without changing its form.Example: “Don’t be such a harsh parent, father!”“Don’t father me!”(the noun”father” is changed to a verb to express the annoyance and discontent.) ➢OxymoronDefinition: Oxymoron is the yoking together of two expressions which are incompatible, so that in combination they have no conceivable literal reference to reality.e.g. As the wretched creature mumbled and chuckled in her hideous merriment, the undertaker turned to go away. (Oliver Twist)➢ParadoxDefinition: A Paradox is a statement which is absurd because it is self-evidently false.e.g. It was a bright, cold day in April, and the clocks were striking thirteen.➢SynecdocheDefinition: Synecdoche is a type of transference of meaning which involves the substitution of a part for the whole.e.g. Return to her?...No, rather I abjure all roofs and choose…To be a comrade with the wolf and owl.➢MetonymyDefinition: Metonymy is the substitution of a word referring to an attribute of the thing that is meant, rather than the substitution of a part for the whole, or the whole for a part.e.g. Sceptre and CrownMust tumble downAnd in the dust be equal madeWith the poor crooked Scythe and Spade.(Shirley,The Glories of our Blood)Here, Sceptre and Crown represent their power and authority, and metonyms for kings and queens. Scythe and Spade are things used by peasants or farm workers, and are metonyms for peasants.➢Metaphor(重点！)Metaphor: It is associated with particular rule of transference, that is, the figurative meaning is derived from the literal meaning or it is, as it were, the literal meaning.e.g. Life's but a walking shadow, a poor playerThat struts and frets his hour upon the stageAnd then is heard no more: it is a tale( life is like a walking shadow, a poor player .)Five types:A. One type of sensory perception is expressed in terms of anotherB. A non-human referent is given human attributesC. A non-animate referent is given animate characteristicsD. An abstraction is treated as if it were animateE. A human referent is treated either as an inanimate being or an animal or a bird➢OverstatementOverstatement is termed hyperbole in traditional rhetoric. It distorts the truth by great exaggeration. It is usually used to emphasize strong feeling and to create a sentimental, satiric or comic effect.e.g. Till a' the seas gang dry, my dear,And the rocks melt wi' the sun!And I will luve thee still, my dear,While the sands o' life shall run.All the seas will never become dry and rocks will unlikely melt with the sun, the hyperbolic expressions here strongly emphasize the promise of undying love.➢UnderstatementUnderstatement: understatement is the opposite of overstatement in that it misrepresents the truth by deliberately understating it as opposed to exaggerating it. e.g. The face wasn't a bad one; It had what they called charm. (Galsworthy)The face wasn't a bad one in this context is a non-committal way of saying: the face was a very good one.➢HomophonyHomophony: words that have the same pronunciation but differ in form and meaning.e.g. When I am dead, I hope it may be said“His sins were scarlet, but his books are read.”The past participle of the verb “read” which relates to his books, and the adjective “red” relating to its hyponym scarlet in the first half of the same line.