英语文体学Chapter 3 Surface-Structure Deviation
文体学 Chapter 03

head is expelled
external instrume object senser phenom force nt enon nature force
resistance
force
force
head
walls… her … contractions we can see who … struggling
Minor: not conforming
minor sentence vs. incomplete sentence -- P64
"This is a hot town," said the other. "What do they call it?" "Summit." "Ever heard of it?" "No," said his friend.
external force behaver
stative
mental states
relational states attributing identifying
senser, phenomenon
carrier, attribute identified, identifier
Example
Tense That will be John. That was John. It is raining and I have nothing to do, so I suppose I might as well write.
It was raining and he or she had nothing to do.
英语文体学Chapter-2-Three-Views-on-Style

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Chapter_3_Surface-structure_Deviation

Chapter 3 Surface-structure Deviation3.0 Linguistic levels and stylistic analysis---early to mid 20th century with the development of structuralism, “levels” model was applied to language investigation.---phoneme/grapheme-morpheme-word-utterance/sentence/discourse/text (Jeffries, 2006)3.1 Phonological DeviationFeatures at the phonological level function more by being overregular rather than being deviant. However, the following phonological irregularities still need to be noted.3.1.1 Omission1) Aphesis - the omission of an initial part of a word, e.g.(1) Thou on whose stream, 'mid the steep sky's commotion,Loose clouds like earth's decaying leaves are shed,(P. B. Shelley, Ode to the West Wind)2) Syncope - the omission of a medial part of a word, e.g.(2) A voice so thrilling ne'er was heardIn spring-time from the cuckoo-bird,Breaking the silence of the seasAmong the farthest Hebrides.(Wordsworth, The Solitary Reaper)3) Apocope - the omission of a final part of a word, e.g.(3) Till a' the seas gang dry, my dear,And the rocks melt wi' the sunI will love thee still, my dear,While the sands o' life shall run.3.1.2 Mispronunciation and Sub-standard Pronunciation(5) "May God starve ye yet," yelled an old Irish woman who now threw open a nearby window and stuck out her head."Yes, and you," she added, catching the eye of one of the policemen. "You bloody murthering thafe! Crack my son over the head, will you, you hard-hearted, murtheringdivil? Ah, ye-"(T. Dreiser, Sister Carrie)(6) 'Arve moved,' he said, 'Darn ear.''And all the click?' I asked him. 'All the notorious Dockhead boys?''Not v'click,' said Ed-Ted. 'Jus me.'...'And why, Ed,' I said, 'have you moved darn ear?''Cos me Ma as,' he said. 'She's bin re-owsed.''So you still live with Momma?' I enquired.'Course,' he said.'Big boys like you hasn't got his own hidey-hole?' I asked.'Lissen,' he said. 'I respect my Mar.''Cool, man,' I said. 'Now tell me. What about the mob, the click? Have they been re-owsed as well?''Ner,' he said.'Ner? What, then?''The click's split up.''You mean,' I said, 'that bunch of tearaways have thrown you out?''Eh-y?' he cried.'You heard, Ed. You've been expelled from the Ted College?''Naher! Me? Espel me? Wot? Lissen! Me, R lef them, see? You fink I'm sof, or sumfink?'(C. Maclnnes, Absolute Beginners)Compare the version rewritten in standard English'I've moved,' he said, 'down here.''And all the clique,' I asked him. 'All the notorious Dock-head boys?''Not the clique,' said Ed-Ted. 'Just me.'...'And why, Ed,' I said, 'have you moved down here?''Because my Ma has,' he said. 'She's been re-housed.''So you still live with Momma?' I enquired.'Course,' he said.'Big boys like you hasn't got his own little hidey-hole?' I asked.'Listen,' he said. 'I respect my ma.''Cool, man,' I said. 'Now, tell me. What about the mob, the clique?Have they been re-housed as well?''No,' he said.'No? What, then?''The clique's split up.''You mean,' I said, 'that bunch of tearaways have thrown you out?''Eh?' he cried.'You heard, Ed. You've been expelled from the Ted College?''No! Me? Expel me? What? Listen! Me, I left them, see? You think I'm soft, or something?'3.1.3 Special PronunciationFor convenience of rhyming, the poet may give special pronunciation to certain words, e.g.(7) The trumpet of a prophecy! O, Wind,If winter comes, can spring be far behind?