phonotic stylistic devices

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翻译理论】翻译学术语列表

术语翻译~I-—1—卜—贝献者Absolute Tran slati on 绝对翻译古阿德克（Gouadec）Abstract Tran slati on 摘要翻译古阿德克（Gouadec）Abusive tra nslati on 滥译路易斯（Lewis）Acceptability 可接受性托利（Toury）Accuracy 准确Adaptati on 改编Adequacy 充分性Adjustme nt 调整An alogical Form 类同形式霍尔姆斯（Holmes）An alysis 分析奈达（Nida）和泰伯（Taber）Applied Tran slati on Studies 应用翻译研究霍尔姆斯（Holmes）Architra nseme (ATR) 元译素范•路文兹瓦特( van Leuve n-Zwart ) Autonomy Spectrum 自立幅度罗斯（Rose）Autotra nslatio n 自译波波维奇（Popovic ）Back Tran slati on 回译Bilateral in terpret ing 双边传译凯斯（Keith ）Class Shift 词类转换韩礼德（Halliday ）Close Tran slati on 贴近翻译纽马克（NewmarkCommu ni cative Tran slati on传意翻译；交际翻译纽马克（Newmark Commu nity in terpret ing 社群传译Compe nsati on 补偿赫维(Hervey )Compete nee 能力托利（Toury ）Comp onen tial An alysis 语义成分分析奈达（Nida）Comprehe nsive theory 综合理论Con fere nee in terpreti ng 会议传译Con seeutive in terpreti ng 接续传译Con textual eon siste ncy 语境一致奈达（Nida）和泰伯（Taber）Conven ti ons 常规诺德（Nord）Corpora 语料库Corresp ondence 对应Court in terpret ing 法庭传译Covert tran slati on 隐型翻译豪斯（House）Creative tran spositi on 创造性转换Creative treas on 创造性叛逆罗伯特•埃斯卡皮（Robert Escarpi ）Decon structi on 解构主义德里达（Derrida ）Descriptive tran slati on描写性翻译研究霍尔姆斯（Holmes）studiesDiagrammatic tran slati on 图表翻译古阿德克（Gouadec）Differance 分延德里达（Derrida ）Doen tary tra nslati on 文献型翻译诺德（Nord）Domesticat ing tran slati on 归化翻译韦努狄（Venuti ）Dyn amic equivale nee 动态对等奈达（Nida）Dyn amic fidelity 动态忠信比克曼（Beekmar）和卡洛（Callow ）Effort models 用功模式贾尔（Gile ）Equivale nee 对等Excluded receiver 非目标接受者皮姆（Pym）Exegetic tra nslati on 诠释性翻译赫维（Hervey）和希金斯（Higgins ）Exoticism 异国情调赫维（Hervey）和希金斯（Higgins ）Expecta ncy norms 期待规范切斯特曼（Chesterman）维纳（Vinay ）和达尔贝勒纳Explicitatio n 明示（Darbelnet ）Expressive text 表情型文本赖斯（Reiss）Extra neous form 外来形式霍尔姆斯（Holmes）Faithfu In ess 忠实Foreig nizing tran slati on 异化翻译韦努狄（Venuti）Formal corresp onding 形式对应卡特福德（Catford ）Formal equivale nee 形式对等奈达（Nida）Free tra nslati on 自由译Full tra nslati on 全文翻译Gen eral theories of tran slati on普通翻译理论霍尔姆斯（Holmes）Gist tra nslati on 要旨翻译赫维（Hervey）和希金斯（Higgins ）Gloss tran slati on 释词翻译奈达（Nida）Grammatical tran spositi on 语法置换赫维（Hervey）和希金斯（Higgins ）Herme neutic moti on 诠释步骤斯坦纳（Steiner ）Hierarchy of Corresp onden ces 对应层级霍尔姆斯（Holmes）Horiz on tal tran slati on 横向翻译福勒纳（Folena）Hyper in formatio n 超额信息赖斯（Reiss ）和弗米尔（Vermeer）Idiomatic tra nslati on 地道翻译比克曼（Beekmar）和卡洛（Callow）德莱顿（Dryden）、利弗威尔Imitatio n 拟译（Lefevere ）In determ inacy 不确定性In formatio n offer 信息提供弗米尔（Vermeer）In formative texts 信息文本赖斯（Reiss）In itial no rms 初始规范托利（Toury ）Instrumental translation 工具翻译诺德（Nord）In tegral tra nslati on 整合翻译范•路文兹瓦特( van Leuve n-Zwart ) In terl in eal tran slati on 隔行翻译赫维（Hervey）和希金斯（Higgins ）In terl in ear tra nslati on 逐行翻译In terl in gual tra nslati on 语际翻译雅可布逊（Jacobs on ）In tersemiotic tran slati on 符际翻译雅可布逊（Jacobs on ）In trali ngual tra nslati on 语内翻译雅可布逊（Jacobs on ）In tra-system shift 系统内转换卡特福德（Catford ）In verse tran slati on 逆向翻译Kernel sentence 核心句Keyword tran slati on 关键词翻译古阿德克（Gouadec）Level shift 层次转换卡特福德（Catford ）Lexical tra nslati on 词汇翻译卡特福德（Catford ）Liais on in terpreti ng 联络传译凯斯（Keith ）Lin guistic tran slati on 语言翻译Literal tra nslati on 字面翻译；直译Mapp ing 图谱霍尔姆斯（Holmes）Matricial norms 矩阵规范托利（Toury ）Meta-la nguage 元语言霍尔姆斯（Holmes）Metatext 兀文本Mimetic form 模仿形式霍尔姆斯（Holmes）Mutatio n 变异范•路文兹瓦特( van Leuve n-Zwart ) Natura ln ess 自然性Negative shift 负面转换Norms 规范Obligatory equivale nts 必要对等语奈达（Nida）维纳（Vinay ）和达尔贝勒纳Oblique tran slati on 曲径翻译（Darbelnet ）Operati onal model 操作模式巴斯盖特（Bathgate ）Operati onal norms 操作规范托利（Toury）Opti onal equivale nts 可换对等语奈达（Nida）Overlapp ing tra nslati on 重合翻译赫维（Hervey）和希金斯（Higgins ）Overt tra nslati on 显型翻译豪斯（House）维纳（Vinay ）和达尔贝勒纳Overtra nslatio n 超额翻译（Darbelnet ）Paradigmatic equivale nee 范式对等波波维奇（Popovic）Paraphrase 释译德莱顿（Dryden）Partial theories of局部翻译理论霍尔姆斯（Holmes）tran slati onParticipative receiver 参与型接受者皮姆（Pym）Partieularizing translation 具体化翻译赫维（Hervey）和希金斯（Higgins ）Performa nee 运用托利（Toury ）Pho nemic tra nslati on 音素翻译利弗威尔（Lefevere ）Phono logical tran slati on 音位翻译卡特福德（Catford ）Pivot lan guage 中枢语言Polysystem theory 多元文化理论埃文•佐哈尔（Even-Zohar ）Pragmatic Approach 语用途径Pragmatic tran slati on 语用翻译Prelim inary no rms 预先规范托利（Toury ）Prescriptive tran slati on 规定翻译研究托利（Toury ）studiesPrimary tra nslati on 首级翻译迪勒（Diller ）和康纳留斯（Kornelius ）Problem-restricted theories oftran slati on 关于问题的翻译理论霍尔姆斯（Holmes）Process-oriented translationtheories过程取向翻译研究霍尔姆斯（Holmes）Product-oriented translationstudies成品取向翻译研究霍尔姆斯（Holmes）Professi onal norms 翻译规范切斯特曼（Chesterman）Prospective tran slati on 前瞻式翻译波斯特盖特（Postgate）Prototext 原型文本波波维奇（Popovic）Pseudotra nslati on 伪翻译Pure lan guage 纯语言沃尔特•本雅明（Walter Benjamin ）Radical tra nslati on 原始翻译奎因（Quine）Ran k-bou nd tra nslati on 级阶受限翻译卡特福德（Catford ）Realia 独有特征弗拉科夫（Vlakhov ）和弗罗林（Flor in ）Receptor lan guage 接受语奈达（Nida）和泰伯（Taber）Tran slati on with rec on structi on重构式翻译古阿德克（Gouadec）Redundancy 冗余奈达（Nida）Refractio n 折射利弗威尔（Lefevere ）Regulative tran slati onalconven ti ons规约性翻译常规诺德（Nord）Relay in terpret ing 转接传译Repertoreme 知识库要素托利（Toury ）Verbal con siste ncyVerifiability 可核实性赖斯（Reiss ）和弗米尔（Vermeer）Vertical tra nslati on 纵向翻译福勒纳Voids 空缺Whispered in terpret ing 耳语传译。