➢HolysemyPolysemy: the ambiguity of an individual word or phrase that can be used to express two or more different meaningse.g. Ben Battle was a warrior bold,And used to war's alarms;But a cannon-ball took off his legs,So he laid down his arms.In this context, “arms”can refer to the upper limbs of the said warrior as well as the weapons he carries.➢AlliterationAlliteration is the repetition of the initial consonant cluster in stressed syllables. Eg. Cold are the crabs that crawl on yonder hills,Colder the cucumbers that grow beneath…➢RhymeRhyme is the identity of sounds between words or verse lines extending back from the end to the last fully accented vowel and not further.Eg. CandyIs dandy,But liquorIs quicker.➢AssonanceAssonance is the repetition of identical vowel or diphthong in stressed syllables. Eg. Think from how many treesDead leaves are broughtTo earth on seed or wing➢ConsonanceConsonance is the repetition of the final consonat cluster in stressed syllables. Eg. Nothing lovelier than that lonely call,Bare and singular, like a gull,And three notes or four, then that was all.It drew up from the quiet like a well,Waited, sang, and vanishing, was still.➢OnomatopoeiaOnomatopoeia refers to the use of words formed in imitation of the natural sounds associated with the object or action involved, and it may also be phrased as the recurrence of phonemes in a text unit that suggests certain natural sounds which reinforce the meaning conveyed in that text unit.Eg. Crack came an officer’s club on his forehead.➢IambIamb or Iambic foot is the commonest type of verse foot. It is a pattern in which one stressed syllable alternates with one unstressed syllable, beginning with the unstressed syllable.Eg. In every cry of every manIn every infant’s cry of fear➢TrocheeTrochee or throchaic foot is a pattern in which one stressed syllable alternates with one unstressed syllable, beginning with the stressed syllable.Eg. Men of England, wherefore ploughFor the Lords who lay yellow?➢AnapaestAnapaest or the anapaestic foot is a pattern in which one stressed syllable alternates with two unstressed syllables, beginning with the two unstressed syllables.Eg. The Assy rian came down like the wolf on the fold.➢DactylDactyl or dactylic foot is a pattern in which one stressed syllable alternates with two unstressed syllables, beginning with the stressed syllable.Eg. Sing me a song of a lad that is gone➢DimeterA dimeter is a verse line that has two metrical feet.Eg. One more unfortunateWeary of breathRashly importunate,Gone to her death!➢TetrameterA tetrameter a verse line that has four metrical feet.Eg. Who fought for freedom, more than lifeWho gave up all, to die in strife?➢PentameterA pentameter is a verse line that has five metrical feet.Eg. How like a winter hath my absence beenFrom thee, the pleasure of the fleeting year!➢Immediate repetitionImmediate repletion means the repeated unit immediately follows the initial unit. Eg. Do not go gentle into that good night,Old age should burn and rave at close of day,Rage, rage against the dying of light.➢Intermittent repetionEg. O, how that name befits my composition,Old Gaunt indeed, and gaunt in being old.➢Large-scale parallelismBy large-scale parallelism we mean the kind which consists of more than two juxtaposed units.Eg. I came, I saw, I conquered.➢Small-scale parallelismSmall-scale parallelism is the case which consists of only two juxtaposed units.Eg. His fees were high; his lessons were light.。
