Stylistics is the study of style. It is a branch of linguistics concerned with the study of characteristic choices in use of language, made by different individuals or social groups in different situations of use. Acc...Stylistics is the study of style. It is a branch of linguistics concerned with the study of characteristic choices in use of language, made by different individuals or social groups in different situations of use. According to Martin （1991）, grammatical metaphor is the process by which the meanings are multiply-coded at the level of grammar. Meaning variation represented by lexicogrammatical changes are metaphor, and meaning differences represented by sound system may also bring about metaphorical phenomenon. This paper seeks to explore the stylistic value of intonation metaphor in functional stylistics by analyzing the distribution of intonation metaphors in both public speeches and news reports.展开更多
Appraisal Theory is a part of the interpersonal metafunction in Systemic Functional Linguistics to reveal the speaker＇s attitudes and positionings. Some scholars in recent years have introduced this theory to the Chi...Appraisal Theory is a part of the interpersonal metafunction in Systemic Functional Linguistics to reveal the speaker＇s attitudes and positionings. Some scholars in recent years have introduced this theory to the Chinese reader and applied it to the study of different genres, but up to now, very little has been done to test this newly developed theory in translation studies. This paper attempts to use the Appraisal Theory as a tool to investigate speaker＇s positioning in ST （source text） and TT （target text）. The translations of part of the Q＆A （Question＆Answer） section of the Vice President Cheney＇s speech at Fudan University and their STs will be investigated in the present study. The source and target texts are first described in the appraisal theoretical framework and then compared to find out the differences in terms of the speaker＇s positioning in ST and TT. Finally, a discussion is carried out to explore possible reasons that caused the speaker＇s changed positioning from ST and TT. Our findings indicate that translator＇s role, linguistic characteristics, and translation purpose might all contribute to speaker＇s changed positioning.展开更多
Foreign teaching and Chinese language teaching of minority are two different forms of teaching in nature, both the nature and the system of teaching are different, but in the teaching objectives, content, principles, ...Foreign teaching and Chinese language teaching of minority are two different forms of teaching in nature, both the nature and the system of teaching are different, but in the teaching objectives, content, principles, methods, and therefore there are many similarities, so two studies outcomes can learn from each other. In this paper, with voice teaching as an example, we will talk about foreign language studies in ethnic minority Chinese Teaching. I think, in the teaching program design, the teaching Chinese minorities can learn from the simplified idea of teaching phonological Mr. Zhao Jin ruing, which is proposed foreign teaching Chinese, to simplify Voice teaching. In teaching principles, we should emphasize specific principles, instructional design based on students＇ different characteristics. In the teaching content, teaching should not only pay attention phonetic syllables within the system, but also more emphasis on syllables voice level teaching, especially teaching speech flow. In teaching methods, we should learn teaching, research tone, softly and so on.展开更多
Ever since Venuti put forward the concept of translator＇s invisibility in 1995, studies have been conducted on the discursive presence of translators in the translated texts. The translator, as the receiver of the so...Ever since Venuti put forward the concept of translator＇s invisibility in 1995, studies have been conducted on the discursive presence of translators in the translated texts. The translator, as the receiver of the source text and m the meantime the producer of the target text, is sure to leave his/her voice traceable in the translated texts throughout the whole translating process. This paper aims to present an overview of the conceptual development of the translator＇s voice in translation studies from different perspectives like narratology, stylistics, socio-narrative theory, speech-act theory etc.展开更多
Language as a means of communication is represented in two basic forms, written and spoken. Spoken is the first form mastered by language speaker, particularly children. Speech community consists of adult and children...Language as a means of communication is represented in two basic forms, written and spoken. Spoken is the first form mastered by language speaker, particularly children. Speech community consists of adult and children. In producing their utterance, children are supposed to be affected by their parents. As a result of different educational background of their parents, children may produce different utterances including refusal. Children from different parents＇ educational background vary their refusal. The tendency that the higher parents＇ educational background will result the more polite refusal produced by children is not proved.展开更多
When scientific research began in early twentieth-century China,a key issue was the acquisition of reliable empirical information through objective and precise observations.This article examines a specific case where ...When scientific research began in early twentieth-century China,a key issue was the acquisition of reliable empirical information through objective and precise observations.This article examines a specific case where a scientist grappled with such an issue:the linguist Chao Yuen Ren’s application of mechanical means in his phonetic studies.In the 1920s–1930s,Chao conducted a series of field and lab studies on the dialects in southern and central China.In contrast to traditional scholars’exclusive reliance on sharp ears and rhyme books,Chao employed mechanical devices to inscribe and analyze the spectrographs of dialectical tones and used phonographs to record the articulations of his subjects.It is demonstrated that Chao’s machines not only provided a new method of observation;they also altered the theoretical understanding of certain fundamental categories in Chinese phonology,such as tones.Moreover,Chao did not aim to replace human perception with automatic mechanisms in empirical investigations.Rather,the use of machines in his research called for an active and engaged scientific persona.展开更多