PHOTOSENSITIVITY TESTING DEVICE

专利名称：PHOTOSENSITIVITY TESTING DEVICE发明人：KONO Michihiro,AKIYAMA Masashi,OGAWAYasushi,ASANO Hideki,MISHINASuguru,MATSUZAWA Satoru申请号：EP16846228.1申请日：20160826公开号：EP3351183A1公开日：20180725专利内容由知识产权出版社提供专利附图：摘要：A test device 10 is used to test photosensitivity of a skin. The test device 10 is provided with an irradiation unit 30 including a plurality of light irradiation units arranged in a first direction (x direction). The plurality of light irradiation units output, in a second direction (y direction) intersecting the first direction (x direction), irradiation light beams that mutually differ at least in one of wavelength characteristics and intensity. Theirradiation unit 30 is configured such that intensities of the irradiation light beams output from the plurality of light irradiation units are progressively smaller in the first direction (x direction).申请人：National University Corporation Nagoya University,Nikkiso Co., Ltd.地址：1, Furo-cho Chikusa-ku Nagoya-shi, Aichi 464-8601 JP,20-3 Ebisu 4-chome Shibuya-ku, Tokyo 150-6022 JP国籍：JP,JP代理机构：Copsey, Timothy Graham更多信息请下载全文后查看。

English Rhetoric2

They did not know any of the people they passed on the stairs whenever they went on their way to and from their room.
features like balance or climax. In classical rhetoric, the manipulation of the normal
arrance for artistic
effect could take many forms, and such deviations were finely distinguished. Such deviations in
10
(5) Talking in low excited voices we would walk rapidly back toward town under the rustle of September leaves, in cool streets just grayed now with that still, that unearthly and magical first light of day which seems suddenly to rediscover the great earth out of darkness, so that the earth emerges with an awful, a glorious sculptural stillness, and one looks out with a feeling of joy and disbelief, as the first men on this earth must have done, for to see this happen is one of the things that men will remember out of life forever and think of as they die

