freepeople性欧美熟妇, 色戒完整版无删减158分钟hd, 无码精品国产vα在线观看DVD, 丰满少妇伦精品无码专区在线观看,艾栗栗与纹身男宾馆3p50分钟,国产AV片在线观看,黑人与美女高潮,18岁女RAPPERDISSSUBS,国产手机在机看影片

正文內(nèi)容

婚慶公司盈利模式-文庫(kù)吧資料

2024-08-30 17:56本頁(yè)面
  

【正文】 n which t he indivi dual may perf orm them. Such an anal ogy is employed by Ri char d Ohmann: A styl e is a way of wri ti ng… .I n gener al, [st yl e] appli ed to hum an act ion t hat is par tl y invari ant and part ly vari abl e… . Now t his pi ct ure l eads t o few pl icati ons i f the acti on is pl ayi ng the pi ano or playi ng tenni s … But t he relevant di vi sion between f ixed and var iable ponent s in li terat ur e i s by no means so obvious. What i s cont ent , and what i s for m, or st yle? The at ack on a di c hot omy of for m and content has been per sistent in m oder n cri ti ci sm 。 for exam pl e ―I nam e t he ship t he Queen Eli zabeth. ‖) , psychol ogi cal stat es or act i vi ti es, percept i ons, et c? Are t hey tr ansit i ve, i nt ransi ti ve, li nking, et c? Ar e they stati ve ( descr i bi ng st at e s) or dynam ic ( descri bing acti ons) ? Adver bs: Ar e t he adver bs fr equentl y used i n t he text? What semanti c f uncti ons do t hey per f or m (manner , place, dir ect i on, ti me, degr ee, etc) ? Is there any signif icant use of sent ence adver bs (such as ―t her efor e‖, ―however‖。 spoken and wri t en language。 I t is i mpossibl e to tr anslat e a li ter ar y wor k。 and t he grammat ical, r at her t han lexical, aspect of styl e is t he one on whi ch Ohm ann concent rates. Thus i n t he analysis of a wr i ter’s style i n a wor k of f icti on, we should study what t he wri ter has wri t en against the backgr ound of what he /she mi ght have wr it ten。t he m ai n verb (shown in capit als) occurs i n mi dparal leli sm and for ms a concealed center of gravit y, balancing subj ect against pr edi cat e. I t is obviously t he aestheti cs of f orm t hat tends to at tr act t he reader ’s at tenti on her e rat her t han the meaning. We mi ght pl ausibl y say that Lyl y has em br oidered an el abor at e garment round t he si mple i dea ―Eupheus was a young dandy. ‖ If ―ador nment‖ i s to be ident if ied i n l inguisti c pat terns whi ch have l it tl e sem ant ic f unct ion, we can poi nt to t he al li ter at ions clustered i n t he end of t he thir d sent ence. We can also point t o grammat ical par al leli sm whi ch, t hough not devoi d of content, seem mer el y t o play a r ole of embel ishment , providi ng fur ther exampl es of a concept alr eady expressed: ―The sweetest r ose hat h his pr ickle‖ alr eady conveys t he meani ng ―even t he best thi ngs ar e al loyed wi th bad,‖ and t hus t he repeti ti on of t he pat ter n in ―t he fi nest velvet hi s brack, t he fai rest f lower his br an’ i s redundant. Lyl y mi ght not have, then, added the l ast piece of pat tern unl es he had elaborated on t he al l i t er ati ve funct ion of ―holi est head‖ and ―wicked way.‖ However, t he el abor at ion of f orm wi l inevit abl y bri ng an elaborati on of meani ng. The r epet it on of par al el of exam pl es fr om di f erent experi ence ( ―r ose… vel vet … fl ower … wit … head‖) spurs our asoci ati on wit h t he generali ty of a di dact ic pr inciple which i s ot her wi se seen to be par ti cul ar . The repeti ion i n ―wi t… weal th… wisdom‖ i s not m er e r epeti ti on but a pr ogressi on im pl ying an i ncr easing wei ghtiness of the qual it ies li sted. The par al leli sm of ―inf er ior t o none in pl easant concei ts‖ and ―super ior t o al in honest condit ions‖ gi ves a schemati c bal ance t o the i mage of som et hing l ight (― pleasant conceit s‖) bei ng weighed agai nst something heavy (―honest condi ti ons‖), under li ning t he fault y logi c of Eupheus’ s yout hful mi nd. So t he schemati sm of for m ai ms at the i deas bei ng present ed. A more general and tenabl e def ini ti on of st yle i s the ―manner of expresi on‖: ever y wr it er necessar il y makes choi ces of expr esi on, and it i s in t hese choices, i n his/her ―way of put ti ng t hi ngs, ‖ that st yle r esi des. Thi s defi ni ti on of st yle abides by the beli ef that there can be dif fer ent ways of conveying t he same content and dr aws paral el s wi th ot her ar t f orm s such as music, pai nti ng and ar chi tectur e, and to var ied acti viti es such as playing t he piano or playing t enni s for elucidati on. I n such acti vit ies, t her e some invari ant r ules that must be foll owed, but there ar e also vari ant ways in which t he indivi dual may perf orm them. Such an anal ogy is employed by Ri char d Ohmann: A styl e is a way of wri ti ng… .I n gener al, [st yl e] appli ed to hum an act ion t hat is par tl y invari ant and part ly vari abl e… . Now t his pi ct ure l eads t o few pl icati ons i f the acti on is pl ayi ng the pi ano or playi ng tenni s… But t he relevant di vi sion between f ixed and var iable ponent s in li terat ur e i s by no means so obvious. What i s cont ent , and what i s for m, or st yle? The at ack on a di chot omy of for m and content has been per sistent in m oder n cri ti ci sm 。 to change so m uch as a wor d, the argument runs, is to change the meaning as wel l. This aust er e doctr ine has a cer tai n theoreti cal appeal … . Yet at the same t ime this doctr ine l eads t o the alt oget her counteri ntuit ive concl usi on that there can be no such thi ng as st yl e, or t hat styl e is sim ply a par t of content. To put t he pr oblem more concretel y, t he idea of st yl e i mpli es t hat t he words on page mi ght have been di f er ent, or dif ferentl y ar anged, wit hout a cor responding di f er ence in subst ance. (―Gener ati ve Gramm ar s and the Concept of Li terar y Style‖, 1964) To back up his argument that there ar e dif fer ent ways of saying the sam e thi ng, Ohmann of fers the f ol lowi ng par aphr ases of ― Af ter dinner, the senat or made a speech‖: When di nner was over , the senat or m ade a speech. A speech was m ade by t he senator aft er di nner . The senator made a post prandial or ati on. And poi nt s out t ha
點(diǎn)擊復(fù)制文檔內(nèi)容
研究報(bào)告相關(guān)推薦
文庫(kù)吧 www.dybbs8.com
備案圖鄂ICP備17016276號(hào)-1