Adorno suggests that art is an essentially expressive language since it is the imitation of natural language. Adorno＇s language thought is derived from Benjamin＇s extensive language theory in which Benjamin claims t...Adorno suggests that art is an essentially expressive language since it is the imitation of natural language. Adorno＇s language thought is derived from Benjamin＇s extensive language theory in which Benjamin claims that all things including human being have languages. The telos of art＇s expression is expressing what the repressed things and human long for speaking. The authentic art preserves the trace of primordial human＇s instinct： mimesis. Through the subject miming the object in the expression of art, the real cognition is realized. According to this model, we can ascertain that artist is the real epistemological subject, the ＂collective subject＂ is factually the speaker of the expression and the epistemological objet which is primary in the production of art. Since art is a language, the standard of art is truth-false, and therefore, the truth content is the criterion of authentic art. Negativity is the core character of truth content.展开更多
The core function of anaphora is to serve as a substitute for a certain linguistic component in texts, but it actually has other missions such as creating the rhetorical effect--irony. However, anaphora alone cannot c...The core function of anaphora is to serve as a substitute for a certain linguistic component in texts, but it actually has other missions such as creating the rhetorical effect--irony. However, anaphora alone cannot contribute to ironic effect, and only by resorting to other resources like contextual information, can anaphora generate irony. Therefore, Yus＇ s classification of contextual sources is employed to analyze with examples how anaphora creates irony by the aid of context. Ultimately, the conclusion has been drawn that anaphora is able to produce irony with the help of six groups of contextual information classified by Yus except the category--speaker＇s nonverbal behavior and anapbora sometimes has to interact with several groups of contextual information in order to create irony.展开更多
Although T. S. Eliot＇s ＂The Journey of the Magi＂ is a religious poem in the profoundest sense, the title of my paper is intended to give only a sly wink at Trinitarianism. My real object is to explain how Eliot con...Although T. S. Eliot＇s ＂The Journey of the Magi＂ is a religious poem in the profoundest sense, the title of my paper is intended to give only a sly wink at Trinitarianism. My real object is to explain how Eliot contrived to manufacture a poem which, at fu＇st glance, resembles a dramatic monologue （generally understood as a poem for one voice----that of a historical/fictional/mythological character addressing a silent listener, group of listeners or reader）, yet which is slowly revealed as a lyrical monologue （for the poet＇s own voice） which yet--and this quite intentionally----contains considerably more than mere echoes of another two speakers： namely a Magus and the biblical translator and, most famously, sermon writer Archbishop Launcelot Andrewes （1555-1626） court preacher to James 1 and Charles 1 of England. I wish to show how Eliot, in writing what is ultimately confessional verse, goes out of his way to hoodwink the reader by allowing the first two of his ＂{The} Three Voices of Poetry＂ （1957） to overlap with and then incorporate the third. His own descriptions of these voices are （i） lyric, defined as ＂the poet talking to himself＂, （ii） that of the single speakerwho gives a （dramatic） monologuel ＂addressing an {imaginary} audience in an assumed voice＂ and （iii） that of the verse dramatist ＂who attempts to create a dramatic character speaking in verse when he {i.e. the author} is saying.., only what he can say within the limits of one imaginary character addressing another imaginary character＂ yet adding ＂some bit of himself that the author gives to a character may be the germ from which that character starts＂ （Eliot, 1957, pp. 38, 40）. The basis of my argument is that such an act of＂giving of the self＇ as the raw material for the creation of a dramatic monologue persona as well as a character designed for the stage had been part and parcel of Eliot＇s modus operandi up to and including ＂Prufrock＂ and The Waste Land; further, that in ＂The Journey of the Magi＂ and his later commentary upon it he fmally comes out and admits the fact, and in far clearer a manner than he does when defining the Objective Correlative in his essays on Hamlet. Far from attempting to erase the sense of selfhood from his poetry, I believe that Eliot, consciously or not, ended up by demonstrating to those who worshipped the Romantics and their cult of personality just how difficult it was to express the purely subjective self in poetry.展开更多