(P. B. Shelley, Ode to the West Wind)3.1.4 AlliterationDef: adjacent words beginning with the same property of phonemes.Example: a strapline by a public service workers’ union:CAMERON’S CRONIES CASHING IN ON CREDIT CRUNCH.Example:Up on the Moors with KeeperThree girls under the s un’s rare brillian ceout on the moors, hitching their skirtsover bog-myrtle and bilberry.They’ve kicked up their heel s at a dull brotherwhose keep s till can’t you? Want s to fixthem to canvas. Emily’s dog stares at thesethree girls under juggling larkspausing to catch that song on a hesitant wind,all wings and faces dipped in light.What could there be to match this glory?High summer, a scent of absent rain,away from the dark house, father and duty.(Dooley, 1991:66)3.1.5 AssonanceThey’ve k icked up their heels at a dull brotheraway from the dark house, father and duty.3.1.6 RhymeDef: two or more words ending with a stressed syllable, where the vowel and the final consonants are the same.1. RhymeOff with that girdle, like heaven’s zone glitter ing,But a far fairer world encompassing.Unpin that spangled breast-plate, which you wear,That th’eyes of busy fools may be stopp’d there.Unlace yourself, for that harmonious chimeTells me from you that now it is bed-time.(Donne, 1896)2. Reverse rhyme & half-rhyme & internal rhymeReverse rhyme: a match btw the first consonant cluster and the vowel match (slip/slim)Half-rhyme: the sameness of only the final consonant (clap/trip)And if I spy into its golden loopsI see us walk between the railway slopesInto an evening of long grass and midgesBlue smoke straight up, old beds and ploughs in hedges(Seamus Heaney, 1982)Internal rhyme: conventional rhymes but within the same line of poetry.the resin of the wood would somehow catchin patina the pattern of his tread-3.1.7 Sound symbolism---Language can not only provide musical effect, but to symbolize directly the meaning it represents.---besides onomatopoeic words (clap, bang, splash), the potential of individual sounds to be iconic in particular contexts is a well-used resource for writers.A plump splashon tense, bare skin……whitedownpours shudderlike curtains, rinsingtight hairdos to innocence(France, 1993:118)---whole category of sounds can also be onomatopoeicSibilants: rain, wind, sign, breathlessnessPlosives, esp. /p/ /t/ /k/ short & sharp, gunfire, knocks on door or thunder, Nasals, voiced, resonant, bells, singing, musical or quasi-musical sounds like clang of an iron doorVowels: close front vowels, with high pitch, youth, high spiritedOpen back vowels: dull, drudgery---length of sounds is also symbolicPlosives: short, sharp,Close front vowels: smallness, rapid movementOpen back vowels / diphthongs: large size, slow long lasting action---From “the Prelude” by Wordsworth who panics as he rows across the lake when the mountains seems to come after himA huge peak, black and huge,As if with voluntary power instinctUpreared its head. I struck and struck again---From “Anthem for doomed youth” by Wilfred Owen about the dead of WWIAnd each slow dusk a drawing-down of blinds.3.2 Graphological Deviation (书写变异)Graphological deviation can occur in any sub-area of graphology, such as the shape of the text, the type of print, grammetrics, punctuation, indentation3.2.1 Shape of TextThe shape of a piece of literary work, especially a poem, can be designed in an unconventional way so that it may be suggestive of a certain literary theme.---concrete poems & visual poems---shape of a poem may echo the meaningFrom “l(a” by e.e. cummingsl(aleaffalls)onelinessFrom “40-Love” by R. McGough40-Love3.2.2 Type of PrintLiterary writers also choose to express their ideas by manipulating the type of print which may include italics, bold print, capitalization and decapitalization capitalization and de-capitalization of the pronouns in the poem, Me up at does.(9) Me up at doesout of the floorquietly Starea poisoned mousestill who aliveis asking whathave i done thatYou wouldn't have(E. E. Cummings)--- syntactic deviation: some change in meaning if we rewrite the verse???a poisoned mousewho still alivedoes Stare up at Me quietlyout of the flooris asking whathave i done thatYou wouldn't have3.2.3 GrammetricsDef: the ways in which grammatical units are fitted into metrical units such as lines and stanzas.