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英语文体学教案1.1 Definition of StylisticsStylistics has long been considered as a highly significant but very discussible branch of learning. It is concerned with various disciplines such as linguistics, semantics, pragmatics and literature. The word stylistics( ?styl‘ component relates stylistic to literary criticism, and the ?istics‘ component to linguistics). So stylistics is the bridge of linguistics and literature. Stylistics is the st udy of literary discourse from a linguistic orientation.‖ (文体学是从语言学的角度研究文学语篇)Stylistics is an interdisciplined branch of learning which studies various differences between formal and informal, between deviant and normal, between magnificent and plain, between professional and popular, between foreign and domestic, between this and that individual.1.2 The Development of StylisticsThe date when stylistics became a field of academic inquiry is difficult to determine. However stylistics is often considered as both an old and a young branch of learning. It is old, because it orig inated from the ancient ―rhetoric‖. The famous ancient Greek philosophers Socrates, Plato and Aristotle all contributed a lot to this branch of learning. It is young ,because the word ―stylistics‖ first appeared only in 1882, and the first book on stylistics was written by a French scholar Charles Bally in 1902 and was published in 1909: Traite de Stylistique Francaise. This book is often considered as a landmark of modern stylistics. Consequently, a number of more coherent and systematic works of both a theoretical and a practical nature were published in the field.The subject of study in Bally’s time was oral discourse. Bally considered that apart from the denotative meaning expressed by the speaker4, there was usually an “overtone” which indicated different “feelings”, and the task of stylistics was to find out the linguistic devices indicating these feelings.Later , the German scholar L.Spitzer(1887-1960), began to analyze literary works from a stylistic point of view, and therefore, Spitzer if often consider4ed as the “father of literary stylistics”.From the beginning of the 1930s to the end of the 1950s stylistics was developing slowly and was only confined to the European continent. From the end of the 1950s to the present time, modern stylistics has reached its prosperity.1.3 Definitions of StyleSo style is an integral part of meaning. It gives us additional information about the speaker‘s/writer‘s regional and social origin, education, his relationship with the his/her reader, his feelings, emotions or attitudes. Without a sense of style we cannot arrive at a better understanding of an utterance 1）.Written---spoken in terms of channel2）The Differences between Formal and Informal Language 3）modern----archaic in terms of time4）normal----deviated in terms of degree of novelty5）. common---professional in terms of technique（专业）1.What‘s stylistics?2.What does stylistics study?3.Say something about the development of stylistics.4.Give examples to explain ―Proper words in proper places makes the true definition of a style.‖5.What does style study?6.Give example to illustrate the differences between spoken-- written,formal–informal, modern–archaic, norm—deviated, common---professional.第二章1. Definition of meanings of meaningAccording to Leech (1974 English linguists), meanings of meaning can be broken into seven kinds:1).Denotative meaningIt refers to literal meaning, refers to diction meaning.(super meaning) 词的概念意义。
Chapter 2 The Need for Stylistic StudyReview●STYLE是使用语言的一种方式，它属于言语(parole)，而不属于语言(langue)。
●STYLE体现在语言运用的各个层面，体现在语音、书写、词汇、句法结构乃至语篇类型的选择上。
●任何类型的语篇都具有特定的文体特征；任何一个语篇也都具有特定的文体特征。
●STYLE的涵义颇多，既可指“文体”，“语体”，也可指“风格”或“文风”。
广义的文体学成为普通文体学或语体学，狭义的文体研究称作文学文体学。
●不论是从事广义的文体研究，还是进行狭义的文体研究，我们都需要借助于相关学科的理论和知识、尤其是修辞学、语用学、余篇分析和文学批评领域的知识。
What is context?Definition:Context refers to the conditions in which something exists or occurs. Linguistically, this is the part of a discourse surrounding a word or passage that helps make its meaning clear.语境是人们运用语言进行言语交际的言语环境。
言语交际有成效的进行（即说话人恰当地表达话语的意义和听话人准确地理解话语意义）必须依赖言语环境。
Classifications:Classification 1:1)内部语境(lingual/ linguistic context)Rules concerning the language itself such as grammar2)外部语境(extra-lingual/non-linguistic context)The speaker‟s and the audience‟s mood, age, position, occupation, cultural background, etc.Classification 2:1) 指语篇内部的上下文(co-text; linguistic context)2) 指言语事件发生时的社会情境特征(socio-situational features)以及交际双方的社会历史文化和风俗习惯，乃至价值观念等。
英语文体学教材
以下是一些常见的英语文体学教材：
1. 《英语文体学教程》（A Course in English Stylistics）- Peter Verdonk
这本教材是英语文体学领域的经典教材之一，适合大学本科
及研究生阶段的学习。
它介绍了英语不同文体的特点、用途和分析方法，并提供了大量实例进行练习。
2. 《英语文体学导论》（An Introduction to English Stylistics）- Lesley Jeffries
这本教材主要介绍了英语文体学的基本概念、理论和方法，
并结合具体的文本分析进行实际应用。
适合学习者系统学习英语文体学的入门教材。
3. 《英语文体学教程：理论与实践》（A Practical Introduction to English Stylistics: Theory and Practice）- Yiming Wu
这本教材着重介绍了英语文体学的理论和实践，并通过具体
的文本分析来展示文体学的应用。
适合学习者培养分析文本的能力和理论思维。
4. 《英语文体学教程：理论、实例与习题》（A Coursebook
on English Stylistics: Theory, Illustration, and Exercises）- Robert De Beaugrande
这本教材包含了英语文体学的基本理论、实例分析和练习题，帮助学习者全面了解和应用英语文体学的知识。
以上教材都可以通过一些在线书店或图书馆进行购买或借阅。
此外，还有许多其他的英语文体学教材可供选择，你可以根据自己的具体需求和学习水平选择适合的教材。
《英语文体学教程》评述
张德禄
【期刊名称】《山东外语教学》
【年(卷),期】1991(000)003
【摘要】《英语文体学教程》(A Course in English Stalistics,下称《教程》,王守元编著,胡壮麟作序,山东教育出版社1990年6月出版)是我国第一部文学文体学专著性教材,也是整个文体学科中全国屈指可数的几部著作之一。
笔者认为有必要把它介绍给读者,并就其编写特点谈谈自己的看法。
不妥之处,望方家斧正。
《教程》全部用英语写成,共八章。
从总体布局上讲,作者首先对文体学的定义,发展特点,目标以及研究的方面和步骤等进行丁系统而又精练的分析和论述。
在论述中,作者博采广引,显示了在文体学方面的功底。
接着,从讨论三种有影响的文体理论入手,确定了本书所依据的文体学理论框架,并以获取文体效应的两种方式为基点,讨论了取得文体效应的手
【总页数】2页(P1-2)
【作者】张德禄
【作者单位】
【正文语种】中文
【中图分类】H319
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2.浅议文体学与大学英语精读教学——以新世纪大学英语系列教材综合教程为例[J], 李梦欣
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因版权原因，仅展示原文概要，查看原文内容请购买。
Table of Contents1 The Concern of Stylistics1.1. Stylistics1.2. Language1.3. Aspects of the Speech Event1.4. Language Varieties and Function1.5. Style1.6. The Study of Style1.7. The Concern of Stylistic Study1.8. Stylistics and Other Spheres of Study2 The Need for Stylistic Study2.1. Stylistic Study Helps Cultivate a Sense of Appropriateness2.2. Stylistic Study Sharpens the Understanding and Appreciation of Literary Works2.3. Stylistic Study Helps Achieve Adaptation in Translation3 Varieties of Language3.1. Two Kinds of Varieties3.2. Dialects3.3. Registers3.4. The Mutual Dependence Between Register and Dialect3.5. The Social Meaning of Language Varieties4 Linguistic Description4.1. The Aims of Stylistics in Linguistic Description4.2. Levels of Language4.3. Stylistic Features4.4. Procedure of Linguistic Description4.5. The Practical Description and Analysis in This Book5 Formal vs Informal Language5.1.The Interpersonal Function of Language5.2. Degrees of Formality5.3. Functional Tenor and Degrees of Formality5.4. Martin Joos' Classification5.5. Speech Situation and Formality5.6. Formality and Linguistic Features5.7. Sets of Co-occurring Features5.8. Involved vs Informational Texts5.9. Tenors, Field, and Mode6 Spoken vs Written Language6.1. Striking Differences6.2. Stylistic Differences6.3. Examples of Contrast6.4. More Delicate Distinctions Amongst Modes of Discourse6.5. Mode, Field, and Tenors7 The English of Conversation7.1. Necessity of Studying Speech7.2. Necessity of Studying Conversation7.3. Object of Study7.4. An Adapted Way of Transcription7.5. A Sample Text of Casual Conversation7.6. General Features7.7. Stylist Features in Terms of Levels of Language7.8. Summary7.9. Other Kinds of Conversation8 The English of Pubic Speech8.1. Scope of Public Speech8.2. A Sample of Text for Analysis8.3. General Features of Public Speech8.4. Stylistic Features of Public Speech9 The English of Advertising9.1. Advertising English as a Variety9.2. Newspaper