介绍乐器的英语作文

介绍乐器的英语作文Title: Introduction to Musical Instruments。

Music is a universal language that transcends cultural boundaries and connects people from all walks of life. One of the most fascinating aspects of music is the diverse array of instruments that contribute to its rich tapestry of sounds. In this essay, we will explore various musical instruments from around the world, delving into their history, construction, and unique characteristics.1. Piano: The piano is a versatile keyboard instrument with a rich history dating back to the 18th century. It produces sound by striking strings with hammers when keys are pressed. The piano's dynamic range and expressive capabilities make it a staple in classical, jazz, and contemporary music.2. Guitar: The guitar is one of the most popular string instruments, known for its versatility and accessibility.It comes in various types, including acoustic, electric,and bass guitars. With its six strings and fretted fingerboard, the guitar produces a wide range of tones,from delicate melodies to powerful chords.3. Violin: The violin is a bowed string instrument that dates back to the Renaissance era. Its elegant design and hauntingly beautiful sound have made it a staple inclassical music orchestras. The violin's four strings are tuned in perfect fifths and are played with a bow made of horsehair.4. Flute: The flute is a woodwind instrument that produces sound by blowing air across a hole in the instrument's body. It has a long history dating back to ancient civilizations and is known for its clear, airy tone. The modern flute is typically made of metal or wood and is played by pressing keys along its length.5. Drums: Drums are percussion instruments that produce sound by being struck with a drumstick, hand, or mallet. They come in various shapes and sizes, including snaredrums, bass drums, and cymbals. Drums play a crucial rolein rhythm and are found in virtually every style of music, from rock and pop to jazz and world music.6. Saxophone: The saxophone is a relatively modern instrument invented by Adolphe Sax in the 1840s. It is a member of the woodwind family but is made of brass. The saxophone's distinctive sound and expressive capabilities have made it a popular choice in jazz, blues, and classical music.7. Trumpet: The trumpet is a brass instrument with a bright, powerful sound. It consists of a long metal tube with valves and a bell-shaped flare at the end. The trumpet is known for its ability to play soaring melodies and powerful fanfares and is commonly found in orchestras, brass bands, and jazz ensembles.8. Harp: The harp is one of the oldest known musical instruments, with a history that can be traced back thousands of years. It consists of a series of strings stretched between a frame and is played by plucking thestrings with the fingers. The harp's ethereal sound has made it a symbol of angels and heavenly music.9. Tabla: The tabla is a pair of hand drums originating from India. It consists of two drums: the smaller, higher-pitched tabla, and the larger, lower-pitched bayan. Tabla players use a combination of fingers and palms to produce intricate rhythms and melodies, making it an essential instrument in Indian classical music.10. Didgeridoo: The didgeridoo is a traditional wind instrument indigenous to the Aboriginal peoples of Australia. It is a long wooden tube that produces a deep, resonant drone when played with a technique called circular breathing. The didgeridoo's unique sound is often used in ceremonial and spiritual contexts.In conclusion, musical instruments come in a myriad of shapes, sizes, and sounds, each with its own rich history and cultural significance. Whether it's the classical elegance of the violin, the rhythmic power of the drums, or the soulful melodies of the saxophone, instruments have theremarkable ability to evoke emotions, tell stories, and bring people together through the universal language of music.。

Rhetoric devices

• 2．结构修辞格(Syntactical Stylistic Devices) 结构修辞格( )
repetition（反复）, catchword repetition（联珠）, chiasmus （回文）, parallelism（平行结构）, antithesis（反对）, rhetoric question（设问）, anticlimax（突降）
9.Epigram 隽语，警句 is an 隽语，警句--experimental dependently typed functional programming. e.g. You can’t eliminate violence by violence, you should use love. Necessity is the mother of invetion.
achieved through a figurative use of words; the word is used not in its literal sense, but in one analogous to it. e.g. …the carpenters’ market lie elsewhere in the maze of vaulted streets… We are called upon to help the discouraged baggers in life’s marketplace. He who has love has the key that unlocked the door to the meanings of ultimate reality. e.g. Life‘s but a walking shadow; a poor player, That struts and frets his hour upon the stage. " （Macbeth , Shakespeare）

chapter2 syntactic device 1-2

课题Chapter2 Syntactic Devices 1-2目的要求Get the students to know the variation in the use of sentence structures for stylistic or rhetorical effect.教学重点Non grammatical properties of sentences like length, complexity, looseness:1.Long and short sentence2.Simple sentence and Compound sentence3.Branching SentencesThe right-branching or loose sentence松散句The left-Branching or periodic sentence 掉尾句●Mid-branching●Multi-branching4.Climax层进句5. Anticlimax突降句教学难点Loose sentence , periodic sentence教学课时4教学方法reading , explanation, and discussion教学内容与步骤Introductory●Syntactic divices●What does sentence variety aim at?A.different sentence patternsB. varied sentence lengthsThe purpose of seeking sentence variety is to avoid monotony.●variety in sentence patternsA)In grammar, sentence patterns are generally viewed from twoperspectives:1.Viewed from their function: the declarative sentence, theinterrogative sentence, the imperative sentence and the exclamatory sentences.2.Viewed from structure: the simple sentence, the compoundsentence, the complex sentence and the compound-complex sentence.B)There are many sentence patterns in English that havespecial affects in achieving rhetoric purposes. E.g. loose sentence, periodic sentence, cumulative sentence and anticlimax sentence.1.1 Long and Short sentencesWhat’s the rhetorical effect of long or short sentences?The rhetorical effect of long or short sentences depends on purpose and context. Without an appropriate purpose or context, shortsentences used abundantly in a passage only make for choppiness and monotony. Likewise, too many ling sentences can make a passage heavy and laborious. Skillful writers, however, can vary sentence length to great effect to express different moods or attitudes, to describe action or events or to emphasize a point. (See the first three examples on page6-8)Short sentences---quickness, stressLong sentences--- clear, explicitLegal documents, official documents and scientific papers contain more long sentences than other categories of writing. Because they should be made clear and explicit, with no room for misunderstanding and mistranslation.In prose writing, long sentences serve a different purpose. They are used to describe actions or feelings that come in quick succession, to describe simultaneous or continuous action, or to indicate a close cause-effect relationshiop.1.2-1.41.2 Characteristics of the simple sentenceThe simple sentence contains a single independent clause and all its constituent element are phrase.●At phrase level, the simple sentence can made quite complex.●What is the grammatical devices?The modification of nouns by attribution.The modification of verbs by adverbials.1.3 the noun phrase in simple sentencesThe head word can be modified by the following ways.A.Pre-modificationB.Post-modificationC.Apposition1.4 Adverbials in simple SentenceAdverbials may occur together. The problem of hierarchy arise.1.5-1.7 Compound, and complex sentence1.8 The right-branching or loose sentence松散句The loose sentence is one of the most common sentence patterns in English rhetoric. In a loose sentence, the main idea is put at the beginning of the sentence, and supportive or qualifying information comes after it. The information may be given in a wide variety of forms: from words to phrases to clauses.(See examples on page24) The stylistic effect of a loose sentence is natural, relaxed.●The cumulative sentence is loose sentence.●The coordinated sentence is also a loose sentence because each ofthe coordinated clauses can express a complete notion and even the order of coordinated clauses can sometimes be exchanged without affecting much of the meaning of the who sentence.E.g. John likes sports and Jane likes music.___Jane likes music and John likes sports.● A complex sentence can be a loose sentence when the main clauseprecedes the subordinated one(s).1.9 The left-Branching or periodic sentence 掉尾句In contrast to the loose sentence, the periodic sentence has its main idea at the end of the sentence. Supporting or qualifying statement are placed before the main clause or assertion.1.10 Mid-branchingMid-branching, as the name implies, is to have major parts of a main clause separated by the insertion of supportive or qualifying information.●The most common form is the separation of Subject fromPredicate.e.g. The essay, as a species of literature, was invented by Montaign.A verb may also be separated from its object.e.g. The narrowest street possesses, in every crook and twist of itsintention, the soul of the man who built it.作业Rewrite the following paragraph to give it more variety in sentence structure.Values play a major role in our society. People use these values to make certain decisions in their lives. Values can be stated as a person’s view of right and wrong.（Values, which can be understood as one’s views of right and wrong, play a major role in our society and people use them to make certain decisions in their lives.）教学后记：A.1.5-1.7 Compound, and complex sentences are for the students tolearn themselves.B.The students should study the examples carefully to appreciate therhetorical effect.。

