旅游综合开发项目可行性研究报告.doc
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1、are familiar to some extent with the village (and hence the area) but not the characters. Deixis Because Deixis is speaker-related it can easily be used to indicate particular, and changing, viewpoint. In the following example from The Secret Agent, we see Mrs. Verlocs actions from Mr. Verlocs viewp
2、oint:Mr. Verloc heard the creaky plank in the floor and was content. He waited.Mrs. Verloc was coming. In addition to the perception and cognition verbs heard and waited and the indication of his inner mental state (was content) we can see that Mrs. Verlocs movement towards her husband is viewed fro
3、m Mr. Verlocs position (coming). The fact that the events are only seen from Mr. Verlocs viewpoint is strategically important at this point in the novel. He does not realize that his wife is about to kill him.Exercise: to understand the differences between points of view, study the Aesops fable. The
4、 Ant and the GrasshopperWeary in every limb, the ant tugged over the snow a piece of corn he had stored up last summer. It would taste might good at dinner tonight.A grasshopper, cold and hungry, looked on. Finally he could bear it no longer. “Please, friend ant, may I have a bite of corn?”“What wer
5、e you doing all last summer?” asked the ant. He looked the grasshopper up and down. He knew its kind.“I sang from dawn till dark,” replied the grasshopper, happily unaware of what was coming next.“Well,” said the ant, hardly bothering to conceal his contempt, “since you sang all summer, you can danc
6、e all winter.”He who idles when he is young will have nothing when he is old.QUESTIONSIn what point of view is the fable narrated?Rewrite the fable inthird-person, selective omniscient point of view.First-person point of view (the ant being the narrator).First-person point of view (the grasshopper b
7、eing the narrator).Objective point of view.Chapter Six StyleWhat is Style? “Proper words in proper places, makes the true definition of a style.” Jonathan Swifts remarks lead us generally to thinking of modes of expression of a piece of fiction as the most characteristic of the authors style. Thus s
8、tyle generally refers to how the author uses language in his/her work: to the authors particular ways of managing words that we come to recognize as habitual or customary. A distinctive style marks the work of a fine writer: we can tell Latin expression: Stilus virus arguit (“The style proclaims the
9、 man”), and for this matter we are familiar with the experience of trying to guess the author of a piece of writing on the evidence of his/her language. Actually, style is a combination of two elements, the idea to be expressed and the linguistic traits or characteristics of the author. It is, as J.
10、R. Lowell said, “the establishment of a perfect mutual understanding between the worker and his material”. However, there has never been an agreement on the exact meaning of style in the history of literary criticism, and the further narrowing of its meaning brings us on to more controversial ground
11、, where different definitions of style involve even conflicting views of the use of language in literature. There is a strong tradition of thought which restricts style to choices of manner rather than matter, of expression rather than content. Such separation between form and meaning is implied in
12、the common definition of style as a “way of writing” or “mode of expression.” There is equally a strong literary tradition that emphasizes the inseparability between style and content; in Flauberts words: “It is like body and soul: form and content to me are one.”The distinction between what a write
13、r wants to say and how it is presented to the reader underlies one of the early and persistent concepts of style: style as the “dress of thought,” as Wesley put it:Style is the dress of thought; a modest dress,Neat, but not gaudy, will true critics please.This metaphor resonates with Renaissance and
14、 Neo-Classicist pronouncements on style. For example, the idea that style is merely the “adornment” or “covering” of thought or meaning is clearly expressed in the very meaning of John Lylys Eupheus, which can be plausibly taken as the first novel in English: There dwelt in Athens a young gentleman
15、of great patrimony, and of so comely a personage.This young gallant, of more wit than wealth, and yet of more wealth than wisdom, seeing himself inferior to none in pleasant conceits, THOUGHT himself superior to all in honest conditions, in-so-much that he deemed himself so apt in all things, that h
16、e gave himself almost to nothing, but practicing of those things commonly which are incident to these sharp wits, fine phrases, smooth quipping, merry taunting, using jesting without mean, and abusing mirth without measure. As therefore the sweetest rose hath his prickle, the finest velvet his brack
17、, the fairest flower his bran, so the sharpest wit HATH his wanton will and the holiest head his wicked way.We can see clearly the elaborate parallelistic structure of the three sentences, and the parallelisms are reinforced by frequent uses of alliteration (indicated by italics). As Leech and Short
18、 analyze (Style in Fiction, 1981), the architecture of parallelism is to some extent in counterpoint with the grammatical structure of the sentence so that the main verb (shown in capitals) occurs in mid-parallelism and forms a concealed center of gravity, balancing subject against predicate. It is
19、obviously the aesthetics of form that tends to attract the readers attention here rather than the meaning. We might plausibly say that Lyly has embroidered an elaborate garment round the simple idea “Eupheus was a young dandy.” If “adornment” is to be identified in linguistic patterns which have lit
20、tle semantic function, we can point to the alliterations clustered in the end of the third sentence. We can also point to grammatical parallelism which, though not devoid of content, seem merely to play a role of embellishment, providing further examples of a concept already expressed: “The sweetest
21、 rose hath his prickle” already conveys the meaning “even the best things are alloyed with bad,” and thus the repetition of the pattern in “the finest velvet his brack, the fairest flower his bran is redundant. Lyly might not have, then, added the last piece of pattern unless he had elaborated on th
22、e alliterative function of “holiest head” and “wicked way.” However, the elaboration of form will inevitably bring an elaboration of meaning. The repetition of parallel of examples from different experience (“rosevelvetflowerwithead”) spurs our association with the generality of a didactic principle
23、 which is otherwise seen to be particular. The repetition in “witwealthwisdom” is not mere repetition but a progression implying an increasing weightiness of the qualities listed. The parallelism of “inferior to none in pleasant conceits” and “superior to all in honest conditions” gives a schematic
24、balance to the image of something light (“pleasant conceits”) being weighed against something heavy (“honest conditions”), underlining the faulty logic of Eupheuss youthful mind. So the schematism of form aims at the ideas being presented.A more general and tenable definition of style is the “manner
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