第一篇：英語文體學(xué)教案LectureThreeThreeViewsofStyle

Lecture Two: Three Views of Style We have seen the definition of stylistics and some definitions of style.Next we will see some most influential and representative views of style.Style as form.（Aristotle）（form and content）Style as eloquence.（Cicero）（skill to use L persuasively）（the relation with rhetoric）Style is the man.（Buffon）（L use is using it in discourse）Style as personal idiosyncrasy.（Murry）

Saying the right thing in the most effective way.（Enkvist）Style as the choice between alternatve expressions.（Ibid）Style as equivalence.（Roman Jacobson）（between form and function）Style as foregrounding.（Leech Mukarovsky）Style as deviation.（Mukarovsky & Spitzer）Style as prominence.（Halliday）

Style as the selections features partly determined by the demands of genre, form, themes, etc.（Traugott & Pratt）

Style as linguistic features that communicate emotions and thought.（Enkvist）

When writers write, they will naturaly try to make their language difffernt from the others’, so as to attract the attention of the readers and also to ensure and secure an independent existence.Or to stand out from the multitude of men of letters.Or just a special position for his writing.And that is to depart from the normal way of expression in a certain sense.Style as deviance.This view of stylistics comes from Widdowson’s remark of style holding that stylistic analysis has no fixed procedure and the technique of doing this kind of analysis is to pick on features in the text which appear to first impressions as unusual or striking in some way and then explore their ramifications.This remark implies that only those unusual or striking features are stylistically relevant.And the implied assumption is that the literary aesthetic effects can only be achieved through deviance.Though some stylisticians hold different views.It leads to such an assumption as that the distinctiveness of a literary text lies in its departure from the characteristics of what is communicatively normal.It also gives birth to the approach to style as deviance from the norms of a given language.Mukarovsky is another famous proponent and founder of this view of style.In his famous article Standard Language and Poetic Language, he speaks of style as foregrounding.He asserts that the violation of the norm of standard, especially, its systematic violation, is what makes possible the poetic utilization of language;without this possibility there would be no poetry.According to Mukarovsky normal use of language “automatizes” language to such an extent that the users no longer see its expressive or aesthetic power;poetry must de-automatize or foreground language by breaking the rules of everyday language.P13 Such as the expression “a grief ago”“a presidency ago” “Mr.Smarter”“Mr.Bumble””

The advantage of this approach to style is that it helps us keep in mind the there is a difference between everyday language and the language of literature.The disadvantages are that: a.It is difficult to define the norm from which the style of a text deviates.Bloch considers the basis of norm to e statistical, that is, to determine style by counting or resorting to the frequency distributions of linguistic features as they differ from that of the language as a whole.b.It tends to lead the readers and stylisticians to value only the language of the grammatically highly deviant authors and under value those authors that do not deviate or do not deviate so much from the norms of language.And generally speaking, it tends to lead underestimation of the non-deviant language both within literature and without.Style as choice.Style results from a tendency of speaker or writer to consistently choose certain structures over others available in the language.The difference between L and style is that L is the sum total of the structures available to the speaker, while style concerns the characteristic choices by a certain writer either consistently or in a given text or context.To say that style is choice of words is not the same thing as saying that it is always a conscious choice, though of course if the writer always chooses his word scrutinously the effect of his way of using L will be all the more obvious as a style.Then that is pick his way forward among words, and it is hard to imagine how much literary work can there be by now.The stock of literature of we human kind no doubt will be greatly diminished.But most, almost all poets, and some writers, and all writers at certain points in their writing do write that way, that is, they a kind of choose scrutinously and seem to pick their way forward among the forest of words.E.g.we Chinese posts have a tradition of refining words.吟得一字安，捻斷數(shù)莖須。語不驚人死不休。一字之得，旬月躑躅。

Style as choice is often considered as a matter concerned with form or expression rather than meaning.That is, when the meaning is the same what makes a writer as a writer is his peculiar way of saying that, and a person’s of speaking or writing is to a very large extent his consistent choice of a special type of expressions.It dose imply that writers do choose their content in their writing, but it is true that style and stylistic study is mainly concerned with the choice of forms at different levels of L system, i.e.phonology, lexicon, syntax, and discourse.Consequently, a stylistician should first identify those words or forms of other levels of the linguistic hierarchy which are obviously the results of choice.Of though the elements o in a text are all the choices of the writer, but in practice, we only focus on the most peculiar and outstanding ones that are most expressive and most relevant to the meaning and interpretation of the text.Actually, all writings, if the writer is conscientious enough, are essentially speaking processes of choosing of words from the whole repertoire of language of a nation.So what is the implication here?

