2.语音与文体学

nullEnglish Stylistics Stylistic features at the phonological levelEnglish Stylistics Stylistic features at the phonological level 13872416565 08/30/2011What is stylistic features?What is stylistic features?The situationally-bound features are stylistically significant features—stylistic features. Just as language is multi-leveled, so style is multi-leveled: Stylistic features can be found at two distinct phonological / grahological, lexicogrammatical levels of language. Stylistic features at the Phonological level Stylistic features at the Phonological level Onomatopoeia (sound imitation): the use of the sounds which are imitative of their senses. Sound Patterning: referring to the matching of identical or similar sound (s) between two or more words. English words may consist of one or more syllables. Sound patterning is not only a source of aesthetic satisfaction, but also a phonological means of emphasis. The device is exploited in prose, particularly in newspaper headlines, advertising jingles, etc. as well as in poetry. RhymeRhymeC V C----weal-woe            (Alliteration) C V C----cut - run           (Assonance腹韵) C V C----fits-starts         (Consonance辅韵) C V C----time-tide           (Reverse Rhyme倒韵) C V C----sing-song           (Pararhyme头尾韵) C V C----wimp-limp           (Full Rhyme韵) Reverse rhyme = repetition of an initial syllabe rather than the final one which is necessary to full rhyme (as in star and starling). nullSound is a strong element in the construction of sensation. Rhymes are part of our childhood experience of language, via songs, nursery rhymes and the chants that accompany plays. As well as full rhyme, though, there are other types of rhymes that can be used where full rhymes may seem too neat and tidy or childlike. AlliterationAlliterationIn poetry and prose, the use, within a line or phrase, of words beginning with the same sound, (also known as ‘head rhyme’ or ‘initial rhyme’), as in Two tired toads trotting to Tewkesbury and Tongue Twisters. It was a common device in Old English literature, and its use survives in many traditional phrases, such as dead as a doornail and pretty as a picture. Alliteration in poemAlliteration in poem头韵在古英语的诗歌中独领风骚，如英国史诗“Beowulf”（贝奥武夫)、“King Arthur”(亚瑟王)等。随着诗歌中脚韵和其他韵律的发展，头韵才降到了较为次要的地位。但头韵仍旧作为一种语音修辞格，频频出现在各类语篇，特别是在英语广告语篇中，它不仅赋予语言音韵美和节奏美，同时还渲染和烘托了语篇气氛和感情，加强了语篇主题的 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 现力。 Is it a trick or a trysting place, Is it a mirage or miracle, (Philip Larkin. XXVII) Alliteration in advertisementAlliteration in advertisementThe Relentless Pursuit of Perfection.(Lexus automobile) Flexicare keeps you Flexible and Active Always. Slim，stylish，silver. （扫描仪广告） Big Bucks for Bigger Ads Unrivalled quality, Unbeatable prices, Unreserved service. 优良的品质 优惠的价格 优质的服务（“三优”牌家具） 这则广告的英语译文让我想起了牛津大学为再版的牛津英语词典所做的广告词：“There are only two words for it——unbeatable and unbelievable.” Allied Irish Bank: Britain's best business bank Greyhound: Greyhound going great. Fila: Functional... Fashionable... Formidable... Alliteration in newspaper headlines Alliteration in newspaper headlines To make headlines catchy and rhythmic, journalists have borrowed "alliteration" from poetry. The two headlines below, from SportingNews.com and the official website of the 2002 Olympics, use alliteration. "Curling stone start sliding Monday" "Swiss sensation soars to win" Alliteration in ProverbsAlliteration in ProverbsThe proof of the pudding is the eating . 欲知布丁味，就得亲口尝。 