The development of Stylistics

时尚单品演变过程英语作文The evolution of fashion items has been a fascinating journey, reflecting the ever-changing tastes and trends of society. From the timeless elegance of thelittle black dress to the iconic status of the denim jean, fashion items have undergone significant transformations over the years. In this essay, we will explore the evolution of several key fashion items, tracing their origins and examining how they have evolved to become the wardrobe staples they are today.Let's start with the little black dress, a classic piece that has stood the test of time. Originally popularized by Coco Chanel in the 1920s, the little black dress was a revolutionary departure from the ornate and restrictive fashions of the time. Its simple, elegant design made it a versatile and timeless piece that could be dressed up or down for any occasion. Over the years, the little black dress has been reinterpreted by countless designers, each putting their own unique spin on this iconic garment. From Audrey Hepburn's iconic Givenchy dress in'Breakfast at Tiffany's' to modern iterations by designers like Victoria Beckham and Stella McCartney, the little black dress remains a symbol of effortless chic.Another fashion item that has undergone a remarkable evolution is the denim jean. Originally designed as durable workwear for miners and cowboys in the American West, denim jeans have evolved into a global fashion phenomenon. In the 1950s, Hollywood stars like James Dean and Marlon Brando popularized denim jeans as a symbol of rebellion and youthful cool. In the decades that followed, denim jeans became a symbol of casual, everyday style, with countless variations in washes, cuts, and embellishments. From the bell-bottoms of the 1970s to the skinny jeans of the 2000s, denim jeans have continuously adapted to reflect theprevailing trends of each era.Moving on to footwear, the evolution of the high heel is a particularly intriguing story. Originally worn by men in the 10th century to improve stability while riding horses, high heels eventually became associated with femininity and glamour. In the 17th century, King Louis XIV of France popularized high heels as asymbol of status and power, a trend that quickly spread throughout Europe. Over time, high heels have been reimagined in countless styles, from the stiletto tothe platform heel. While they have been the subject of much debate regarding their impact on foot health, high heels continue to be a staple of women's fashion, evolving to reflect changing tastes and attitudes towards femininity and empowerment.In the realm of accessories, the evolution of the handbag is a testament tothe enduring appeal of functional yet stylish items. From the reticule bags of the 18th century to the iconic designs of luxury fashion houses like Chanel and Hermès, handbags have evolved to become both practical and status-defining accessories. The modern handbag industry is a multi-billion dollar market, with a dizzyingarray of styles, sizes, and materials to suit every taste and occasion. From the practical crossbody bag to the statement-making clutch, handbags have evolved to become a reflection of personal style and status.In recent years, the evolution of fashion items has been shaped by a growing awareness of sustainability and ethical production. Consumers are increasingly seeking out items that are not only stylish, but also environmentally friendly and socially responsible. This shift in consumer attitudes has led to the rise of sustainable fashion brands and the popularity of vintage and second-hand shopping. As a result, fashion items are now being reimagined with a focus on longevity and ethical production, reflecting a broader shift towards mindful consumption and a more holistic approach to style.In conclusion, the evolution of fashion items is a rich tapestry of history, culture, and creativity. From the little black dress to denim jeans, high heels, and handbags, these items have continuously adapted to reflect the changing tastes and attitudes of society. As we look to the future, it is clear that fashion items will continue to evolve, driven by a desire for innovation, sustainability, andself-expression. The story of fashion items is a testament to the enduring powerof style and the ever-changing nature of fashion.。

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。

谈论文学要知道哪些英语单词谈论文学要知道哪些英语单词文学是以语言文字为工具，形象化地反映客观现实、表现作家心灵世界的艺术，包括诗歌、散文、小说、剧本、寓言童话等，是文化的重要表现形式，以不同的形式即体裁，表现内心情感，再现一定时期和一定地域的社会生活。

文学就在我们生活里。

但你和外国人谈论文学时，一定要知道下面这些英语单词。

1).author n.作者，作家The author of this novel must be a detective这本小说的作者一定是一个侦探。

2).write v.书写，写作If you miss me, please write letters to me如果你念我，就请给我写信。

3).literature n.文学，文学作品As far as literature is concerned.I am very fond of classics就文学作品而言，我很喜欢古典作品。

4).work n.作品If my memory serves me right, the famous sonnet is Shakespeare's work如果我没记错的话，这首著名的十四行诗是莎士比亚的作品。

5).stylistics n.文体学，风格学Stylistics is a branch of linguistics文体学是语言学的一个分支。

6).poetry n.诗歌，诗集l often recite poetry as possible as I can in my spare time在我有空时，我经常尽可能的多背诗。

7).antithesis n. 对句，对偶The foreign friend is puzzled about the antithesis那个外国朋友看不懂对句。

8).verse n.诗，韵文From whom did you quote these verses?你从谁那里引用了这些诗句?9).ballad n.歌谣，民谣My mother likes ballads while I like pop music我妈妈喜欢民谣，但是我喜.欢流行音乐。

苏州大学硕士学位论文从文体学和叙述学的视点看《围城》中自由间接引语的翻译姓名：***申请学位级别：硕士专业：外国语言学及应用语言学指导教师：***201105摘要叙述学和文体学在当代叙事小说中占有非常重要的位置。