The awareness of the criteria for choosing is important.The language ability of a person lies in the following: 1.The awareness of the criteria for choosing is important.2.The ability to determine and distinguish the deviant choices from the non-deviant choices 3.The ability to choose 4.A large enough store of different choices（at different levels: sounds, words, sentence patterns, the format of text）.5.the ability to transform the different forms, especially, the different sentence patterns into each other.6.The ability to break away from the constraints of norms.Style as foregrounding.Foreground

A term used in pictoral art / close to the viewers Originally applied to the literature by Mularovsky to refer to the departure from the accepted use or norm of language.P18 This essentially speaking is to add a striking feature to one’s language.The departure from the norms（either in terms of structure or semantics）results in a kind of novelty or extraordinary feature, which is sight attracting.Another way of foregrounding one’s language is not to deviate from norms, but to achieve a less radical form of foregrounding, i.e.to manage a striking feature such as uniformity of structure, symmetrical structure, or just something uncommon or striking in general.e.g.1.Do not presume God to scan, The proper study of Humankind is but Man.2.Degeneration is comfortable disease.3.Be what you seem, and seem what you are.A good way of understanding style as choices is put forward by Short（p19）: a.When a writer writes he is constantly making choices between one word and another, one structure and another, and so on.Actually it is a matter of making choices from among different ways of expressions in general rather than a choice from two alternatives.b.Examination of the choices one makes as opposed to the ones he rejects can help us more fully understand the meaning he is trying to create and the effects he is striving to achieve.c.He can make choices from both inside and outside of the language system.And the choices from outside the language system are deviant and therefore foreground the language of his writing.d.Over regularity of one’s choices within the language system also makes the effect of foregrounding.The above discussion of style as choices implies that: 1.There are two kinds of choices that are worthwhile for stylistic analysis: deviant choices & choices that are not deviant 2.It is fore grounded choices that are covered and directly concerned in stylistic analysis.Fore-grounded choices include two kinds: the deviant choices and the choices from inside the language system that form a kind of over regularity.In other words, foregrounding is achieved through either deviation or overregularity in language use.3.Style is foregrounding.Deviation can be classified according to its linguistic levels, namely: Phonological level Lexical level Syntactic level Discoursal level The above are different kinds of surface structure deviations.Over regularity is surface phenomenon and mainly exists in the forms of the linguistic segments of different levels.Semantic level（deep structure deviation, for it is concerned with what is later called deep structure）.This definition of style integrates the previous two definitions（style as deviation and style as choices）

The two advantages of this view: a.It can account for the non-deviant use of language in literaturewhich might also form the style of its own, while the definition of style as deviance fails to cover this kind of language use.b.Compared to the definition of style as choice, the view of style as foregrounding leaves much less to personal judgment.（The selection and identification of the stylistically relevant features are less of a problem fro those taking the view of style as foregrounding.）

Notice: This does not mean the distinction between the deviant and non-deviant use of language or stylistically relevant and non-relevant choices is not important.Neither dose it mean that the analyst should give equal attention to these two kinds of choices.A sum up:

Style as foregrounding and the different ways of foregrounding（surface structure）;a.By frequency, high: some consistent choice within a context or a whole text/ consistent choice of an author/an inclination of choosing language forms/an exhibition of preference of some forms over some other forms b.Successive and consistent choice of certain element/s within a relative shorter stretch of text

c.By putting some L elements in the prominent positions, such as the beginning or end of a sentence d.By deviation

Different kinds of deviation: Deviation can be classified according to its linguistic levels, namely: a.Phonological level b.Lexical level c.Syntactic level d.Discoursal level e.The above are different kinds of surface structure deviations.Over regularity is surface phenomenon and mainly exists in the forms of the linguistic segments of different levels.And this is also a kind of deviation from the norm of language use.It is not a deviation through violating rules but a deviation through exhibiting extraordinary consistency in choice of forms or extraordinary preference of certain forms over other forms.Semantic level（deep structure deviation, for it is concerned with what is later called deep structure）.

