英语专业文体学1
英语文体学Chapter1Introduction
❖Aristotle: Rhetoric is "the faculty of discovering in any particular case all of the available means of persuasion."
(Qian Yuan)
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1.2 Emergence of Stylistics as an Interdisciplinary Field of Study
❖English Stylistics is often regarded as a discipline that is “both old and young”.
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1.2 Emergence of Stylistics as an Interdisciplinary Field of Study
❖Dating back to 5 B.C., Greek orators and sophists regarded rhetoric as oratory.
❖The second revolution is the one in literary criticism.
❖Ivor Armstrong Richards ❖Practical Criticism ❖He called for a more objective
approach to literary texts, and established an approach to poetry which depended on close reading of the text.
《英语文体学》前七章总结
《英语文体学》前七章总结第一章：关于文体学。
文体学是一门研究语言风格的学科，我们所讲的是现代文体学，其又分为一般文体学和文学文体学。
前者主要是各种文体的一般特征，后者是各种文学作品的特别特征，两者研究有重叠。
语言是人们进行社交的工具，包括：言语行为，言语事件和文本。
言语事件包括三要素：实体，形式和情境。
语言具有多样性，不同的场合使用不一样的语言，承担着不同的功能，如语言的指示功能，表达功能和文本功能。
风格，是个人或群体的语言使用习惯。
学习文体学使我们对不同的语言特色或风格有个系统的知识，熟悉不同文学题材的不同特点，深化我们对文学作品的理解力和欣赏力。
此外，文体学给翻译和语言教学也提供了有效地方法。
文体学作为一门学科并不是独立存在的，它与多个学科如修辞学，文学评论等有着密切的关系。
第二章：文体学学习的必要性。
文体学作为一门研究语言风格的学科，分析不同的语言特色。
系统学习文体学，有助于培养表达的准确感。
在不同的场合使用不同的语言。
这对学外语的学生尤为重要；文体学有助于提高我们对文学作品的理解力和欣赏力。
通过对文本的研究。
涉及到描写，理解文章体裁特点和艺术表现力，这一过程就是提高我们理解和欣赏的过程；文体学有助于翻译保有原作的原滋原味。
通过分析通篇的风格，包括词，句子的特征，修辞，陈述方式以及文章的主题译者可以更好的把握原文的特色，使得译文在思想上，风格上更贴近原文，有其韵味。
第三章：语言变体文体学把语言变体主要分为方言变体和语域变体。
前者是由于不同的地域风俗习惯形成的，而后者是由于场合的不同而形成的。
方言变体和语域变体是相互依存的。
方言变体又分为：个人习语，即个人用语习惯；短暂性方言，每个时代的有其特别的语言特点，语言是时代的烙印；地域方言，不同地域的不同方言，每个地方读有其不同的说话习惯；社会方言即社会不同阶层如富人和穷人，使用不同的语言；和标准方言，方言也有标准和不标准之分。
语域变体在文体学中，又包括语场，语式（说和写）和语旨。
新编英语文体学教程(董启明)第一章要点
第一章文体和文体学综述1.1引言母语使用者知道在什么地方选用什么样的词,而外语使用者就不知道,因为没有在相关的地方长大,因此需要培养一种风格,也就是文体。
文体学可以帮助我们在合适的地方选用合适的词,使我们的语言更加符合当地的语言特色;还可以帮助我们更加理解语言的变体，更好地使用它们；还可以帮助我们更好的翻译文学作品；还可以帮助我们理解和鉴赏文学作品。
1。
2风格的定义把如何来定义风格呢?许多人给出的定义都各不相同，有人从修辞学的角度来解读它，强调它的“有效使用";有人从结构语言学的角度来解读它,强调语言系统内各语言单位之间的关系；还有人从转换成语言学的角度来看待它，强点不同层次语言结构转换所产生的文体效应；韩立的对风格的定义是以他的系统功能语言学为基础的。
而本书中使用的风格定义是一个通用的、面向语言的定义:表现出现显著的语言特征、装置或模式的方式，大多数(或至少）经常出现在特定语言的特定文本中.1。
3文体学的定义说完了文体,我们来说说文体学，有人说文体学就是研究文体的学科，这是不准确的。
文体学在本书中所使用的定义是：文体学语言学的一个分支，他研究不同层次的语言的不同变体的礼貌、语言特征的系统的研究方法.1.4文体学的发展史下面我们来了解一下文体学的发展史。
文体学首先来自于古代的修辞学，来自于亚里斯多德的修辞论。
现代文体学创始人是法国文体学家巴利（索绪尔的学生）。
1。
4.1西方的文体学发展史先谈一谈西方的文体学发展。
西方文体学的研究可上溯到古希腊、罗马的修辞学研究，早在公元100年就出现了德米特里厄斯的《论文体》这样集中探讨文体问题的论著.但在20世纪之前，对文体地讨论一般不外乎主观印象式的评论，而且通常出现在修辞学研究、文学研究或语法分析之中，文体研究没有自己相对的地位.20世纪初以来，在采用现代语言方法之后,文体分析方法逐渐深入和系统化、科学化.现代文体学创始人是法国文体学家巴利（索绪尔的学生），他借用索绪尔的结构主义语言学反思传统修辞学，力图将文体学作为语言学的一个分支建立起来，使文体分析更为科学化和系统化。
英语文体学教程(第二版)
英语文体学教程(第二版)英语文体学是一门研究英语语言在不同语境中表达意义的语言学分支。
它探讨了英语在不同文体类型（如叙述、说明、议论文体等）中的结构、功能、演变和变异。
本教程作为第二版，对英语文体学的理论和实践进行了全面更新和深化，旨在帮助读者更好地理解和应用英语文体学知识。
一、英语文体学的定义和重要性英语文体学关注英语在各种文本中的使用，包括口头和书面表达。
它研究不同文体的特征、语言特点和交际目的，以及这些因素如何影响语篇的理解和解释。
通过了解各种文体的语言特征和规律，我们可以更好地理解和分析英语语篇，提高我们的语言运用能力。
二、本书的结构和内容本书分为十章，涵盖了英语文体学的各个方面。
第一章是导论，介绍了英语文体学的概念、研究范围和方法。
第二章至第九章分别对不同文体的特征、功能、演变和变异进行了深入探讨，包括叙述文体、说明文体、议论文体、描述文体、正式文体、非正式文体、口语文体和文学文体等。
第十章是应用和实践，通过案例分析，帮助读者将所学知识应用到实际语言运用中。
三、学习资源和方法建议本书不仅提供了丰富的理论知识和研究案例，还提供了许多实践机会，帮助读者更好地理解和应用英语文体学。
建议读者在阅读过程中，结合自己的语言运用实践，多思考、多分析、多比较，逐步提高自己的语言运用能力和理解水平。
四、结论《英语文体学教程(第二版)》是一本全面、深入、实用的英语文体学教程，适合英语专业学生、教师和研究人员阅读参考。
