Phân tích tu từ trong trích giảng văn học Anh Mỹ :stylistic analysis of British and American literary texts : Đề tài NCKH. QT.99.11

DAI HOC QUOC GIA HA NOI YRUrONG DAI HOC KIIOA HOC XA HOI VA NIIAN VAN PIIANTICTTTIITII LRONG TRICII (.lANG VAN HOC ANII MY ( STYLISTIC ANALYSIS OF BRITISH AND AMERICAN LITERARY TEXTS) Ma so : QG 95 - 37 Cliii tri de lai : TS \A The Que IIA NOI - 2000 CONTENTS INTRODUCTION ^ I THE TEACHING OF LITERATURE 1.1 Literature as Language 1.2 What Forms of Literature to Teach? t ^ 1.2.1 The Study of Poetry 1.2.2 The Study of Prose Fiction 1.2.3 The Study of Drama IL WHAT ARE NEEDED IN THE STYUSTIf: ANALYSIS OF LITERARY TEXTS? 2.1 Phonetic Expressive Means and Stylistic Devices 2.1.1 Onomatopoeia 2.1.2 Alliteration 2.1.3 Rhyme 2.1.4 Rhythm 2.2 Lexical Expressive Means and Stylistic Devices 2.2.7 Metaphor 2.2.2 Metonymy 2.2.3 Irony 2.2.4 Pun 2.2.5 Epithet 2.2.6 Simile 2.2.7 Periphrasis 2.2.8.Euphemism 2.2.9 Hyperbole 2.2.10 Proverbs and Sayings 2.2.11.Quotations 2.2.12 Allusions g ? 2.3 Syntactical Expressive Means and StyUstic Devices ^^ 2.3.1 Stylistic Inversion 2.3.2 Detached 2.3.3 Parallel Constructions Construction 2.3.4 Repetition 2.3.5 Enumeration 2.3.6 Suspense 2.3.7 Climax 2.3.8 Antithesis 2.3.9 Ellipsis 2.3.10 Rhetorical Questions 2.3.11 Litotes III PATTERN STYLISTIC ANALYSIS 3.1 Poetry ^^ Stylistic Analysis 3.2 Drama Stylistic Analysis 3.1 Prose 2^ i StyHstic Analysis (ONCLUSION fj REFERENCES c, INTRODUCTION British and American literature is an indispensable subject for Vietnamese students of English The study of literature helps to enrich the student's mind as well as to develop his language skills To understand a literary text, the student should know, among other things, how the language is used The puipose of stylistic analysis is to help the student to observe the interaction of foiTn and matter, to see how through the infinite variety oi stylistic devices and their multifarious functions the massage of the author is brought home to the reader A linguistic method of stylistic analysis involves carelul oKsei'vation and detailed and consistent description oi language phenomena in the text The examination of the text in detail may well lead to the need to investigate all related features, lexical, grammatical and phonetic ^CThe paper falls into three parts The first part deals with the teaching oi literature in general and then with the teaching of literature texts The second part focus on the main expressive ineans and stylistic devices that are needed for stylistic analysis The third pa^rt includes a number (A passages with stylistic analysis which sei'ves as pattern analysis ^ L THE TEACHING OF LITERATURE 1.1 Literature as Language The study of literature in general and the study of British and American literature in particular is fundamentally a study oi language in operation The study of literature must always be based on the realization that each work is essentially the collection oi words that are peiTnanently available for the student to inspect, to investigate, to analyze, to build together The experiencing of a work of literature, no matter how big or small, can only begin, and continue, with the reading and the study oi a verbal text Nowadays many of us so much reading that we are inclined lo take it for granted, but the process of reading is a highly inlricalc business However, as with other activities in which we acquire skill after much practice, we eventually learn to carry it out effectively wilh considerable speed Nevertheless there are often occasions when the symbols of language require more careful inleipretation than the inexperienced reader may himself realize, and the most successful teacher oi" literature will be one who apart from his insight into his students' minds and interests, is fully conversant with all the ways in which language works, and can see exactly how it works in any particular case The teacher of literature (equally with the teacher of language) will he aware how language can be used for different puipose lo give infonnation lo express feeling, to persuade, to recognize, to conduct thinking He will be able to distinguish between language used to refer to actual things, situation or relationships and language which is used to create imaginary or hypothetical t)nes He will be familiar wilh the sub-languages ni dialect and register that are available for specilic purposes within the lolalily of the language he is working in He will be ready to recognize the different methods by which a language operates, whether by statement h\ elaboration, by rhythmic effect, by comparison, by allusion, or b\ indirect means such as understatement and irony: and he will be aware of the special effects that can be gained by changing from on method to another whether explicitly or unexpectedly Most important or all perhaps, he will be aware that words actually used not always represent the whole of the ideas that are being brought into consideration: the analogy of the iceberg is very useful