---a short poem by William Carlos Williams(10) This Is Just to SayI have eatenthe plumsthat were inthe ice-boxand whichyou were probablysavingfor breakfastForgive methey were deliciousso sweetand so coldThis Is Just to Say =>I have eaten =>the plums =>that were in =>the icebox →and which =>you were probably =>saving =>for breakfast →Forgive me →they were delicious →so sweet →and so cold →3.3 Syntactic DeviationSyntactic deviation refers to departures from normal (surface) grammar. These include a number of features such as unusual clause themes, unusual phrase structures.3.3.1 Unusual Clause Theme (thematic fronting)---Theme:The initial unit of a clause. the theme is the most important part of a clause from the point of view of its presentation of a message in sequence. The theme may be characterized as the communicative departure for the rest of the clause.---"unmarked" theme:1. Subject of an indicative clause: (She) got a new dress.2. Auxiliary in a yes-no question: (Did) she get a new dress?3. Wh-element in a wh-question: (Which) dress did she get?4. Main verb in an imperative clause: (Get) a new dress for her.--- 'marked' theme: any of the rest of clause elements in the thematic position. the literary writer can use marked theme to achieve certain literary effect.(11) My opinion of the coal trade on that river is, that it may require talent, but it certainly requires capital. Talent Mr. Micawber has, capital Mr. Micawber has not.(Dickens, David Copper field)(13) Out of the bosom of the Air,Out of the cloud-folds of her garments shaken,Over the woodlands brown and bare,Over the harvest-fields forsaken,Silent, and soft, and slowDescends the snow.(Snowflakes)Homework: (14) Parting at MorningRound the cape of a sudden came the sea,And the sun looked over the mountain's rim,And straight was a path of gold for him,And the need of a world of men for me.(R. Browning)3.4 Lexical Deviation---Lexical deviation in literature refers almost exclusively to neologisms or the coinage of new words.The new words that the literary writer invents are usually made up for use on only one particular occasion, and can therefore be called 'nonce-formations'.3.4.1 AffixationAffixation is the addition of a prefix or suffix to an item which already exists in the language. The following lines contain some typical examples of words coined by extension of this rule:(17) And I Tiresias have foresuffered all.(T. S. Eliot)(18) There was a balconyful of gentlemen.(Chesterton)(19) We left the town refreshed and rehatted.(Fotherhill)the coinage balconyful affords a vivid description of the number of people staying on the balcony, thus making the work interesting to read.Rehatted in (19) this coinage is in phonetic harmony with its parallel refreshed and thus produces a humourous and comic effect.3.4.2 CompoundingCompounding is the combination of two or more items to make a single compound one. Consider the following examples:(20) While I, joy-jumping, empty-eyed sang on the day my father died.(Edwin Brook)(22) They were else-minded then, altogether, the men(G. M. Hopkins)3.4.3 ConversionConversion, which is often described as 'zero affixation', is the adaptation of an item to a new grammatical function without changing its form.(24) "Don't be such a harsh parent, father!""Don't father me!"(H. G. Wells)(25) I was explaining the Golden Bull to his Royal Highness,"I'll Golden Bull you, you rascal!" roared the Majesty of Prussia.(Macaulay)Exercises1. Define the following terms.grammetrics marked theme apocopeaffixation compounding conversiongraphology aphesis syncope2. Identify the types of omission in the following and supply the complete forms of the words that are partly omitted.1) "Forward, the Light Brigade!"Was there a man dismay'd?Not tho' the soldier knowSome one had blunder'd:Theirs not to make replyTheirs not to reason why,Theirs but to do and die:Into the valley of DeathRode the six hundred.(Tennyson, The Charge of the Light Brigade)2) I Wander thro' each chartere'd street,Near where the charter'd Thames does flow,And mark in every face I meetMarks of weakness, marks of woe.(W. Blake, London)3) Learn then what morals critics ought to showFor 'tis but half a judge's task, to know.(A. Pope, An Essay on Criticism)4) Th' Applause of list'ning Senates to command,The Threats of Pain and Ruin to despise,To scatter Plenty o'er a smiling Land,And read their Hist'ry in a Nation's Eyes.