Advertising9.3. Radio Advertising9.4. Television Advertising10 The English of News Reporting10.1. The English of New Reporting as a Variety10.2. Two Samples Texts for Analysis10.3. General Features of Newspaper Reporting10.4. Stylistic Features of Newpaper Reporting10.5. Stylistic Features of Radio and Television News11 The English of Science and Techology11.1. The Scope of the English of Science and Technology 11.2. Sample Texts for Analysis11.3. General Features of EST11.4. Stylistic Features of EST11.5. Features of Spoken EST12 The English of Legal Documents12.1. The English of Legal Documents as a Variety12.2. Sample Texts for Analysis12.3. Stylistic Features of Legal English13 The English of Literature (1) --General Remarks13.1. Literature as Language Art13.2. Literary Language and Ordinary Language13.3. Literary Language as a Variety14 The English of Literature (2) --The Language of Fiction 14.1. Manipulation of Semantic Roles14.2. Creation of Images and Symbols14.3. Preference in Diction14.4. Artistic Manipulation of Sentence Variety and Rhythm14.5. Employment of Various Points of View14.6. The Subtle Workings of Authorial Tones14.7. Various Ways of Presenting Speech and Thought15 The English of Literature (3) --The Language of Drama15.1. Manipulation of the Naturalness of Characters' Speech15.2. Exploitation of Different Speech Act, Turn-taking and Politeness Patterns15.3. Use of Assumptions, Presuppositions and Conversational Implicature16 The English of Literature (4) --The Language of Poetry16.1. Various Devices for Compression16.2. Extreme Care in Word Choice16.3. Free Arrangement of Word Order16.4. Lexical and Syntactical Repetition16.5. Full Manipulation of Sound Effects16.6. The Manipulation of Sight16.7. Analysis of Poems at All LevelsGlossary1. The Concern of Stylistics1.1 StylisticsWhat is stylistics?Simply defined, STYLISTICS is a discipline that studies the ways in which language is used; it is a discipline that studies the styles of language in use.This definition, however, needs elucidation.The stylistics we are discussing here is MODERN STYLISTICS, a discipline that applies concepts and techniques of modern linguistics to the study of styles of language use. It has two subdivisions: GENERAL STYLISTICS and LITERARY STYLISTICS, with the latter concentrating solely on unique features of various literary works, and the former on the general features of various types of language use. 'Stylistics', in this book, is general stylistics: one that studies the stylistic features of the main varieties of language, covering the functional varieties from the dimension of fields of discourse (different social activities), formal vs informal varieties from the dimension of tenors of discourse (different addresser-addressee relationships), and the spoken vs written varieties from the dimension of modes of discourse (different mediums). Meanwhile, general stylistics covers the various genres of literature (fiction, drama, poetry) in its study. But it focuses on the interpretation of the overall characteristics of respective genres, with selected extracts of literary texts as samples.If we say that literary stylistics also discusses the overall linguistic features of the various genres of literature, then the scope of general stylistics and the scope of literary stylistics are only partly overlapping, as is shown in the following figure:ModernStylisticsGe neral StylisticsLite rary StylisticsVar iety FeaturesGenreFeaturesLiterary TextStyleGeneral stylistics, as a discipline, needs to make clear a whole set of related terms and terminology and answer questions like: What is language? What is language variety? What is style? What are stylistic features? etc.1.2 LanguageFirst, we need to clarify our views on language. We must be clear about what language is, or how we should look at language.There are many definitions of language, or many ways of looking at it. Modern linguistics which began with Saussure's lectures on general linguistics in 1906-11 regards language as a system of signs. Meanwhile, American structuralism represented by Bloomfield regards language as a unified structure, a collection of habits. From the late 1950s on, the fact that 'man talks' and the implications of this human capacity have been at the centre of investigation in the linguistic sciences. The transformational-generative (TG) linguists headed by Noam Chomsky have beenconcerned with the innate and infinite capacity of the human mind. This approach sees language as a system of innate rules (Chomsky, 1957). The approach advocated by the systemic-functional linguists headed by M. A. K. Halliday sees language as a 'social semiotic', as an instrument used to perform various functions in social interaction. This approach holds that in many crucial respects, what is more important is not so much that 'man talks' as that 'men talk'; that is, that language is essentially a social activity (Halliday, 1978).The philosophical view of LANGUAGE or A LANGUAGE is related of the actual occurrence of language in society--what are called language activities. People accomplish a great deal not only through physical acts such as cooking, eating, bicycling, running a machine, cleaning, but also by verbal acts of all types: conversation, telephone calls, job application letters, notes scribbled to a roommate, etc. All utterances (whether a word, a sentence, or several sentences) can be thought of as goal-directed actions. (Austin, 1962; Searle, 1969) Such actions as carried out through language are SPEECH ACTs. Social activities in which language (either spoken or written) plays an important role such as conversation, discussion, lecture, etc are SPEECH EVENTs.Most of these events are sequential and transitory (that is, they occur in sequence and can not last for a long time). It is difficult to examine them at the time of their occurrence. So we have to record the events. Any such record, whether recalled through memory, or committed to a tape, or written down on paper, or printed in a book, of a speech event, is known as a TEXT.Language is often compared to a CODE, a system of signals or symbols used for sending a MESSAGE, a piece of information. In any act of verbal communication (both spoken and written, primarily spoken), language has been regarded as a system for translating meanings in the ADDRESSER's (the speaker's/writer's) mind into sounds/letters, ie ENCODING (meaning-to-sound/letter), or conversely, for translating sounds/letters into meanings in the ADDRESSEE's (the hearer's/ reader's) mind, ie DECODING (sound/letter-to-meaning), with lexis and grammar as the formal code mediating between meaning and sound/letter.But we must keep in mind that, unlike other signalling codes, language code does not operate in a fixed way- it is open-ended in that it permits generation of new meanings and new forms (such as metaphorical meanings, and neologisms); ie it is in a way creatively extendible.Text, then, is verbal communication (either spoken or written) seen as a message coded in a linear pattern of sound waves, or in a linear sequence of visible marks on paper.1.3 Aspects of the Speech EventLanguage is transmitted, patterned, and embedded in the human social experience. So it is both possible and useful to discern three crucial aspects of a speech event--the substantial, the formal, and the situational. (see Gregory and Carroll, 1978) Language is transmitted by means of audible sound waves in the air or visible marks on a surface. These sounds or marks are the SUBSTANCE of the speech events. The audible sounds or visible marks are not jumbled together--rather, they are arranged in a conventionally orderly way, displaying meaningful patterns in their internal relations. These meaningful internal patterns are the FORM of the speech event. Language activities do not occur in isolation from other human activities. They take place in relevant extratextual circumstances, linguistic and non-linguistic. These relevant extratextual circumstances are the SITUATION * of the speech event. Any speech event is part of a situation, and so has a relationship with that situation. Indeed, it is this contextual relationship between thesubstance and form of a speech event on the one hand and the situation in which it occurs on the other, which gives what is normally called 'meaning' to utterances. In other words, context determines meaning of features in situations.