Sharing Digital Media on Collaborative Tables and Displays

SHARING DIGITAL MEDIA ON COLLABORATIVE TABLES AND DISPLAYS TECHNICAL REPORT 602 TRENT APTED, JUDY KAY AND MARK ASSADNOVEMBER, 2006Sharing Digital Media on Collaborative Tables andDisplays∗Trent Apted,Judy Kay and Mark AssadSchool of Information TechnologiesUniversity of SydneySydney,Australia{tapted,judy,massad}@.auNovember13,2006AbstractThis paper describes the design and early experience with Cruiser–a multi-user,gestural,collaborative digital photograph sharing interface for atabletop–and the techniques we use to share information with devices andother displays in its pervasive computing environment.The design is stronglyinﬂuenced by the metaphor of physical photographs placed on the table andwe have concentrated on the provision of an eﬀective UbiComp interface thatdoes not use a keyboard,a mouse or traditional WIMP(Windows,Icon,Mouse,Pointer)interface widgets.That is,with an emphasis on seamlessness.Aspects of the interface include the ability to interactively attach audio,handwriting or drawings,as well as other photographs to the“back”of animage afterﬂipping it over;direct sharing of images with digital cameras,largedisplays and other UbiComp devices;and the provision of personal spaces–an area close to a user in which only they can work,which is enforced by theinterface.1IntroductionWe are just beginning to explore the possibilities aﬀorded by tabletop interfaces, including the provision of some interactions that are not well supported by traditional computer displays.Face-to-face collaboration is possible,with multiple users sitting around the tabletop,each able to access computing resources.A table involves a social dimension and an environment where users can interact with a computer and each other in an informal setting.A tabletop also has the natural concept of a user’s personal space–an area close to them in which they can work.The need for technology to support natural tabletop interaction has prompted researchers to approach the hardware problem from a number of directions.Here, the problem is the determination of where each user is acting on the display.Devices such as the DiamondTouch[3]use capacitive coupling with the human body to detect multiple touches,while computer vision techniques are used in other work[7, 9]with varying results.There is also the possibility of adapting mature technologies ∗Appeared at“The Spaces In-between:Seamful vs Seamless Interactions”workshop held in conjunction with The Seventh International Conference on Ubiquitous Computing(UbiComp 2005),11September,2005,Tokyo,Japan.This work was conducted as part of the Homes&Communities project,a joint project between the University of Sydney and the Smart Internet CRC.Figure1:Cruiser in usesuch as SMARTBoards[5]or Mimio[10],traditionally for vertical presentation displays(e.g.whiteboards),to support multiple users on a large horizontal surface. Furthermore,collaborative touch technology and computer vision techniques are still at an early stage and it is attractive to explore these,stylus-based alternatives especially as a pen is particularly natural for some interactions.Regardless of the hardware chosen,there is a need to explore software possibil-ities to support natural interaction.Early work with touch screens introduced the concept of a gesture for manipulating virtual objects without a mouse or keyboard [6].More recently,and closest to our work,Shen et al.[8]investigate layout techniques for multi-user browsing of photo libraries and story sharing on a circular tabletop in their Personal Digital Historian(PDH).Our work introduces novel annotation methods and attempts to provide an interface truer to the analogy of physical photographs lying a table for collaborative mark-up and social interaction.In this paper,we will outline our techniques for interacting with the tabletop,as well as with other devices in the environment through the tabletop interface.These currently include a wall-sized stereoscopic display,digital still cameras,regular computing desktops and a prototype“magic mirror”distributed home messaging system we are developing.We will also discuss methods for handling input from these devices;as well as a microphone,the display framebuﬀer itself and multiple users in a manner that enforces ownership and privacy on the tabletop.2Overview of CruiserOur work is motivated by the desire to support,for digital photographs,natural archival and mark-up activities with groups of people,and the social interaction experienced while sharing photographs.This was once accomplished by passing the latest pile of holiday snaps back from the developer around a coﬀee table, but the advent of digital photography is changing the nature of photography andthe photographic process.While this transition brings with it many possibilitiesFigure2:The projected image for4users:The blackhole(an image partially within it):An image photo corner(selected by‘cyan’user):A dynamically updated remote framebuﬀer“photo”from a laptop:An audio object,attached to the back of a“Keep-in-Touch”image(audio objects on people are synchronised with the magic mirror interface) :The Frame; :Aﬂipped photo with attachments(some writing)in terms of copying,editing,publishing and printing,it also brings challenges in terms of presentation,viewing and sharing photographs[4],which our work is investigating.We use pen-based gestures for manipulating digital photographs on a tabletop interface,and leverage modern dedicated computer graphics hardware to eﬃciently simulate a physical tabletop with photographs placed on it.These may be annotated,manipulated and shared using a pen.Hardware is not the focus of this work,so we have adapted the Mimio system,an oﬀ-the-shelf whiteboard capture tool,to support asynchronous multi-user pen-based interaction.However, the application is not bound to this hardware.In fact an earlier version[1]used a DiamondTouch for input.The C++and OpenGL implementation is tested on Windows,Mac OSX and Linux to ease future adaptation.Cruiser supports use by up to four users at the tabletop through the conﬁgu-ration of a static layout.Figure1shows the layout for two users,with the two participants sitting opposite each other.Each participant has a coloured triangular “personal space”in front of them.Figure2shows the user view for three or four users.A photo selected by a particular user has a border and photo-corner indicated and also shown on the images in Figure3.Other objects,such as the Black Hole ,remote framebuﬀer photo ,audio objects and Keep-in-Touch images ,the Frame and writing are described below.2.1General Interface ConceptsAfter selecting a photo by physically touching it with a pen tip,it can bemoved by sliding the tip over the tabletop.We attempt to maintain the physical-2Figure3:The rotate/resize gestureThe centre of the image remainsﬁxed while the image rotates and resizes to keep the“ ”undera user’sﬁngervirtual coupling throughout this and other actions,by keeping the contact point on the photo appear“stuck”to the pen tip.This coupling is broken in special circumstances–the centre of the photo is not allowed to move oﬀscreen,nor is it allowed to enter another user’s personal space.To rotate and resize a photo,a user mustﬁrst touch it in a photo corner. The photo is rotated and resized concurrently,with the centre of the photoﬁxed and the contact point remaining under the pen as it moves in two dimensions.For example,Figure3(a)shows the contact point moving from position1,inwards and in an anti-clockwise direction to end at position2,giving the superimposed version of the photo;reduced in size and rotated45◦.Figure3(b)shows an enlargement and170◦rotation.Toﬂip a photo,a user selects a triangle along one of the photo’s edges and drags it across to the opposite edge.Again,we wish to keep the original point under the pen tip,so this occurs gradually and in simulated3D.If other photos are beneath it,the user will see theﬂipping photo pass through those images,as its plane rotates on a horizontal axis through the centre of the photo,parallel to the edge whose triangle was chosen.Onceﬂipped,the user sees a partially transparent white surface and they may attach other objects on the table to that image,which will be automatically laid out on theﬂipside.This is done simply by moving the object over aﬂipped image and releasing.A photo may also beﬂicked,during a move action.This occurs when a photo (or other movable object)is released whilst it is moving with a velocity greater than a threshold–currently300pixels per second.The object is given momentum and subjected to a kinetic frictional force that causes it to decelerate.This action becomes relevant when the table is large and a user might not be able to reach across the full width to pass a photograph to another user,but it can also be a trigger for other actions and events.The photo is stopped if any user selects(“grabs”)it,and it is not allowed to fall oﬀthe edge of the table,nor move into the personal space of a user other than that of the user whoﬂicked it.In the current implementation,users may send a photograph from the tabletop to a wall-sized display,where it is shown covering the wall,for wider presentation and analysis.This occurs at the edge of the table closest to the display,so the user simplyﬂicks the image towards the display itself.In our lab,the display is a“3D DataWall”that allows the display of stereoscopic photographs,and a three-dimensional animation of the photograph moving from the edge of the table to the wall.The latter is a design towards seamlessness,but the need for3D goggles to see the eﬀect(and their unsuitability for interaction with the current tabletop) means that it is usually wasted.Flicking to the opposite edge of the table currently inserts the image into a slideshow on the magic mirror interfaces,which behave likea dynamic picture frame when not in use.2.2Special ActionsA user may copy a photo by an implicit action that is triggered when they try to move an unowned photo into their personal space.A copy owned by that user is created once the original would have been moved more than a threshold distance into the personal space and the copy immediately becomes the user’s active selection, which they are still moving.To draw or write,a user simply uses the pen on the background.That is,they do not select a photo,but drag the pen over the black,public area or their own personal space.This mode switch is implicit,so we take steps to avoid accidental drawings.To attach audio to a photo,a user dwells on that photo.They are prompted to record their audio and repeat the dwell when they areﬁnished speaking.A circular audio object is created that is automatically attached to the back of that image and numbered.To replay the audio,a user dwells on the audio object(afterﬂipping the image if necessary).This enables a user to attach one or more pieces of audio to a photo,for example as an annotation or a message.2.3Special Objects and PlacesPersonal space objects are coloured triangular elements drawn on the display, which demarcate the exclusive area for each user.For example,once the centre point of a photo is contained within a user’s personal space,no other user may select that photo.This enforces a range of social conventions surrounding what constitutes acceptable behaviour for items in public space versus one’s personal or private space.The Black Hole is a semi-translucent photo with swirls.It can be manipulated as a typical photo(moved,rotated,resized,etc.)but is never obscured by other photos and cannot be copied or moved into a personal space–it is a shared resource. The Black Hole has a“sphere of inﬂuence”that aﬀects the size of other photos near or in it.Figure4shows a user moving a photo into the Black Hole.Moving from the right to left,the photo gets smaller as it moves closer to the centre until it is hidden.This occurs as the touch point(indicated by a“ ”),rather than the photo centre is moved closer to the centre of the Black Hole.This gives the photo an appearance of being gradually“sucked”into the Black Hole.The Black Hole is our take on the trash can.As the Black Hole is moved,photos in its sphere of inﬂuence move with it.Photos may be retrieved by either reducing the size of the Black Hole(allowing partially hidden photos on the fringes to be retrieved)or by dragging the Black Hole into your personal space.In the latter case,the Black Hole itself does not move into your personal space,but photos that are unowned or owned by you1will“fall out”,into your personal space.Dwelling on the Black Hole causes photos already within it to be permanently deleted,and all other movable photos to slowly move towards the Black Hole.This can be used 1Thus a user may“delete”a photo they own by moving it into the Black Hole and other users may not remove itFigure4:Putting an image into the Black Holeto clear the table and release resources when many high-quality images are causing the interface to lose responsiveness.The Frame is a transparent blue image.Like the Black Hole,it can be manipulated as a typical photo and is never obscured.However,a user is allowed to move it into their own personal space,but if a diﬀerent user selects it,the Frame will immediately move to the closest point not within that personal space.The Frame is an object used to capture areas of the display,similar to capturing a photograph with a real camera,where each Frame acts as a viewﬁnder.To activate the Frame’s audible“shutter”action a user holds their pen tip on it and ers see a ﬂash and pixels beneath the Frame are grabbed(from the frame buﬀer)and loaded in as a new photo.This allows photos to be grouped as a collage or cropped.For example,one might crop an image of a person from one photo and attach that to another.By capturing writing or a drawing,the user can produce