He who laughs last , laughs longest. 谁笑到最后，谁笑得最好。 Time and tide wait for no man. Remorse begets reform. Don't make a mountain out of a molehill. Great barkers are no biters. Look before you leap. Practice makes perfect. How can I tell what I think till I see what I say ? (E.M Forster) <霍华德庄园>(Howards End),散文<印度之行> Alliteration in speechAlliteration in speechpeople also make use of the pronunciation features of language to create beauty of rhythm. For instance, the initial consonant sound like "d' has a implication of great force or weight. As Churchill said in his speech: I have to declare the decision of His Majesty’s Government—and I feel sure it is a decision in which the great Dominions will in due course concur—for we must speak out now at once, without a day's delay. (Churchill) In this example, the "d" in "declare ', "decision ", "Dominion ", "day ', "delay ", makes Churchill's speech persuasive and powerful. Assonance = vowel rhyme Assonance = vowel rhyme Assonance is repetition of vowel sounds to create internal rhyming within phrases or sentences, and together with alliteration and consonance serves as one of the building blocks of verse. Assonance is more a feature of verse than prose. Hear the mellow wedding bells. — Edgar Allan Poe, "The Bells" on a proud round cloud in a white high night - e.e. cummings, if a cheerrulest Elephantangelchild should sit Assonance in proverbsAssonance in proverbsAssonance can also be used in forming proverbs, often a form of short poetry. All roads lead to Rome. One mad action is not enough to prove a mad Man. In this proverb, the assonance in "mad", "man" reinforces the rhythm of language, catches reader's or listener's attention, and impresses a truth in people's memory by strong sound. CONSONANCE in poemCONSONANCE in poemHe took no suck when shook buds sing together But he is come in cold as workhouse weather (John Short. Carol.) Those who know the least, obey the best . 知道内情越多，越不在乎.(George Farquhar) 英国剧作家。主要作品有:戏剧《爱情与瓶子》（love and a bottle）。《招兵官》 (The Recruiting Officer) PararhymePararhymeTerm coined by Edmund Blunden to describe a form of 'near rhyme' where the consonants in two different words are exactly the same but the vowels vary. Pararhyme is particularly a  feature of the poetry of Wilfred Owen.  For example, in Owen's unfinished poem Strange Meeting we find lines ending with words such as 'groaned' and 'groined' and 'hall' and 'Hell'. Pararhyme is more commonly known as double consonance. Pick ‘n Pack (shop name) Tit for tat is fair play. 人不犯我，我不犯人；人若犯我，我必犯人。 Pararhyme for literaturePararhyme for literatureLet the boy try along this bayonet-blade (a) How cold the steel is, and keen with hunger of blood; (a) Blue with all malice, like a madman's flash; (b) And thinly drawn with famishing flesh. (b)      --- from Arms and the Boy by Wilfred Owen The para-rhyme has two effects.  It gives the poem a slightly jarring edge, throwing the reader slightly off balance - it is unexpected.  Also in this poem, it forms strong links between the blade and the blood, and the madman's flash drawn on the flesh.  