0总复习第1辑【五月第三周——期末复习资料资料文档.docx

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1、英文文体风格鉴赏（期末总复习第1辑）20xx年5月20日1.20世纪英文公教材中的文风术语概要AStyle and literary lanquawe风格和文学语言参见导读和随堂笔记第1和2讲1. Style 风格Literary language 文学语言2. Language of fiction 小说语言BLexical rhetoric词汇的修辞参见导读和随堂笔记第2和3讲Figurative langua调 修辞性语言；比喻语言这个术语主要指词汇方面的修辞Tropes修辞手法这个术语所指广泛，包括，修辞格，1. Figures of speech 修辞格Simile明喻一种修辞格3.

2、 Metaphor隐喻一种修辞格Metonymy换喻一种修辞格4. Allegory寓意；讽喻一种修辞格Allusion引喻一种修辞格5. Oxymoron矛盾修辞法一种修辞格He sighed happily.他高兴地唉声叹气。此句出现的矛盾 语境是：这个乡下老人的生活逐渐好转了，但他最小的儿子还被魔王扣留着，这是内心的 纠结。此例出自美国小说家霍塞尼的群山回声第1章结尾。CSyntactic rhetoric句法的修辞参见导读和随堂笔记第2和3讲1 . Parataxis并列结构（风格）；（无连接词语的）意合.Hypotaxis主从结构（风格）；从属结构（subordination）；（有

3、连接词语）形合2 .Asyndeton连词省略句;（无连词and的）并列句；如：/cmc,/saw,. Parallelism 平行结构3. Repetition （词句）反复；重复Overlapping synonyms 同义复叠4. Inverted word-order 词序倒置Tense shifting/changes 时态换用/变化5. Anaphora首语重复Ellipsis 省略6. Zeugma飘式搭配Parenthesis 附力法7. Antithesis对照；对仗句；对偶句D Narration techniques 叙述手法1. Descriptive language

4、形象化语言般是客观的(objective)、物质方面(physical)的表述;参见导读和随堂笔记第4, 5和6讲1 Scenic narration 情景叙述2 Characterization 人物刻画3 Profile description 外表描写have got close again to Ruth and Tommy after all those years?But these days, of course, there are fewer and fewer donors left who I remember, and so in practice, I havent

5、been choosing that much. As I say, the work gets a lot harder when you dont have that deeper link with the donor, aod though ril miss being a carer, it feels just about right to be finishing at last by the end of the year.CommentsThemes:Techniques:Style:Text 4 from Lecture 6: the opening of The Sea,

6、 by John Banville (20 X X)They departed, the gods, on the day of the strange tide. All morning under a milky sky the waters in the bay had swelled and swelled, rising to unheard-of heights, the small waves creeping over parched sand that for years had known no wetting save for rain and lapping the v

7、ery bases of the dunes. The rusted hulk of the freighter that had run aground at the far end of the bay longer ago than any of us could remember must have thought it was being granted a relaunch. I would not swim again, after that day. The seabirds mewled and swooped, unnerved, it seemed, by the spe

8、ctacle of that vast bowl of water bulging like a blister, lead-blue and malignantly agleam. They looked unnaturally white, that day, those birds. The waves were depositing a fringe of soiled yellow foam along the waterline. No sail marred the high horizon. I wnuld not swim, no, not ever aqain.Someon

9、e has just walked over my grave. Someone.The name of the house is the Cedars, as of old. A bristling clump of those trees, monkey-brown with a tarry reek, their trunks nightmarishly tangled, still crows at the left side, facing across an untidy lawn to the big curved window of what used to be the li

10、ving room but which Miss Vavasour prefers to call, in landladyese, the lounge. The front door is at the opposite side, opening on to a square of oil-stained gravel behind the iron gate that is still painted green, though rust has reduced its struts to a tremulous filigree. I am amazed at how little

11、has changed in the more than fifty years that have gone by since I was last here.CommentsThemes:Techniques:Style:Text 5 from Lecture 7: the coda of The Road, by Cormac McCarthy (20 XHe waited in the road and when the man came out of the woods he was carrying the suitcase and he had the blankets over

12、 his shoulder. He sorted through them and handed one tothe boy. Here, he said. Wrap this around you. Youre cold. The boy tried to hand him the pistol but he wouldnt take it. You hold onto that, he said.Okay.Do you know how to shoot it?Yes.Okay.What about my papa?Theres nothing else to be done.I thin

13、k I want to say goodbye to him.Will you be all right?Yes.Go ahead. Til wait for you.He walked back into the woods and knelt beside his father. He was wrapped in a blanket as the man had promised and the boy didnt uncover him but he sat beside him and he was crying and he couldnt stop. He cried for a

14、 long time, ll talk to you every day, he whispered. And I wont forget. No matter what. Then he rose and turned and walked back out to the road.The woman when she saw him put her arms around him and held him. Oh, she said, I am so glad to see you. She would talk to him sometimes about God. He tried t

15、o talk to God but the best thing was to talk to his father and he did talk to him and he didnt forget. The woman said that was all right. She said that the breath of God was his breath yet though it pass from man to man through all of time.Once there were brook trout in the streams in the mountains.