Does the native tongue confer greater authenticity and connection？ And how does this connect with languages acquired later in life？ From thirty years of directing, training, and auditioning actors from a range of et...Does the native tongue confer greater authenticity and connection？ And how does this connect with languages acquired later in life？ From thirty years of directing, training, and auditioning actors from a range of ethnicities, I have believed that the mother-tongue has a particular and organic connection for an actor, one difficult to achieve in any other language. This belief was confounded in a laboratory conducted with Romanian actors, March 2013. The work was performed in both English and Romanian and it was with a sense of shock that I observed that the work was more vital, compelling, and physically and vocally engaged when they spoke in English. What were the factors at play here and what are the implications for future work？ Patsy Rodenburghas written of the giddy delight children find in language. Under what conditions does the native tongue evoke that ＂giddy delight＂ and where and when does it become an obstacle to such pleasure？展开更多
文摘Stylistics is the study of style. It is a branch of linguistics concerned with the study of characteristic choices in use of language, made by different individuals or social groups in different situations of use. According to Martin （1991）, grammatical metaphor is the process by which the meanings are multiply-coded at the level of grammar. Meaning variation represented by lexicogrammatical changes are metaphor, and meaning differences represented by sound system may also bring about metaphorical phenomenon. This paper seeks to explore the stylistic value of intonation metaphor in functional stylistics by analyzing the distribution of intonation metaphors in both public speeches and news reports.
文摘Appraisal Theory is a part of the interpersonal metafunction in Systemic Functional Linguistics to reveal the speaker＇s attitudes and positionings. Some scholars in recent years have introduced this theory to the Chinese reader and applied it to the study of different genres, but up to now, very little has been done to test this newly developed theory in translation studies. This paper attempts to use the Appraisal Theory as a tool to investigate speaker＇s positioning in ST （source text） and TT （target text）. The translations of part of the Q＆A （Question＆Answer） section of the Vice President Cheney＇s speech at Fudan University and their STs will be investigated in the present study. The source and target texts are first described in the appraisal theoretical framework and then compared to find out the differences in terms of the speaker＇s positioning in ST and TT. Finally, a discussion is carried out to explore possible reasons that caused the speaker＇s changed positioning from ST and TT. Our findings indicate that translator＇s role, linguistic characteristics, and translation purpose might all contribute to speaker＇s changed positioning.
文摘Foreign teaching and Chinese language teaching of minority are two different forms of teaching in nature, both the nature and the system of teaching are different, but in the teaching objectives, content, principles, methods, and therefore there are many similarities, so two studies outcomes can learn from each other. In this paper, with voice teaching as an example, we will talk about foreign language studies in ethnic minority Chinese Teaching. I think, in the teaching program design, the teaching Chinese minorities can learn from the simplified idea of teaching phonological Mr. Zhao Jin ruing, which is proposed foreign teaching Chinese, to simplify Voice teaching. In teaching principles, we should emphasize specific principles, instructional design based on students＇ different characteristics. In the teaching content, teaching should not only pay attention phonetic syllables within the system, but also more emphasis on syllables voice level teaching, especially teaching speech flow. In teaching methods, we should learn teaching, research tone, softly and so on.
文摘Ever since Venuti put forward the concept of translator＇s invisibility in 1995, studies have been conducted on the discursive presence of translators in the translated texts. The translator, as the receiver of the source text and m the meantime the producer of the target text, is sure to leave his/her voice traceable in the translated texts throughout the whole translating process. This paper aims to present an overview of the conceptual development of the translator＇s voice in translation studies from different perspectives like narratology, stylistics, socio-narrative theory, speech-act theory etc.
文摘Language as a means of communication is represented in two basic forms, written and spoken. Spoken is the first form mastered by language speaker, particularly children. Speech community consists of adult and children. In producing their utterance, children are supposed to be affected by their parents. As a result of different educational background of their parents, children may produce different utterances including refusal. Children from different parents＇ educational background vary their refusal. The tendency that the higher parents＇ educational background will result the more polite refusal produced by children is not proved.
文摘When scientific research began in early twentieth-century China,a key issue was the acquisition of reliable empirical information through objective and precise observations.This article examines a specific case where a scientist grappled with such an issue:the linguist Chao Yuen Ren’s application of mechanical means in his phonetic studies.In the 1920s–1930s,Chao conducted a series of field and lab studies on the dialects in southern and central China.In contrast to traditional scholars’exclusive reliance on sharp ears and rhyme books,Chao employed mechanical devices to inscribe and analyze the spectrographs of dialectical tones and used phonographs to record the articulations of his subjects.It is demonstrated that Chao’s machines not only provided a new method of observation;they also altered the theoretical understanding of certain fundamental categories in Chinese phonology,such as tones.Moreover,Chao did not aim to replace human perception with automatic mechanisms in empirical investigations.Rather,the use of machines in his research called for an active and engaged scientific persona.