两个学科都具有旺盛的生命力，且都属于跨学科研究，二者通过利用语言学的模式来研究文学。

由于二者重视文本并将文学作品视为自成一体的艺术品，所以归为形式批评主义下的两个分支。

随着２０世纪形式主义的兴起，叙述视点成为学者激烈探讨的话题。

其作为叙述技巧，对文本描写叙述起着非常重要的作用。

本文采用视点理论来研究文体学和叙述学框架下的自由间接引语翻译。

虽然文体学和叙述学在研究主题、研究方向和研究目的侧重不同，但在视点理论上二者有重合之处，皆可应用于小说叙事分析。

叙述学通过结构主义和形式主义分析，着重研究叙述形式及其对特定语境的影响。

通过分析，叙述学家可以了解到原文是否很好地再现与译文中，译文的叙事效果是否与原文一致。

在叙事小说及叙事小说翻译研究中，叙述学能够帮助研究者考察源语文本中的叙事形式能否在译语文本中得到准确的重现。

文体学家侧重研究语言表达方式对文学效果的影响。

在文学翻译研究中，文学文体学可以通过阐述文学文体学的本质、功能和有效性，来探讨表达人物语言和思想的词句的作用及其对文本自身的影响。

本文通过对文体学和叙述学理论的整合，对小说《围城》中的自由间接引语的翻译进行研究，同时探讨了译文中译者的痕迹对译文的影响，为自由间接引语的汉英翻译提供了参考。

文章立足于文体和叙述两大领域，结合翻译研究中的视点理论，对比分析了自由间接引用原文和译文，探索了引起译文变化的原因。

关键词：视点；自由间接引语；文体学；叙述学ＡＢＳＴＲＡＣＴＮａｒｒａｔｏｌｏｇｙａｎｄｓｔｙｌｉｓｔｉｃｓｏｃｃｕｐｙｖｅｒｙｉｍｐｏｒｔａｎｔｐｏｓｉｔｉｏｎｓｉｎｃｏｎｔｅｍｐｏｒａｒｙｃｒｉｔｉｃａｌｔｈｅｏｒｉｅｓｏｆｎａｒｒａｔｉｖｅｆｉｃｔｉｏｎ．Ｂｅｉｎｇｉｎｔｅｒｄｉｓｃｉｐｌｉｎａｒｙｓｕｂｊｅｃｔｓｗｉｔｈｇｒｅａｔｖｉｔａｌｉｔｙ，ｂｏｔｈｎａｒｒａｔｏｌｏｇｙａｎｄｓｔｙｌｉｓｔｉｃｓｅｍｐｌｏｙｌｉｎｇｕｉｓｔｉｃｍｏｄｅｌｓｔｏｓｔｕｄｙｌｉｔｅｒａｔｕｒｅ．Ｔｈｅｙｐａｙａｔｔｅｎｔｉｏｎｔｏｔｅｘｔｓａｎｄｒｅｇａｒｄｌｉｔｅｒａｒｙｗｏｒｋｓａｓｓｅｌｆ－ｃｏｎｔａｉｎｅｄａｒｔｉｓｔｉｃｗｏｒｋｓ．ｔｈｕｓｂｅｌｏｎｇｉｎｇｔｏｔｈｅｔｗｏｍｅｍｂｅｒｓｉｎｔｈｅｆａｍｉｌｙｏｆｆｏｒｍａｌｃｒｉｔｉｃｉｓｍ．Ｎａｒｒａｔｉｖｅｐｏｉｎｔｏｆｖｉｅｗ，ｆｏｌｌｏｗｉｎｇｔｈｅｒｉｓｅｏｆｆｏｒｍａｌｉｓｍｉｎ２０ｍｃｅｎｔｕｒｙ，ｂｅｃａｍｅａｌｉｖｅｔｏｐｉｃ．Ａｓａｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅ，ｉｔｐｌａｙｅｄａｎｉｍｐｏｒｔａｎｔｒｏｌｅｉｎｎａｒｒａｔｉｏｎ．Ｔｈｅｐｒｅｓｅｎｔｔｈｅｓｉｓａｄｏｐｔｓｔｈｅｔｈｅｏｒｙｏｆｐｏｉｎｔｓｏｆｖｉｅｗｔｏｓｔｕｄｙｆｒｅｅｉｎｄｉｒｅｃｔｓｐｅｅｃｈｔｒａｎｓｌａｔｉｏｎｉｎｔｈｅｆｒａｍｅｗｏｒｋｏｆｓｔｙｌｉｓｔｉｃｓａｎｄｎａｒｒａｔｏｌｏｇｙ．Ａｌｔｈｏｕｇｈｓｔｙｌｉｓｔｉｃｓａｎｄｎａｒｒａｔｏｌｏｇｙａｒｅｄｉｆｆｅｒｅｎｔｉｎｓｕｂｊｅｃｔｓ，ｏｒｉｅｎｔａｔｉｏｎｓａｎｄｐｕｒｐｏｓｅｓ，ｔｈｅｙｇｅｔｓｏｍｅｈｏｗｏｖｅｒｌａｐｐｅｄｉｎｔｈｅａｒｅａｏｆｔｈｅｐｏｉｎｔｏｆｖｉｅｗ．ＢｏｔｈＣａｎｂｅａｐｐｌｉｅｄｔｏｆｉｃｔｉｏｎａｎａｌｙｓｉｓ．Ｎａｒｒａｔｏｌｏｇｙｆｏｃｕｓｅｓｏｎｒｅｌａｔｉｏｎｂｅｔｗｅｅｎｎａｒｒａｔｉｖｅｆｏｒｍａｎｄｎａｒｒａｔｉｖｅｅｆｆｅｃｔｉｎａｐａｒｔｉｃｕｌａｒｃｏｎｔｅｘｔｗｉｔｈｓｔｒｕｃｔｕｒａｌｉｓｍａｎｄｆｏｒｍａｌｉｓｍａｎａｌｙｓｉｓ．Ｉｎｔｈｉｓｗａｙ，ｒｅｓｅａｒｃｈｅｒｓｋｎｏｗｗｈｅｔｈｅｒｓｏｕｒｃｅｔｅｘｔｉｓｗｅｌｌｒｅｐｒｏｄｕｃｅｄｉｎｔａｒｇｅｔｔｅｘｔａｎｄｗｈｅｔｈｅｒｔｈｅｎａｒｒａｔｉｖｅｅｆｆｅｃｔｉｓｉｄｅａｌ．ＮａｒｒａｔｏｌｏｇｙＣａｎｈｅｌｐｒｅｓｅａｒｃｈｅｒｓｔｏｅｘａｍｉｎｅｗｈｅｔｈｅｒｔｈｅｎａｒｒａｔｉｖｅｆｏｒｍｓｏｆｔｈｅｓｏｕｒｃｅｔｅｘｔａｒｅｗｅｌｌｐｒｏｄｕｃｅｄｉｎｔｈｅｔａｒｇｅｔｔｅｘｔ．Ｓｔｙｌｉｓｔｉｃｓｃｅｎｔｅｒｓｏｎｈｏｗｌｉｔｅｒａｒｙｅｆｆｅｃｔｓａｒｅａｃｈｉｅｖｅｄｂｙｍｅａｎｓｏｆｄｉｓｃｏｕｒｓｅｆｏｒｍ．Ｂｙｅｘｐｌｉｃａｔｉｎｇｎａｔｕｒｅ，ｆｕｎｃｔｉｏｎａｎｄｖａｌｉｄｉｔｙｏｆｌｉｔｅｒａｒｙｓｔｙｌｉｓｔｉｃｓａｓａｄｉｓｃｉｐｌｉｎｅ，ｌｉｔｅｒａｒｙｓｔｙｌｉｓｔｉｃｓＣａｎｂｅｕｓｅｄｉｎｌｉｔｅｒａｒｙｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓｆｒｏｍｔｈｅａｓｐｅｃｔｓｏｆｌｅｘｉｃａｌｅｘｐｒｅｓｓｉｏｎａｎｄｓｙｎｔａｘｆｏｒｓｐｅｅｃｈａｎｄｔｈｏｕｇｈｔｐｒｅｓｅｎｔａｔｉｏｎ．Ｃｏｍｂｉｎｉｎｇｔｈｅｏｒｉｅｓａｎｄｍｅｔｈｏｄｏｌｏｇｉｅｓｏｆｔｈｅｔｗｏｄｉｓｃｉｐｌｉｎｅｓ，ｔｈｉｓｔｈｅｓｉｓｍａｋｅｓａｎａｔｔｅｍｐｔｔｏｓｔｕｄｙｆｒｅｅｉｎｄｉｒｅｃｔｓｐｅｅｃｈｔｒａｎｓｌａｔｉｏｎｉｎｎｏｖｅｌＦｏｒｔｒｅｓｓＢｅｓｉｅｇｅｄａｎｄｔｈｅｃｈａｎｇｅｏｆｔｈｅｔｅｘｔｆｅｅｌｒｅｓｕｌｔｅｄｆｒｏｍｔｈｅｔｒａｎｓｌａｔｏｒｓ’ｐｒｅｓｅｎｃｅ，ｗｈｉｃｈｐｒｏｖｉｄｅｓｒｅｆｅｒｅｎｃｅｆｏｒｔｈｅｔｒａｎｓｌａｔｉｏｎｏｆＣｈｉｎｅｓｅｆｒｅｅｉｎｄｉｒｅｃｔｓｐｅｅｃｈｉｎｔｏＥｎｇｌｉｓｈ．Ｔｈｉｓｔｈｅｓｉｓｐｌａｃｅｓｉｔｓｅｌｆｉｎｔｈｅｔｗｏｆｉｅｌｄｓ，ｂｒｉｎｇｉｎｇｔｏｇｅｔｈｅｒａｎａｎａｌｙｓｉｓｏｆｐｏｉｎｔｏｆｖｉｅｗｗｉｔｈｉｎａｔｒａｎｓｌａｔｉｏｎｓｔｕｄｙｏｎｏｎｅｈａｎｄａｎｄｆｏｃｕｓｉｎｇｏｎｔｈｅｅｌａｂｏｒａｔｉｏｎｏｆａｃｏｍｐａｒａｔｉｖｅｍｅｔｈｏｄｔｏａｎａｌｙｚｅｔｈｅｏｒｉｇｉｎａｌｔｅｘｔａｎｄｉｔｓｔｒａｎｓｌａｔｉｏｎｏｎｔｈｅｏｔｈｅｒ．Ｋｅｙｗｏｒｄｓ：ｐｏｉｎｔｏｆｖｉｅｗ；ｆｒｅｅｉｎｄｉｒｅｃｔｓｐｅｅｃｈ；ｓｔｙｌｉｓｔｉｃｓ；ｎａｒｒａｔｏｌｏｇｙＡＣＫＮＯＷＬＥＤＧＥＭＥＮＴＳ１ｗｏｕｌｄｌｉｋｅｔｏｔｈａｎｋｍｙｔｕｔｏｒａｎｄｆｒｉｅｎｄｓｆｏｒｔｈｅｉｎｖａｌｕａｂｌｅｓｕｐｐｏｒｔｔｈｅｙｈａｖｅｇｉｖｅｎｍｅｉｎｗｒｉｔｉｎｇｔｈｉｓｔｈｅｓｉｓ．Ｍｙａｃａｄｅｍｉｃａｄｖｉｓｏｒ，ＰｒｏｆｅｓｓｏｒＷａｎｇＨｏｎｇｈａｓｅｘｃｈａｎｇｅｄｗｉｔｈｍｅｉｄｅａｓｏｎｔｈｅｉｓｓｕｅｓｉｎｖｏｌｖｅｄｂｅｆｏｒｅＩｓｔａｒｔｅｄｔｏｗｒｉｔｅ，ａｎｄｈａｓｐｒｏｖｉｄｅｄｎｕｍｅｒｏｕｓｉｍｐｒｏｖｅｍｅｎｔｓｉｎｔｈｅｃｏｎｔｅｎｔｔｈｒｏｕｇｈｒｅａｄｉｎｇｔｈｅｍａｎｕｓｃｒｉｐｔｖｅｒｓｉｏｎｓ．Ｈｉｓｐａｔｉｅｎｔｉｎｓｔｒｕｃｔｉｏｎ，ｃｏｎｔｉｎｕｏｕｓｉｎｓｐｉｒａｔｉｏｎａｎｄｉｎｃｉｓｉｖｅｃｏｍｍｅｎｔｓｈｅｌｐｅｄｍｅａｌｏｔ．ＢｕｔｗｈａｔＩｌｅａｒｎｅｄｆｒｏｍｈｉｍｉＳｕｎｌｉｍｉｔｅｄｉｎｔｈｅａｃａｄｅｍｉｃｆｉｅｌｄ．Ｔｈｅｎ，１ｗｏｕｌｄｌｉｋｅｔｏｅｘｐｒｅｓｓｍｙｄｅｅｐｔｈａｎｋｓｔｏＰｒｏｆｅｓｓｏｒＷａｎｇＲｏｎｇｐｅｉ，ＰｒｏｆｅｓｓｏｒＦａｎｇＨｕａｗｅｎ，ＰｒｏｆｅｓｓｏｒＤｕＺｈｅｎｇｍｉｎｇ，ａｎｄＰｒｏｆｅｓｓｏｒＨｏｎｇＱｉｎｇｆｕ．Ｉｔｈａｎｋｔｈｅｍａｌｏｔｆｏｒｔｅａｃｈｉｎｇｍｅｔｈｅｉｍｐｏｒｔａｎｔｐｒｉｎｃｉｐｌｅｓａｎｄｍｅｔｈｏｄｓａｂｏｕｔｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ．Ｌａｓｔｂｕｔｎｏｔｔｈｅｌｅａｓｔ，１ｗａｎｔｔｏｓａｙｔｈａｎｋｓｔｏｔｈｅａｕｔｈｏｒｓｆｒｏｍｗｈｏｓｅｗｏｒｋｓＩｈａｖｅｂｅｎｅｆｉｔｅｄｑｕｉｔｅａｌｏｔａｎｄｌｅａｒｎｅｄｑｕｉｔｅａｌｏｔｉｎｍｙｔｈｅｓｉｓｗｒｉｔｉｎｇ．Ｌ．Ｘ．ＬｉｓｔｏｆＴａｂｌｅｓＴａｂｌｅ２．