【正文】 juxtaposition of clauses or of other equivalent structures? In what parts of the text does plexity tend to occur?GrammaticalAdverbs: Are the adverbs frequently used in the text? What semantic functions do they perform (manner, place, direction, time, degree, etc)? Is there any significant use of sentence adverbs (such as “therefore”, “however”。Verbs: Do the verbs carry an important part of the meaning? Do they refer to movements, physical acts, speech acts (roughly utterances in the language which can be used to perform acts, or in which the speaker can seen to have performed some acts。Nouns: Are the nouns abstract or concrete? What kinds of abstract nouns (eg nouns referring to events, perceptions, processes, moral qualities, social qualities) are used? Why do proper names occur? Collective nouns? spoken and written language。LexicalForegrounding, artistically motivated deviation or defamiliarization of language or structure or other basic elements, according to Russian Formalists, makes a literary work literary. By determining what is foregrounded or defamiliarized we can distinguish a grounding may be qualitative, a breach of some rule or convention of English such as the present tense of the link verb “be” in Jesus words in the Authorized Version of St John’s Gospel: “Before Abraham was, I am” and the use of “now” in a sentence of past tense in the beginning paragraph of Hemingway’s “A Clean, WellLighted Place”: “…and now at night it was quiet…” –or it may be simply quantitative, ie. Deviation from some expected frequency, for instance, the repetition of “nada” in the older waiter’s monologue in Hemingway’s “A Clean, WellLighted Place.” And quantitative foregrounding of a prominent pattern of choice within the code may shade into qualitative foregrounding which changes the code itself. For example, the quantitative foregrounding of long pound sentences (clause plus clause plus clause) of simple words, sometimes joined with “and,” in Hemingway’s narrative produces the effect of listening to speech, which is a mark of quantitative foregrounding in Hemingway’s writing. Thus what is foregrounded may soundly be taken as a distinctive feature of style of a piece of fiction.Therefore, a linguistic approach to style is frequently employed in stylistic studies. Among such practices, critics generally try to determine the features of style, or style markers, the linguistic items that only appear or are typical or most or least frequent in a work of fiction. We thus need to make parisons and contrasts so as to find out the differences between the normal frequency of a feature and its frequency in the text or corpus. Of course, features can register on a reader’s mind in his/her recognition of style, and doubtlessly the degree to his /her recognition of these features as they are salient will vary, and the degree to which the reader responds to these features in a given reading will also vary according to a number of factors, such as his/ her attentiveness, sensitivity to style markers and previous reading experience. (Leech and Short, Style in Fiction, 1981) It is impossible to divorce the general appreciation of a literary work from the appreciation of its style.It is impossible to translate a literary work。It is impossible to paraphrase literary writing。 It is hardly necessary to adduce proof that the doctrine of identify of style and meaning is today firmly established. The doctrine is, I take it, one [emphasis mine] from which a modern theorist can hardly escape, or hardly wishes to. (The Prose Style of Samuel Johnson, 1941.) we should search for some significance, which we may call stylistic value, in the writer’s choice to express his/her sense in this rather than that way. And points out that these are variants of the original in a sense which is not true of, say, “Columbus was brave” or “Columbus was nautical.” The differences among (1)(3) are chiefly grammatical。A speech was made by the senator after dinner.To back up his argument that there are different ways of saying the same thing, Ohmann offers the following paraphrases of “ After dinner, the senator made a speech”: to change so much as a word, the argument runs, is to change the meaning as well. This austere doctrine has a certain theoretical appeal….Yet at the same time this doctrine leads to the altogether counterintuitive conclusion that there can be no such thing as style, or that style is simply a part of content.A more general and tenable definition of style is the “manner of expression”: every writer necessarily makes choices of expression, and it is in these choices, in his/her “way of putting things,” that style resides. This definition of style abides by the belief that there can be different ways of conveying the same content and draws parallels with other art forms such as music, painting and architecture, and to varied activities such as playing the piano or playing tennis for elucidation. In such activities, there some invariant rules that must be followed, but there are also variant ways in which the individual may perform them. Such an analogy is employed by Richard Ohmann: There dwelt in Athens a young gentleman of great patrimony, and of so ely 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, insomuch that he deemed himself so apt in all things, that he gave himself almost to nothing, but practicing of those things monly 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, the fairest flower his bran, so the sharpest wit HATH his wanton will and the holiest head his wicked way.Neat, but not gaudy, will true critics please.Style is the dress of th