英语中的修辞手法与文体知识点修辞手法是英语写作中常用的一种表达方式，它通过运用特定的语言技巧和结构，增强语言的感染力和表达力，使文章更具艺术性和表现力。
本文将介绍英语中常见的修辞手法以及相关的文体知识点。
一、比喻比喻是运用类似的事物进行直接或间接的比较，以便更好地阐述某个意义或揭示某种感觉。
通过比喻，可以使抽象的概念更加具体形象，提升文章的吸引力和情感张力。
例如，"Life is a journey."（生活就是一场旅程）就是一个常见的比喻句。
二、拟人拟人是指将非人类的事物或概念赋予人类的特质和行为，使其更具生命力和感知能力。
通过拟人，可以让读者更加深刻地感受到某种情感或现象的存在。
例如，"The sun smiled down on us."（阳光微笑着洒落在我们身上）中的"sun smiled"就是一个拟人的表达。
三、夸张夸张是为了强调或者夸大某种情感或描述，在修辞手法中常用来渲染氛围和增加艺术感。
夸张的运用可以使文章更加引人入胜，给读者留下深刻的印象。
例如，"I've been waiting for ages!"（我等了好几个世纪了！）就使用了夸张手法来突出等待的时间之长。
四、设问设问是通过提出问题的方式引发读者的思考，增加文章的互动性和吸引力。
通过巧妙的设问，可以引导读者思考并产生共鸣，使文章更具说服力和启发性。
例如，"What would you do if you had one day left to live?"（如果你只剩下最后一天可以活，你会怎么做？）中的设问引发了读者对生活的思考。
五、对比对比是通过对两个事物进行比较，强调它们之间的不同之处或者相互关系，以达到突出或者对比的效果。
通过对比，可以使文章更加生动有趣，也更好地传达作者的观点。
例如，"His words were as sharp as a knife, while her words were as gentle as a breeze."（他的话锋锐如刀，而她的话则温柔如微风）中的对比句增加了文章的表现力和张力。
Part OneChapter One Introducing Style1.1 What is Style?1.2 Style as Saying Different Things in Different Contexts1. sentence2. vocabulary1.3 Style as Speakers from Different Background1. social status2. social class3. race4. sex: biological; social5. time1.4 Style as Functions of Texts1. interview2. commentary1.5 The Stylistic Features1. sound features: pun; rhyme; alliteration; elision2. spelling: the elision of certain sounds; alternative pronunciation; mispronunciation; contraction3. words: contexts; nominalized word and their corresponding verbs and adjectives; the same field or domain4. grammar: the manipulation of syntactic structures; the use of parallel structures; sentences with different length and complexity5. meaning: fields; personification; hyprbole / litotes; irony / satireChapter Two Lexicology2.1 Morphemic Devices(qualitative deviation or incongruity & quantitative deviation or deflection)1. Neologism: affixation; compounding; derivation; conversion; blendingnonce words2. Overregularity and High Frequency of Occurrencehomoioteteuton2.2 Lexical Devices1. Selection of WordsFeatures of register: field; tenor; mode2. Classification of WordsRegister and dialectCommoncore words and words used in different varietisDialect: regional / of age, race, profession/ social structure / temporal3. Rhetorical SeriesSimilar in certain aspectsTwo / three / four or more items4. Word ImplicationsExtended, transferred meanings; with emotive colouring (neutral / positive / negative);synonymy (ideational / interpersonal / textual)5. Play with Meaning: Rhetorical DevicesMeaning transference (simile / metaphor / personification / metonymy); Meaning extension and Contraction (hyperbole / litotes or meiosis); Contradiction in Logic (oxymoron / paradox); Meaning Conversion; Play on Homonymy (pun)Chapter Three Grammar3.1 Syntactic Deflection1. The Unexpected High Frequency of OccurrenceLong sentences (vivid, rich, exuberant, luxurious)Short sentences (direct, terse, concise, clear effect or continuous, compact, swift effect)2. The Overregular Use of Certain Patterns or ModelsParallelisms; Antithesis; Chiasmus; Antistrophe; Repetition; Epizeuxis; Ploce3.2 Syntactic Incongruity1. Unusual Syntactic StructuresLoose Sentences; Periodic Sentences; Elliptical Sentences; Inverted Sentences; Rhetorical Questions2. Violation of the Grammatical RulesUngrammatical sentencesChapter Four Phonology and Graphology4.1 Phonology1. Sound and WritingTwo ways of representing the same thing / respective features2. Phonological theoryPhoneme: synaesthesiaIncongruity: phonological transference and elision ( aphesis, syncope, apocope)Sound Pattern: Alliteration; Assonance; Consonance3. SyllableSyllable Deflection: Para-rhyme; Reverse Rhyme; Rhyme (masculine rhyme vs. Feminine rhyme) (end rhyme & internal rhyme)Defeated Expectation4. FootMeter (foot) vs. rhythm (measure)Foot DeflectionMetrical Deviation: change stress; put stress on what should be an unstressed syllable; change the order; reduce the number of feet.Onomatopoeia: synaesthetic5. Tone Group6. Suprasegmental FeaturesStress; Intonation (falling and rising); Pause4.2 Graphology1. Graphological SystemFive ranks: grapheme, words, comma, colon, period.Three factors that can produce graphological prominence: marking, space and sequence2. GraphemePunctuation Marks: period, comma, exclamation marks, quotation marks, parenthesesEllipsis of Punctuation marks3. Ill-spelled words (erroneous spelling)4. Italics5. Spatial ArrangementChapter Five Semantics5.1 Cohesion and Style1. Reference: Personal; Demonstrative; ComparativeExophora (context-bound); Endophora (context-free; anaphora and cataphora)2. Substitution and EllipsisLiveliness; conciseness; terseness3. ConjunctionConjunctions and conjunctive phrases and adverbs4. Lexical Cohesion1) Reiteration: repetition; synonymy; hyponymy; meronymy2) Collocation: provides semantic thread linking the meanings of different sentences and words together5.2 Sentence Groups, Passages and Paragraphs1. Sentence Groups (SG): argumentation; narration; description2. Paragraphs and PassagesParataxis ; hypotaxisIndependent ; surbordinate ; transition3. Patterns of Text StructuresGenerical structure potentialA buying-selling situation: five obligatory elementsA job-interview situation: five obligatory elementsFiction Writings: five or six stagesPart Two Practical Style。
部编语文6单元复习题部编版语文教材的第六单元通常涵盖了多种文学形式，包括诗歌、散文、小说等。
复习题的设计旨在帮助学生巩固本单元的学习内容，提高阅读理解和文学鉴赏能力。
以下是一些可能的复习题内容：一、阅读理解1. 诗歌鉴赏- 阅读本单元的诗歌，分析诗人如何通过意象和修辞手法表达情感。
- 举例说明诗歌中使用的比喻、拟人等修辞手法，并解释其作用。
2. 散文理解- 阅读散文，概括作者的主要观点和情感。
- 分析散文中的描写手法，如细节描写、心理描写等，以及它们如何服务于主题。
3. 小说分析- 阅读本单元的小说，概述故事情节，分析主要人物的性格特点。
- 讨论小说中的冲突设置及其对情节发展的影响。
二、文学知识1. 文学流派- 列举本单元涉及的文学流派，并简述其特点。
2. 作家介绍- 介绍本单元作品的作者，包括其生平、创作背景和主要成就。
三、写作技巧1. 写作练习- 根据本单元的学习内容，创作一篇短文，可以是诗歌、散文或小说。
2. 修辞手法运用- 选择一种修辞手法，如排比、对仗等，写一段话，展示其效果。
四、综合运用1. 主题讨论- 选择本单元的一个主题，组织一次小组讨论，分享各自的理解和看法。
2. 跨学科联系- 探讨本单元文学作品与历史、哲学等其他学科的联系。
五、自我检测1. 选择题- 根据本单元内容，设计几道选择题，检测学生对知识点的掌握。
2. 简答题- 提出几个简答题，要求学生用自己的话回答，以检验其对文本的深入理解。
结束语：通过本单元的复习，希望同学们能够更深入地理解文学作品的内涵，提高自己的文学素养和审美能力。
同时，也希望同学们能够在复习的过程中，发现自己的兴趣所在，培养对文学的热爱。
专题六修辞《2017年广东省普通高中学业水平考试语文科考试大纲》中对此知识点的要求是“理解和运用常见修辞手法(常见的修辞手法：比喻、比拟、借代、夸张、对偶、排比、反复、设问、反问)”，能力层次为B、C：理解、分析综合。
考查形式以选择题为主，要求判断选出修辞运用正确的一项；在具体语境中考查学生运用修辞的能力。
学考《考试大纲》规定的九种修辞手法修辞手法，就是通过修饰、调整语句，运用特定的表达形式以提高语言表达作用的方式或方法。
常见的修辞手法有很多，学考考纲明确要求的有以下九种：比喻、比拟(分为拟人、拟物)、借代、夸张、对偶、排比、反复、设问、反问。
一般说，比喻、夸张、比拟、借代是语言类；对偶、排比、反复是结构类；反问和设问是增强语气类。
这九类修辞手法的含义、作用和表达效果各不相同，下面做简要归纳。
1．比喻：它是用某一具体、浅显、熟悉的事物或情境来说明另一种抽象、深奥、生疏的事物或情境的一种修辞方法。
比喻由三部分构成：(1)本体、(2)喻体、(3)比喻词。
(比喻和拟人最大的不同在于比喻含有喻体，拟人没有。
)比喻分明喻、暗喻、借喻三种形式。
明喻的形式可简缩为：甲(本体)如(比喻词：像、似、若、犹、好像、仿佛)乙(喻体)。
例句：叶子(本体)出水很高，像(比喻词)亭亭的舞女的裙(喻体)。
(朱自清《荷塘月色》) 暗喻的形式可简缩为：甲(本体)是(比喻词：成、变成、成为、当作、化作)乙(喻体)。
例句：母亲啊！你(本体)是荷叶(喻体)，我(本体)是红莲(喻体)。
(冰心《荷叶母亲》) 明喻在形式上是相似关系，暗喻则是相合关系。
借喻：只出现喻体，本体与比喻词都不出现。
例句：我似乎打了一个寒噤；我就知道，我们之间已经隔了一层可悲的厚障壁(喻体)了，我再也说不出话。
(鲁迅《故乡》)【附】通感所谓通感，是利用诸种感觉相互交通的心理现象，以一种感觉来描述表现另一种感觉的修辞方式。
最典型的例子：“微风过处，送来缕缕清香，仿佛远处高楼上渺茫的歌声似的。