１ＣｌａｓｓｉｆｉｃａｔｉｏｎｏｆＰｏｉｎｔｏｆＶｉｅｗ……………………………………………………………·１５Ｔａｂｌｅ３．１ＣｌａｓｓｉｆｉｃａｔｉｏｎｏｆＦｒｅｅＩｎｄｉｒｅｃｔＤｉｓｃｏｕｒｓｅ………………………………………………·２１ＣｈａｐｔｅｒＯｎｅＩｎｔｒＯｄｕＣｔｉｏｎＴｈｉｓｃｈａｐｔｅｒｉｓｔｏｇｉｖｅｆｕｎｄａｍｅｎｔａｌｓｏｆｔｈｅｔｈｅｓｉｓｗｉｔｈｐｕｒｐｏｓｅｓｏｆｉｎｔｒｏｄｕｃｉｎｇｒａｔｉｏｎａｌｅａｎｄｓｉｇｎｉｆｉｃａｎｃｅｏｆｔｈｅｔｈｅｓｉｓ，ｔｈｅｓｐｅｃｉｆｉｃｒｅｓｅａｒｃｈｑｕｅｓｔｉｏｎｓａｎｄｔｈｅｏｒｇａｎｉｚａｔｉｏｎｏｆｔｈｅｔｈｅｓｉｓ．１．１ＲａｔｉｏｎａｌｅａｎｄＳｉｇｎｉｆｉｃａｎｃｅｏｆｔｈｅＴｈｅｓｉｓＡｌｔｈｏｕｇｈｔｈｅｎａｒｒａｔｏｌｏｇｙａｎｄｓｔｙｌｉｓｔｉｃｓｉｎｆｉｃｔｉｏｎｈａｖｅｂｅｃｏｍｅａｗｉｄｅｌｙｄｉｓｃｕｓｓｅｄｔｏｐｉｃｉｎｒｅｃｅｎｔｙｅａｒｓ，ｔｈｅｉｒｓｕｂｏｒｄｉｎａｔｅ，ｔｈｅｉｓｓｕｅｏｆｐｏｉｎｔｏｆｖｉｅｗ，ｈａｓｒｅｍａｉｎｅｄｒｅｌａｔｉｖｅｌｙｕｎｅｘｐｌｏｒｅｄ．Ｂｕｔｓｉｍｉｌａｒｓｔｕｄｉｅｓｃｏｍｉｎｇｃｌｏｓｅｓｔｔｏａｌｌｉｎｖｅｓｔｉｇａｔｉｏｎｏｆｐｏｉｎｔｏｆｖｉｅｗｉｎｏｒｉｇｉｎａｌｓａｎｄｔｈｅｉｒｔｒａｎｓｌａｔｉｏｎｓａｒｅｔｈｏｓｅ，ｆｏｒｉｎｓｔａｎｃｅ，ｂｙＢｒｉａｎＭｏｓｓｏｐ（１９８３），ｗｈｉｃｈｔｈｒｏｕｇｈｐｏｉｎｔｏｆｖｉｅｗｉｎｖｅｓｔｉｇａｔｅｓｔｈｅｒｅｌａｔｉｏｎｓｈｉｐｂｅｔｗｅｅｎｔｒａｎｓｌａｔｉｏｎａｎｄｒｅｐｏｒｔｅｄｓｐｅｅｃｈ．Ｍｏｓｓｏｐｃｏｎｓｉｄｅｒｓｔｈａｔｔｒａｎｓｌａｔｉｏｎｉｓｒｅｐｏｒｔｅｄｄｉｓｃｏｕｒｓｅｉｎｗｈｉｃｈｔｈｅｔａｒｇｅｔｔｅｘｔ（ＴＴ）ｉｓｔｈｅｒｅｐｏｒｔｉｎｇｄｉｓｃｏｕｒｓｅａｎｄｔｈｅｓｏｕｒｃｅｔｅｘｔ（ＳＴ）ｔｈｅｒｅｐｏｒｔｅｄｄｉｓｃｏｕｒｓｅ．Ｔｈｉｓｐａｒｔｉｃｕｌａｒｔｙｐｅｏｆｔｒａｎｓｌａｔｏｒｖｉｓｉｂｉｌｉｔｙｈａｓｒｅｃｅｉｖｅｄｍｏｒｅａｔｔｅｎｔｉｏｎｓｉｎｃｅ１９９６，ｗｈｅｎＴｈｅｏＨｅｒｍａｎｓ（１９９６）ｕｓｅｄｔｈｅｃｏｎｃｅｐｔｏｆｔｈｅｔｒａｎｓｌａｔｏｒ’Ｓｖｏｉｃｅｉｎａｎａｔｔｅｍｐｔｔｏｐｉｎｐｏｉｎｔｔｈｅ‘ｏｔｈｅｒ’ｖｏｉｃｅｉｎｔｒａｎｓｌａｔｉｏｎ．Ｃｏｒｐｕｓ·ｂａｓｅｄｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓｈａｖｅａｌｓｏｆｏｃｕｓｅｄｏｎｒｅｃｕｒｒｅｎｔｆｅａｔｕｒｅｓｏｆｔｒａｎｓｌａｔｅｄｌａｎｇｕａｇｅ，ａｎｄｃｏｒｐｕｓｔｅｃｈｎｉｑｕｅｓａｎｄｔｏｏｌｓａｒｅｂｅｉｎｇｅｍｐｌｏｙｅｄｉｎｃｒｅａｓｉｎｇｌｙｔｏｉｄｅｎｔｉｆｙｔｈｅｔｒａｎｓｌａｔｏｒ’Ｓ“ｓｔｙｌｅ”ｉｎｔｈｅｉｒｔｒａｎｓｌａｔｉｏｎｓ（Ｂａｋｅｒ２０００）．Ａｌｌｔｈｅｓｅａｒｅｒｅｌａｔｅｄｔｏｐｏｉｎｔｏｆｖｉｅｗｉｎｔｈｅｉｒｄｉｓｃｕｓｓｉｏｎｓ．Ｔｈｅｔｈｅｓｉｓｓｅｅｋｓｔｏｅｘｐｌｏｒｅｆｕｒｔｈｅｒｔｈｅｎａｔｕｒｅｏｆｔｈｅｔｒａｎｓｌａｔｏｒ’Ｓｄｉｓｃｕｒｓｉｖｅｂｅｔｗｅｅｎｐｒｅｓｅｎｃｅｂｙｉｎｖｅｓｔｉｇａｔｉｎｇｃｅｒｔａｉｎｎａｒｒａｔｏｌｏｇｉｃａｌａｓｐｅｃｔｓｏｆｔｈｅｒｅｌａｔｉｏｎｏｒｉｇｉｎａｌｓａｎｄｔｒａｎｓｌａｔｉｏｎｓ．Ａｌｓｏｔｈａｔｉｓｗｈｅｒｅｎａｒｒａｔｉｖｅｐｏｉｎｔｏｆｖｉｅｗｆｕｎｃｔｉｏｎｓ．Ｔｈｅｓｔｕｄｙｏｆｐｏｉｎｔｏｆｖｉｅｗ，ｉ．ｅ．ｆｒｏｍｗｈａｔｐｏｓｉｔｉｏｎａｓｐｅａｋｅｒ／ｗｒｉｔｅｒａｄｏｐｔｓｉｎａｓｕｃｃｅｓｓｉｖｅｓｔｏｒｙ·ｔｅｌｌｉｎｇｈａｓｌｏｎｇｂｅｅｎｔｈｅｓｕｂｊｅｃｔｏｆｃｏｎｃｅｍｏｆｎａｎ＇ａｔｏｌｏｇｉｓｔｓ．Ｉｔａｌｓｏａｔｔｅｎｔｉｏｎｏｆｓｔｙｌｉｓｔｉｃｉａｎｓｗｈｏａｒｇｕｅｔｈａｔｌｉｎｇｕｉｓｔｉｃｆｅａｔｕｒｅｓｃｏｎｔｒｉｂｕｔｅｔｏｔｈｅｇｅｔｓｄｉｓｃｕｓｓｉｏｎｏｆｐｏｉｎｔｏｆｖｉｅｗ．Ｉｎ２０ｔ｝ｌｃｅｎｔｕｒｙｐｏｉｎｔｏｆｖｉｅｗｉｓｔｈｅｃｏｒｅｃｏｎｃｅｐｔｉｎｔｈｅｒｅａｌｍｏｆｆｉｃｔｉｏｎｃｒｉｔｉｃｉｓｍａｎｄｉｔｒｅｌａｔｅｓｔｏａｔｅｘｔ’Ｓｅｎｔｉｒｅｃｏｍｐｒｅｈｅｎｄｉｎｇ．Ｎｅｖｅｒｔｈｅｌｅｓｓ，ｔｈｅｔｗｏｓｃｈｏｏｌｓｏｆｓｃｈｏｌａｒｓｌａｙｅｍｐｈａｓｉｓｄｉｆｆｅｒｅｎｔｌｙ．Ｔｈｅｆｏｒｍｅｒｈａｖｅｔｒｅａｔｅｄｐｏｉｎｔｏｆｖｉｅｗａｓａｔｅｃｈｎｉｑｕｅｓｉｎｃｅｔｈｅｅｎｄｏｆｎｉｎｅｔｅｅｎｔｈｃｅｎｔｕｒｙ．Ａｎｄｔｈｅｐｒｏｂｌｅｍｏｆｐｏｉｎｔｏｆｖｉｅｗａｔｔｒａｃｔｅｄｎｏｖｅｌｉｓｔｓ’ｅｍｅｒｇｅｎｔａｎｄｐｒａｃｔｉｃａｌｃｏｎｃｅｍ．Ｉｎｔｈｅｌａｔｔｅｒ，ａｎａｌｙｓｉｓｏｆｔｈｅｓｉｓｃｏｍｂｉｎｅｓｔｈｅｂｏｔｈｓｔｕｄｉｅｓｌｉｎｇｕｉｓｔｉｃｆｅａｔｕｒｅｓｂｅｃｏｍｅｓｔｈｅｐｒｉｏｒｉｔｙ．Ｔｈｅｃｕｒｒｅｎｔｗｉｔｈｐｏｉｎｔｏｆｖｉｅｗ，ｃｏｎｓｉｄｅｒｉｎｇｆｉｎｄｉｎｇａｂａｌａｎｃｅｂｅｔｗｅｅｎｔｈｅｆｉｅｌｄｓｏｆｎａｒｒａｔｏｌｏｇｙａｎｄａｎｄｔｒａｎｓｌａｔｉｏｎｓ．Ｉｎｏｔｈｅｒｗｏｒｄｓ，ｔｈｉｓｓｔｙｌｉｓｔｉｃｓＳＯａｓｔｏｇｅｔａｔｔｒｉｂｕｔｅｓｏｆｂｏｔｈｏｒｉｇｉｎａｌｓｔｈｅｓｉｓｔｒｉｅｓｔｏｓｈｏｗｔｈｅｐｒｏｐｅｒｕｎｄｅｒｓｔａｎｄｉｎｇｏｆｐｏｉｎｔｏｆｖｉｅｗａｓａｔｅｃｈｎｉｑｕｅｃａｎｈｅｌｐｂｅｔｔｅｒｃｏｍｐｒｅｈｅｎｄｂｏｔｈａｕｔｈｏｒ’Ｓａｎｄｔｒａｎｓｌａｔｏｒ’Ｓｓｔａｎｃｅｔｏｔｈｅｉｒｎａｒｒａｔｏｒ，ｔｏｔｈｅｉｒｃｈａｒａｃｔｅｒａｎｄｔｏｔｈｅｉｒｒｅａｄｅｒ．Ａｎｄｃｏｎｓｅｑｕｅｎｔｌｙ，ｔｈｅｌｉｎｇｕｉｓｔｉｃｆｅａｔｕｒｅｓｔｈａｔｅｍｂｏｄｙｔｈｅｉｒｐｏｓｓｉｂｌｅｓｔｙｌｉｓｔｉｃｖａｌｕｅｓ，ｌｉｋｅｔｏｎｅａｎｄａｔｔｉｔｕｄｅ，ａｒｅａｌｓｏｃｏｎｄｕｃｉｖｅｔｏｕｎｄｅｒｓｔａｎｄｉｎｇｔｈｅａｐｐｒｏｐｒｉａｔｅｕｓｅｏｆｐｏｉｎｔｏｆｖｉｅｗ．１．２ＳｐｅｃｉｆｉｃＲｅｓｅａｒｃｈＱｕｅｓｔｉｏｎＩｎａｎｏｖｅｌ，ｃｈａｒａｃｔｅｒｓ’ｓｐｅｅｃｈ，ｔｏｓｏｍｅｅｘｔｅｎｔ，ｄｅｃｉｄｅｓｔｈｅｗｏｒｋ’Ｓｓｕｃｃｅｓｓａｎｄｖａｌｕｅ．Ａｓｔｏｄｅｐｉｃｔｖｉｖｉｄａｎｄａｔｔｒａｃｔｉｖｅｉｍａｇｅｓ，ａｎａｕｔｈｏｒｔｒｉｅｓｔｏｍａｋｅｓｐｅｅｃｈｅｓａｐｐｒｏｐｒｉａｔｅｔｏｔｈｅｉｒｃｈａｒａｃｔｅｒｓ’ｐｅｒｓｏｎａｌｉｔｉｅｓ．Ｆｏｒｒｅａｄｅｒｓ，ｔｈｅｙｔｒｙｔｏｇｅｔｋｎｏｗｌｅｄｇｅｏｆｃｈａｒａｃｔｅｒｓｆｒｏｍｔｈｅｉｒｓｐｅｅｃｈｅｓａｎｄｔｈｏｕｇｈｔｔｏｇａｉｎａｐｉｃｔｕｒｅｏｆｃｈａｒａｃｔｅｒｓ’ｓｏｃｉａｌｌｉｆｅ．Ｔｈｕｓｔｈｅｋｅｙｔａｓｋｆｏｒｔｈｅａｕｔｈｏｒｉｓｔｏｃｒｅａｔｅｉｍｐｒｅｓｓｉｖｅｉｍａｇｅｓ．Ｔｏｐｏｒｔｒａｙｔｈｅｃｈａｒａｃｔｅｒｓ’ｉｍａｇｅｓ，ｔｈｅａｕｔｈｏｒｕｓｕａｌｌｙｐｒｅｓｅｎｔｓｃｈａｒａｃｔｅｒｓ’ｓｐｅｅｃｈｔｏｒｅｆｌｅｃｔｔｈｅｉｒｓｏｃｉａｌｓｔａｔｕｓ，ｉｄｅｎｔｉｔｙ，ｅｄｕｃａｔｉｏｎ，ｐｅｒｓｏｎａｌｉｔｙ，ｑｕａｌｉｔｙａｎｄｔｈｅｐａｒｔｉｃｕｌａｒｓｉｔｕａｔｉｏｎ，ｅｎｖｉｒｏｎｍｅｎｔ，ｅｖｅｎｔｈｅｃｕｌｔｕｒｅ，ｔｈｕｓｔｈｅｉｒｓｐｅｅｃｈｓｈｏｕｌｄｅｒｓａｌｌｔｈｏｓｅｆａｃｔｏｒｓ．Ｉｎｔｈｉｓｗａｙ，ｔｈｅｒｅａｄｅｒｓｆｕｌｌｙｕｎｄｅｒｓｔａｎｄｃｈａｒａｃｔｅｒｓ’ｉｍａｇｅｂｅｆｏｒｅｔｈｅｙｃｏｍｐｒｅｈｅｎｄｔｈｅｎｏｖｅｌｃｏｍｐｌｅｔｅｌｙ．Ｉｔｓｈｏｕｌｄｂｅｎｏｔｅｄｔｈａｔｓｐｅｅｃｈｅｓｉｎｎｏｖｅｌｓａｒｅｈｉｇｈｌｙｐｅｒｓｏｎａｌｉｚｅｄ，ｂｕｔｎｏｔｌｉｋｅｐｅｏｐｌｅ’Ｓｃｏｍｍｏｎｔａｌｋ．