16、 You could see them standing in the amber current where the white edges of their fins wimp加d softly in the flow. They smelled of moss in your hand. Polished and muscular and torsional. On their backs were vermiculite patterns that were maps of the world in its becoming. Maps and mazes. Of a thing wh

17、ich could not be put back. Not be made right again. In the deep glens where they lived all things were older than man and they hummed of mystery.CommentsThemes: McCarthy delivers the death of all civilizations in the post-apocalyptic novel The Road （预言世界末日后小说）.Particularly in the final passage of th

18、is holocaust novel, a short epilogue （尾声）just leaves the characters and action to present a brief and final statement, which is simultaneously filled with hope and hopelessness （希望与无望）一as well as downright ambiguity （歧义；模糊性）.All this I think really indicates the kind of postmodern notion of uncertai

19、nty.Techniques: That mysterious hum is often at the heart of McCarthys novels. Mystery burst is free from human restriction. Here he presents the idea that there is a natural order that can never be restored, yet he also presents us with hope for humanitythe boy and the father did keep the course of

20、 their moral compass, they did remain the good guys.n And though the father does die, the boy still has the fire. He still carries that flame of humanity, and he is taken in by new family members who are good as well. For the ending statement / the deep glensand they hummed of mystery McCarthy seems

21、 to be telling us: it is a mystery that existed long beforehumans and before the language, philosophy, or religion that we use to explain the world. That old mysterious hum is something just beyond our periphery, for it is a hum beyond lanquage and human imderstandina. Those final lines may suggest:

22、 These evocations of nature (大 自然的启示)function primarily as points of inaccessibility.Style: This novel has consistently been to take the reader to the mouth of the allegorical (寓意 的)cave or to the edge of those figurative glens. It is just close enough for the reader to ponder that aqelnss and indef

23、inite hum. As McCarthy himself said in a TV interview, *1 dont think you have to have a clear idea who or what God is in order to pray.”Text 6 from Lecture 8: White Teeth, by Zadie Smith (2000)The communication between hairdressers in P. K.s being poor, no one told the hairdresser Andrea that Irie (

24、an African girl) had washed her hair. Two minutes after having the thick white ammonia gloop spread on to her head, she felt the initial cold sensation change to a terrific fire. There was no dirt there to protect the scalp, and Irie started screaming.I jus put it on! You want it straight, don5 you?

25、 Stop making that noise!,But it hurts!Life hurts/ said Andrea scornfully, ibeauty hurts/Irie bit her tongue for another thirty seconds until blood appeared above her right ear. Then the poor girl blacked out.She came to with her head over the sink, watching her hair; which was coming out in clumps,

26、shimmy down the plughole.You should have told me/ Andrea was grumbling. You should have told me that you washed it. Ifs got to be dirty first. Now look/Now look. Hair that had once come down to her mid vertebrae was only a few inches from her head.,See what youve done/ continued Andrea, as Irie wept

27、 openly. 6Fd like to know what Mr Paul King is going to say about this. I better phone him and see if we can fix this up for you for free.Mr Paul King, the P. K in question, owned the place. He was a big white guy, in his mid fifties, who had been an entrepreneur in the building trade until Black We

28、dnesday and his wifes credit card excesses took away everything but some bricks and mortar. Looking for a new idea, he read in the lifestyle section of his breakfast paper that black women spend five times as much as white women on beauty products and nine times as much on their hair. Taking his wif

29、e Sheila as an archetypal white woman, Paul King began to salivate. A little more research in his local library uncovered a multi-minion pound industry. Paul King then bought a disused butchers on Willesden High Road, head-hunted Andrea from a Harlesden salon, and gave black hairdressing a shot. It

30、was an instant success. He was amazed to discover that women on low income were indeed prepared to spend hundreds of pounds per month on their hair and yet more on nails and accessories. He was vaguely amused when Andrea first explained to him that physical pain was also part of the process. And the

31、 best part of it was there was eo question of suingthey expected the burns. Perfect business.CommentsThemes:Techniques:Style:Text 7 from Lecture 11: Falling Man, by Don DeLillo (20 X X)He started walking again. A supermarket cart stood upright and empty. There was a woman behind it, facing him, with