*Situation, as the non-linguistic setting or environment surrounding language use, can clearly influence linguistic behaviour. It is frequently synonymous with context, a conceptual abstraction from all possible situations, and its collocates -- context of situation, especially, context of utterance. The abstracted context, composed partly of the probable co-text, partly of the probable situation of each item, establishes the meaningfulness of the formal items in the language.1.4 Language Varieties and FunctionAs mentioned just now, when language is used, it is always used in a context. What is said and how it is said is often subject to a variety of circumstances. In other words, speech events differ in different situations, ie between different persons, at different times, in different places, for different purposes, through different media, and amidst different social environments. We often adjust our language according to the nature of the context of situation. Some situations seem to depend generally and fairly consistently on a regular set of linguistic features; as a result, there have appeared different types of a language which are called V ARIETIES OF LANGUAGE. So far as the English language is concerned, there are different 'Englishes' to fit different situations: for instance, Old/Modern English, British/American English, Black English, legal English, scientific English, liturgical English, advertising English, formal/ informal English, spoken/written English, etc. There is actually no such thing as a homogeneous English language.In all these varieties, language performs various communicative roles, ie FUNCTIONs. For example, language is used (functions) to communicate ideas, to express attitudes, and so on. The roles that language plays are ever changing and the number of the roles can be numerous. There have been many attempts to categorize these roles into a few major functions. The IDEATIONAL or REFERENTIAL function serves for expressing the speaker's/writer's experience of the real world, including the inner world of his/her own consciousness. The INTERPERSONAL or EXPRESSIVE/SOCIAL function serves to establish and maintain social relations, for the expression of social roles, and also for getting things done by means of interaction between one person and another. The TEXTUAL function provides means for making links within the text itself and with features of its immediate situation. (For detailed discussion see Buhler, 1934; Halliday, 1971.)The three functions represent three coexisting ways in which language has to be adapted to its users' communicative needs. First, it has to convey a message about' reality', about the world of experience, from speaker/writer to hearer/reader. Secondly, it must fit appropriately into a speech situation, fulfilling the particular social designs that speaker/writer has upon hearer/reader. Thirdly, it must be well constructed as an utterance or text, so as to serve the decoding needs of hearer/reader.These functions and the needs they serve are interrelated: success in interpersonal or expressive/social communication depends in part on success in transmitting a message, which in turn depends in part on success in terms of text production.Different types of language have relations with predominant functions, eg advertising with persuasion, TV commentary with information, address terms with social roles. Literary texts can be regarded as a type of language which performs a distinct social function -- an aesthetic orpoetic function.The functions are not mutually exclusive: an utterance may well have more than one function.1.5 StyleNow we come to the question of style.The word STYLE has been used in many ways:Style may refer to a person's distinctive language habits, or the set of individual characteristics of language use, as 'Shakespeare's style', 'Miltonic style', 'Johnsonese', or 'the style of James Joyce'. Buffon's ' Le style, c'est l'homme même', has contributed to the vogue of this definition. Often, it concentrates on a person's particularly singular or original features of speaking or writing. Hence at the extreme end style may refer to a writer's deviations from a relatively normal use of language.Style may refer to a set of collective characteristics of language use, ie language habits shared by a group of people at a given time, as 'Elizabethan style', in a given place, as 'Yankee humour', amidst a given occasion, as 'the style of public speaking', for a literary genre, as ‘ballad style', etc. Here the concentration is not on the individuality of the speaker or writer, but on their similarities in a given situation.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.Style may refer solely to a characteristic of 'good' or 'beautiful' literary writings. This is the wide-spread use of style among literary critics, as 'grand style', 'ornate style', 'lucid style', 'plain style', etc, given to literary works.Of the above four senses of style, the first two (especially the second) come nearest to our definition of style. To be exact, we shall regard STYLE as the language habits of a person or group of persons in a given situation. As different situations tend to yield different varieties of a language which, in turn, display different linguistic features, so STYLE may be seen as the various characteristic uses of language that a person or group of persons make in various social contexts.Here we can use Ferdinand de Saussure's distinction between langue and parole. Langue is the system of rules common to speakers of a particular language (such as English), ie the general mass of linguistic features common to a language as used on every conceivable occasion. Parole is the particular uses of this system, or selections from this system, that a person or group of persons will make on this or that occasion. Style, then, belongs to parole. It consists in choices from the total linguistic repertoire of a particular language.All linguistic choices are meaningful, and all linguistic choices are stylistic. Even choices which are dearly dictated by subject matter are part of style. In our discussion, however, stylistic choice is limited to those aspects of linguistic choice which concern alternative ways of rendering the same subject matter, or those forms of language which can be seen as equivalent in terms of 'referential reality' they describe, or, in other words, the 'synonymous expressions' in transmitting the same 'message'.We are interested in the way in which choices of codes are adapted to communicative functions for advertising, news reporting, science thesis, ere including the aesthetic function forliterature. Hence the occurrence of different functional styles and of the various styles of literature.When we look at style in a text, we are not likely to be struck by local or individual choices in isolation, but rather at a pattern of choices. If, for instance, a text shows a repeated preference for passive structures over active structures, we are likely to consider this preference a feature of style. But local or specific features