The connections between the items and the actions are strengthened by this use of the language.Full rhymeFull rhymePerfect rhyme, also called, full rhyme, exact rhyme, and true rhyme, is when the later part of the word or phrase is identical sounding to another. As the days go by I cannot help but sigh Nursery rhyme Nursery rhyme Eenie, meanie, minie, mo catch a tiger by his toe if it squeals let him go Eenie, meanie, minie, mo. Full-Rhyme in advertisementsFull-Rhyme in advertisementsNothing Left but Theft . ( rhyme between left and theft ) beanz meanz Heinz Go well, go Shell (Shell oil) Full-rhyme in proverbsFull-rhyme in proverbsAn apple a day keeps the doctor away. A fall into a pit, a gain in your wit. A friend in need is a friend indeed. Better to ask the way than go astray. Birds of a feather flock together. No pains, no gains. Ninety per cent of inspiration is perspiration. Offense is the best defense.进攻是最好的防御。 Rhyme in sloganRhyme in sloganA slogan is a form of verbal logo. In a print ad, it usually appears just beneath or beside the brand name or logo. A slogan sums up what one stand for, one’s specialty, the benefit, and one’s marketing position, and one’s commitment. One of the best techniques for bringing in the brand name is to make the slogan rhyme with it. An ad slogan is better if it reflects the brand’s personality. By this kind of rhyming, the brand name is highlighted. The ad slogan is thus highly purposed. It can differentiate a slogan from others by the brand name and the special rhyming which is the identity of the slogan. Haig Scotch: Don't be vague. Ask for Haig. Quavers: The flavour of a Quaver is never known to waver. Viakal: It's the Viakal fizz that does the bizz! Jaguar : Grace, space, pace. Full rhyme in SloganFull rhyme in SloganBetter dead than Red — an anti-Communist slogan. God made Adam and Eve, not Adam and Steve - anti-gay slogan used by Christians who oppose homosexuality on religious grounds. Doctors need to be preserved, not reserved. - slogan used by medical students, doctors, and lawyers in India when they protested in New Delhi against the raised quotas for lower-caste students medical colleges from 22.5 to 49.5 % Sound pattern in poemsSound pattern in poemsFoot Meter Sonnet Heroic couplets Blank verse Foot （音步）音步是詩行中按一定規律出現的輕音節和重音節的不同組合成的韻律最小單位。 Foot （音步）音步是詩行中按一定規律出現的輕音節和重音節的不同組合成的韻律最小單位。 iambic - 'rising binary' . trochaic - 'falling binary'. anapaestic - 'rising ternary'. dactylic - 'falling ternary'. And by the number of feet in the line. dimeter = 2 trimeter = 3 tetrameter = 4 pentameter = 5 hexameter = 6 1.抑扬格音步 (iambic foot, iambus) 1.抑扬格音步 (iambic foot, iambus) 一輕讀音節後跟一個重讀音節即構成抑揚格。它是英語本身最基本的節奏單位，也是英詩的最重要、最常用的音步。隨便說一句話，其基本音步就是抑揚格，如﹕ It’s time︱ the chil︱ dren went︱ to bed. 這句話有四個抑揚格音步。 We’ll learn︱a poem︱ by Keats, 有三個抑揚格音步。 一些著名英詩體都是抑揚格，如民遙體，十四行詩，雙韻體，哀歌等。 2.揚抑格音步 (trochaic foot, trochee ）由一個重讀音節後跟一個輕讀音節構成。 2.揚抑格音步 (trochaic foot, trochee ）由一個重讀音節後跟一個輕讀音節構成。 Never, happy, heartless, topsy-turvy William︱Morris︱ taught him︱ English.︱ Double,︱ double,︱ toil and︱ trouble,︱ Fire︱ burns and︱ cauldron︱ bubble.︱ --- Shakespeare(1564-1616) 不惮劳苦不惮烦，釜中沸沫已成烂。 ---莎士比亚 null這種音步是十六世紀以後才出現的;後是主要在無六韻體和其他詩體中與抑揚格配合使用，使全詩韻律有所變化，表現動作的突然性，或起強調作用。在句首的揚抑格常使讀者感到突然與駭異，有振聾發聵的效果。如丁尼先生的《鷹》詩，絕大多數音步是抑揚格，而第2行和第3行的兩個揚抑格短語“Close to”和“Ringed with”更顯得十分故出，強調了鷹居高臨下的雄偉姿態。 nullThe Eagle （A Fragment） by Tennyson He clasps the crag with crooked hands ; Close to the sun in lonely lands , Ringed with the azure world , he stands . The wrinkled sea beneath him crawls : He watches from his mountain walls , And like a thunderbolt he falls . 抑抑揚格( anapaestic foot, anapaest)，由兩個輕音節後跟一個重音節組成。 抑抑揚格( anapaestic foot, anapaest)，由兩個輕音節後跟一個重音節組成。 We will go. I’ve been wor︱king in Chi︱na for for︱ty years.︱ nullSong for the Luddites As the Lib︱erty lads︱ o’er the sea︱ Bought their free︱dom, and cheap︱ly with blood,︱ So we,︱ boys, we︱ Will die︱ fighting,︱ or live gree,︱ And down with︱ all kings︱ but King Ludd!