aﬂippable image, which can then have other items attached.The Remote Framebuﬀer image is photo object that can be manipulated just like any other,but is updated dynamically from a networked computer’s screen contents using the VNC protocol.For example,a laptop running a VNC server can be brought to the table and have its display duplicated(as a photo)in order to display slides from a presentation or discuss a document(which may be copied, rotated,resized,etc.by each user).In future we wish to be able to interact with the remote computer via the tabletop by sending mouse cursor events,but we are yet to design a seamless way to distinguish this interaction from moving the photo object itself.We also wish to give further meaning to the attachment of objects to the framebuﬀer photo.For example,attaching writing or audio might send a command to the remote computer and attaching a photo might simply store a copy. However,this would require software running on the laptop beyond the(generic) VNC server software.2.4Other EventsNew photos appear as a result of a number of events:when a digital camera or removable storage device is plugged into the table,as the result of a Frame capture, or when sent an image from a networked device.In each case,the photo slides infrom a corner of the surface,increasing in size as it moves into a spiral around the centre of the table,in order to draw attention.Once in the centre,it is also shown above other images until an object is selected.Processing photographic-quality raster images directly from a compressed format2into a texture is resource-intensive and we wish the interface to remain responsive during this process.Thus,texture mipmap generation and other tasks not initiated by the user are executed in background threads,with only a negligible pause as we load the processed textures into video memory.2.5Keep-in-Touch imagesThe“Keep-in-Touch”(KIT)images are photos of people that can be manipulated like the others,but are synchronised to a system of audio messaging appliances. These are designed to facilitate message communication within a geographically distributed family.One appliance is the“Magic Mirror”,which hides the display behind a half-silvered mirror.The user interacts with the device using gestures over light sensors mounted in the frame.Another device is a touch screen.The messages are sent to members of the family by selecting the recipient’s photo and recording a message.Once a message is recorded it is distributed to all the KIT appliances in the network.Cruiser integrates with this system by displaying the family photos as images on the table surface.The user is able toﬂip these images,and record a new message for the family member.When a message is recorded,it is copied to all the other display appliances.If a message is recorded on any of the other appliances,it will appear on the back of the respective image on the Cruiser table.This allows seamless multi-way interaction between a number of appliances.3Discussion and Future WorkOur implementation is robust enough that it has been used for numerous demon-strations both in and out of the laboratory and was a‘video highlight’at the Australian CeBIT exhibition,2005[2].This gave us an opportunity to gain vast amounts of informal feedback over the course of the three-day exhibition.Generally, user reaction was very positive and all visitors who chose to interact were able to use the interface eﬀectively in less than a minute.In most cases,a user’s own exploration of the interface revealed the functionality of the Black Hole,as well as moving,rotating,resizing,ﬂipping and the activation of a“pie menu”that we have been trialling.However,the Frame was rarely discovered until the user was told about it and,while writing was simple to begin,the dwell requirement and the need for a single stroke was problematic.Surprisingly,no visitors expressed an immediate desire for a touch interface, despite SMARTBoard exhibiting vertical touch displays only metres away.In discussion,the attractiveness of a touch interface was recognised but most expressed the desire for a keyboard(or pen)for textual input.The potential for multiple-ﬁnger and whole-hand gestures did not get raised,but many users expressed a desire for video in place of the still images,which is currently broaching the limits of what consumer computer hardware can provide.It should be noted that as CeBIT is a technology exhibition most visitors were computer savvy and familiar with cursor-based manipulation–in[1]we present a comprehensive study with elderly,non-expert participants and a touch interface(where the two-ﬁnger gesture we supported proved to be very diﬃcult for the users).2we support jpg,png,gif,bmp,tif,pcx,tga and others,of any size4ConclusionWe have presented the interaction features of an interface prototype to facilitate manipulation,sharing and annotation of high-quality digital photographs on a tabletop called Cruiser.While robust and computationally eﬃcient,development is continuing as we improve the interface based on initial feedback before a thorough empirical evaluation is conducted.Early observations indicate clear interest in this kind of interface,based on informal feedback from visitors to our demonstration at a technology exhibition.References[1]Trent Apted,Judy Kay,and Aaron Quigley.A study of elder users in a face-to-face collaborative multi-touch digital photograph sharing scenario.Technical Report TR576,School of IT,University of Sydney,March2005.2,3[2]CeBIT Australia..au.Website,2005.veriﬁed2005-06-16.3[3]Paul Dietz and Darren Leigh.DiamondTouch:A multi-user touch technology.In Joe Marks and Elizabeth Mynatt,editors,Proc.of14th annual ACM sym-posium on User Interface Software and Technology,pages219–226,Orlando, Florida,USA,November2001.ACM Press.1[4]Dane M.Howard.Sharing Digital Photos:The Future of Memories.MicrosoftPress,1st edition,October82003.2[5]David A.Martin.Interactive display system(SMARTBoard).US Patent5,448,263,Smart Technologies Inc.,Calgary,California,USA,October1991.1 [6]Margaret R.Minsky.Manipulating simulated objects with real-world gesturesusing a force and position sensitive screen.SIGGRAPH Comput.Graph., 18(3):195–203,1984.1[7]Yasuto Nakanishi,Yoichi Sato,and Hideki Koike.EnhancedDesk andEnhancedWall:Augmented desk and wall interfaces with real-time tracking of user’s motion.In Proc.of UbiComp’02Workshop on Collaborations with Interactive Walls and Tables,pages27–30,2002.1[8]Chia Shen,Neal B.Lesh,and Frédéric Vernier.Personal digital historian:Story sharing around the table.ACM Interactions,10(2):15–22,March2003.1[9]Le Song and Masahiro Takatsuka.Real-time3Dﬁnger pointing for anaugmented desk.In Proc.of6th Australasian User Interface Conference, CRPIT40,2005.1[10]Virtual Ink Inc./.,Mimio Website,2005.1School of Information Technologies, J12The University of SydneyNSW 2006 AUSTRALIAT +61 2 9351 3423F +61 2 9351 3838.auISBN 1 86487 879 7。