may also be noteworthy features of style if they form a significant relationship with other features in a coherent (consistent) pattern of choice. Consistency in preference is naturally reduced to 'frequency': To find out what is distinctive about the style of a text, we just measure the frequency of the features it contains. The more we wish to substantiate what we say about style, the more we will need to point to the linguistic evidence of texts; and linguistic evidence has to be couched in terms of numerical frequency.Yet it is worth our note that a feature which occurs more rarely than usual is just as much a part of the statistical pattern as one which occurs more often than usual; and it is also a significant aspect of our sense of style. (see 4.4)1.6 The Study of StyleSome scholars call the object of stylistics simply style, without further qualifications. Indeed, the study of style in western countries has been undertaken for more than two thousand years. The doctrine of 'decorum' or fittingness of style has passed down from the rhetoricians of Ancient Greece and Rome , who applied it first to oratory and then to written language. Up till the late 19th century, style studies had always been closely integrated with the art of writing and the evaluation of literary works. In fact, traditional approaches to language laid such heavy store by the quality of written language that 'good style' or sometimes simply 'style' was used as a description of writing that was praiseworthy, skilful or elegant.At the turn of the century, Ferdinand de Saussure, in his Geneva lectures of 1906-11, Cours de linguistique generale (1916), attacked the 19th century philologists for their 'diachronic' or historical study of language (ie looking at language as it changes through time), and for their interest in prescribing normal or 'correct' usage modelled on 'classic' literary writings. His influence was so strong that, after him, the professional study of language soon veered away from the historical concern of philology towards linguistics, which claimed to be heavily descriptive and to describe a given language 'synchronically' (ie synchronic study: looking at language as it exists at a given time). Saussure, with his insistence on the primacy of everyday speech, was little interested in the written language and even less in the literary. He viewed literary language as special uses of language which were comparatively unimportant in the study of language as a whole. His pupil, Charles Bally, who began the systematic study of what we now call 'stylistics', again gave scant attention to literature. American linguist Leonard Bloomfield held much the similar view. This is only too natural, for, at the turn of the century, new linguistics was yet fighting for its autonomy and needed to emphasize its difference from traditional language studies. It was not until the fifties that there appeared a sway from this position.Noam Chomsky's Syntactic Structures (1957) revived interest in what had once looked a discredited concern with 'correctness' in speech and with an inherited system of rules. Chomsky believes that the human mind must be constituted at birth to receive certain patterns of language; otherwise it would be very hard to explain how infants learn their mother tongue so quickly and with little effort. So it may not have been absurd of the European Renaissance to have interested itself in the prospect of a universal grammar underlying all human languages. Chomsky destroyedthe dominance of structuralism and encouraged a new tolerance of historical grammar. And in doing this he initiated a new interest in literature among professional linguists and the prospect of co-operation between criticism and the professional study of language.By the 1950s most of the early anxieties on the part of linguists had become unnecessary. The tools of linguistics could be used in related disciplines without the danger of reducing linguistics itself to a mere technology or a service station. On the contrary, by the time they came back to literary language, linguists had been armed to the teeth – with fresh insights and new theories as well as a formidable technical vocabulary. This time they would study style in a much more detailed and systematic way. They would not study literature to the exclusion of other varieties of language. Rather they would approach literature as a complex of varieties of language in use and point to the aesthetic function of literary language.The 1960s saw the flourishing of modern stylistics: Two landmark volumes of papers presented respectively to the Indiana Style Conference in 1958 ( Style in language , MIT Press) and to the Bellagio Style Conference in 1969 ( Literary Style: a Symposium , OUP) came into being. Monographs such as Linguistics and Style (Enkvist et al, 1964) and Investigating English Style (Crystal and Davy, 1969), A Linguistic Guide to English Poetry (Leech, 1969) appeared. New courses on style were offered in colleges and universities. Textbooks concerning spoken varieties of English (some with accompanying records or tapes) such as Varieties of Spoken Englis h (Dickinson and Mackin, 1969), Scientifically Speaking (Brookes, 1971) were published. Grammars, as A Grammar of Contemporary English (Quirk et al, 1972) widened their scope to include in their study 'sentence connection', 'focus', 'theme', 'emphasis', and 'varieties of English and classes of English'. Dictionaries began to give labels (eg. fml, colloquial, slang, etc) to words and phrases of stylistic colouring.From the 1960s onward, application of various linguistic models such as transformational-generative linguistics, systemic-functional linguistics, speech-act theory, discourse analysis etc in stylistic analysis has been gaining momentum in the past decades of years.1.7 The Concern of Stylistic StudyHaving discussed what language is and the sense of style, we are now in a position to come to a more refined definition of stylistics: It is a discipline that studies the sum of stylistic features characteristic of the different varieties of language.Stylistic study concerns itself with the situational features that influence variations in language use, the criterion for the classification of language variety, and the description and interpretation of the linguistic features and functions of the main varieties (both literary and non-literary) of a language-- in this book, of the Modern English language.As an independent discipline, stylistics offers a comparatively more complete theoretical framework and a more rigorous procedure of linguistic description, so that learners will have a systematic knowledge of the features of different varieties of language, make appropriate use of language in their communication, familiarize themselves with the stylistic features of the different genres of literature, and deepen their understanding and appreciation of literary works. Besides, stylistics offers useful ideas on translation and language teaching.1.8 Stylistics and Other Spheres of StudyA formerly very much borderline discipline, stylistics takes roots in the soil of modern linguistics, using models and methods of linguistic description in the stylistic analysis of texts. Stylistics also absorbs nourishment from literary theories, and so is closely related to them.Similar to modern linguistics, stylistics lays stress on the study of language functions and the different structures dictated by these functions. But linguistics stresses the description of linguistic structures while stylistics on the stylistic effects of different language structures.Stylistics is the continuation and development of rhetoric. However, discarding the traditional practices of rhetoric to establish norms for