Ａｓｃｈａｒａｃｔｅｒｓ’ｓｐｅｅｃｈｅｓａｒｅｎｅｃｅｓｓａｒｙｐａｒｔｓｆｏｒｔｈｅＣｒｅａｔｉｏｎｏｆａｆｉｃｔｉｏｎ，ｔｏｓｏｍｅｅｘｔｅｎｔ，ｉｔｃｏｎｔｒｏｌｓｃｈａｒａｃｔｅｒｓ’ｐｅｒｓｏｎａｌｉｔｉｅｓ，ｅｆｆｅｃｔｏｆｔｈｅｓｔｏｒｙａｎｄｄｅｖｅｌｏｐｍｅｎｔｓｐｅｅｄｏｆｔｈｅｗｈｏｌｅｐｌｏｔ．Ｆｏｒｖａｒｉｏｕｓａｉｍｓ，ｔｈｅａｕｔｈｏｒｃｈｏｏｓｅｓｄｉｆｆｅｒｅｎｔｃａｒｄｅｒｓｏｆｃｈａｒａｃｔｅｒｓ’ａｎｄｃｏｎｔｅｎｔｓｐｅｅｃｈａｎｄｔｈｏｕｇｈｔ，ｉ．ｅ．，ｄｉｆｆｅｒｅｎｔｗａｙｓｏｆｓｐｅｅｃｈｅｓ．Ｈｅｎｃｅｂｏｔｈｔｈｅｆｏｒｍｏｆｓｐｅｅｃｈｎｅｅｄｓｅｒｉｏｕｓｓｅｌｅｃｔｉｏｎｉｎｏｒｄｅｒｔｏｃｏｏｒｄｉｎａｔｅｗｉｔｈｔｈｅｅｎｔｉｒｅｓｔｏｒｙ．Ｉｆｆｉｃｔｉｏｎ２ｔｒａｎｓｌａｔｉｏｎｎｏｔｏｎｌｙｒｅｑｕｉｒｅｓｃｏｍｍｕｎｉｃａｔｉｏｎｏｆｍｅａｎｉｎｇ，ｂｕｔａｌｓｏｔｒｕｅｖａｌｕｅｏｆｔｈｅｏｒｉｇｉｎａｌｔｅｘｔ，ｔｒａｎｓｌａｔｏｒｓｗｏｕｌｄｎｅｖｅｒｎｅｇｌｅｃｔｆｏｒｍｓ－ｏｆｓｐｅｅｃｈｅｓ．Ｔｈｅｐｒｏｃｅｓｓｍａｙｈａｖｅｄｉｒｅｃｔｅｆｆｅｃｔｏｎｒｅａｄｅｒ’Ｓｆｅｅｌｉｎｇ．Ｗｈｅｎｔｒａｎｓｌａｔｅｄｔｅｘｔｓａｒｅｃｒｉｔｉｃｉｚｅｄｉｎｔｅｒｍｓｏｆｌｉｔｅｒａｔｕｒｅｖａｌｕｅ，ａｒｅｓｅａｒｃｈｆｒａｍｅｉｓｐｕｔｆｏｒｗａｒｄｆｏｒｄｅｅｐｅｘｐｌｏｒａｔｉｏｎｂｙｌｅａｄｉｎｇｓｔｙｌｉｓｔｉｃｉａｎｓ，ｓｕｃｈａｓＲｉｍｍｏｎ－Ｋｅｎｎａｎ，ＢａｎｆｉｅｌｄＡｎｎ，ＬｅｅｃｈＧｅｏｆｆｒｅｙ，ＭｉｃｈａｅｌＳｈｏｒｔａｎｄＮｏｒｍａｎＰａｇｅ，ｐｅｏｐｌｅｗｈｏｈａｖｅｒｅｓｅａｒｃｈｅｄｃｈａｒａｃｔｅｒｓ’ｓｐｅｅｃｈｐｒｏｆｏｕｎｄｌｙｆｏｒｄｅｃａｄｅｓ．Ｔｈｅｙｃｌａｓｓｉｆｙｓｐｅｅｃｈｅｓａｎｄａｎａｌｙｚｅｔｈｅｓｔｙｌｅｏｆｔｅｘｔｓ，ｗｈｉｃｈｄｒｉｖｅｈｏｍｅｌｉｎｇｕｉｓｔｉｃｆｅａｔｕｒｅｓｏｆｄｉｆｆｅｒｅｎｔｓｐｅｅｃｈｆｏｒｍｓ．Ｔｈｕｓｔｈｅｙｃｏｎｔｒｉｂｕｔｅｔｏａｓｙｓｔｅｍａｔｉｃｗａｙｏｆｓｔｙｌｅａｎａｌｙｓｉｓ，ｗｈｉｃｈｌｅｓｓｅｎｔｈｅｏｂｊｅｃｔｉｖｅｃｒｉｔｉｃｉｓｍｔｏｏｒｉｇｉｎａｌｓａｎｄｔｒａｎｓｌａｔｅｄｔｅｘｔｓ．Ｂａｓｅｄｏｎｌｉｔｅｒａｔｕｒｅｖａｌｕｅｅｑｕｉｖａｌｅｎｃｅｕｐｏｎｓｐｅｅｃｈａｎｄｔｈｏｕｇｈｔｔｒａｎｓｌａｔｉｏｎ，ｔｈｉｓｔｈｅｓｉｓｍａｉｎｌｙｆｏｃｕｓｅｓｏｎｅｏｆｔｈｏｓｅｓｐｅｅｃｈｆｏｒｍｎｆｒｅｅｉｎｄｉｒｅｃｔｓｐｅｅｃｈｏｒｔｈｏｕｇｈｔ（ＦＩＳ／Ｔ），ａｉｍｉｎｇｔｏｉｎｔｅｒｐｒｅｔｅｓｓｅｎｔｉａｌｌｙｎｏｎ—ｌｉｎｇｕｉｓｔｉｃａｓｐｅｃｔｓｏｆｔｈｅｔｅｘｔｓｉｎｎａｒｒａｔｏｌｏｇｙｉｎｔｅｒｍｓｏｆｌｉｎｇｕｉｓｔｉｃｆｏｒｍ．ＴｏｆｕｌｌｙｅｘｈｉｂｉｔｆｅａｔｕｒｅｓｏｆＦＩＳ，ａｃｌａｓｓｉｃｆｉｃｔｉｏｎ，ＦｏｒｔｒｅｓｓＢｅｓｉｅｇｅｄ，ｉｓｃｈｏｓｅｎ，ｃｒｅａｔｅｄｂｙＱｉａｎＺｈｏｎｇｓｈｕ，ａｗｅｌｌ－ｋｎｏｗｎＣｈｉｎｅｓｅａｕｔｈｏｒ．Ｔｈｅｔｈｅｓｉｓｉｎｔｅｎｄｓｔｏｒｅｖｅａｌｔｈｅｎａｔｕｒｅｏｆｔｈｅｔｒａｎｃｅｓｉｍｐｒｉｎｔｅｄｂｙｔｒａｎｓｌａｔｏｒｓ’ｉｎｖｅｎｔｉｏｎｓｉｎｔｒａｎｓｌａｔｅｄｔｅｘｔａｎｄｆｕｒｔｈｅｒｅｘｐｌｏｒｅｓｈｏｗｔｈｅｔｅｘｔｆｅｅｌｏｆｔｈｅｔｒａｎｓｌａｔｉｏｎｉｓｃｈａｎｇｅｄｔｈｒｏｕｇｈｉｎｖｅｓｔｉｇａｔｉｎｇｔｈｅｔｒａｎｓｌａｔｉｏｎｏｆＦＩＳ．１．３ＯｒｇａｎｉｚａｔｉｏｎｏｆｔｈｅＴｈｅｓｉｓＴｈｉｓｔｈｅｓｉｓｃｏｎｓｉｓｔｓｏｆｆｉｖｅｃｈａｐｔｅｒｓｗｈｉｃｈｗｉｌｌｂｅｅｌａｂｏｒａｔｅｄｒｅｓｐｅｃｔｉｖｅｌｙａｓｆｏｌｌｏｗｓ：ＣｈａｐｔｅｒＯｎｅｓｅｒｖｅｓａｓａｌｅａｄ－ｉｎｔｏｐｒｅｓｅｎｔｓｏｍｅｆｕｎｄａｍｅｎｔａｌｉｓｓｕｅｓ，ｉｎｃｌｕｄｉｎｇｔｈｅｒａｔｉｏｎａｌｅａｎｄｓｉｇｎｉｆｉｃａｎｃｅｏｆｔｈｅｐｒｅｓｅｎｔｔｈｅｓｉｓａｎｄｔｈｅｓｐｅｃｉｆｉｃｒｅｓｅａｒｃｈｑｕｅｓｔｉｏｎｓ．ＣｈａｐｔｅｒＴｗｏｃｒｉｔｉｃａｌｌｙｒｅｖｉｅｗｓｓｏｍｅｏｆｔｈｅｍｏｓｔｉｍｐｏｒｔａｎｔｌｉｔｅｒａｔｕｒｅｂｏｕｎｄｕｐｗｉｔｈｔｈｅｔｈｅｓｉｓｔｏｐｉｃｗｈｉｃｈｃｏｎｔａｉｎｓｓｔｕｄｉｅｓｏｎｔｈｅｃｏｎｎｅｃｔｉｏｎｂｅｔｗｅｅｎｌｉｔｅｒａｔｕｒｅｓｔｙｌｉｓｔｉｃｓａｎｄｎａｒｒａｔｏｌｏｇｙ，ｓｔｕｄｉｅｓｏｎｓｐｅｅｃｈａｎｄｔｈｏｕｇｈｔｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ，ｎａｒｒａｔｉｖｅｐｏｉｎｔｏｆｖｉｅｗａｎｄｎａｌｌｒａｔｏｌｏｇｙａｓｗｅｌｌａｓｓｔｕｄｉｅｓｏｎｔｈｅａｐｐｌｉｃａｔｉｏｎｏｆｐｏｉｎｔｏｆｖｉｅｗｔｏｓｐｅｅｃｈａｎｄｔｈｏｕｇｈｔｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ．Ａｔｔｈｅｖｅｒｙｅｎｄｏｆｔｈｅｃｈａｐｔｅｒ，ｓｏｍｅｃｒｉｔｉｃａｌｔｈｏｕｇｈｔｓｗｉｌｌｂｅｓｕｍｍａｒｉｚｅｄｔｏｊｕｓｔｉｆｙｔｈｅｎｅｃｅｓｓｉｔｙｏｆｔｈｅｐｒｅｓｅｎｔｔｈｅｓｉｓ．ｆｒａｍｅｗｏｒｋｆｏｒｔｈｅｃｕｒｒｅｎｔＣｈａｐｔｅｒＴｈｒｅｅｉｓｄｅｄｉｃａｔｅｄｔｏｃｏｎｓｔｒｕｃｔｔｈｅｔｈｅｏｒｅｔｉｃａｌｔｈｅｓｉｓ．ＴｈｉｓｓｅｃｔｉｏｎｗｉｌｌｆｉｒｓｔｌｏｏｋｔｈｅｄｅｆｉｎｉｔｉｏｎｏｆＦＩＳ，ｆｏｌｌｏｗｅｄｂｙｔｈｅｄｉｓｃｕｓｓｉｏｎｏｆＦＩＳｆｕｎｃｔｉｏｎｓａｎｄｔｈｅｌａｓｔｉｓｔｈｅｒｅｌａｔｉｏｎｂｅｔｗｅｅｎｐｏｉｎｔｏｆｖｉｅｗａｎｄＦＩＳ．ａｎｄｉｔｓＣｈａｐｔｅｒＦｏｕｒｃｏｎｃｅｎｔｒａｔｅｓｏｎｔｈｅｃａｓｅｓｔｕｄｙｏｎＦＩＳｉｎＦｏｒｔｒｅｓｓＢｅｓｉｅｇｅｄＥｎｇｌｉｓｈｔｒａｎｓｌａｔｉｏｎ．Ｔｈｅｉｎｄｉｃａｔｏｒｓｏｆｆｒｅｅｉｎｄｉｒｅｃｔｓｐｅｅｃｈａｒｅｉｎｔｒｏｄｕｃｅｄｉｎｄｉｖｉｄｕａｌｌｙａｎｄａｎａｎａｌｙｓｉｓｏｆｔｗｏｐａｒｔｓ（４．３ａｎｄ４．４）ｉｓｐｒｅｓｅｎｔｅｄ．Ｔｈｅｔｗｏｐａｒｔｓａｒｅｒｅｐｒｅｓｅｎｔａｔｉｖｅｏｆｔｈｅｒｅｓｕｌｔｓｈｉｇｈｌｉｇｈｔｅｄｆｏｒｅａｃｈｉｎｄｉｃａｔｏｒ．Ａｎｄｉｎｔｈｉｓｃｈａｐｔｅｒ，ｔｈｅｒｅｓｕｌｔｓｏｆｔｈｅｃａｓｅａｎｄｃｏｍｍｅｎｔｅｄｕｐｏｎ．ｓｔｕｄｙｏｎｔｈｅｔｒｅａｔｍｅｎｔｏｆｐｏｉｎｔｏｆｖｉｅｗａｒｅｐｒｅｓｅｎｔｅｄＴｈｅｃｏｎｃｌｕｓｉｏｎ，ＣｈａｐｔｅｒＦｉｖｅ，ｃｏｎｃｅｎｔｒａｔｅｓｏｎｔｈｅｃｕｒｒｅｎｔｔｈｅｓｉｓ，ｉｎｃｌｕｄｉｎｇｍａｊｏｒｆｉｎｄｉｎｇｓａｎｓｗｅｒｉｎｇｔｈｅｓｐｅｃｉｆｉｃｒｅｓｅａｒｃｈｑｕｅｓｔｉｏｎｓ，ｉｍｐｌｉｃａｔｉｏｎｓａｓｗｅｌｌａｓｌｉｍｉｔａｔｉｏｎｓｏｆｔｈｅｐｒｅｓｅｎｔｔｈｅｓｉｓ．Ａｔｔｈｅｅｎｄｏｆｔｈｉｓｃｈａｐｔｅｒ，ｓｏｍｅｓｕｇｇｅｓｔｉｏｎｓｆｏｒｆｕｔｕｒｅｓｔｕｄｉｅｓｗｉｌｌｂｅｐｕｔｆｏｒｗａｒｄ．４ＣｈａｐｔｅｒＴｗｏＬｉｔｅｒａｔｕｒｅＲｅｖｉｅｗＴｈｉｓｃｈａｐｔｅｒｇｉｖｅｓａｌｌｅｘｐｏｓｉｔｉｏｎｏｆｒｅｌｅｖａｎｔｓｔｕｄｉｅｓｏｎｌｉｔｅｒａｒｙｓｔｙｌｉｓｔｉｃｓａｎｄｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ，ｓｔｕｄｉｅｓｏｎｎａｒｒａｔｏｌｏｇｙａｎｄｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ，ａｎｄｓｔｕｄｉｅｓｏｎｔｈｅｐｏｉｎｔｏｆｖｉｅｗｔｏｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ．Ｆｉｎａｌｌｙｉｔｇｉｖｅｓａｃｏｎｃｌｕｓｉｏｎｏｆｓｏｍｅｃｒｉｔｉｃａｌｔｈｏｕｇｈｔｔｏｖｅｉｌｆｙｔｈｅｎｅｃｅｓｓｉｔｙｏｆｔｈｅｔｈｅｓｉｓ．