here to compare the small part which is visible with the great quantity which is unseen We may begin by repeating the following statement by H.L.B Moody(1971) that there is a close relationship between Literature and Language Language skills are four types: (i) listening (ii) speaking (iii) reading (iv) writing The inclusion of literature in the cuiriculum helps to train students in the skill of reading, and perhaps a little in listening, speaking and writing A student listens to literature read aloud by the teacher(or on records or tapes) and to the discussion that literature always stimulates in the class He speaks when he acts in plays, when he reads poems and when he takes an active part in discussion Because literature is interesting, he wants to talk about it It can provide plenty of interesting opportunities for writing too Literature does not of course concentrate on a particular area oi knowledge, as for example does history or biology Literature is conceiTied wilh all aspects of man and the universe in their entirety Certainly every work of literature is about something, often about many things, and the more a person reads, the better stocked will his mind be wilh knowledge Knowledge, of course, is a complex conception: we can analyze it and the way it is acquired from literature, in a number of ways Tliere are for example, the fact that are actually encountered and explained in the work of literature: there are also the facts thai we are impelled lo discover front other sources in order lo understand particular situations or problems that occur in literature Sooner or later, students come to the realization that separate " f a d s " in themselves are less important than the \ \ a \ s \n which they support and illustrate each other Most important ol all is the realization that the fact worth knowing are not only facts about "things" but the fact ab ihe end ot the passage (note once aiiain that the last three clauses contain two sense-groups while the SL first four - three or six) and causing a change in rhythm adds to emoti(Mial tension Suspense is suddenly broken by an unexpected unpredictable concluding phrase: "and he felt a sudden white-hot blinding Hash explode inside his head and that was all he ever felt." This unpredictability (in meaning) and analogy (in syntacUc form) brings about the effect iA' cumulation and climax The repetition of the verb "to feel" (a kind iA' framing) which is subsdtuted for the verb "lo see" of the preceding clauses heightens the stylistic effect of the climax giving the impression iA' finality The paragraph following the dramatic culmination is dilJerenl in structure and in its stylisdc effect "Wilson had ducked to one side to gel in a shoulder shot Macomber had stood solid and shot for the nose, shooting a touch high each lime and hitting the heavy horns, splintering and chipping them like hitting a slate roof, and Mrs Macomber in the car, had shot al the bulfalo wilh the 6.5 Mannlicher as it seemed about to gore Macomber and had hit her husband about two inches up and a little to one side of the base of his skull." The sentences are nol so long, not so fragmentary, the relevant details are not so numerous Note that some details are repealed ("like slate" - like hitting a slate r o o f ) Tlie rhythm of the paragraph is even and quiet giving the impression of an impassionalc description Tlic paragraph may be regarded as a kind of comment on what happened Note the use of the Past Perfect which plainly refers the actions to those which have been mentioned The idea of suspense and the effect iA' implication is maslerlulK revealed at the end iA' the story - the writer does nol say plainly whether it was an accident or murder Tlie writer presents only a sequence ot outward actions and the reader is fell to imagine more than the words ihcmscUes convey {Stnirce: Soshalskava Sixlislic Analysis} 3.3 Urania (inoiUJn nUKNAlU) SHAW WIIK)WI'RS' Act IIOIJSI'S III I Irltrlirrnr, 5ini i n t l i i i * fortiirr iMx-rollrrIrM, n|»|ir;i|.'' f | n l l o IrlPld fiRIIlo: n o w ho Imn l i r r o i n n I Irll nild I", SMI bit lif;' rfpinl ri dlf The pnrloi'fjujid rotnes in, evident 11/ r.\cifrabble Magaret: The Oxford Companion to English Literature, Oxford University Press, 1985 Diakonova, N.A.: Three centuries of English Poetry, Leningrad, 1967, Dinh Trong Lac: 99 Phuong tien va Bien phap tu tir tieng Viet, NXB Giao due, Hanoi, 1995 Galperin, I.R : Stylisdcs, Higher School, Publishing House, Moscow 1971 Hodges, John G & Whitten, Mary E et al Harbrace College Handbook, New York, 1990 Jerome, Judson: Poetry Company, Boston, 1968 - Premeditated Art Houghton Mifflin S Le Ba Han, Tr^n Dinh Sir, NguySn Khac Phi: TiJ dien thuat ngii van hoc, NXB Giao diic, Hanoi, 1992 Moody, H.L.B : The Teaching of Literature, London, 1971 10 Soshalskaya, E.G & Prokhorova, V.I.: Stylistic Analysis Higher School Moscow 1976 I.Walker, Richard, Language for Literature, Lt>ndon 1988 12 Wellek, Rene & WaiTen A, Theory of Literature, New York , 1956 62