people to model on, stylistics turns to the presentation of the functional features of language, --- it is descriptive, not prescriptive. It does not aim at a so-called 'refined' style of writing, but at a manner 'appropriate' to the situation.Stylistics supplies literary criticism with a brand-new approach. Since the beginning of the 20th century the linguistic turn in literary criticism has enabled the scientific school of literary theorists such as Russian formalism, New Criticism, Structuralism, etc to place language in the central position of their theories. With a whole set of meta-language renewed by modern linguistics and modern literary theory-- deviation, prominence, function, situational factors, narrative points of view, modes of presenting speech, etc, and with the multi-level structural approach, stylistics has pushed the linguistic turn to its extreme. Making literary research still more scientific and more accurate, it broadens the vision of literary criticism.Study Questions1) Consult at least five books on stylistics, note down the definitions of stylistics that they give, and discuss the similarities and differences among the definitions.2) Compare the definitions of language put forward by different schools of linguistics. Tell what view or views of language is or are suited to stylistics, and why.3) What aspects are there in a speech event?4) Different scholars classify the function of language into different major types. Compare them, and comment on the saying: The functions of language are mutually exclusive.5) Comment on the different senses of style.6) The goal of most stylistic study is simply to describe the formal features of texts for their own sake. What do you think of this statement?7) Discuss the relationship between stylistics and rhetoric, and tell how stylistics broadens the vision of literary criticism.。
第一章文体学相关研究内容文体学分为普通文体学和文学文体学，二者有重叠部分，但在此我们所研究的是普通文体学，文体学研究的是语言风格，对语言，人们的理解有很多种，但不管哪种说法，无可否认，语言都是人类表达思想、互相交流的手段，并且有很多具不同意旨的言语事件；风格是与说话人的语言习惯、时代背景相关的，是人门特有的表达方式，因人而异，对语言起到一定修饰作用并且关系到语言表达的有效性。
因此，文体学研究会涉及各种语言变体及相关特征、功用。
文体学对提高理解力和鉴赏水平有很大帮助。
此外，文体学还与语言学、修辞学及文学评论等相关联。
接下来的章节中将具体阐述相关内容。
第二章文体学研究的必要性学习文体学可以提高我们语言使用的精确性，犹如不能在婚礼上穿牛仔装一样，语言使用要合乎当时、当地的具体环境，这就涉及文体学中的言语事件；学习文体学有利于提高我们对文学作品的理解与鉴赏水平，因为文学创作中，作者不可避免会对作品的语言、风格做选择，在文学评论三部曲（描述、解读、评估）中会涉及相关内容；文体学对满足翻译适应性有很大帮助，翻译很难做到完全对应，但基本原则一致是必须的，如作品基调、作品体裁等一致。
以上文体学内容中都有涉及。
第三章语言变体在不同的社交场合，有不同的约定俗成的语体。
根据特定场合的语言习惯及其中特定说话人的语言使用，语言变体可以分为两种：方言变体和语域变体。
方言变体与不同的语言使用者相关，分为个人方言、时间方言、地域方言、社会方言和标准方言；语域变体与不同社交场合相关，其构成要素是语场、语式和语旨。
两种变体并非独立存在而是有一定的相关性，比如，在同一种族、同一领域或同一社会地位，为了增进了解，说话人可能会选择这一具某种共同特征人群的行内语言。
此外，从语言变体中，我们还可以获知说话人的某些相关信息，如职业、国家和说话意旨等。
第四章语言描述了解了语言变体，本章节探讨各种语言变体的具体表述问题，即具体语言表述。
在这个层面上，文体学提供了一种系统的分析方法，使我们对付各种文章轻而易举。
英语文体学3,4Chapter 3 Varieties of Language语言变体(varieties of language)可分为两类：一类是方言变体(dialectal varieties), 俗称方言；另一类是话语类变体(diatypic varieties), 亦称语域（register）。
方言是以语言的使用者（users）为基准而区分的语言变体；语域则是按照语言使用者对语言的使用（uses）而区分的语言变体。
因此，方言多与交际者的社会阶层、社会地位、地域、年龄、性别及所处的时代等因素有关，比较稳定；语域则多与交际者所从事的社会活动密切相关。
方言(Dialect):1) 语言使用者的个人特征（individuality）--Idiolect(语言的流利度、清晰度、表达能力大小等。
例：Mr X’s English, Mr Y’s English。
)2) 时代特征（temporal features）--Temporal Dialect3) 地域特征（geographical feature）--Regional Dialect4) 社会特征（social features）--Social DialectSocioeconomic status varieties 社会经济变体Ethnic varieties 种族变体Gender varieties 性别变体Age varieties 年龄变体5) 可理解的程度和范围—Standard Dialect方言(Dialects)具有社会指示功能，方言不仅能体现人物的地域特征，而且能反映出人物的社会地位、文化程度乃至个人性格，这一点在文学作品中最为明显语域(Register)1) Field of Discourse(话语范围/语场)Non-technical fields of discourseTechnical fields of discourse2) Mode of Discourse(话语方式/语式)Speech: conversing, monologuingWriting: texts written to be spoken as if not written/ written to be read3) Tenor of Discourse(话语基调/语基)Personal Tenor(个人基调)Functional Tenor(功能基调)1) Field of Discourse(话语范围/语场)话语范围指的是言语交际过程中发生的事情，进行的活动，论及的事情或表达的经验等，它能体现语言使用者在特定情境语境中所要实现的交际目的和作用。
Chapter 2 Three Views on StyleThe question of what style is an issue that has caused heated dispute among stylistic theorists.1) “Take an egg, and make a perforation in the base and a corresponding one on the apex. And then, apply the lips to the aperture, and by forcibly inhale the breath, the shell is entirely discharged of its contents.”2) “When I was a gal, I made a hole in each end and suck.”1) When his father 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.Hemingway/Mark Twain’s styleElizabethan style,Definition of style:prominent linguistic features, devices or patterns, most (or least) frequently occurred in a particular text of a particular variety of language.II. Three views on style2.1 Style as DevianceDeviance: the breaking of normal rules of linguistic structures./language use that departs in some way from everyday usage. (Mukarovsky)--- he speaks of style as "foregrounding", "the violation of the norm of standard, its systematic violation is what makes possible the poetic utilization of language; without this possibility there would be no poetry" (1970: 42).---Example: fill in the blank: ago ([CN] + time)"a grief ago" ( from a poem of that name by Dylan Thomas in 2003).The phrase violates two rules of English:---Example: part of the poem (E. E. Cummings)(1) anyone lived in a pretty how town(with up so floating many bells down)spring summer autumn winterhe sang his didn't he danced his didWomen and men (both little and small)cared for anyone not at allthey sowed their isn't they reaped their samesun moon stars rain2.2 Style as Choice--- style as choice means that style "results from a tendency of a speaker or writer to consistently choose certain structures over others available in the language" (Traugott and Pratt, 1980: 29).---not necessarily a conscious choice.--- can be purely intuitive or even habitual choice.Example:Dear Sir,I must apologize for the delay in repying to your letter of the 30th of December…Dear Jane,I’m terribly sorry not to have got round to writing before now….--- Style as choice is a matter of form or expression, i. e. as choice among different ways of expressing a predetermined content. However, it only takes a moment or two to reflect that writers also choose content.---"Hemingway selects to write about men of action - bull fighters, deep-sea fishermen, soldiers, big-game hunters - is as much a stylistic fact as his habit of writing in short, simple sentences, preferring the 'dramatic' to the 'interior monologue' point of view in narration, etc." (Chatman, 1971: 64).---The evidence of choice-making can be found in authors' manuscripts.Example:The Eve of St. Agnes by KeatsCompare: 'As though a rose should close and be a bud again' (first version).'As though a rose should shut and be a bud again'.(revised version)2.3 Style as Foregrounding---In literature first by the pre-war Prague School linguists such as Mukarovsky---Def: unexpected departures from the accepted norms. Foregrounding includes both the deviant features and those linguistic phenomena which are not deviant, but nevertheless striking.(1) When he laughed, respectable senators burst with laughter,And when he cried the little children died in the streets.(W. H. Auden, Epitaph on a Tyrant)----The view of style as foregrounding is explained in Short'sA. When a writer writes he is constantly involved in making linguistic choices - choices between one word and another, one structure and another, and so on.B. Examination of the choices that he makes (as opposed to the ones that he rejects) can help us to understand more fully the meaning he is trying to create and the effects he is striving to achieve.C. He can make choices both inside and outside the language system. Choices outside the language system are deviant and thus produce foregrounding.D. Overregularity of a particular choice within the system (e.g. parallelism) also produces foregrounding.(Short, 1984: 21)---foregrounding is achieved either through deviation or through overregularity in language use. Deviation can be investigated and classified according to its linguistic level.--- In A Linguistic Guide to English Poetry, Leech (1969) identifiessurface-structure deviation: phonological, graphological, grammatical, lexical, deep-structure deviation: semantic deviationperiodthere are also dialectal deviation; deviation of register and deviation of historical。