２．１ＮａｒｒａｔｏｌｏｇｙａｎｄＴｒａｎｓｌａｔｉｏｎＦｏｗｌｅｒ（１９７５：１０）ｈｏｌｄｓｔｈａｔｎａｒｒａｔｏｌｏｇｙａｎｄｓｔｙｌｉｓｔｉｃｓａｒｅｉｎｃｏｍｐｌｅｍｅｎｔａｒｙｒｅｌａｔｉｏｎ．ＦａｎｇＫａｉｒｕｉ（２００７）ｓｔａｔｅｓｔｈａｔａｎａｌｙｔｉｃａｌｍｅｔｈｏｄｓｉｎｂｏｔｈｎａｒｒａｔｏｌｏｇｙａｎｄｓｔｙｌｉｓｔｉｃｓｇｉｖｅｆｉｃｔｉｏｎｒｅｓｅａｒｃｈｅｒｒｉｇｈｔａｃｃｅｓｓｔｏｓｔｙｌｉｓｔｉｃｆｅａｔｕｒｅｓｏｆｔｅｘｔｓａｎｄｃｈａｒａｃｔｅｒｉｓｔｉｃｓｏｆｔｒａｎｓｌａｔｉｏｎ，ｗｈｉｃｈＣａｎａｌｓｏｂｅｕｓｅｄｆｏｒｅｘａｍｉｎｉｎｇｔｈｅｎａｒｒａｔｉｖｅｓｐｅｅｄ．Ｓｔｙｌｉｓｔｉｃｓｅｍｐｈａｓｉｚｅｓｍｉｃｒｏｓｔｒｕｃｔｕｒｅｏｆｔｅｘｔｓ，ｎａｒｒａｔｏｌｏｇｙ，ｈｏｗｅｖｅｒ，ｆｏｃｕｓｅｓｏｎｔｅｘｔｓｗｉｔｈｖａｒｉｏｕｓｎａｒｒａｔｉｖｅｓｐｅｅｄ．ＩｔｈａｓｒｅｃｅｉｖｅｄｗｉｄｅｓｅｎｓｅｔｈａｔｔｈｅｂｏｔｈｉｎｔｅｇｒａｔｉｎｇｓｔｕｄｉｅｓｉｓｏｆｇｒｅａｔｈｅｌｐｔｏｔｈｅａｎａｌｙｓｉｓｏｆｆｉｃｔｉｏｎｔｅｘｔｓａｎｄＣａｎｓｅｒｖｅｔｏｃｏｍｐｒｅｈｅｎｓｉｖｅｌｙｈｏｗｔｈｅｔｅｘｔｓａｒｅｒｅｃｏｎｓｔｒｕｃｔｅｄｉｎｔｒａｎｓｌａｔｉｏｎｓ．ｉｎｖｅｓｔｉｇａｔｅＴｈｅｒｅａｒｅｔｈｒｅｅａｒｅａｓｉｎｔｈｅｒｅｓｅａｒｃｈｏｆｎａｒｒａｔｉｖｅｔｅｘｔ，ｎａｍｅｌｙｔｅｎｓｅ，ｍｏｄｅａｎｄｖｏｉｃｅ，ａｓｐｒｏｐｏｓｅｄｂｙＧｅｎｅａｅ（１９８０）ｉｎａｓｔｒｕｃｔｕｒａｌａｎａｌｙｓｉｓｍｏｄｅｌｆｏｒｎａｒｒａｔｉｖｅｄｉｓｃｏｕｒｓｅｓｔｕｄｉｅｓ．Ｔｅｎｓｅｒｅｌａｔｅｓｔｏｉｎｔｅｒａｃｔｉｏｎｏｆｎａｒｒａｔｉｖｅｔｉｍｅａｎｄｓｔｏｒｙｔｉｍｅｉｎｆｉｃｔｉｏｎ．Ｍｏｏｄｉｓｕｓｅｄｔｏｍｏｄｕｌａｔｅｎａｒｒａｔｉｖｅｄｉｓｔａｎｃｅａｎｄｎａｒｒａｔｉｖｅｐｏｉｎｔｏｆｖｉｅｗ，ｉ．ｅ．ｆｏｃａｌｉｚａｔｉｏｎ．Ａｎｄｖｏｉｃｅｉｎｖｏｌｖｅｓｔｈｅｒｅｌａｔｉｏｎｂｅｔｗｅｅｎｎａｒｒａｔｏｒａｎｄｐｏｔｅｎｔｉａｌｒｅａｄｅｒ．Ｃｏｎｃｅｒｎｉｎｇｓｔｒｕｃｔｕｒａｌｐｒｏｂｌｅｍａｓｗｅｌｌａｓｓｋｉｌｌｐｒｏｂｌｅｍ（ｉｂｉｄ），ａｌｌｔｈｅｔｈｒｅｅａｒｅａｓａｔｔｒａｃｔａｔｔｅｎｔｉｏｎｓｉｎｂｏｔｈｃｌａｓｓｉｃａｌａｎｄｐｏｓｔｃｌａｓｓｉｃａｌｎａｒｒａｔｏｌｏｇｙ．Ｔｈｅｙｃａｎｂｅｒｅａｄｉｌｙｅｍｐｌｏｙｅｄｉｎｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ，ａｓｔｈｅｔｈｒｅｅｅｌｅｍｅｎｔｓａｒｅｉｍｐｏｒｔａｎｔｃｏｍｐｏｎｅｎｔｓｏｆｎａｒｒａｔｉｖｅｆｏｒｍｓｉｎａｆｉｃｔｉｏｎ．Ｗｈａｔ’Ｓｍｏｒｅ，Ｇｅｎｅｔｔｅ’Ｓｐｒｏｐｏｓａｌｏｆｆｏｃａｌｉｚａｔｉｏｎｄｉｆｆｅｒｅｎｔｉａｔｅｄｆｒｏｍｖｏｉｃｅｃａｔｌｂｅｓｅｅｎａｓａｎｅｗ－ｒｉｓｉｎｇｑｕｅｓｔｉｏｎｗｈｉｃｈｂｒｉｎｇｓｎｅｗｓｕｂｊｅｃｔｓｔｏｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ．Ｍｏｒｅａｂｏｕｔｆｏｃａｌｉｚａｔｉｏｎｗｉｌｌｂｅｄｉｓｃｕｓｓｅｄｌａｔｅｒ．ＺｈｅｎｇＭｉｎｙｕ（２００１）ｄｒａｗｓｕｐｏｎｔｈｅａｐｐｌｉｃａｔｉｏｎｏｆｎａｒｒａｔｏｌｏｇｙｔｏｆｉｃｔｉｏｎ５ｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ．Ｈｅｍａｉｎｔａｉｎｓｔｈａｔａｋｅｙｔｏｔｈｅｓｕｃｃｅｓｓｏｆｆｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｃａｎｂｅａｔｔａｃｈｅｄｔｏｔｈｅｅｑｕｉｖａｌｅｎｔｔｒａｎｓｆｅｒｅｎｃｅｏｆｎａｒｒａｔｉｖｅｔｙｐｅ．Ａｔｒａｎｓｌａｔｏｒｓｈｏｕｌｄｎｏｔｏｎｌｙｓｔｒｉｖｅｆｏｒｔｈｅｅｑｕｉｖａｌｅｎｃｅａｔｔｈｅｌｅｖｅｌｏｆｓｔｏｒｙ，ｂｕｔａｌｓｏｔｈｅｌｅｖｅｌｏｆｎａｒｒａｔｉｖｅｄｉｓｃｏｕｒｓｅｉｎｗｈｉｃｈｔｈｅｓｔｙｌｅｏｆａｆｉｃｔｉｏｎｉｓｅｍｂｏｄｉｅｄ．ＢａｓｅｄｏｎＧｅｎｅｔｔｅ’Ｓ（１９７２：７１—７６）ｃｌａｓｓｉｆｉｃａｔｉｏｎｏｆｆｉｃｔｉｏｎ，ｎａｍｅｌｙ，ｈｉｓｔｏｉｒｅ，ｒ＆ｉｔａｎｄｎａｒｒａｔｉｏｎ，Ｒｉｍｍｏｎ－Ｋｅｎａｎ（２００２：３）ｐｕｔｓｆｏｒｗａｒｄａｓｉｍｉｌａｒｔａｘｏｎｏｍｙ：ｓｔｏｒｙ，ｔｅｘｔａｎｄｎａｒｒａｔｉｏｎ．Ｓｈｅｆｕｌｌｙａｎａｌｙｚｅｓｅｖｅｎｔｓａｎｄｃｈａｒａｃｔｅｒｓｉｎａｓｔｏｒｙ，ｔｉｍｅ，ｃｈａｒａｃｔｅｒｉｚａｔｉｏｎ，ｆｏｃａｌｉｚａｔｉｏｎ，ｌｅｖｅｌｓｏｆａｔｅｘｔａｎｄｓｐｅｅｃｈｒｅｐｒｅｓｅｎｔａｔｉｏｎａｎｄｖｏｉｃｅｓｉｎｎａｒｒａｔｉｏｎ．Ａｓｎａｒｒａｔｏｌｏｇｙｄｅｖｅｌｏｐｓ，ｎａｒｒａｔｉｖｅｆｏｒｍｓｏｃｃｕｐｙｓｉｇｎｉｆｉｃａｎｔｐｏｓｉｔｉｏｎｉｎｔｈｅｔｅｘｔｗｉｔｈｔｈｅｐｒｏｇｒｅｓｓｏｆｎａｒｒａｔｉｏｎｔｈｒｏｕｇｈｏｕｔｔｈｅｓｔｏｒｙ．ＴｈｕｓＫｅｎａｎ’Ｓｗｏｒｋｓｌａｙａｔｈｅｏｒｅｔｉｃａｌｆｏｕｎｄａｔｉｏｎｆｏｒｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ．Ａｔｔｈｅｓａｍｅｔｉｍｅ，Ｇｅｎｅｔｔｅ’Ｓｄｉｆｆｅｒｅｎｔｉａｔｉｏｎｃｏｎｃｅｐｔｓｃｏｐｅｉｓｂｒｏａｄｅｎｅｄｂｙａｄｄｉｎｇｖｉｓｕａｌ，ｃｏｇｎｉｔｉｖｅ，ｅｍｏｔｉｖｅａｎｄｉｄｅｏｌｏｇｉｃａｌｏｒｉｅｎｔａｔｉｏｎｉｎｔｈｅｌｉｇｈｔｏｆＫｅｎａｎ’Ｓｅｘｅｒｔｉｏｎ，ｗｈｉｃｈｂｒｉｎｇｍｏｒｅｃｏｎｔｅｘｔｕａｌｉｚｅｄａｎｄｅｘｔｒａ－ｔｅｘｔｕａｌｃｏｎｓｉｄｅｒａｔｉｏｎｉｎｔｏｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ．ＦａｎｇＫａｉｒｕｉ（２００３）ａｔｔａｃｈｅｓｇｒｅａｔｉｍｐｏｒｔａｎｃｅｔｏｆｉｇｕｒａｌｐｏｉｎｔｏｆｖｉｅｗｉｎｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎ．Ｈｅｉｎｄｉｃａｔｅｓｔｈａｔｆｉｇｕｒａｌｐｏｉｎｔｏｆｖｉｅｗ，ａｓａｎａｒｒａｔｉｖｅｍｏｄｅｉｎｆｉｃｔｉｏｎ，ｉｓａｌｍｏｓｔｈａｒｄｔｏｄｉｓｃｅｒｎ．Ａｎｄｔｈｅｔｒａｎｓｌａｔｉｏｎｏｆｆｉｇｕｒａｌｐｏｉｎｔｏｆｖｉｅｗｒｅｇｕｌａｒｌｙｃｏｎｓｔｉｔｕｔｅｓｔｒａｎｓｌａｔｏｒ．Ｓｏｔｈｅｔｒａｎｓｌａｔｏｒｈａｓｔｏ“ｐａｙａｄｅｑｕａｔｅａｔｔｅｎｔｉｏｎｔｏａｇｒｅａｔｃｈａｌｌｅｎｇｅｔｏｔｈｅｖｉｅｗ’ａｎｄａｐｐｒｏｐｒｉａｔｅｌｙｌｉｎｇｕｉｓｔｉｃｆｏｒｍｓｉｎｔｈｅｒｅｐｒｅｓｅｎｔａｔｉｏｎｏｆｆｉｇｕｒａｌｐｏｉｎｔｏｆｒｅｌｅｖａｎｔｎａｒｒａｔｉｖｅｅｆｆｅｃｔｅｍｂｅｄｄｅｄｉｎｔｈｅｔａｒｇｅｔｔｅｘｔ．ｒｅｐｒｏｄｕｃｅｉｔｓＡｓｉｓｋｎｏｗｎｔｏａｌｌ，ｆｒｏｍ１９６０ｓｔｏ１９８０ｓｃｌａｓｓｉｃａｌｎａｒｒａｔｏｌｏｇｙｉｎｔｈｅｗｅｓｔｗｉｔｈｔｈｅｇｒｏｗｉｎｇｏｆｄｅｖｅｌｏｐｅｄａｇｒｅａｔｄｅａｌｂｅｆｏｒｅｐｏｓｔｃｌａｓｓｉｃａｌｎａｒｒａｔｏｌｏｇｙｅｍｅｒｇｅｄｆｅｍｉｎｉｓｍｎａｒｒａｔｏｌｏｇｙ，ｒｈｅｔｏｒｉｃａｌｎａｒｒａｔｏｌｏｇｙ，ｃｏｇｎｉｔｉｖｅｎａｒｒａｔｏｌｏｇｙｅｔｃ．Ｔｈｅｓｅｓｃｈｏｏｌｓｂｒｉｎｇｒｅｌｅｖａｎｔｈｉｓｔｏｒｉｃ·ｓｏｃｉａｌａｎｄｃｕｌｔｕｒａｌｃｏｍｐｏｎｅｎｔｓｉｎｔｏｔｈｅｉｎｎｅｒｆｏｒｍａｎｄｓｔｒｕｃｔｕｒｅｆｉｃｔｉｏｎ．Ｔｈｅｓｉｔｕａｔｉｏｎｔｈａｔｎｅｗｌｙ－ｄｅｖｅｌｏｐｅｄｎａｒｒａｔｏｌｏｇｙｉｓｃｏｍｂｉｎｅｄｗｉｔｈｏｆａｎａｒｒａｔｉｖｅｃｏｎｔｅｘｔ．