文學(xué)中的語(yǔ)言

內(nèi)容概要

作為一本面向文學(xué)學(xué)學(xué)習(xí)者的入門書籍，本書以深入淺出的語(yǔ)言解釋文學(xué)語(yǔ)言學(xué)中的核心概念及主題，在細(xì)致觀察作品的寫作技巧的同時(shí)，探究語(yǔ)言產(chǎn)生文學(xué)效果與意味的種種途徑與方式。作者選取詩(shī)歌、短篇小說(shuō)、長(zhǎng)篇摘錄、廣告以及兒童作品實(shí)踐活動(dòng)素材，引導(dǎo)讀者使用語(yǔ)言學(xué)術(shù)語(yǔ)進(jìn)行文本分析，不但適合讀者自學(xué)，對(duì)從事文學(xué)文體學(xué)教學(xué)及研究的教師也具有重要的參考價(jià)值。

書籍目錄

AcknowledgementsPreliminaries1.Getting started2.Cohesion: making text3.Modality and attitude4.Processes and participants5.Recording speech and thought6.Narrative structure7.A few well-chosen words8.Talking: acts of give and take9.PresuppositionReferences and recommended further readingIndex

章節(jié)摘錄

　　A cut-price crowd, urban yet simple, dwelling　　Where only salesmen and relations come　　Within a terminate and fishy-smelling　　Pastoral of ships up streets, the slave museum,　　Tattoo-shops, consulates, grim head-scarfed wives;　　And out beyond its mortgaged half-built edges　　Fast-shadowed wheat fields, running high as hedges,　　Isolate villages, where removed lives　　Loneliness clarifies. Here silence stands　　Like heat. Here leaves unnoticed thicken,　　Hidden weeds flower, neglected waters quicken,　　Luminously-peopled air ascends;　　And past the poppies bluish neutral distance　　Ends the land suddenly beyond a beach　　Of shapes and shingle. Here is unfenced existence:　　Facing the sun, untalkative, out of reach.　　The stylistic mentality is always on the lookout for one or more of the following:　　pattern　　repetition　　recurrent structures　　ungrammatical or language-stretching structures　　large internal contrasts of content or presentation.　　And it is not embarrassed about beginning a discussion with broad orvague first impressions, so-called intuitive or subjective responses,and keeping those in mind as the discussion works its way from thegeneral to the specific. What, then, are your first impressions of thispoem? It would be useful if you read over the poem again, and jotteddown your first impressions and reactions, before reading on.　　My own first impressions are that the poem seems to involve ajourney, a movement from one place to a different one; that it is highlydescriptive, indeed quite packed with mentioned things; and that thefinal eight lines contrast, in many respects, with what goes before. Forinstance, they seem both more contemplative and more positive intone than the earlier lines, or more approving of what they report.These immediate reactions do much to shape the closer languageanalysis that follows; they are claims that the more detailed attentionwill now seek to bolster, or adjust. I believe a similar progression, fromfirst impressions to closer study shaped by those first impressions,typically happens whenever we encounter a new poem, or new picture- or a new acquaintance for that matter. Influential though they are.

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