英语文体学教程(总9页)--本页仅作为文档封面，使用时请直接删除即可----内页可以根据需求调整合适字体及大小--Chapter11, what is style in your opinion according to what we have studied in this chapter?Anwser1 , 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 ,styled is 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 text ,style is the functions of texts for different purposes.Anwser2, the definition of style is the concept of style as choice .this definition can have at least too interpretations .one is that first we have a pre-existing thought ,and then we choice the appropriate type of expression to express it in language. The chosen expression is the style .another is that the choice refers to the choice of meaning. The choice of language is at the same time a choice of meaning and a choice of style .2,what is the significance of studying the style of language in learning and teaching English?Anwser, the answer is that if we want to use language appropriately in different situations , we need to study style .as foreign language learners, if we disregard the rules of using what variety of language in what occasion , or fail to obey them through ignorance , language can become instead a barrier to successful communication . Therefore its necessary to have a clear awareness of how language should be used in different types of situations especially in unfamiliar situations.3, what factors can result in differences in styleAnswer , 1, the different types of vocabulary create different images of the events in the reader’s mind, so they can result in different ,people living in different periods of time in history will also speak differently ,and that will result in a different style.Chapter21, explain the following terms1),foregrounding: the stylistically significant features have to be prominent and motivated ,that is ,foregrounded.2),incongruity: the linguistic features depart from the normal use of language ,breaking the rules grammar ,spelling ,pronunciation.3)deflection : the linguistic features don’t depart from the established grammatical, lexical and logical rules and principles ,but have an unexpected high frequency of occurrence.4),field; its concerned with what is happening ,including the subject matter,the events happenings,going-ons, the content ,etc5)tenor: its concerned with who is taking part in the exchange of meaning ----the relationship between the speaker and the listener ,their relative status,their attitude,and their role relations .6)mode: its concerned with how the interaction is conducted ,that is whether it is written or spoken ,or whether it is expressed by phonic substance or graphic substance.2,question for discussion2)in rhetorical series,the number of items can influence the stylistic to analyze the causes on the basis of social culture.Answer :different numbers of words can produce different stylistic effects in the appropriate contexts. Two items express assertion ,that is ,it is just this ,not that .In appropriate situations three items can produce ethic ,persuasive, and representative effect. Four or more items in a series stress a large number of the concrete things ,and these can produce an imagery in the mind of the reader that the large amount of things constitutes a significant situation in which certain aspect are highlighted. Another function of the rhetorical series is to use concrete items to highlight abstract concepts so that the abstract concept can be expressed in concrete ,lively and vivid way to enhance the aesthetic value of language.3)what factors affect the writer’s selection of words and styleAnswer : five criteria for the selection of words :whether they are familiar or not familiar, whether they are concrete or abstract, whether they are single or more ,whether they are short and simple. Or long. Whether they are Anglo –saxon words or latin words .field ,tenor ,mode affect the writer’s selection of style.4)what is the criterion used to classify wordsAnswer :we can use more systematic way to classify word according to register and dialect .register:field ,tenor , mode .dialect: regional dialect,such as London dialect;social dialect such as dialect of age, race, dialect such as od English .5)through what channels can words be used to achieve transferred meaning?Answer :simile :x is like Y, eg as busy as bee. Metaphor: X is Y ,eg he is a pig.Synecdoche eg many hands represent the people who work with their hands . Metonymy eg purse represent money.Chapter31,explain the following terms1),chiasmus:chiasmus is formed by inverting the word order of the second part of a parallel structure,so it forms a kind of antithetical structure. Eg:let us never negotiate out of fear,but let us never fear to negotiate.2)antistrophe: it is the repetition of the same items but in inverted order ,eg:what’s polly to me,or me to polly3)epizeuxis:it is a continuous repetition for high lighting a particular feature.4)ploce: the repetition is not continuous , but intermittent or dispersed in the text.5)loose sentence: put the major idea first and than the illustration .such a sentence is easy to grasp .6)periodic sentence:a periodic sentence can be used to create suspense,or expectation, thus drawing the listener’s attention to the end of the can be used to produce humorous and emphatic effect .2,question for discussion1),there are many types of syntactic deflection ,but they have one thing in common :recurrence of structures. How is syntactic deflection classified?Answer :there are two type of syntactic deflection :the unexpected high frequency of occurrence of a certain type of sentence; and the overregular occurrence of a particular pattern .2)the high frequency of occurrence of long and short sentence can create stylistic effect .apart from the difference in expressive meanings ,what are other characteristics of the two types of sentences?Answer : long sentences are good to provide the detailed descriptions ,and are good to reveal the mental activities of the speaker .so they are used to produce a vivid, rich, exuberant, luxurious style. Short sentence：can produce direct ,terse ,concise ,clear effect or continuous ,compact ,swift effect ,so that it creates certain atmosphere , and leave a deep impression on the listeners.3) why do writers often violate the rule of grammarWhat do we cal this violation?Answer: we call this violation syntactic incongruity .the violation of the grammatical rules can be used to produce certain stylistic effects. The so-called ungrammatical sentences are used to represent the different varieties oflanguage according to register and dialect. In literary works, dialectical and personal features of speech are often used to depict the personality of the characters. In poetry, the poet often uses deviant grammatical structures to achieve special effects, makes lines terse and concise, to make it rich in meaning.4)what is the function of rhetorical questions?Answer: A rhetorical question is to use the form of a question in order to express a strong emotion or to emphasize a particular aspect. The function of inverted sentence is to make a declarative sentence more powerful, to attract the listener’s attention, or to induce others’ sympathy. Arranged in parallelism, rhetorical questions can express strong emotions and increase the persuasive power. A rhetorical question can also introduce