︱ When the web︱ that we weave︱ is complete,︱ And the shut︱tle exchanged︱ for the sword,︱ We will fling︱ the wind︱ing sheet︱ O’er the des︱pot at︱ our feet,︱ And dye︱ it deep︱ in the gore︱ he has pour’d.︱ Though black︱ as his heart︱ its hue,︱ Since his veins︱ are corrup︱ted to mud,︱ Yet this is︱ the dew︱ Which the tree︱ shall renew︱ Of Lib︱erty, plant︱ed by Ludd!︱ -------George Gordon Byron(1788-1824) null盧德派之歌 海外的自由的兒郎 買到了自由----用鮮血﹔ 我們，不自由便陣亡! 除了我們的盧德王， 把一切國王都消滅! 等我們把布匹織出， 梭子換成了利劍， 就要把這塊屍布 擲向腳下的獨夫， 用他的腥血來染遍! 他腥血和心一樣黑， 血管腐爛如泥土﹔ 把血水拿來當露水， 澆灌盧德所栽培---- 我們的自由之樹! 拜倫於1816年僑居意大利期間寫成這篇戰鬥檄文，抒發了詩人對人對自由的嚮往和對工人鬥爭的敬意。從原文上劃分的音步可以看出，這首詩以抑抑揚格為主體。這種音步朗讀時，語調有明顯的起伏。有兩個輕讀音節在先，使後面的重音節自然得到強調，彷彿是一種澎湃起伏哀怨憤怒之聲，與這首詩的主題相輔承。 揚抑抑 (dactylic foot, dactyl)，由一個重音節後跟兩個輕讀音節組成。這種音步令語氣聽來像命令像宣言，多用在格言、警句、諺語中。 揚抑抑 (dactylic foot, dactyl)，由一個重音節後跟兩個輕讀音節組成。這種音步令語氣聽來像命令像宣言，多用在格言、警句、諺語中。 Yesterday, happily, thoroughly, merrily nullThe gathering Of The People A Storm Song Gather ye︱ silently,︱ Even as︱ the snow︱ Heapeth the︱ avalanche:︱ Gather ye︱ so!︱ Gather ye︱ so.︱ In the︱ wide glare︱ of day,︱ Sternly and︱ tranquilly;︱ Melt not a︱ way!︱ Flake by flake︱ gather;︱ Bind ye the︱ whole︱ Firmly tog︱ ether-︱ One from︱ and one︱ soul!︱ Are ye all gather’d?︱ Welded in︱ one?︱ Hark to the︱ thunder-shout!︱ Now roll ye︱ on! ---William James Linton (1812-1899) 暴風雨之歌 悄悄集結吧， 就像那雪花， 積一場雪崩﹕ 就這麼集結吧！ 就這麼集結吧， 光天化日下， 堅決而沉著， 可不要融化！ 一片又一片， 整個團結緊， 成一個形體， 有一個靈魂！ 全都已經集齊？ 結成了整體？ 且聽雷聲吼， 奮勇滾上去！ 林頓是憲章派著名詩人，1838年起積極參加憲章派活動。例如是他的一首著名政治鼓動詩，譜成了曲在憲章派的集會上唱。其中多數詩行的第一音步是揚抑抑格，像是在發號召，表決心，激發工人的鬥志，使人民團結起來。形成雷霆萬鈞之力。這種音步增強了詩句的說服力和感染力。揚抑抑格正適合說理性強的詩。 揚揚格(Spondaic foot, spondee)，由連續兩個重音節組而成，表現沉重、緩慢、困難的動作或情緒﹔也用於表現感情的突然變化或強調語氣。此音步也主要與其他音步合用，甚少有以揚揚格為主的詩 揚揚格(Spondaic foot, spondee)，由連續兩個重音節組而成，表現沉重、緩慢、困難的動作或情緒﹔也用於表現感情的突然變化或強調語氣。此音步也主要與其他音步合用，甚少有以揚揚格為主的詩 Three men, red cross More haste,︱ less speed.︱ null亞歷山大，蒲伯的《批評論》中有兩行詩很能說明連續讀音節的表演力﹕ When A︱jax strives︱ some rock’s︱ vast weight︱ to throw,︱ The︱ line too︱ labours,︱ the words︱ move slow.︱ 當埃阿斯奮力舉起千鈞巨石砸去， 詩行也變得沉重，充滿緩慢的字句。 蒲伯的《批評論》是新古典主義的韻體文論著作。Ajax是指希臘神話中的埃阿斯(Ajax the Great)。他驍勇善戰，身材魁梧，力大無比，是特洛伊戰中的英雄。 null不同的內容要用不同的韻律也要變得費力、遲緩。第一行中的揚揚格“vast weight”表現巨石的沈重。第二行的揚揚格的著例。共八個字，九個音節。有六個皇音讀音節，都是實詞，更能表現句中格調的巍峨。這一行共有兩個揚揚格音步。這樣的詩句只能用加重的語氣緩慢朗讀，想快也快不起來，因只有輕讀音節多時才能讀得快。 同一首詩中接下來的兩行就是讀得快的例子，那是描寫古羅馬詩人維吉爾的史詩《伊尼特》(Aeneid)中的女英雄---“飛毛腿”卡米拉(Camilla)。 null為幫助記憶以上幾個主要音步，一首順口溜﹕ Iambics march from short long; Trochee trips from long to short. Slow spondee stalks, strong feet, Ever to come up with dactyl trisyllable. MeterMeter meter (American spelling)= metre (British spelling). A line is metrical when its length (usually, counting in syllables) is controlled, often with some variation. Iambic pentameter = 10 syllables in the line (give or take one). nullIn addition to control over length, a metre will usually also control other aspects of the line, most commonly either the placement of types of syllable (eg. stressed syllables) or the placement of word boundaries. Iambic pentameter = syllables carrying stress tend to be even-numbered. And a metre will also sometimes specify patterns of rhyme or alliteration. nullBlank verse = iambic pentameter with no rhyme.无韵诗或白体诗 莎士比亚惯用的诗的形式是无韵诗 Heroic couplets = iambic pentameter with every pair of lines rhyming. 英雄史诗式两行诗（每句有五音步十音节,互相押韵） In prosody, Chaucer mostly used the ten-syllable line in rhymed couplets (later developed into the most fashionable “heroic couplet ” of the 18th century). 