RhetoricalDevices

Rhetorical DevicesA. Categories:•Syntactic Devices•Lexical Devices•Phonetic Devices and Prose Rhythm•Figures of Speech•Allusions and Skewed Quotations典故和改引B. Syntactic devices句法辞格a. Definition: Syntactic devices refer to variation in the use of sentence structures for stylistic or rhetorical effect, and are different from the processes of transformation of basic sentence patterns according to grammar rules.b. Periodic Sentences 甩尾句Periodic sentence has its main idea at the end of sentence. Supportive or qualifying statements are placed before the main clause or assertion. The stylistic effect of a periodic sentence, is a cumulative effect of tenseness, suspense and dramatic climax. It is one kind of branching sentenc e 分枝句.eg.With his fine Roman nose, his clear grey eyes, black moustache, surmounted by the white-bound helmet of gold, he looked like a crusader.c. Parrallelism 排比Parrallel structure is one of the syntactic schemes of balance 平衡句. In parrallel construction it is necessary to balance word for word, phrase with phrase, clause with clause, sentence with sentence. To make the parrallelism clear, it is essential to repeat the marker of the parrallelism. eg.It is important to know how to study and to learn how to plan one’s time.d. Antithesis 对偶Antithesis is the deliberate arrangement of contrasting words or ideas in balanced structural forms to achieve force and emphasis. This is also a syntactic scheme of balance.eg.Speech is silver; silence is golden.If the economy stays down, can the conservatives stay up?e. Rhetorical question 修辞问句Rhetorical question is one that is asked to imply a definite answer. The question is seldom answered explicitly with a yes or no—the listener or reader surmises the actual answer from the context and/or the tone.eg.Was I not at the scene of the crime?C. Lexical Devices 词法辞格a. Definition: Lexical device refers to such a rhetorical device that the user employs lexical means to express ideas clearly and effectively or to achieve artistic and stylistic effect.b. Lexical repetition 词的反复Lexical repetition is a way that writers repeat words for artistic and stylistic effect. Words may be repeated in juxtaposition, in initial or end position of various patterns or in distant or intermittent positions.eg.Sweetly, sweetly blew the breeze.The eyes are not here. There are no eyes here.D. Phonetic Devices and Prose Rhythm语音辞格和文律a. Definition: Phonetic devices and prose rhythem are devices that writers use phonetic sounds for rhetorical effect like echoing or rhyming.b. Alliteration 头韵In this device the same consonant sound is repeated at intervals in the initial position of words. eg.P eter P iper p icked a p eck of p ickled p epper.P ractice makes p erfect.c. Assonance 元韵Assonance is the echoing or resemblance of vowel sounds in the stressed syllables of a sequence of words.eg.a h o t c o pper skyNow everything is l ean er and m ean er, cl ean er and k een er.d. Onomatopoeia 拟声This device makes use of imitation of sounds for effect.eg.Dogs bark, doors bang, windows rattleE. Figures of Speech修辞格a. Definition: By figures of speech we refer to those rhetorical devices termed tropes 转义in clasical rhetoric.Tropes have to do with the way words are made to mean other than what they would normally imply, and therefore involve deviation from the ordinary and literal meaning of wordsb. Simile 明喻A simile is a figure of speech which makes a comparison between two unlike elements having at least one quality or characteristic in common.eg.The stars twinkle like diamonds in the sky.c. Metaphor 暗喻A metaphor, like a simile, also makes a comparison between two unlike elements, but unlike simile, this comparison is implied rather than stated. In a simile, the words like, as, --- are used to make the comparison while in a metaphor, the comparison would appear simply without such words.Cf: Jim was as cunning as a fox.Jim was a fox.Hence a metaphor is in a sense a condensed simile, differing from the latter only in form.d. Analogy 类比Analogy is also a form of comparison, but unlike simile or metaphor, which usually concentrates on one point of resemblance, analogy draws a parrallel between two unlike things that have several common qualities or points of resemblance. The function of analogy differs also from that of simile or metaphor. While the latter figures serve to heighten effect with vivid image, analogy is chiefly used for persuasion or explanation of an idea.eg.the analogy between the loons and the French Indianse. Personification 拟人Personification is a figure of speech that gives human form or feelings to animals, or life and personal attributes to inanimate objects, or to ideas and abstractions.eg.The wind whistled through the trees.f. Metonymy 转喻/借代Metonymy is a figure of speech that has to do with the substitution of the name of one thing for that of another. This substituted name may be an attribute of that other thing or be closely associated with it. In other words, it involves a change of name, the substituted name suggesting the thing meant.eg.The pen is mightier than the sword.Uncle Sam always likes to play the role of a policeman.g. Synecdoche 提喻Synecdoche has often been confused with metonymy as both figures of speech involve substitution, only metonymy involves substitution of the name of one thing for that of another closely associated with it, whereas synecdoche involves substitution of the part for the whole, or the whole for the part.eg.They counted fifty sails in the harbour. Here sails really means ships, and is an example of the part representing the whole.The birds sang to welcome the smiling year. The smiling year indicates spring, the whole representing the part.h. T ransferred Epithet 移就A transferred epithet is a figure of speech where an epithet ( an object or descriptive phrase) is transferred from the noun it should rightly modify to another to which it does not really belong. Usually, the epithet is transferred from a person to a thing or idea, or the reverse.eg.We spent sleepless nights on this project. The word sleepless is a transferred epithet, for nights cannot sleep. We really mean to say we did not sleep for many nights while working on this project.---the production of guilt-free eggs--- (decholesteroled eggs)i. Hyperbole 夸张Hyperbole is the deliberate use of overstatement or exaggeration to achieve emphasis.eg.She is the prettiest girl in the world.Belinda smiled, and all the world was gay.j. Euphemism 婉语Euphemism is substitution of mild or vague or round-about expression for harsh or direct one. eg.pass away for die, senior citizen for old people, slow for stupid, laid-off for sacked, Mrs. Jones for women’s lavatory, sub-standard housing for slum, etc.k. Irony 反语Irony is a figure of speech that achieves emphasis by saying the opposite of what is meant, the intended meaning of the words being the opposite of their usual sense.For instance, in life we may call a very thin boy ‘Fatty’. Similarly, we may hear people saying, ‘Oh, how I love queuing up’ when in fact they hate it.l. Sarcasm 讽刺Sarcasm is a heavy form of irony, by which writers attack in a taunting and bitter manner, and its aim is to ridicule and wound the feelings of the subject attacked.eg.How merciful the father was to his own daughter! He posted 50 pounds every second Tuesday of each month to his 16-year-old daughter living alone 500 miles away.m. Punning 双关To pun is to play on words, or rather to play with the form and meaning of words, for a witty or humorous effect.eg.It’s better to live rich than to die rich.Sign on a Men’s Gym door: We have courses to make grown men young and young men groan.F.Allusions and Skewed Quotations典故和改引a. Definition: Allusions are references to well-known persons, things, or events that writers assume are familiar to their readers. The assumption is based on the knowledge or belief that their readers share with them a common historical, cultural and literary heritage, which enables them to identify the allusions and to understand their significance. Skewed quotations are deliberate twisting of quotation in a new situation or context in order to emphasize, to clarify, or to satirize a statement or a point.b. Sources of allusions--nursery rhymes (Humpty Dumpty)--fairy tales, myths, legends and fables (Achilles’ heel)--the Bible (Noah and his Ark)--literary works (‘To be or not to be---‘)--modern and contemporary sources (the Cold War)c. An example of skewed quotations: Action speaks louder than words. ( when enraged city dwellers dump their garbage at the City Hall to protest the inefficient garbage removal system)。