(Thomas Gray, Elegy Written in a Country Churchyard)3. Discuss the stylistic effects of the sub-standard pronunciations in the following passages.1) 'Now, what do you complain of?' asked Mr Bounderby.'I ha' not coom here. Sir,' Stephen reminded him, 'to complain. I coom for that I were sent for.''What,' repeated Mr Bounderby, folding his arms, 'do you people, in a general way, complain of?'Stephen looked at him with some irresolution for a moment, and then seemed to make up his mind.'Sir, I were never good at showin' o't, though I ha' had'n my share in feeling o't. 'Deed we are in a muddle, Sir. Look round town - so rich as 'tis - and see the numbers o people as has been broughten into bein heer, fur to weave, an' to card, an' to piece out a livin', aw the same one way, somehows, 'twixt their cradles and their graves. Look how we live, an' wheer we live, an' in what numbers, an' by what chances, and wi' what sameness; and look how the mills is awlus a goin, and how they never works us no nigher to onny dis'ant object - ceptin awlus, Death. Look how you considers of us, and writes of us, and talks of us, and goes up wi'yor deputations to Secretaries o' Stats 'bout us, and how you are awlus right, and how we are awlus wrong, and never had'n no reason in us sin ever we were born, Look how this ha' growen an' growen,Sir, bigger an' bigger, broarder an' broarder, harder an' harder, fro year to year, fro generation unto generation. Who can look on't, Sir, and fairly tell a man 'tis not a muddle?''Of course,' said Mr Bounderby. 'Now perhaps you'll let the gentleman know, how you would set this muddle (as you're so fond of calling it) to rights.''I donno, Sir, I canna be expecten to 't. 'Tis not me as should be looken to for that, Sir. 'Tis them as is put ower me, and ower aw the rest of us. What do they tak upon themseln, Sir, if not to do 't?''I'll tell you something towards it, at any rate,' returned Mr Bounderby. 'We will make an example of half-a-dozen Slackbridges. We'll indict the blackguards for felony, and get 'em shipped off to penal settlements.Stephen gravely shook his head.'Don't tell me we won't, man,' said Mr Bounderby, by this time blowing a hurricane, 'because we will, I tell you!''Sir,' returned Stephen, with the quiet confidence of absolute certainty, 'if yo was t' tak a hundred Slack-bridges - aw as there is, and aw the number ten times towd - an' was't sew 'em up in separate sacks, an' sink 'em in the deepest ocean as were made ere ever dry land coom to be, yo'd leave the muddle just wheer 'tis, Mischeevous Strangers!' said Stephen, with an anxious smile; 'when ha' we not heern, I am sure, sin ever we can call to mind, o' th' mischeevous strangers! 'Tis not by them the trouble's made, Sir. 'Tis not wi' them 't commences. I ha' no favour for 'em - I ha' no reason to favour 'em - but 'tis hopeless and useless to dream o' takin them from their trade, 'stead o' takin their trade from them! Aw that's now about me in this room were heer afore I coom, an' will be heer when I am gone. Put that clock aboard a ship an' pack it off to Norfolk Island, an' the time will go on just the same. So 'tis wi' Slackbridge every bit.'(Charles Dickens, Hard Times)2) "Say you're not drunk!" she flashed."Say you're not drunk," he repeated. "Why, nobody but a nasty little bitch like you 'ud 'ave such a thought."He thust his face forward at her."There's money to bezzle with, if there's money for nothing else.""I've not spent a two-shillin' bit this day," he said."You don't get as drunk as a lord on nothing," she relied. "And," she cried, flashing into sudden fury, "if you've been sponging on your beloved Jerry, why let him look after his children, for they need it.""It's a lie, it's a lie. Shut your face, woman."They were now at battle-pitch. Each forgot everything save the hatred of the other and the battle between them. She was fiery and furious as he. They went on till he called her a liar."No," she cried, starting up, scarce able to breathe. "Don't call me that - you, the most despicable liar that ever walked in shoe-leather." She forced the last words out of suffocated lungs."You're a liar!" he yelled, banging the table with his fist. "You're a liar, you're a liar."She stiffened herself, with clenched fists."The house is filthy with you," she cried."Then get out on it - it's mine. Get out on it!" he shouted. "It's me as brings th' money whoam, not thee. It's my house, not thine. Then ger out on't - ger out on't!""And I would," she cried, suddenly shaken into tears of impotence. "Ah, wouldn't I, wouldn't I have gone long ago, but for those children. Ay, haven't I repented not going years ago, when I'd only the one" - suddenly drying into rage. "Do you think it's for you I stop - do you think I'd stop one minute for you?"