ｂｏｕｎｄｔｅｘｔｐｕｓｈｅｓｔｈｅｐｒｏｇｒｅｓｓｏｆｔｒａｎｓｌａｔｉｏｎａｎｄｅｘｐｌａｉｎｓｔｈｅ‘ｒｅｗｒｉｔｉｎｇ’ｏｕｔｏｆｃｕｌｔｕｒａｌａｎｄｓｏｃｉａｌｃｏｎｓｉｄｅｒａｔｉｏｎｉｎｔｈｅｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｒｅａｌｍ．２．２ＳｔｙｌｉｓｔｉｃｓａｎｄＴｒａｎｓｌａｔｉｏｎ６Ｏｎｅｉｎｔｒｉｎｓｉｃｐｒｏｂｌｅｍｏｆｌｉｔｅｒａｒｙｔｒａｎｓｌａｔｉｏｎｉｓｈｏｗｔｏｍａｋｅｐｒｏｐｅｒｃｈｏｉｃｅｉｎｓｔｙｌｉｓｔｉｃｖａｒｉａｎｔｓｂｅｔｗｅｅｎｓｏｕｒｃｅｔｅｘｔａｎｄｔａｒｇｅｔｔｅｘｔ，ｅｖｅｎｉｆｔｈｅｙｆｉｒｅｇｒａｍｍａｔｉｃａｌｌｙｃｏｒｒｅｃｔ．Ｉｓｓｕｅｓｏｆｌｉｔｅｒａｒｙｓｔｙｌｉｓｔｉｃｓ，ｉｎｐａｒｔｉｃｕｌａｒｆｉｃｔｉｏｎｓｔｙｌｉｓｔｉｃｓ，ｈａｖｅｂｅｅｎｓｔｕｄｉｅｄｓｅｌｅｃｔｉｖｅｌｙｂｙｎｕｍｅｒｏｕｓｓｃｈｏｌａｒｓ．ＬｅｅｃｈａｎｄＳｈｏｒｔｐａｙｇｒｅａｔａｔｔｅｎｔｉｏｎｔｏｔｈｅｎｅｃｅｓｓｉｔｙｏｆｓｔｙｌｉｓｔｉｃａｎａｌｙｓｉｓｉｎｆｉｃｔｉｏｎｓｔｕｄｉｅｓ，ｅｍｐｈａｓｉｚｉｎｇｔｈａｔ“ｅｘａｍｉｎｉｎｇｔｈｅｌａｎｇｕａｇｅｏｆａｌｉｔｅｒａｒｙｔｅｘｔｃａｎｂｅａｍｅａｎｓｔｏａｆｕｌｌｅｒｕｎｄｅｒｓｔａｎｄｉｎｇａｎｄａｐｐｒｅｃｉａｔｉｏｎｏｆｔｈｅｗｒｉｔｅｒ’Ｓａｒｔｉｓｔｉｃａｃｈｉｅｖｅｍｅｎｔ”（２００１）．Ｂｙａｐｐｌｙｉｎｇｍｏｄｅｍｌｉｎｇｕｉｓｔｉｃｃｏｎｃｅｐｔｓａｎｄｔｅｃｈｎｉｑｕｅ，ｔｈｅｙｓｕｍｕｐｍｅｔｈｏｄｓｏｆｓｔｙｌｅａｎａｌｙｓｉｓａｎｄｍｉｃｒｏｃｏｓｍｉｃａｌｌｙｓｈｏｗｄｉｆｆｅｒｅｎｔａｓｐｅｃｔｓｏｆｓｔｙｌｅｉｎｆｉｃｔｉｏｎ：ｗｏｒｄｓ，ｇｒａｍｍａｒ，ｒｈｅｔｏｒｉｃ，ｃｏｈｅｒｅｎｃｅａｎｄｃｏｎｔｅｘｔ，ｗｈｉｃｈｐｒｏｖｉｄｅａｄｉｓｔｉｎｃｔａｐｐｒｏａｃｈｆｏｒｆｉｃｔｉｏｎａｎａｌｙｓｉｓ．Ａｎｄｍｅａｎｗｈｉｌｅｔｈｅｙｍｅｎｔｉｏｎｔｈｒｅｅｅｘｐｒｅｓｓｉｏｎｏｒｄｅｒｓ：‘‘ｅｘｐｒｅｓｓｉｏｎｏｒｄｅｒ’’‘＇ｔｅｍｐｏｒａｌｏｒｄｅｒ’’ａｎｄ‘‘ｐｓｙｃｈｏｌｏｇｉｃａｌｏｒｄｅｒ＇’（ｉｂｉｄ）．Ｔｈｅｙｌａｙａｓｏｌｉｄｆｏｕｎｄａｔｉｏｎｆｏｒｔｈｅａｐｐｌｉｃａｔｉｏｎｏｆｓｔｙｌｉｓｔｉｃｓｔｏｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ．ＱｉｎＸｉｕｂａｉ（２００１）ｈａｓａｌｓｏｔｏｕｃｈｅｄｕｐｏｎｔｈｅｉｓｓｕｅｏｆｓｔｙｌｉｓｔｉｃｆｅａｔｕｒｅｓｉｎｆｉｃｔｉｏｎ．ＩｎｈｉｓＥｓｓｅｎｔｉａｌｓｏｆＥｎｇｌｉｓｈＳｔｙｌｉｓｔｉｃｓ，ｈｅｏｕｔｌｉｎｅｓｓｔｙｌｉｓｔｉｃｆｅａｔｕｒｅｓｍａｉｎｌｙｉｎｔｈｒｅｅｆｉｅｌｄｓ：ｐｒｏｎｏｕｎａｎｄｎａｒｒａｔｉｖｅ／ｄｅｓｃｒｉｐｔｉｏｎａｎｇｌｅ，ｆｉｃｔｉｏｎａｌｄｉａｌｏｇｕｅ，ａｎｄｄｉｒｅｃｔｓｐｅｅｃｈａｎｄｉｎｄｉｒｅｃｔｓｐｅｅｃｈ．Ｓｉｎｃｅｔｈｅｓｅａｓｐｅｃｔｓａｒｅｉｎｃａｒｎａｔｅｄｉｎｆｉｃｔｉｏｎｃｏｎｃｅｒｎｉｎｇｉｎｖａｒｉａｂｌｙｓｔｙｌｉｓｔｉｃｆｅａｔｕｒｅｓ，ｈｅｍａｋｅｓｓｏｍｅｒｅｆｅｒｅｎｃｅａｖａｉｌａｂｌｅｆｏｒｔｒａｎｓｌａｔｏｒｗｈｏｍａｙｅｘａｍｉｎｅｓｔｙｌｉｓｔｉｃｆｅａｔｕｒｅｓｆｒｏｍｔｈｏｓｅａｓｐｅｃｔｓ．Ｆｅｗｓｃｈｏｌａｒｓｈａｖｅｍａｄｅｓｙｓｔｅｍａｔｉｃａｎａｌｙｓｉｓｉｎｔｈｅｆｉｅｌｄｏｆｆｉｃｔｉｏｎａｎａｌｙｓｉｓａｓｓｏｃｉａｔｅｄｗｉｔｈｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ，ａｌｔｈｏｕｇｈｓｔｕｄｉｅｓｏｆｓｔｙｌｅｉｎｆｉｃｔｉｏｎｈａｖｅａｃｈｉｅｖｅｄｆｒｕｉｔｆｕｌｒｅｓｕｌｔｓ．Ｎｅｖｅｒｔｈｅｌｅｓｓ，ｌｉｔｅｒａｒｙｓｔｙｌｉｓｔｉｃｓｈａｓｂｅｅｎｐｒｏｇｒｅｓｓｉｖｅｌｙａｐｐｌｉｃａｂｌｅｔｏｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓａｎｄｈａｓｄｒａｗｎｐｅｏｐｌｅ’Ｓａｔｔｅｎｔｉｏｎ．Ｆｏｒｉｎｓｔａｎｃｅ，ＺｈａｎｇＭｉｎ（２０１０：２１６—２１７）ａｐｐｌｉｅｓｓｔｙｌｉｓｔｉｃａｎａｌｙｓｉｓｔｏｎｏｎ—ｌｉｔｅｒａｒｙｔｒａｎｓｌａｔｉｏｎａｎｄｈａｓｐｒｏｖｉｄｅｄａｐｐｒｏａｃｈｔｏｍｏｄｉｆｙｔｒａｎｓｌａｔｅｄｔｅｘｔｓ，ｗｈｉｃｈｉｓｉｎｓｐｉｒｉｎｇｆｏｒｉｎｔｅｇｒａｔｉｎｇｌｉｔｅｒａｒｙｓｔｙｌｉｓｔｉｃｓｗｉｔｈｆｉｃｔｉｏｎｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ．ＮｏｌｉｔｅｒａｒｙｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓｉｎｔｈｅｆｉｅｌｄｏｆｓｔｙｌｉｓｔｉｃｗｅｒｅｐｒｏｆｏｕｎｄｅｎｏｕｇｈｕｎｔｉｌＳｈｅｎＤａｎｐｕｂｌｉｓｈｅｄＬｉｔｅｒａｒｙＳｔｙｌｉｓｔｉｃｓａｎｄＦｉｃｔｉｏｎａｌＴｒａｎｓｌａｔｉｏｎｉｎ１９９５．Ｓｈｅ（１９９５：７）ｈｏｌｄｓｔｈａｔ“ｂｙｓｈａｒｐｅｎｉｎｇｏｎｅ’Ｓｓｅｎｓｉｔｉｖｉｔｙｔｏｔｈｅｗｏｒｋｉｎｇｓｏｆｔｈｅｌａｎｇｕａｇｅｓｙｓｔｅｍ，ｂｙｉｍｐｒｏｖｉｎｇｏｎｅ’Ｓｕｎｄｅｒｓｔａｎｄｉｎｇｏｆｔｈｅｆｕｎｃｔｉｏｎｏｆｓｔｙｌｉｓｔｉｃｎｏｒｍｓ，ａｎｄｂｙｅｎｈａｎｃｉｎｇａｎｄｔｈｅｗｒｉｔｅｒ’Ｓｃｒｅａｔｉｖｅａｃｔｓｃｏｍｂｉｎｅｔｏｏｎｅ’Ｓａｗａｒｅｎｅｓｓｏｆｈｏｗｌｉｔｅｒａｒｙｃｏｎｖｅｎｔｉｏｎｓ７ｍａｋｅｌｉｎｇｕｉｓｔｉｃｆｏｒｍｔａｋｅｏｎａｅｓｔｈｅｔｉｃｓｉｇｎｉｆｉｃａｎｃｅ，ｓｔｙｌｉｓｔｉｃｓｏｐｅｒａｔｅｓｔｏｈｅｌｐｔｈｅｌｉｔｅｒａｒｙｔｒａｎｓｌａｔｏｒｔｏａｃｈｉｅｖｅｆｕｎｃｔｉｏｎａｌｅｑｕｉｖａｌｅｎｃｅｏｒｅｘｐｒｅｓｓｉｖｅｉｄｅｎｔｉｔｙ．”Ｓｈｅｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓｂｙｅｘｐｌｉｃａｔｅｓｗｈｙａｎｄｈｏｗｌｉｔｅｒａｒｙｓｔｙｌｉｓｔｉｃｓｃａｎｂ氐ｅｍｐｌｏｙｅｄｉｎａｎｄｖａｌｉｄｉｔｙｏｆｌｉｔｅｒａｒｙｔｒａｎｓｌａｔｉｏｎ．Ｄｅｔａｉｌｓｒｅｌａｔｅｄｔｏａｎａｌｙｚｉｎｇｔｈｅｎａｔｕｒｅ，ｆｕｎｃｔｉｏｎｌｅｘｉｃａｌｅｘｐｒｅｓｓｉｏｎ，ｓｙｎｔａｘ，ａｎｄｓｐｅｅｃｈａｎｄｔｈｏｕｇｈｔｐｒｅｓｅｎｔａｔｉｏｎａｒｅｄｉｓｃｕｓｓｅｄａｉｍｉｎｇｔｏｅｆｆｅｃｔｉｖｅｌｙｓｏｌｖｅｔｈｅｐｒｏｂｌｅｍｏｆ“ｄｅｃｅｐｔｉｖｅｅｑｕｉｖａｌｅｎｃｅ”．ＣｈｅｎＳｈｕｋｕｎ（２０１０）ｄｉｓｃｕｓｓｅｓｔｈｅｑｕｅｓｔｉｏｎｏｆｂｒｉｎｇｉｎｇｓｔｙｌｉｓｔｉｃａｎａｌｙｓｉｓｔｏｔｒａｎｓｌａｔｉｏｎｓｔｕｄｉｅｓ，ｃｌａｉｍｉｎｇｔｈａｔｓｔｙｌｉｓｔｉｃｆｅａｔｕｒｅｓｉｎＳＴｓｈｏｕｌｄｂｅｍａｉｎｔａｉｎｅｄｔｏｔｈｅｇｒｅａｔｅｓｔｅｘｔｅｎｔｆｏｒｔｒａｎｓｍｉｔｔｉｎｇｒｈｙｔｈｍｔｏＴＴ．ＤｕｅｔｏｔｈｅｉｎｔｒｉｎｓｉｃｔｒａｉｔｓｏｆｄｉｆｆｅｒｅｎｔｍａｋｅｕｐｕｎｔｒａｎｓｌａｔａｂｉｌｉｔｙｂｙｃｒｅａｔｉｏｎＳＯｔｈａｔｔａｒｇｅｔｌａｎｇｕａｇｅｓ，ｔｈｅｔｒａｎｓｌａｔｏｒｈａｓｔｏｒｅａｄｅｒｓｈａｖｅｔｈｅｓｉｍｉｌａｒｅｓｔｈｅｔｉｃｆｅｅｌｉｎｇｔｏｔｈｏｓｅｗｈｏｒｅａｄｔｈｅｏｒｉｇｉｎａｌ．２．３ＴｈｒｅｅＣａｔｅｇｏｒｉｅｓｏｆＰｏｉｎｔｏｆＶｉｅｗＩｎｔｈｉｓｓｅｃｔｉｏｎ，ｔｈｅｎｏｔｉｏｎｏｆｐｏｉｎｔｏｆｖｉｅｗｉｓｃｌａｒｉｆｉｅｄｉｎｍａｉｎｌｙｔｈｒｅｅｃａｔｅｇｏｒｉｅｓ，ａｎｄａｄｅｔａｉｌｅｄｄｉｓｃｕｓｓｉｏｎｏｆｐｏｉｎｔｏｆｖｉｅｗａｓｔｈｅｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅｉｓｐｒｅｓｅｎｔｅｄ．