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Consonance comes from Latin,meaning "to harmonize".It refers to the repetition of the final and identical consonants whose preceding vowels are sometimes different,words like sing─rang,won─ran,dash─fish,laugh─tough,ph rases like odds and ends,first and last, a stroke of luck,ect.
Alliteration
In prose
e.g. Let every nation know,whether it wishes us well or ill,that we shall pay any price,bear any burden. (John F. Kennedy )
In proverbs
And dances with the daffodils.
I Wandered Lonely as a Cloud (by William Wordsworth)

Rhythm is a basic function of all life. In our very bodies,it is the most constant fact of which we are aware — the beat of the heart, the drawing of the breath, the movement in walking.
Thank You !
Assonance
definition:
• Assonance is the repetition or resemblance of vowel sounds in the stressed syllables of a sequence of words,preceded and followed by different consonants as in "late and make", "fish and chips",and "a deep green stream".Assonance also refers to the likeness of sound in aseries of words,as in "fair and square".
Elegy Written in a Country Churchyard • • • • The curfew tolls the knell of parting day, The lowing herd winds slowly o'er the lea, The ploughman homeward plods his weary way, And leaves the world to darkness and to me. 晚钟响起来一阵阵给白昼报丧，牛群在草原上迂回，吼声起落，耕地人累了，回家走，脚步踉跄，把整个世界留给了黄昏与我
Brooks and Warren, Understanding Poetry P.124
• The term rhythm refers to any wavelike recurrence of motion or sound.In speech,it is the natural rise and fall of language.All language is to some degree rhythmical,for all language involves some kind of alteration between accented and unaccented syllables.
The Good-Morrow John Donne (1572-1631)
Alliteration
The word alliteration derives from Latine,meaning"repeating and playing upon the same letter". It is the repetition of initial consonant in two or more words,e.g. safe and sound,bigger and better,happy and healthy,tit for tat,jump for joy,with might and main,sweet smell of success,ect.
—Laurence Perrine,Sound an Sense,P.168
Rhythm(诗的节奏）
• √ ∕ √ ∕ √ ∕ √ ∕ √ ∕ • Shall I compare thee to a summer's day? • ∕ √ ∕ √ ∕ √ ∕ • Tiger ! Tiger ! Burning bright ! • √ √ ∕ √ √ ∕ • For he calls himself a Lamb.
Rhyme 诗的音韵
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye Which is the bliss of solitude;
And then my heart with pleasure fills,
Sea,Sun,Sand,Seclusion---and Spain ! (advertising for Spain seashore scenic spots)
In tongue twisters:
Peter Piper picked a peck of pickled pepper. She sells sea--shells on the sea--shore.
Phonetic stylistic devices
The Phonological Category
Elision
Alliteration
Assonance Consonance
Rhyme
Elision
Elison is the omission of one or more sounds (such as a vowel,a consonant,or a whole syllable) in a word or phrase, producing a result that it's easier for the speaker to pronounce. e.g. I wonder by my troth, what thou and I Did, till we lov'd? Were we not wean'd till then, But suck'd on country pleasures, childishly? Or snorted we in the seven sleeper's den? 'Twas so; but this, all pleasures fancies be. If ever any beauty I did see, Which I desir'd, and got, 'twas but a dream of thee.
押头韵
In poetry
In newspaper headings:
e.g. Bread Not Bombs Cut Crime with Jobs----Not Jails
Alliteration
In advertisements and slogans:
Vitamins for Vim and vigor (advertising for vitamins)
e.g. (1) Time and tide wait for no man. (2)Many a man, many a mind.
Alliteration
e.g. The fair breeze blew,the white foam flew, The furrow followed free; We were the first that ever burst Into that silent sea. (T.S.Coleridge)
Rhyme refers to the identity of sound between syllables or paired groups of syllables,usually at the ends of verse lines. (end─rhyme).
Break, break, break, 碎裂！啊，大海的波涛 On thy cold grey stones, O Sea! 在灰冷的危岩上崩溃，碎裂！ And I would that my tongue could utter 但愿我胸中涌起的思情 The thoughts that arise in me. 能在舌端倾泻。 (by Alfred Tennyson）
Charmed magic casements, opening on the foam Of perilous seas, in faery lands forlon. (John Keats) alliteration Stand beside the sobbing river. Sobbing, throbbing, in the falling (Jean Ingelow) assonance
Identify alliteration,assonance and consonance in the following.