(Lawrence, Sons and Lovers)4. Discuss the graphological features in the poems below.1) A Christmas TreeStarIf you areA love compassionate,You will walk with us this year,We face a glacial distance, who are hereHuddledAt your feet(W. S. Burford)2) rainbowrainbow youre a twofaced sortof fellowyoure a warped candybarand the sun uses youas a weapon against the shadowof the rainrainbow youre not a selfmadechap atallyoure just a compound of enemiesand the only reasonanybody likes you is because without youtheyd be nothing(William Peskett)3) l(aleaffalls)oneliness(E. E. Cummings)5. Comment on the translation of the pagoda-shaped poem in The Scholars by Yang Xianyi and Gladys Yang below.呆A秀才Foolish scholar吃常斋Fasted so long胡须满腮Whiskers covered his cheeks经书不揭开Neglecting to study the classics纸笔自己安排He left pen and paper aside明年不请我自来He'll come without being invited next year6. Consider how the grammatical units are fitted into the metrical units of the poem below. What is the effect of this arrangement?Dust of SnowThe way a crowShook down on meThe dust of snowFrom a hemlock treeHas given my heartA change of moodAnd saved some partOf a day I had rued.(Robert Frost)7. The following stanzas and passages contain examples of unusual clause themes. Pick them out and comment on their stylistic effects.1) Half a league, half a league,Half a league onward,All in the valley of DeathRode the six hundred."Forward, the Light Brigade!Charge for the guns," he said:Into the valley of DeathRode the six hundred.(Tennyson, Charge of the Light Brigade)2) Down came his whip and away we clattered.I never had such a shaking up in my life. The recent flooding rains had washed the road clear away in places. But we never stopped, we never slowed down, for anything.(Mark Twain, A Tramp Aboard)3) Heavy is my heart,Dark are thine eyes.Thou and I must partEre the sun rise.(Mary Coleridge, Slowly)4) "Stop thief! Stop thief!" There is a magic in the sound. The tradesman leaves his counter, and the carman his waggon; the butcher throws down his tray ... Away they run, pell-mell, helter-skelter, yellow-screaming, knocking down the passengers as they turn the corner, rousing up the dogs..."Stop thief! Stop thief!" the cry is taken by a hundred voices, and the crowds accumulate at every turning. Away they fly, splashing through the mud, up go the windows, out ran the people.(Charles Dickens)5) Continuous as the stars that shineAnd twinkle on the milky way,They stretched in never-ending line,Along the margin of a bay:Ten thousand saw I at a glance,Tossing their heads in sprightly dance.(Wordsworth)8. Comment on the following line which contains a phrase that is structurally deviant. Note the line is spoken by Caesar's friend, Mark Antony, at Caesar's funeral.This is the most unkindest cut of all!(Shakespeare, Julius Caesar)9. Identify the type of lexical deviation in the following and discuss their stylistic significance.1) Lord I am not entirely selfishLord I am not entirely helpishO lord to me be slightly lavishO lord be in a minor way lovish(Gavin Edwart, Prayer)2) His bright replacement, present-minded, stays(Howard Nemerov, Absent-minded Professor)3) The Bravest SoldierBrave, brave were the soldiers (high-named today) who lived through the fight;But the bravest press'd to the front and fell, unnamed, unknown.(Walt Whitman)4) Valuing himself not a little upon his elegance, being indeed a proper man of his person, this talkative now applied himself to his dress.(James Joyce, Ulysses)。
文体学 Chapter 03

• Norminal clause • Adverbial clause • Relative clause • Comparative clause
Momentary Transition Duration
What are the syntactic units and elements?
sentence clause phrase
word morpheme
I. Clause Types (Clause Structure)
1. In terms of the clause constituents: SPOCA
It often came to my mind what wise men there used to be in England.