通过学习本书，读者可以更好地理解和应用英语文体学知识，提高自己的语言运用能力。
同时，本书也为英语学习者提供了一个系统地学习和掌握英语各种文体的机会，有助于提高他们的英语水平和跨文化交际能力。
1-英语文体学
Today we have naming of parts. Yesterday, We had daily cleaning. And tomorrow morning, We shall have what to do after firing. But today, Today we have naming of parts. Japonica Glistens like coral in all of the neighboring gardens, And today we have naming of parts. This is the lower sling swivel. And this Is the upper sling swivel, whose use you will see, When you are given your slings. And this is the piling swivel, Which in your case you have not got. The branches Hold in the gardens their silent, eloquent gestures, Which in our case we have not got.
An Introduction to Stylistics for Students of Language and Literature
英语文体学
What is style? What is stylistics?
Is the writing distinctive,and how?
华夏河山，可以是尸横遍野的疆场，也可以是 车来船往的乐土；可以一任封建权势者们把生命 之火燃亮和熄灭，也可以庇佑诗人们的生命伟力 纵横驰骋。可怜的白帝城多么劳累，清晨，刚刚 送走了李白们的轻舟，夜晚，还得迎接刘备们的 马蹄。只是，时间一长，这片山河对诗人们的庇 佑力日渐减弱，他们的船楫时时搁浅，他们的衣 带经常熏焦，他们由高迈走向苦吟，由苦吟走向 无声。中国，还留下几个诗人？
英语文体学 1教学文案
英语文体学1English Stylistics英语文体学Course IntroductionCourse title: English StylisticsCourse hours: 2 per week, 34 in totalAssessment:1. Attendance2. After-class preparation for related topics3. In-class performance and involvement4. Quiz5. Final examTeaching Objectives:Have a systematic knowledge of the features of different varieties of languageMake appropriate use of language in our communicationFamiliarize ourselves with the stylistic features of the different genres of literatureDeepen our understanding and appreciation of literary worksOffer useful ideas on translation and language teachingTextbook: English Stylistics(英语文体学)Other reference books:Introduction to English Stylistics《英语文体学引论》（丁往道王佐良）Essentials of English Stylistics 《英语文体学要略》（王守元）Practical English Rhetoric《实用英语修辞》（吕煦）English Stylistics: A New Course book 《新编英语文体学教程》（董启明）Course content:本课程从英语学习的实际要求出发介绍有关英语文体和语体的基础知识，属于普通文体学的范畴。
英语文体学 1
English Stylistics英语文体学Course IntroductionCourse title: English StylisticsCourse hours: 2 per week, 34 in totalAssessment:1. Attendance2. After-class preparation for related topics3. In-class performance and involvement4. Quiz5. Final examTeaching Objectives:Have a systematic knowledge of the features of different varieties of languageMake appropriate use of language in our communicationFamiliarize ourselves with the stylistic features of the different genres of literatureDeepen our understanding and appreciation of literary worksOffer useful ideas on translation and language teachingTextbook: English Stylistics(英语文体学)Other reference books:Introduction to English Stylistics《英语文体学引论》（丁往道王佐良）Essentials of English Stylistics 《英语文体学要略》（王守元）Practical English Rhetoric《实用英语修辞》（吕煦）English Stylistics: A New Course book 《新编英语文体学教程》（董启明）Course content:本课程从英语学习的实际要求出发介绍有关英语文体和语体的基础知识，属于普通文体学的范畴。
英语文体学课本1-2
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.。
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Concepts of Style
2. Some or all of the language habits shared by a group of people at one time, or over a period of time. e.g. Elizabethan style the style of legal document the style of news reporting
The need for the study of stylistics
(1) Style is an integral part of meaning.