Ｔｈｅｔｅｒｍ“ｐｏｉｎｔｏｆｖｉｅｗ＇’ｈａｓｂｅｅｎｅｍｐｌｏｙｅｄｉｎｌｉｎｇｕｉｓｔｉｃｓ，ｓｔｙｌｉｓｔｉｃｓ，ｎａｒｒａｔｏｌｏｇｙａｎｄｌｉｔｅｒａｔｕｒｅｓｔｕｄｙｂｙｄｉｆｆｅｒｅｎｔｓｃｈｏｌａｒｓ，ｔｈｕｓｉｔｉｓｅｓｓｅｎｔｉａｌｔｏｂｒｉｎｇｏｕｔｔｈｒｅｅｓｅｎｓｅｓｏｆｐｏｉｎｔｏｆｖｉｅｗｂｅｆｏｒｅｔｈｅｃｏｒｅｃｏｎｃｅｐｔｉｓｐｒｅｓｅｎｔｅｄＳＯｔｈａｔｔｈｅｄｅｆｉｎｉｔｉｏｎｓａｐｐｌｉｅｄｉｎｔｈｅｔｈｅｓｉｓａｒｅｃｌａｒｉｆｉｅｄ．Ｓｉｍｐｓｏｎ（１９９３）ｉｄｅｎｔｉｆｉｅｓｆｏｕｒｃａｔｅｇｏｒｉｅｓｏｆｐｏｉｎｔｏｆｖｉｅｗ：ｔｈｅｓｐａｔｉａｌ，ｔｅｍｐｏｒａｌ，ｐｅｒｃｅｐｔｕａｌａｎｄｉｄｅｏｌｏｇｉｃａｌｐｏｉｎｔｏｆｖｉｅｗ．Ｉｎｔｈｉｓｔｈｅｓｉｓｔｈｅｓｐａｔｉａｌａｎｄｔｅｍｐｏｒａｌｐｏｉｎｔｏｆｖｉｅｗａｒｅｍｅｒｇｅｄａｓｔｈｅｆｉｒｓｔｃａｔｅｇｏｒｙ，ａｎｄｔｈｅｌｅｆｔｔｗｏａｎｄｐｅｒｃｅｐｔｕａｌｐｏｉｎｔｏｆｖｉｅｗｒｅｓｐｅｃｔｉｖｅｌｙ．ｃａｔｅｇｏｒｉｅｓａｒｅｉｄｅｏｌｏｇｉｃａｌｐｏｉｎｔｏｆｖｉｅｗ２．３．１Ｓｐａｔｉｏ－ＴｅｍｐｏｒａｌＰｏｉｎｔｏｆＶｉｅｗＬａｎｇｕａｇｅｉｓｃｏｎｎｅｃｔｅｄｔｏｍｅａｎｉｎｇａｎｄｓｉｔｕａｔｉｏｎｓ．Ａｎｄｔｈｅｍｅａｎｉｎｇｉｓａｓｓｏｃｉａｔｅｄ谢ｔｈｔｈｅｓｉｔｕａｔｉｏｎｓ，ｗｈｅｒｅｍｅｎｔａｌｒｅｐｒｅｓｅｎｔａｔｉｏｎｓａｒｅｅｍｂｏｄｉｅｄ．Ｉｎｏｒｄｅｒｔｏｄｒａｗｐｅｏｐｌｅ’Ｓａｔｔｅｎｔｉｏｎｔｏｏｂｊｅｃｔｓｆｒｏｍａｎｙｒｅｐｒｅｓｅｎｔｅｄｅｎｖｉｒｏｎｍｅｎｔ，ｒｅｆｅｒｒｉｎｇａｎｄｐｏｉｎｔｉｎｇｆｏｒｍｏｆｄｅｉｘｉｓ．Ｔｈｅｅｎｖｉｒｏｎｍｅｎｔｉｓａｒｅｕｓｅｄｔｏｓｅｌｅｃｔｔｈｅｍ；ｔｈｅｓｅｎｅｅｄｔｈｅｅｘｐｅｒｉｅｎｔｉａｌａｒｅｐｒｅｓｅｎｔａｔｉｏｎｏｆｉｍｍｅｄｉａｔｅｓｉｔｕａｔｉｏｎａｒｏｕｎｄｓｐｅａｋｅｒｓｏｒｉｔｉｓｔｈｅｉｍａｇｉｎａｔｉｏｎｏｒｍｅｍｏｒｙｏｆｔｈｅｓｐｅａｋｅｒｓ．Ｈｅｎｃｅｄｅｉｘｉｓｄｅａｌｓｍａｉｎｌｙｗｉｔｈｒｅｌａｔｉｏｎｓｉｎｔｉｍｅａｎｄｓｐａｃｅ８ａｎｄｉｓｏｆｔｅｎｓｅｅｎｆｒｏｍａｎｉｎｄｉｖｉｄｕａｌ’ｓｐｅｒｓｐｅｃｔｉｖｅ，ｔｈｕｓｉｔｉｓｒｅｌａｔｅｄｔｏｓｐａｔｉｏ—ｔｅｍｐｏｒａｌｐｏｉｎｔｏｆｖｉｅｗ．Ｔｈｅｒｅａｒｅｄｉｆｆｅｒｅｎｔｃａｔｅｇｏｒｉｅｓｏｆｄｅｉｘｉｓ：ｐｅｒｓｏｎｄｅｉｘｉｓ（ｅ．ｇ．磊ｙｏｕ，ｓｈｅａｎｄｈｅ），ｄｅｆｉｎｉｔｅａｒｔｉｃｌｅｓ，ｄｅｍｏｎｓｔｒａｔｉｖｅｐｒｏｎｏｕｎｓａｎｄａｄｊｅｃｔｉｖｅｓ（ｅ．ｇ．ｔｈｉｓａｎｄｔｈａｔ，ｈｅｒｅａｎｄｔｈｅｒｅ，ｎＯＷａｎｄｔｈｅｎ），ｌｏｃａｔｉｖｅｅｘｐｒｅｓｓｉｏｎｓ，ｓｐａｔｉａｌａｄｖｅｒｂｓ，ａｎｄｔｅｍｐｏｒａｌａｎｄｔｅｎｓｅｃａｔｅｇｏｒｉｅｓ．Ｕｓｕａｌｌｙｄｅｉｘｉｓｉｓｕｔｔｅｒｅｄｂｙａｐｅｒｓｏｎ，ａｓｐｅａｋｅｒ，ａｎｄｉｓａｄｄｒｅｓｓｅｄｔｏａｎｏｔｈｅｒｐｅｒｓｏｎ，ｔｈｅｈｅａｒｅｒ．Ｉｔｒｅｌａｔｅｓｕｔｔｅｒａｎｃｅｓｔｏｔｈｅｔｉｍｅａｎｄｓｐａｃｅｃｏｏｒｄｉｎａｔｅｓｏｆｔｈｅｓｐｅｅｃｈａｃｔ．Ｄｅｉｘｉｓｐｌａｙｓａｑｕｉｔｅｉｍｐｏｒｔａｎｔｒｏｌｅｉｎｔｈｅｃｏｎｓｔｒｕｃｔｉｏｎｏｆｐｏｉｎｔｏｆｖｉｅｗ，ｍｏｒｅｐａｒｔｉｃｕｌａｒｌｙ，ｏｆｔｈｅｓｐａｔｉｏ－ｔｅｍｐｏｒａｌｐｏｉｎｔｏｆｖｉｅｗ．２．３．２ＩｄｅｏｌｏｇｉｃａｌＰｏｉｎｔｏｆＶｉｅｗＳｔｙｌｅｉｎｌｉｔｅｒａｔｕｒｅａｎｄｌｉｎｇｕｉｓｔｉｃｓｔｕｄｉｅｓｈａｓｂｅｅｎａｓｓｏｃｉａｔｅｄｗｉｔｈｄｉｆｆｅｒｅｎｔｆｅａｔｕｒｅｓ．Ｏｎｅｏｆｔｈｅｗａｙｓｔｏｄｅｆｉｎｅｉｔｉｓｔｏｗｅｉｇｈ“ｓｏｍｅｏｒａｌｌｏｆｔｈｅｌａｎｇｕａｇｅｈａｂｉｔｓｏｆｏｎｅｐｅｒｓｏｎ…ｗｈｅｎｗｅｄｉｓｃｕｓｓｑｕｅｓｔｉｏｎｓｏｆｄｉｓｐｕｔｅｄａｕｔｈｏｒｓｈｉｐ’’（ＣｒｙｓｔａｌａｎｄＤａｖｙ１９６９：９）．Ｉｔｉｓｗｉｄｅｌｙａｓｓｕｍｅｄｔｈａｔｔｈｅｗａｙｗｒｉｔｅｒｓｃｏｎｓｉｓｔｅｎｔｌｙｄｒａｗｏｎｐａｒｔｉｃｕｌａｒｐｏｉｎｔｏｆｖｉｅｗｃｏｎｔｒｉｂｕｔｅｓｔｏｔｈｅｉｒｓｔｙｌｅ．Ｔｈａｔｉｓｉｄｅｏｌｏｇｉｃａｌｐｏｉｎｔｏｆｖｉｅｗ，ｉｎｗｈｉｃｈｍｏｄａｌｗｏｒｄｓａｒｅｃｏｎｓｉｄｅｒｅｄ．Ｔｏｐｕｔｉｔａｎｏｔｈｅｒｗａｙ，ｍｏｄａｌｉｔｙｉｓｃｒｕｃｉａｌｉｎｉｄｅｏｌｏｇｉｃａｌｐｏｉｎｔｏｆｖｉｅｗ，ｂｙｗｈｉｃｈａｃｈａｒａｃｔｅｒｏｒａｎａｒｒａｔｏｒｍａｙｉｎｄｉｃａｔｅｈｉｓｊｕｄｇｍｅｎｔｓａｓｔｏｔｈｅｔｒｕｔｈｏｒｐｏｓｓｉｂｉｌｉｔｙ，ｖａｌｕｅａｎｄｄｅｓｉｒａｂｉｌｉｔｙｉｎａｓｐｅｅｃｈｅｖｅｎｔａｎｄｏｆｐｅｏｐｌｅｒｅｆｅｒｒｅｄｔｏ．Ｔｈｅｌｉｎｇｕｉｓｔｉｃｆｅａｔｕｒｅｏｆｍｏｄａｌｉｔｙｕｎｄｅｒｐｉｎｓｔｈｅｎｏｔｉｏｎｏｆｔｈｅｔｅｘｔｕｒｅｏｆｔｈｅｔｅｘｔ．ＡｃｃｏｒｄｉｎｇｔｏＳｉｍｐｓｏｎ（１９９３：４７），ｔｈｅｒｅａｒｅｆｏｕｒｔｙｐｅｓｏｆｍｏｄａｌｉｔｙ：１）ｍｏｄａｌａｕｘｉｌｉａｒｉｅｓ（ｄｅｏｎｔｉｃｍｏｄａｌｉｔｙ）ｓｕｃｈａｓｓｈｏｕｌｄ，ｍｕｓｔａｎｄｍａｙｅｘｐｒｅｓｓｉｎｇｄｕｔｙａｎｄｃｏｍｍｉｔｍｅｎｔ２）ｍｏｄａｌｖｅｒｂｓ（ｂｏｕｌｏｍａｉｃｍｏｄａｌｉｔｙ），ｌｉｋｅｈｏｐｅ，ｗｉｓｈａｎｄｒｅｇｒｅｔｄｅｎｏｔｉｎｇｄｅｓｉｒｅｓ，３）ｍｏｄａｌｏｐｅｒａｔｏｒｓ（ｅｐｉｓｔｅｍｉｃｍｏｄａｌｉｔｙ）ｒｅｌａｔｅｄｔｏｔｈｅｓｐｅａｋｅｒ’Ｓｃｏｎｆｉｄｅｎｃｅｏｒｌａｃｋｏｆｃｏｎｆｉｄｅｎｃｅｉｎｔｈｅｔｒｕｔｈｏｆａｐｒｏｐｏｓｉｔｉｏｎｅｘｐｒｅｓｓｅｄ，ｆｏｒｅｘａｍｐｌｅ，ｓｕｒｅ，ｐｒｏｂａｂ砂ａｎｄｃｏｕｌｄｎ｝ａｎｄ４）ｐｅｒｃｅｐｔｉｏｎａｄｊｅｃｔｉｖｅｓｏｒａｄｖｅｒｂｓ（ｐｅｒｃｅｐｔｉｏｎｍｏｄａｌｉｔｙ）ｒｅｇａｒｄｅｄａｓａｓｕｂｓｅｔｏｆｍｏｄａｌｏｐｅｒａｔｏｒ，ｌｉｋｅａｐｐａｒｅｎｔ（１ｙ），ｏｂｖｉｏｕｓ（１ｙ）ａｎｄｃｌｅａｒ（１ｙ）．Ｏｎｔｈｅｌｅｖｅｌｏｆｓｙｎｔａｘ，ＬｅｅｃｈａｎｄＳｈｏｒｔｉｎｄｉｃａｔｅｓｔｈａｔ“ｄｉｆｆｅｒｉｎｇｃｈｏｉｃｅｓａｔｔｈｅｌｅｖｅｌｏｆｐａｒｔｉｃｉｐａｎｔｒｅｌａｔｉｏｎｓｉｎｏｎｅｃｌａｕｓｅｃａｎｉｎｄｉｃａｔｅｖａｒｙｉｎｇｃｏｎｃｅｐｔｕａｌｉｚａｔｉｏｎｓｏｆｔｈｅｓａｍｅｅｖｅｎｔ”．Ｔｈｅｒｅｆｏｒｅｃｏｎｔｅｘｔｕｒｅｏｆｉｄｅｏｌｏｇｉｃａｌｐｏｉｎｔｏｆｖｉｅｗｔｈｒｏｕｇｈｌｉｎｇｕｉｓｔｉｃｃｈｏｉｃｅｉｎｓｅｎｔｅｎｃｅｅｍｂｏｄｉｅｓａｃｏｎｓｉｓｔｅｎｔｆｉｃｔｉｏｎｗｏｒｌｄ，ｇｉｖｉｎｇｒｉｓｅｔｏａｎｅｎｔｉｒｅｔｙｏｆｍｉｎｄ—ｓｔｙｌｅ，ａｓｎａｍｅｄ９ｂｙＦｏｗｌｅｒ（１９８６：１５０）．２．３．３ＰｅｒｃｅｐｔｕａｌＰｏｉｎｔｏｆＶｉｅｗＴｈｅｔｈｉｒｄｍａｊｏｒｓｅｎｓｅｏｆｐｏｉｎｔｏｆｖｉｅｗｉｓｐｅｒｃｅｐｔｕａｌｐｏｉｎｔｏｆｖｉｅｗｎａｍｅｄｂｙＦｏｌｗｅｒ（１９８６：１３４），ｏｒｗｈｉｃｈＵｓｐｅｎｓｋｙｐｒｅｆｅｒｓｔｏｎａｍｅｐｓｙｃｈｏｌｏｇｉｃａｌｐｏｉｎｔｏｆｖｉｅｗ（１９７３：８０）．ＡｃｃｏｒｄｉｎｇｔｏＳｉｍｐｓｏｎ（１９９３），ｉｔｉｓｄｅｆｉｎｅｄａｓｔｈｅｐｓｙｃｈｏｌｏｇｉｃａｌｐｅｒｓｐｅｃｔｉｖｅｔｈｒｏｕｇｈｗｈｉｃｈａｓｔｏｒｙｉｓｔｏｌｄ．Ｉｔａｃｃｏｕｎｔｓｆｏｒｔｈｅｄｏｍｉｎａｎｔｐｏｓｉｔｉｏｎａｄｏｐｔｅｄｉｎａｓｔｏｒｙ，ｎｏｍａｔｔｅｒｔｈｅｓｔｏｒｙｉｓｎａｒｒａｔｅｄｔｈｒｏｕｇｈｆｉｒｓｔ－ｐｅｒｓｏｎｏｒｔｈｉｒｄ－ｐｅｒｓｏｎ，ｒｅｓｔｒｉｃｔｅｄｐｅｒｓｐｅｃｔｉｖｅｏｒｏｍｎｉｓｃｉｅｎｔｐｅｒｓｐｅｃｔｉｖｅ．