-- King Alfred
There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further outdoor exercise was now out of the question.
II. Clauses as Situation Types
文体学chapt 3 Surface- structure Deviation

Forgive me they were delicious so sweet and so cold
Stylistic features of the above poem:
3.1 Shape of text The shape of a piece of literary work, esp. a poem, can be
designed in an unconventional way so that it may be suggestive of a certain literary theme. See Ex. (8) and Exercise 4.
1. Introduction
In this chapter we will deal with four types of surface structure deviation, namely, phonological deviation, graphological deviation, syntactic deviation, and lexical deviation.
Below are some more examples:
“Ah!” said Joe. “There’s another conwict off.” (C. Dickens, Great Expectations)
“We shot him, Granny!” I cried. “We shot the bastud!” (William Faulkner, Unvanquished)
2.1 Omission
英语文体学Chapter-3-Surface-Structure-Deviation

3.2 Graphological Deviation
Example 6
L(a le af fa ll s) one l iness
The visual effect of this poem is obvious. The lines of poetry imitate the falling of a leaf in late autumn, which is suggestive of the meaning of ‘loneliness’.
3.1 Phonological Deviation
❖3.1.2 Mispronunciation & Sub-Standard Pronunciation
❖E.g. T. Dreiser, Sister Carrie An old Irish woman ye → you murthering → murdering divil → devil thafe → thief
❖The use of mispronunciation and substandard pronunciation may help to vividly describe a character. And substandard language is perceived as more forceful, more direct in expression for standard language is perceived as more civilized, more educated than the substandard one, and sometimes more indirect.
the
Apocope
英语教材 应用文体学-Chapter III 文体学 (3)

•
The vast majority of synonyms are relative synonyms. When we talk about synonyms, generally we refer to relative synonyms: two or more words of the same language and of the same grammatical category having the same essential or generic meaning and differ only in connotation, application, or idiomatic use: two or more words having essentially identi•
Anger(a common word), rage(great anger), fury(greatest anger), indignation and wrath are different in degree of intensity: To fly into a rage The insolence(傲慢;无礼) of the waiters drove him into a rage, and he flung his plate to the floor and stalked out of the restaurant. Mad with fury, John pounded his fists on the wall and beat his breast. Indignation denotes anger based on a moral condemnation of something felt to be wrong and unfair:
文体学Surface-structure-Deviation只是分享

Image • A: Bill and Jane “broke the blue vase” .
• B: Really! Bill and Jane? You must be kidding!
6
2.2 Graphological deviation
•It is meant the encoding of meaning in visual
Huddled At your feet
• (by W. S. Burford)
2) A pagoda-shape poem in The Scholar 《聊斋志异》
•呆 秀才
吃常斋 胡须满腮 经书不揭开
•
纸笔自己安排
明年不请我自来
•A Foolish scholar Fasted so long Whiskers covered his cheeks Neglecting to study the classics He left pen and paper aside He'll come without being invited next year
文体学Surface-structureDeviation
C: Apocope(字尾音尾脱落):: the omission of a
final part of a word, e.g.
Till a’ the seas gang dry, my dear,
No And the rocks melt wi’ the sun
may be suggestive of a certain literary theme.
7
• 1) A Christmas Tree
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3.1 Phonological Deviation
3.1.3 Special Pronunciation For convenience of rhyming, the poet may give special pronunciation to certain words. E.g. The trumpet of a prophecy! O, Wind, If winter comes, can spring be far behind? (P. B. Shelly. Ode to the West Wind) In this poem, the noun wind /wind/ is pronounced like the verb ‘wind’ /waind/ to rhyme with behind.