32、 police tape wrapped around her head and face, yellow caution tape that marks the limits of a crime scene. Her eyes were thin white ripples in the bright mask and she gripped the handle of the cart and stood there, looking into the smoke.In time he heard the sound of the second fall. He crossed Cana

33、l Street and began to see things, somehow, differently. Things did not seem charged in the usual ways, the cobbled street, the cast-iron buildings. There was something critically missing from the things around him. They were unfinished, whatever that means. They were unseen, whatever that means, sho

34、p windows, loading platforms, paint-sprayed walls. Maybe this is what things look like when there is no one here to see them.He heard the sound of the second fall, or felt it in the trembling air, the north tower coming down, a soft awe of voices in the distance. That was him coming down, the north

35、tower.The sky was lighter here and he could breathe more easily. There were others behind him, thousands, filling the middle distance, a mass in near formation, people walking out of the smoke. He kept going until he had to stop. It hit him quickly, the knowledge that he couldnt go any farther. He t

36、ried to tell himself he was alive but the idea was too obscure to take hold. There were no taxis and little traffic of any kind and then an old panel truck appeared, Electrical Contractor, Long Island City, and it pulled alongside and the driver leaned toward the window on the passengers side and ex

37、amined what he saw, a man scaled in ash, in pulverized matter, and asked him where he wanted to go. It wasnt until he got in the truck and shut the door that he understood where hed been going all along.CommentsThemes:Techniques:Style:Text 8 from Lecture 13: And the Mountains Echoed, by K. Hosseini

38、(20 X X)The opening of Chapter OneSo, then. You want a story and I will tell you one. But just the one. Dont either of youask me for more. If s late, and we have a long day of travel ahead of us, Pari, you and I. You will need your sleep tonight. And you too, Abdullah. I am counting on you, boy, whi

39、le your sister and I are away. So is your mother. Now. One story, then. Listen, both of you, listen well. And dont intemiDt.Once upon a time, in the days when divs and jinns and giants roamed the land, there lived a farmer named Baba Ayub. He lived with his family in a little village by the name of

40、Maidan Sabz. Because he had a large family to feed, Baba Ayub saw his days consumed by hard work. Every day, he labored from dawn to sundown, plowing his field and turning the soil and tending to his meager pistachio trees. At any given moment you could spot him in his field, bent at the waist, back

41、 as curved as the scythe he swung all day. His hands were always callused, and they often bled, and every night sleep stole him away no sooner than his cheek met the pillow.I will say that, in this regard, he was hardly alone. Life in Maidan Sabz was hard for all its inhabitants. There were other, m

42、ore fortunate villages to the north, in the valleys, with fruit trees and flowers and pleasant air, and streams that ran with cold, clear water. But Maidan Sabz was a desolate place, and it didnt resemble in the slightest the image that its name, Field of Green, would have you picture. It sat in a f

43、lat, dusty plain ringed by a chain of craggy mountains. The wind was hot, and blew dust in the eyes. Finding water was a daily struggle because the village wells, even the deep ones, often ran low. Yes, there was a river, but the villagers had to endure a half-day walk to reach it, and even then its

44、 waters flowed muddy all year round. Now, after ten years of drought, the river too ran shallow. Lets just say that people in Maidan Sabz worked twice as hard to eke out half the living.Still, Baba Ayub counted himself among the fortunate because he had a family that he cherished above all things. H

45、e loved his wife and never raised his voice to her, much less his hand. He valued her counsel and found genuine pleasure in her companionship. As for children, he was blessed with as many as a hand has fingers, three sons and two daughters, each of whom he loved dearly. His daughters were dutiful an

46、d kind and of good character and repute. To his sons he had taught already the value of honesty, courage, friendship, and hard work without complaint. They obeyed him, as 000d sons must, and helped their father with his crops.CommentsThemes: This novel stems from an exotic culture (Afghanistan lifes

47、tyle and mentality), designating a tendency of the modern novel to reach beyond the confines of realism and draw upon the energies of folklore, folktale and myth. Its thematic focus is posed upon a strong contemporary relevance to social reality.Techniques:Style: (1) This extract has elements of mag

48、ic realism in general. Magic realism refers to a kind of modern fiction in which fabulous and fantastical events, plots, characters are included in a narrative with the reliable tone of objective realistic report.23 Text 9 from Lecture 13: And the Mountains Echoed, by K. Hosseini (20 X X) The coda o

49、f Chapter OneThere is little more to say, Abdullah. You may ask, though, did a young handsome man riding a horse ever pass through the village on his way to great adventures? Did he perhaps stop for a drink of water, of which the village had plenty now, and did he sit to break bread with the villagers, perhaps w