英雄双韵体”(Heroic Couplet),是一种英国古典诗体,由乔叟首创。由十音节演化而来,每行五个音步,每个音步有两个音节,第一个是轻音,第二个是重音. Heroic Couplet is a traditional form for English poetry, commonly used for epic and narrative poetry; it refers to poems constructed from a sequence of rhyming pairs of iambic pentameter lines. The rhyme is always masculine. Use of the heroic couplet was first pioneered by Geoffrey Chaucer in the Legend of Good Women and the Canterbury Tales. Chaucer is also widely credited with first extensive use of iambic pentameter. From the age of John Dryden through that of Samuel Johnson, the heroic couplet was the predominant English measure for all the poetic kinds; some poets, including Alexander Pope, used it almost to the exclusion of other meters. Free verse = no control over the number of syllables or stressed syllables in the linenull抑揚格一音步 iambic monometer 揚抑格二音步 trochaic dimeter 抑抑揚格三音音步 anapaestic trimeter 抑扬格四音步 iambic tetrameter 抑扬格五音步 iambic pentameter 抑扬格六音步 iambic hexameter 上一節的第一首例詩《鷹》的基本是抑揚格四音步﹔第二首例詩《路德派之歌》的基本節奏是抑抑揚格三音步﹔第三首例詩《人民的集結》是揚抑抑格二音步。 null正如音中的2/4，3/4，6/8等節拍適於表現不同的情感和內容，英詩中的不同韻律也有各自的主要用途，如一音步、二音步、三音步的各種韻律多表現幽默諷刺的內容﹔四音步、五音步用於各種抒情詩、敘事詩。五音步的應用範圍最廣，很多固定詩體都是五音步，如無韻體、英雄雙韻體、十四行體、哀歌等都是抑揚格五步音。六音步最著名的用例是作為斯賓塞詩體(Spenserian Stanza)的最後一行。這詩體是以ababbcbc為韻式的九行詩體，上八行都是五音步，也多為抑揚格(iambic pentameter)，只有最後一行為六音步。這最後一行又稱為亞歷山大詩行(Alexandrine)。七音步(heptameter)、八音步(octameter)或更多的音步，在英詩中就罕見了。 具體分析一首詩的韻律時，要首先找出佔主導地位的音步。然後統計在大多數詩行中都有多少個這樣的音步。遵循一種總的韻律，然後根據內容和感情的需要不時有所變化，是英詩的主要特徵。美國華盛頓大學教授查爾斯，弗雷博士(Dr. Charles Frey)在南開大學任教期間曾對筆者lhhnudt說﹕“A good poet works against the established meter.”(優秀詩人總是想辦法突破固定的韻律。)此言可謂精辟深刻。 SonnetSonnetThere are two main types of sonnet forms in the English literature: one is the Petrarchan, which consists of an octave rhyming abba abba followed by a sestet which combines two or three different rhymes; the other is the Shakespearean, organized into three quatrains and one couplet that follow the pattern abab cdcd efef gg. While Italian is a language rich in perfect rhymes, English poets find it difficult to meet the requirements of the Petrarchan rhyme system. Therefore the Shakespearean form, also known as the English sonnet, is the more frequently used of the two.nullShakespeare: sonnet IV Not marble, nor the gilded monuments Of princes shall outlive this powerful rhyme; But you shall shine more bright in these contents Than unswept stone besmeared with sluttish time. When wasteful war shall statues overturn, And broils root out the work of masonry, Nor Mars his sword nor war's quick fire shall burn The living record of your memory. 'Gainst death and all oblivious enmity Shall you pace forth: your praise shall still find room Even in the eyes of all posterity That wear this world out to the ending doom. So, till the judgment that yourself arise, You live in this, and dwell in lovers' eyes. The metrical form corresponds perfectly to what we have already mentioned by the name of Shakespearean or English sonnet: fourteen iambic pentameters organized into three quatrains and one couplet, with the rhyme scheme abab cdcd efef gg. nullA19-line poem of fixed form consisting of five tercets and a final quatrain on two rhymes, with the first and third lines of the first tercet repeated alternately as a refrain closing the succeeding stanzas and joined as the final couplet of the quatrain.  田园诗一种有固定格式的19行诗；由五个三行押韵的诗节和一个四行诗节组成，其四行诗节有二个韵，在第一个三行押韵诗节中，第一行和第三行作为结束后继诗节的重复句间隔地重复出现，并作为四行诗的结尾对句一起再现。 Quatrain is a stanza of four lines.