the topic of the text.5) In what ways can we use inverted sentences to achieve emphatic effect? Answer: to change the normal word order can be used to produce some emphatic effect. What is put to the initial part of the sentence is usually the focus of information of the clause and also the theme of he clause. So it is highlighted. Chapter41 explain the following terms1)Synaesthesia: it refers to the fact that sounds s are attributed withcertain values or esthetic features. It is very casual, and supported by situational features and meaning.2)Alliteration: refers to the repetition of the initial sound usually aconsonant, or a vowel at first position, in two or more words that occur close together.3)Assonance: refers to the use of the same or related vowel sounds insuccessive words. It can create harmonious effect.4)Consonance: refers to the repetition of the last consonants of the stresseswords at the end of the lines.2 questions for discussion1)What are the characteristic of spoken language and written languagerespectively?2)3)Answer: spoken language: 1 it can directly be accompanied by other non-linguistic means as the aid; 2 it is generally speaking not as formal as written language; 3 it permits errors in the process of production; 4 it uses a particular grammar, a grammar characteristics of spoken language. 5 homophonescan be used for special stylistic effects, such as pun; 6 some implications are best represented by special sound features; 7 sound feature can represent the feature of regional dialect or social dialect.Written language:1 as written language communication is usually not a direct one, but is delayed in time and at different places, the writer generally has time to get well prepared and revise the text before he sends it out to the reader;2 as space is limited, it has special grammatical features so as to put more meaning in it .there are many nominalizations to make sentences into groups;3 written language is often used in a more formal situation; 4 as time is enough, it is usually written in a more detailed and logical way;5 as written language is more purposeful, and for a single specific goal, it is usually more constant and developed around a single subject.4)How many sound patterns do we have What special stylistic effects can beachieved by themAnswer: these sound patterns include alliteration which can create harmony, connection and achieve special stylistic effects, assonance which can create harmonious effect, and consonance5)What factors can influence graphological prominence .Answer: there are three distinctive factors that can produce graphological prominence: marking, spacing and sequence. Marking refers to the use of written symbols to convey information; space is spacing arrangement departing from this normal way of spacing can be used to achieve stylistic effects.4 In modern English, punctuation marks are patterned and standardized. How can we use punctuation marks for special stylistic purpose?Answer: period typically occurs at the end of a declarative sentence. If period occurs in unexpected high frequency of occurrence, it often means that the text mainly functions to provide information; comma is used to mark the unit larger than a word, however, in Charles Dickens’ Dombey and Son, comma is used to indicate syllables; exclamation marks can be used to carry emotional coloring, a mark of expressing special feelings; parentheses are used for further explanation; the ellipsis of punctuation marks produces an illogical and non-sequential image.Chapter71 explain the following terms1）Guide: guide is the further explanation of the headline, it consists of six elements; location, character, event, mode, time, and cause.2）Nominalization: refers to a grammatical phenomenon in which the meaning which is normally expressed by a clause is here expressed by a phrase, so clause nominalization is normal. It is contracted.3）The highlighting method: from the productive point of view, the columnist can publish the whole story, or he can cut off some parts from the end. He can even cut off the main body.4）Meaning contraction: using the smallest form to get the most meaning.5）Journalese words: as new report requires the speaker to use the least form to get the most meaning, and it has to be fresh and attractive, so the words in news report is short and new.2 questions for discussion1) What are semantic features of news report?Answer:1 In terms of ideational meaning, apart from the semantic field of news report, it covers virtually all areas of meaning systems ;2 in terms of interpersonal meaning, it stresses objectivity;3 in terms of textual meaning, it has the feature of meaning contraction.3) Most of the headlines are elliptical sentences. Tell in what way ellipsis is best achieve in news report.Answer: most of the headlines are elliptical sentences. What is omitted is: (a) subject-predicate (b) predicate (c) link verb or auxiliary verb4) How is meaning contraction of news report embodied in grammar?Answer: one feature of news report is meaning contraction, that is using the smallest form to get the most meaning .its grammatical feature are as follows:(1) the nominalization of the processes (2)big noun phrases and complex modifications (3)as some of the pre-modifiers come from a separate clause, it is highly contracted .5）The concreteness contraction of news report is in contradiction to meaning contraction. Tell how this contradiction is revolved in news report.Answer: besides its authenticity and objectivity, news report should also emphasize concreteness and detailedness. Therefore, the writer often gives background information and details by using parenthesis. By doing so, the writer can provide concrete and detailed information and save space as well.6）What graphological means are used in news report Analyze what effects are achieved by graphological means.Answer: grphological means are made in the typesetting, for example, headlines can be arranged in such ways: 1 flush-left(it is made into a square) 2dropped-line(the length of the line is the same, but dropped in a bit each time) 3 short line followed by a long tome 4 along line followed by a short line 5 concave form 6 convex form . They can increase esthetic value and become more attractive.7）What are lexical features of news report Why are many nonce words used in news reportAnswer: lexical feature: 1 short and new-fashioned such a “crisis” in “the UN faces crisis of credibility”. 2 short journalese phrase such as “key issue” in “jobless will be the key issue in 1993”. 3nonce w ords, often blends such as Euromarket=European market.8）Why is there so much use of direct speech in news report?Answer: the use of direct speech can enhance the credibility of news report. The directly quoted speech can be regarded as basis of facts.9）What prominent devices are used in headlines in news report?Answer: alliteration allusion suspense etc.Chapter61Explain the following terms1）time non-fluency :pauses in inappropriate positions within a phrase or groups position ,the use of um or er to delay the time ,the repetition of some expressions ,such as be said be said be said.,2）Quality non-fluency: often the speaker cannot find the appropriate words to express himself, and he is striving for words, so he uses many inexact expressions and even wrong expressions or wrong pronunciations to express himself.3）Adjacency pair: most of the sentences are declarative and interrogative sentences as they are mostly made up of questions and answers.4） Slot filling words: slot filling words are used to fill in the pauses when the speaker strives for meaning as words, or when he or she strives to be politeness or lessen the degree of imprudence.2 question for discussion1）What are the characteristics of conversation from the perspective of semantics, grammar, vocabulary and phonology?Answer :semantic features:(1)the inexplicitness of meaning (2)the randomness of subject matter, and a general lack of planning (3)the lack of fluency Grammatical features :(1)sentence complexity (2)verbal phrases(3)nominal phrases(4)the types of sentences (5)quoted elements. Lexical feature:(1)mostof the words are short and simple Anglo-Saxon ones, (2)the choice of words is limited in scope or range (3)slang and colloquial words, taboo words ,exclamatory words are frequently used (4)some slot filling words ,suchas you know ,I mean,etc.