3.2 Graphological Deviation
Example 3
3.2 Graphological Deviation
Example 4
3.2 Graphological Deviation
Example 5
He lunges for the stairs, swings down-off, Into the sun for his Easter eggs, On very nearly steady legs (Edwin Morgan, Good Friday)
3.1 Phonological Deviation
3.1.2 Mispronunciation & Sub-Standard Pronunciation E.g. C. Maclnnes, Absolute Beginners An gang member „Arve moved,‟ he said, „Darn ear/.‟ → „I‟ve moved,‟ he said, „down here.‟
3.1 Phonological Deviation
3.1.2 Mispronunciation & Sub-Standard Pronunciation E.g. Dickens, Olive Twist Mr. Bumble porochial → parochial 牧区的 blackin‟-bottle → blacking-bottle ‟prentice → apprentice ‟em → them antimonial → antinomian 反对遵从律法的
3.2 Graphological Deviation
Example 7 “grasshopper” “who” “as” “we” “look” “up” “now” “gathering” “into” “a” “the” “leaps” “arriving” “to” “rearrangely” “become”
3.1 Phonological Deviation
3.1.4 Change of Stress Some 19th century poets placed word stress in unusual places. E.g. ' baluster → bal ' uster
Aphesis Omission Syncope
Lexical Deviation
3.1 Phonological Deviation
Features at the phonological level function more by being overregular rather than being deviant, since they belong to the surface-structure of the English language.
3.2 Graphological Deviation
Example 6
L(a le af fa ll s) one l iness
The visual effect of this poem is obvious. The lines of poetry imitate the falling of a leaf in late autumn, which is suggestive of the meaning of ‘loneliness’.
For Example?
3.1 Phonological Deviation
3.1.1 Omission
Aphesis Omission Syncope
Apocope
3.1 Phonological Deviation
3.1.1 Omission — Aphesis
Aphesis refers to the omission of an initial part of a word. E.g.
3.1 Phonological Deviation
3.1.2 Mispronunciation & Sub-Standard Pronunciation E.g. T. Dreiser, Sister Carrie An old Irish woman ye → you murthering → murdering divil → devil thafe → thief
Apocope
Exercises
the Apocope
As far removed from God and light of Heaven As from the center thrice to th‟ utmost pole. O how unlike the place from whence they fell! There the companions of his fall, o‟erwhelmed With floods and whirlwinds of tempestuous fire.
3.1 Phonological Deviation
3.1.1 Omission
The omissions are conventional means for the sake of sound patterns. It makes easier for poets to arrange the rhymes and meters in poems.
English Stylistics
Chapter 3 SurfaceStructue-Structure Deviation
1
Phonological Deviation
2
Graphological Deviation
3
Syntactic Deviation
4
3.1 Phonological Deviation
3.1.1 Omission — Apocope Apocope refers to the omission of a final part of a word. all E.g. Till a‟ the seas gang dry, my dear, with And the rocks melt wi‟ the sun I will love thee still, my dear, of While the sands o‟ life shall run. (Robert Burns, A Red, Red Rose)
3.1.1 Omission — Syncope
Syncope refers to the omission of a medial part of a word. never E.g. A voice so thrilling ne‟er was heard In spring-time from the cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides. (Wordsworth, The Solitary Reaper)
3.2 Graphological Deviation
Example 1
R. Draper,
Target Practice
3.2 Graphological Deviation
Example 2
A Christmas Tree Star If you are A love compassionate, You will walk with us this year, We face a glacial distance, who are here Huddled At your feet (W. S. Burford)
Thou on whose stream, ‟mid the steep sky‟s commotion, Loose clouds like earth‟s decaying leaves are shed. (P. B. Shelley, Ode to the West Wind)
amid
3.1 Phonological Deviation
overwhelmed
(John Milton, Paradise Lost)
Syncope
Exercises
Aphesis against
My Lord Bassanio, let him have the ring: Let his deservings, and my love withal, Be valued ‟gainst your wife‟s commandment. (William Shakespeare, Merchant of Venice)
3.2 Graphological Deviation
Graphology means the encoding of meaning in visual symbols. Graphological Deviation can occur in any sub-area of graphology, such as the shape of text, the type of print, grammetrics, punctuation, and indentation, etc.