【正文】 ontent. He waited. Mrs. Verloc was ing. 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. Verloc’s movement towards her husband is viewed from Mr. Verloc’s position (ing). The fact that the events are only seen from Mr. Verloc’s 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 Aesop’s fable. The Ant and the Grasshopper Weary 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 were 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 ing next. “Well,” said the ant, hardly bothering to conceal his contempt, “since you sang all summer, you can dance all winter.” He who idles when he is young will have nothing when he is old. QUESTIONS In what point of view is the fable narrated? Rewrite the fable in thirdperson, selective omniscient point of view. Firstperson point of view (the ant being the narrator). Firstperson point of view (the grasshopper being the narrator). Objective point of view. Chapter Six Style What is Style? “Proper words in proper places, makes the true definition of a style.” Jonathan Swift’s remarks lead us generally to thinking of modes of expression of a piece of fiction as the most characteristic of the author’s style. Thus style generally refers to how the author uses language in his/her work: to the author’s particular ways of managing words that we e 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 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 bination of two elements, the idea to be expressed and the linguistic traits or characteristics of the author. It is, as . 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, 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 the mon 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 Flaubert’s words: “It is like body and soul: form and content to me are one.” The distinction between what a writer 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 NeoClassicist pronouncements on style. For example, the idea that style is目 錄IPTV 服務(wù)質(zhì)量保障系統(tǒng)說明 .............................................................................................5系統(tǒng)功能簡(jiǎn)介 ....................................................................................................................5預(yù)防性客觀指標(biāo) ................................................................................................................6 機(jī)頂盒 ..................................................................................................................................................6 視頻信息 ..............................................................................................................................................7用戶行為分析 ..................................................................................................................1開機(jī)行為分析 ................................................................................................................................1指定時(shí)間跨度的開機(jī)狀況統(tǒng)計(jì) ...........................................................................................1指定時(shí)間跨度的新增用戶狀況統(tǒng)計(jì) ..................................................................................1 24 小時(shí)內(nèi)收視時(shí)段的開機(jī)狀況統(tǒng)計(jì) .................................................................................1指定時(shí)間跨度的沉睡用戶挖掘 ...........................................................................................1收視統(tǒng)計(jì)分析 ................................................................................................................................1直播頻道收視統(tǒng)計(jì) ................................................................................................................1直播頻道節(jié)目收視統(tǒng)計(jì) .......................................................................................................1點(diǎn)播節(jié)目頻道收視統(tǒng)計(jì) .......................................................................................................欄目 /回看收視統(tǒng)計(jì) ..............................................................................................................2分權(quán)分域管理 ................................................................................................................................2分權(quán)管理 ................................................................................................................................2分域管理 ...........................................