(5)use exaggerated words and expressions. Phonological features :(1)use more contractions for the unimportant information (2)the often try to express themselves in spite of the fact that the other is speaking (3)there are many emphatic ways of speech ,such as stress .2）How do you account for the inexplicitness of language in daily conversation?Answer: the inexplicitness of meanings manifested in the following aspects: (1)lots of exophoric expression such as “this “is the tendency (2)there are missing links between the utterances(3) a lot of background information missing.(4)many inexact expressions using general words for particular concepts(5)many incomplete expressions.3）What are the features spontaneous commentary from the perspective of semantics, grammar, vocabulary and phonology?Answer: from the perspective of semantic features, if the listeners could also see the event while the commentary is delivered, there will be a lot of meaning implied or simply presupposed; but in a commentary without visual support on the part of the listeners, the commentator has to provide all the necessary information. In terms of syntactic structure, the sentences and the clauses are usually short as the commentator has no time to give detailed descriptionof the event, and the sentences contain fewer words than usual. From the perspective of lexical features, the words are mostly simple in structure, they are short and simple; they are mostly composed of verbs, and proper names; there might be specialized terms depending on the subject matter of the commentary. From the perspective of phonological features, it is very fast and fluent, but he has to pronounce every word clearly and loudly.4）What are the features of text structure of public speech?Answer: It consist of the following element :(1)a short introduction to the main issue or issues concerned (2)the declaration of one’s attitude and position in the matter (3)the listing, reasoning, and explaining (4)conclusion 5）How is it that in public speech there is much use of noun phrases with post modification?Answer: there are few pre-modifiers, but more post-modifiers such as “of phrase” and “which clauses” to giv e detailed and accurate description. Chapter81 explain the following termsLearned words: learned words are words that borrowed from Latin, Greek and French.Clichés:are words or expressions which have lost their originality or effectiveness because they have been used too often.Semantic features: correctness and completeness; conciseness and clearness; consideration and courtesy. Grammatical features: sentences structure; uses of voices; uses of affirmative sentences; inverted sentencesLexical features: concrete and natural words; technical terms and abbreviations; brief and common word s; avoid clichés (except business contracts)3 questions for discussion1）Why should business English be correct and complete?Answer: the content of business English should be correct and completely. First, the conveyed information should be correct; sometimes a small mistake would cause a great loss in a deal and even affect business relations between two parties. Second, the conveyed information should be complete. For example, if we order some commodities, we should state names of commodities, delivery dates, consignees, methods of payment, etc.2）In business English sometimes active voice is used, and sometimes passive voice is preferred. Point out what stylistic features can be achieved through using voices. Answer: In business English, both active voice and passive voice can be used, but there is a tendency towardspreference of active voice in today’s business communication. Active voice is shorter in form and economic in words compared with passive voice. Thus active voice is more effective in stylistic effect than passive voice; besides, active voice can make style more familiar and less formal. But in some cases, passive voice is necessary. When we discuss something negative, we should avoid blaming the other party directly, in addition, passive voice can make business English style more formal, and the conveyed information more objective.3）Why should business letters be written in a way of consideration and courtesy?Answer: In business communication, in order to make it more efficient, we should be considerate of others and polite to others. “You- Attitude” is very important principle in business communication, that is, we should think ourselves back into the shoes of others so as to cooperate sincerely.4）The use of technical terms and abbreviations is one stylistic feature of business English. State the reason of this phenomenon.Answer: using technical terms and abbreviations can avoid long and tedious explanation, which is one lexical feature of business English. Such as L/C----letter of credit5）Why should we avoid clichés in business English?Answer: clichés are words or expressions which have lost their originality or effectiveness because they have been used too often. In old-fashioned business English there are a large number of clichés, which should be avoid in present-day business communication.Chapter91, explain the following terms2) Redundancy: in order to avoid opaqueness and ambiguity, it has express clearly what everyone knows and takes for granted. This makes the legal language redundant clumsy and hard to understand.3) Common words: many of the legal words come from ordinary language with the common core features especially those high-frequency words, such as prepositions, conjunctions, articles, etc.4) specialized words: specialized words are necessary for two important aspects of legal language. The first is that for the field of law itself, and the second is that for many non-legal field concerned with legal affairs. There are two sources of specialized legal words: common words endowed with legal meanings and archaic words.2, question for discussion1)Why is legal English syntactically complex?2)3)Answer: syntactic Complexity: as its main function is to ensure preciseness and accuracy and block any leakage, the draftsmen of legal documents have to be very carful and scrupulous, and the legal texts have to be able to stand the text of time .therefore legal language is rich in modifications, circumlocutions, and complex logic relations.2）Legal English is very conservative in form. Explain it from a historical perspective.Answer: conservativeness: as the legal language is produced by careful phrasing and tested over a long time, nobody dares to alter the structure of legal English, so that its structures become old-fashioned and archaic. The representative legal language in such a way is English legal language.3) What is the reason that there are many legal words of French source?Answer: because after the Norman Conquest, French because the official language used for all state affairs including law in Great Britain. That is why many French loan words were found in law afterwards.4) What are the lexical features of legal English?Answer: legal vocabulary mainly comes from French. (2) Legal words can be divided into following three types: 1, common words2, specialized words3, Multi-register words.。