ＵｓｉｎｇｐｅｒｃｅｐｔｕａｌｐｏｉｎｔｏｆＶ论ｗｉｎｎａｒｒａｔｉｏｎ，ｎａｒｒａｔｏｒｓｃａｎｍａｎｉｐｕｌａｔｅｔｈｅｒｏｌｅｔｏｒｅｐｏｒｔｏｒｔｏｃｏｍｍｅｎｔ．Ｉｔｉｓｔｈｅｔｉｍｅ－ｈｏｎｏｒｅｄｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅｔｈａｔｄｒａｗｓＨｅｎｒｙＪａｍｅｓ’ｏｖｅｒｄｕｅｉｎｔｅｒｅｓｔｉｎｈｉｓｗｒｉｔｉｎｇ．Ａｓａｓｕｂｓｅｔｏｆｐｏｉｎｔｏｆｖｉｅｗｔｈｅｐｅｒｃｅｐｔｕａｌｐｏｉｎｔｏｆｖｉｅｗｈａｓｃｏｎｔｒｏｖｅｒｓｉａｌｔｙｐｏｌｏｇｉｅｓ，ｗｈｉｃｈｈａｖｅｔｏｂｅｆｕｒｔｈｅｒｄｉｓｃｕｓｓｅｄｉｎｓｅｃｔｉｏｎ２．５．２．４ＳｔｕｄｉｅｓｏｆＰｏｉｎｔｏｆＶｉｅｗｉｎＮａｒｒａｔｏｌｏｇｙＰｏｉｎｔｏｆｖｉｅｗｉｓａｔｅｒｍｉｎｏｌｏｇｙｆｒｅｑｕｅｎｔｌｙａｐｐｌｉｅｄｔｏｒｈｅｔｏｒｉｃａｎｄｌｉｔｅｒａｒｙｃｒｉｔｉｃｉｓｍ．Ｉｎｔｈｅｌａｔｔｅｒ，ｐｏｉｎｔｏｆｖｉｅｗｍａｉｎｌｙｒｅｆｅｒｓｔｏｎａｒｒａｔｉｖｅｍｅｔｈｏｄ，ｉｎｃｌｕｄｉｎｇ“ｔｈｅｖｉｓｕａｌ（ｐｅｒｃｅｐｔｕａｌ）ａｎｇｌｅｉｎｎａｒｒａｔｉｏｎ”ａｎｄ“ｌｉｔｅｒａｌｌｙｒｅｖｅａｌｅｄｓｔａｎｄｐｏｉｎｔ，ｐｅｒｓｐｅｃｔｉｖｅａｎｄｍａｎｎｅｒｏｆｓｐｅａｋｉｎｇ”（ＳｈｅｎＤａｎ，２００４：２０５）．Ｓｉｎｃｅｔｈｅｂｅｇｉｎｎｉｎｇｏｆｃｏｎｔｅｍｐｏｒａｒｙｗｅｓｔｅｒｎｎｏｖｅｌ，ｔｈｅｖｉｅｗｐｏｉｎｔｉｎｎａｒｒａｔｉｏｎｈａｓｌｏｎｇｂｅｅｎｎｏｔｉｃｅｄ．Ｓｈｏｒｔ（１９９９：１７２—１８６）ＵｎｄｅｒｓｔａｎｄｉｎｇＴｅｘｔｓ：ＰｏＲｔｏｆＨｅｗｍａｉｎｔａｉｎｓｔｈａｔｉｔｉｓｔｈｅｃｏｒｅｃｏｎｃｅｐｔｉｎｆｉｃｔｉｏｎｃｒｉｔｉｃｉｓｍｉｎｔｗｅｎｔｉｅｔｈｃｅｎｔｕｒｙ，ｗｈｉｃｈｒｅｌａｔｅｓｔｏａｎｙｆｏｒｍｏｆｔｅｘｔ．Ｔｈｅｃｈａｒａｃｔｅｒ’Ｓｓｐｅｅｃｈａｎｄｔｈｏｕｇｈｔｉｎｍｏｄｅｍｆｉｃｔｉｏｎｉｓｃｌｏｓｅｌｙｂｏｕｎｄｕｐｗｉｔｈｔｈｅａｂｕｎｄａｎｔａｐｐｌｉｃａｔｉｏｎｏｆｆｒｅｅｉｎｄｉｒｅｃｔｓｐｅｅｃｈ．Ｉｎ１９７０ｓａｎｄ１９８０ｓ，ｔｈｅｒｅｓｅａｒｃｈｏｆｐｏｉｎｔｏｆｖｉｅｗｇｏｔｔＯｉｔｓｕｎｐｒｅｃｅｄｅｎｔｅｄｃｌｉｍａｘ．Ｈｏｗｅｖｅｒ，ｂｅｉｎｇａｔｔａｃｋｅｄｂｙｂｏｔｈｓｉｄｅｓｏｆｄｅｃｏｎｓｔｒｕｃｔｉｏｎａｎｄｐｏｌｉｔｉｃａｌｃｕｌｔｕｒａｌｃｒｉｔｉｃｉｓｍ，ｉｔｔｈｅｎｗｅｎｔｄｏｗｎｔｏａｌｏｗｐｏｉｎｔ．Ｉｎｒｅｃｅｎｔｙｅａｒｓ，ｔｈｅｆｉｅｌｄｏｆｌｉｎｇｕｉｓｔｉｃｓ，ｐａｒｔｉｃｕｌａｒｌｙｆｕｎｃｔｉｏｎａｌｌｉｎｇｕｉｓｔｉｃ，ｈｏｌｄｓｇｒｅａｔｉｎｔｅｒｅｓｔｉｎｐｏｉｎｔｏｆｖｉｅｗ，ａｎｄＳＯｉｓｔｈａｔｏｆｐｒａｇｍａｔｉｃｓ．ＶａｎＤｉｊｋ（１９８１：３１１）ｅｘｐｌｏｒｅｓｔｈｉｓｓｕｂｊｅｃｔｔｈｏｒｏｕｇｈｌｙａｎｄｅｎｌａｒｇｅｓｔｈｅｃｏｎｎｏｔａｔｉｏｎｏｆｉｔｆｏｒｔｈｅａｐｐｌｉｃａｔｉｏｎｏｆｐｒａｇｍａｔｉｃｓ，ｓｕｃｈａｓｍｅａｎｉｎｇａｎｄｆｕｎｃｔｉｏｎｓｉｎｔｈｅｔｅｘｔ．ＴｈｅＲｕｓｓｉａｎＦｏｒｍａｌｉｓｔｓＳｈｋｌｏｖｓｋｙｄｉｓｔｉｎｇｕｉｓｈｅｓｂｅｔｗｅｅｎｔｈｅｓｔｏｒｙａｎｄｔｈｅｗａｙｉｔｉｓｔｏｌｄ，ｕｓｉｎｇｔｈｅｔｅｒｍｓ４，ａ６ｙ．７ａａｎｄｃｔｏ．）ｌｃｅｍ，ｗｈｉｃｈｅｑｕａｔｅｔｏｓｔｏｒｙａｎｄｄｉｓｃｏｕｒｓｅｉｎＥｎｇｌｉｓｈ．Ｔｈｅｓｅ‘ｔｗｏｍａｊｏｒｄｏｍａｉｎｓｏｆｉｎｑｕｉｒｙｈａｖｅｂｅｅｎｆｕｒｔｈｅｒｄｉｖｉｄｅｄｉｎｔｏｔｈｒｅｅｌｅｖｅｌｓ．Ｆｏｒｉｎｓｔａｎｃｅ，ＭｉｅｋｅＢａｌ（１９８５）ｄｉｓｔｉｎｇｕｉｓｈｅｓｂｅｔｗｅｅｎｔｈｒｅｅｔｅｘｔｌｅｖｅｌｓ：ｆａｂｕｌａ，ｓｔｏｒｙａｎｄｔｅｘｔ，ａｎｄＲｉｍｍｏｎ—Ｋｅｎａｎ（１９８３）ｏｆｆｅｒｓｓｔｏｒｙ，ｔｅｘｔａｎｄｎａｒｒａｔｉｏｎ．Ｈｏｗｅｖｅｒ，ｔｈｉｓｄｉｓｐａｒｉｔｙｏｆｔｅｒｍｉｎｏｌｏｇｙｉｓｎｏｔｒｅｌｅｖａｎｔｔｏｔｈｉｓｔｈｅｓｉｓｂｅｃａｕｓｅｉｔｆｏｃｕｓｅｓｏｎｔｈｅｂａｓｉｃｄｉｖｉｓｉｏｎｂｅｔｗｅｅｎｓｔｏｒｙａｎｄｄｉｓｃｏｕｒｓｅａｎｄｂｏｔｈｂｉｎａｒｙａｎｄｔｒｉａｄｉｃｄｉｖｉｓｉｏｎｓｄｉｓｔｉｎｇｕｉｓｈｂｅｔｗｅｅｎｔｈｅｓｅｔｗｏｍａｉｎｌｅｖｅｌｓ．Ｔｈｉｓｄｉｓｔｉｎｃｔｉｏｎｔｈｕｓｅｍｐｈａｓｉｚｅｓｔｈｅｄｉｆｆｅｒｅｎｃｅｂｅｔｗｅｅｎｔｈｅｆｕｎｄａｍｅｎｔａｌｅｖｅｎｔｓｏｆａｓｔｏｒｙａｎｄｉｔｓｐｒｅｓｅｎｔａｔｉｏｎｉｎｔｈｅｎａｒｒａｔｉｏｎ，ｓｉｎｃｅｔｈｅｓａｍｅｅｌｅｍｅｎｔｓｏｆａｓｔｏｒｙｍａｙｂｅｔｒｅａｔｅｄｗｉｔｈｄｉｆｆｅｒｅｎｔｔｅｍｐｏｒａｌｏｒｄｅｒｉｎｇｓａｎｄｓｅｅｎｆｒｏｍｔｈｅｐｅｒｓｐｅｃｔｉｖｅｏｆｄｉｆｆｅｒｅｎｔｎａｒｒａｔｉｎｇｖｏｉｃｅ（ｉｂｉｄ．ｐ１５）．Ｉｔｉｓｖｅｒｙｉｍｐｏｒｔａｎｔｔｏｄｉｓｔｉｎｇｕｉｓｈｂｅｔｗｅｅｎｓｔｏｒｙａｎｄｎａｒｒａｔｉｖｅｗｈｅｎａｎａｌｙｚｉｎｇａｗｏｒｋｏｆｆｉｃｔｉｏｎ，ｓｉｎｃｅｔｈｅｎｏｔｉｏｎｏｆｐｏｉｎｔｏｆｖｉｅｗｉｓｌｏｃａｔｅｄｉｎｔｈｅａｒｅａｓｏｆｖａｒｉａｔｉｏｎｉｎｔｈｅｔｅｌｌｉｎｇｏｆａｓｔｏｒｙ．Ａｎｏｔｈｅｒｃｒｕｃｉａｌｐｒｏｂｌｅｍｉｎｔｈｅｓｔｕｄｙｏｆｐｏｉｎｔｏｆｖｉｅｗ，ｔｈｅｃｏｎｆｕｓｉｏｎｏｆ‘＇ｗｈｏｓｅｅｓ？’’ａｎｄ‘‘ｗｈｏｓｐｅａｋｓ？’’ｓｕｓｔａｉｎｅｄｆｏｒｑｕｉｔｅａｌｏｎｇｔｉｍｅ．Ｓｏｉｔｉｓｎｅｃｅｓｓａｒｙｔｏｐｕｔｉｔｈｅｒｅ，ｗｈｉｃｈｉｓｔｈｅｔｈｅｏｒｅｔｉｃａｌｆｏｕｎｄａｔｉｏｎｏｆｔｈｉｓｔｈｅｓｉｓ．Ｇｅｎｅｔｔｅ（１９９０：７４）ｉｎｈｉｓｂｏｏｋＮａｒｒａｔｉｖｅＤｉｓｃｏｕｒｓｅＲｅｖｉｓｉｔｅｄｔａｋｅｓｔｈｅｔｅｒｍ‘‘ｆｏｃａｌｉｚａｔｉｏｎ’’ｉｎｓｔｅａｄｏｆ‘‘ｐｏｉｎｔｏｆｖｉｅｗ＇’ｗｉｔｈｔｈｅｍｅａｎｉｎｇｏｆ‘＇ｖｉｅｗｉｎｇｐｏｉｎｔ”ｆｒｏｍｗｈｉｃｈｔｈｅｏｂｊｅｃｔｓａｒｅｓｅｅｎ．Ｈｅａｓｓｕｍｅｓｔｈａｔｆｏｃａｌｉｚａｔｉｏｎ，ｗｉｔｈａｄｅｇｒｅｅｏｆａｂｓｔｒａｃｔｎｅｓｓ，ｉｓｔｈｅｉｎｓｔｒｕｍｅｎｔｏｆｔｈｅｐｏｓｓｉｂｌｅｓｅｌｅｃｔｉｏｎｏｆｉｎｆｏｒｍａｔｉｏｎ，ａｓｏｒｔｏｆｐｉｐｅｔｈａｔａｌｌｏｗｓｐａｓｓａｇｅｏｎｌｙｏｆａｕｔｈｏｒｉｚｅｄｉｎｆｏｒｍａｔｉｏｎ．Ｔｈｕｓｎａｒｒａｔｉｖｅｐｏｉｎｔｏｆｖｉｅｗｉｎｔｈｉｓｔｈｅｓｉｓｍｅａｎｓｆｏｃａｌｉｚａｔｉｏｎ．２．５ＣｌａｓｓｉｆｉｃａｔｉｏｎｏｆＮａｒｒａｔｉｖｅＰｏｉｎｔｏｆＶｉｅｗＴｈｉｓｉｓａｓｅｃｔｉｏｎｔｈａｔＣａｎｏｂｔａｉｎａｃｌｅａｒｅｒｕｎｄｅｒｓｔａｎｄｉｎｇｏｆｐｏｉｎｔｏｆｖｉｅｗａｓａｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅ．Ａｎｄｄｉｆｆｅｒｅｎｔｓｃｈｏｌａｒｓ’ｔａｘｏｎｏｍｉｅｓｗｉｌｌｂｅｓｈｏｗｎｂｅｆｏｒｅａｃｏｎｃｌｕｓｉｏｎｉｓｒｅａｃｈｅｄａｐｐｒｏｐｒｉａｔｅｌｙｆｏｒｔｈｅｐｒｅｓｅｎｔｔｈｅｓｉｓ．２．５．１Ｆｒｉｅｄｍａｎ’ＳＥｉｇｈｔ－ｔｅｒｍＴａｘｏｎｏｍｙＮｏｒｍａｎＦｒｉｅｄｍａｎ（１９５５）ｐｒｏｐｏｓｅｓａｖｅｒｙｃｏｍｐｌｅｘａｎｄｄｅｔａｉｌｅｄｃｌａｓｓｉｆｉｃａｔｉｏｎｗｉｔｈｅｉｇｈｔｔｙｐｅｓ：ＥｄｉｔｏｒｉａｌＯｍｎｉｓｃｉｅｎｃｅ，ＮｅｕｔｒａｌＯｍｎｉｓｃｉｅｎｃｅ，Ｉ－ａｓ—ｗｉｔｎｅｓｓ，Ｉ－ａｓ－ｐｒｏｔａｇｏｎｉｓｔ，ＭｕｌｔｉｐｌｅＳｅｌｅｃｔｉｖｅＯｍｎｉｓｃｉｅｎｃｅ，ＳｅｌｅｃｔｉｖｅＯｍｎｉｓｃｉｅｎｃｅ，ＴｈｅＤｒａｍａｔｉｃＭｏｄｅ，ａｎｄＴｈｅＣａｍｅｒａ．Ｔｈｅｄｉｆｆｅｒｅｎｃｅｏｆｆｉｒｓｔｔｗｏ。