文摘Adorno suggests that art is an essentially expressive language since it is the imitation of natural language. Adorno＇s language thought is derived from Benjamin＇s extensive language theory in which Benjamin claims that all things including human being have languages. The telos of art＇s expression is expressing what the repressed things and human long for speaking. The authentic art preserves the trace of primordial human＇s instinct： mimesis. Through the subject miming the object in the expression of art, the real cognition is realized. According to this model, we can ascertain that artist is the real epistemological subject, the ＂collective subject＂ is factually the speaker of the expression and the epistemological objet which is primary in the production of art. Since art is a language, the standard of art is truth-false, and therefore, the truth content is the criterion of authentic art. Negativity is the core character of truth content.
文摘The core function of anaphora is to serve as a substitute for a certain linguistic component in texts, but it actually has other missions such as creating the rhetorical effect--irony. However, anaphora alone cannot contribute to ironic effect, and only by resorting to other resources like contextual information, can anaphora generate irony. Therefore, Yus＇ s classification of contextual sources is employed to analyze with examples how anaphora creates irony by the aid of context. Ultimately, the conclusion has been drawn that anaphora is able to produce irony with the help of six groups of contextual information classified by Yus except the category--speaker＇s nonverbal behavior and anapbora sometimes has to interact with several groups of contextual information in order to create irony.
文摘Although T. S. Eliot＇s ＂The Journey of the Magi＂ is a religious poem in the profoundest sense, the title of my paper is intended to give only a sly wink at Trinitarianism. My real object is to explain how Eliot contrived to manufacture a poem which, at fu＇st glance, resembles a dramatic monologue （generally understood as a poem for one voice----that of a historical/fictional/mythological character addressing a silent listener, group of listeners or reader）, yet which is slowly revealed as a lyrical monologue （for the poet＇s own voice） which yet--and this quite intentionally----contains considerably more than mere echoes of another two speakers： namely a Magus and the biblical translator and, most famously, sermon writer Archbishop Launcelot Andrewes （1555-1626） court preacher to James 1 and Charles 1 of England. I wish to show how Eliot, in writing what is ultimately confessional verse, goes out of his way to hoodwink the reader by allowing the first two of his ＂{The} Three Voices of Poetry＂ （1957） to overlap with and then incorporate the third. His own descriptions of these voices are （i） lyric, defined as ＂the poet talking to himself＂, （ii） that of the single speakerwho gives a （dramatic） monologuel ＂addressing an {imaginary} audience in an assumed voice＂ and （iii） that of the verse dramatist ＂who attempts to create a dramatic character speaking in verse when he {i.e. the author} is saying.., only what he can say within the limits of one imaginary character addressing another imaginary character＂ yet adding ＂some bit of himself that the author gives to a character may be the germ from which that character starts＂ （Eliot, 1957, pp. 38, 40）. The basis of my argument is that such an act of＂giving of the self＇ as the raw material for the creation of a dramatic monologue persona as well as a character designed for the stage had been part and parcel of Eliot＇s modus operandi up to and including ＂Prufrock＂ and The Waste Land; further, that in ＂The Journey of the Magi＂ and his later commentary upon it he fmally comes out and admits the fact, and in far clearer a manner than he does when defining the Objective Correlative in his essays on Hamlet. Far from attempting to erase the sense of selfhood from his poetry, I believe that Eliot, consciously or not, ended up by demonstrating to those who worshipped the Romantics and their cult of personality just how difficult it was to express the purely subjective self in poetry.
文摘Does the native tongue confer greater authenticity and connection？ And how does this connect with languages acquired later in life？ From thirty years of directing, training, and auditioning actors from a range of ethnicities, I have believed that the mother-tongue has a particular and organic connection for an actor, one difficult to achieve in any other language. This belief was confounded in a laboratory conducted with Romanian actors, March 2013. The work was performed in both English and Romanian and it was with a sense of shock that I observed that the work was more vital, compelling, and physically and vocally engaged when they spoke in English. What were the factors at play here and what are the implications for future work？ Patsy Rodenburghas written of the giddy delight children find in language. Under what conditions does the native tongue evoke that ＂giddy delight＂ and where and when does it become an obstacle to such pleasure？