Without the sense of style we cannot arrive at a better understanding of an utterance;
Байду номын сангаас
Some Senses of style
14) Style is transformation. (Richard M.
Ohmann) 15) Style is expressiveness. (Stephen UIIman) 16) Style is a choice among the nondistinctive features of language. (Leonard Bloomfield)
Some Senses of style
1) A man's style is his mind's voice. (Ralph
Waldo Emerson) 2) Proper words in proper places makes the true definition of a style. (Jonathan Swift) 3) Style is the very thought itself. (Nils Erik Enkvist) 4) Style is ingratiation. It involves saying the right thing in the most effective way. (Nils Erik Enkvist)
Second, it’s related to the
characteristics of the USE of language in situation: # role-relationship between addresser and addressee (degree of intimacy)
Some Senses of style
17) Style is the selection of features partly
determined by the demand of genre, form, theme, etc. (Katie Wales) 18) Style is equivalence. (Roman Jakobson & Levi Strauss) 19) Style is meaning potential. (Michael Halliday)
Some Senses of style
9) Style is the relation among
linguistic entities that are stable in terms of wider spans of text than the sentence. (Nils Erik Enkvist) 10) Style is the linguistic features that communicate emotion or thought. (John Middleton Murry)
Books for Reference
王佐良《英语文体学引论》 秦秀白《英语文体学入门》
钱瑗《实用文体学教程》
王守仁《英语文体学要略》
申丹《文学文体学与小说翻译》
张德禄《功能文体学》
I. Style and Stylistics
“Take an egg, and make a perforation in the
Introduction to Stylistics
I. Introduction
What is stylistics? Modern Stylistics:
General Stylistics: Studying the stylistic features of the main varieties of language. Literary Stylistics: Concentrating on unique features of various types of language use.
Some Senses of style
5) Style is a shell surrounding a
preexisting core of thought. It is regarded as an addition to a central core of thought or expression. (Nils Erik Enkvist)）
(2) Stylistics study helps cultivate a sense
of appropriateness. (grammar: correctness; stylistics: appropriateness);
• Who speaks what language to whom and when
General stylistics
Genres: news reports, advertisements, public speeches, scientific treatises, leagal documents and other practical styles… Attitudes: formal and informal language Media of communication: spoken English, written English, e-discourse Regions: British English, American English and other regional dialects Social groups: standard and non-standard language
Definition of style
Manner indicating prominent linguistic features, devices or patterns, most (or least) frequently occur in a particular text of a particular variety of language.
base and a corresponding one in the apex. And then, apply the lips to the aperture, and by frocibly inhaling the breath, the shell is entirely discharged of its contents.”
The Scope of Studies
Literary stylistics: concentrating on the
unique features of various literary works, such as poem, novel, prose, drama… General stylistics: concentrating on the general features of various types of language use, including literary discourses and other practical styles
Some Senses of style
6) Style is choice. It is the choice between
alterative expressions. (Nils Erik Enkvist) 7) Style is a set of individual characteristics. It is the man himself. (Nils Erik Enkvist) 8) Style is a deviation from a norm. (Nils Erik Enkvist)
Definition of Stylistics
1. 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. 2. Stylistics is a branch of linguistics which applies the theory and methodology of modern linguistics to the study of style.
Concepts of Style
1. A person’s distinctive language habits, or the set of individual characteristics of language use
e.g. Hemingway’s style Henry James’s style Mark Twain’s style
Some Senses of style
11) Style is personal idiosyncrasy(习
性，癖好). (John Middleton Murry)