摘要
诗体学节奏与口语表达节奏之间存在着相互趋向的辩证关系.前者趋向于说话时的自由节奏,而后者则趋向于说话时潜意识中的隐性格律节奏.两种趋向的最大值即为两种节奏各自趋向的最佳点,越过此点就失去两节奏间的区别.如何使口语表达节奏既带有诗体学节奏的影子而又不受其模式限制,这成为借助英语诗歌为大众口语服务的有利因素.
Prosody rhythm and speech rhythm have in between a dialectical relationship of mutual tendency. The former tends to the free rhythm in natural speech while the latter to the recessive metrical rhythm model in the speaker’s sub-consciousness. The maximums of these tendencies are the optimal points each rhythm reaches, and if they get beyond the points, there will be no distinction between them. That speech rhythm should function best with implicit reference but not confinement to prosody rhythm will become one of the beneficial factors for bringing English poetry to the service of non-native English speakers.
出处
《外语与外语教学》
北大核心
2003年第7期14-17,共4页
Foreign Languages and Their Teaching
基金
湖南省教育厅省属高校 2 0 0 2年度科研项目 ( 0 2C5 46)。
关键词
节奏分析
趋向
节奏焦点
隐性模式
音步
rhythm analysis
tendency
rhythm focus
recessive model
foot