第二篇：實(shí)用文體教案

實(shí)用文體簡明教案

（此材料適用于高三語文復(fù)習(xí)）

一、通知

[通知的格式] 通知由標(biāo)題、正文（緣由、根據(jù)、通知事項）和落款(發(fā)文機(jī)關(guān)名稱和發(fā)文時間)三部分組成。[通知范文1]

通

知

武漢支行全體職工2010-2-2號晚上6：30于黃陂水鄉(xiāng)度假村參加我支行年終大會。請參會人員安排好工作，準(zhǔn)時參加會議。

[通知范文2]

××廠關(guān)于召開計劃生育工作會議的通知

所屬各單位：

為了總結(jié)交流經(jīng)驗，研究分析存在的問題，進(jìn)一步貫徹落實(shí)省、市計劃生育工作會議精神，做好今年計劃生育工作，經(jīng)研究決定召開計劃生育工作會議?，F(xiàn)將有關(guān)事項通知如下：

一、會議內(nèi)容：??

二、參加人員：??

三、會議時間、地點(diǎn)：??

四、要求：??

某某廠

2010年2月2日

二、請假條

[請假條的格式] 請假條由標(biāo)題、正文（稱呼、請假緣由、請假起止時間、祝頌語）和落款（簽名、時間）組成。

[請假條范文1]

請

假

條 王老師：

今天因奶奶病重，我隨爸媽一起去探望，要求請假一天。

此致 敬禮!

學(xué)生：李彬彬

××年×月×日

[請假條范文2]

請

假

條 張老師：

您班學(xué)生孫浩，因突然高燒嘔吐，要上醫(yī)院治療。今天不能到校上課。特此請假。

此致 敬禮!

學(xué)生家長：孫正平

2012年4月7日

三、借條

[借條的寫法] 借條由標(biāo)題、正文（借款人、出借人、數(shù)額、出借事由、還款時間）和落款（借款人簽名、時間）等三部分組成。[借條范文1]

借

條

今借到深圳市人才交流服務(wù)中心高新區(qū)分部代理人員同志檔案中的檔案料，用于辦理事務(wù)。本人承諾借出后小心保管，自借用之日起10個工作日內(nèi)及時歸還。

借材料人：×××(簽名)2012年5月9日

[借條范文2]

借

條

今日由于個人財務(wù)緊張借×××1000元人民幣(壹仟圓人民幣)。借款日期：2009年4月1日； 還款日期：2009年8月1日。

借款人：×××(簽名)

2009年4月1日

四、欠條

[欠條的寫法] 寫清楚借款人，借款方，金額，時間就可以。

[欠條范文]

欠

條

今由某某借款多少（金額）給某某，在某年某月某日前歸還。

借款人：某某 某年某月某日

五、尋物啟事

[尋物啟事范文1]

尋

物

啟

事

本人不慎于元月二十五日于河西區(qū)，西青區(qū)丟失，身份證、駕駛證。有 拾到者請與崔先生聯(lián)系，必有酬謝。

啟事人：某某 電話：××××××× 2010年2月20日

六、招 領(lǐng) 啟 事

[招領(lǐng)啟事范文例文1]

招

領(lǐng)

啟

事

本商場拾到手提包一個，內(nèi)裝人民幣若干元，手機(jī)、信用卡等物，望失主前來認(rèn)領(lǐng)。

地點(diǎn)：本市某某商場三樓辦公室 電話：××××××× 2001年12月25日

七、招領(lǐng)啟事

[招領(lǐng)啟事的格式]

招領(lǐng)啟事主要包括標(biāo)題、正文（只寫拾到東西的名稱，以及失主到何地、找何人認(rèn)領(lǐng)。所拾東西的時間、地點(diǎn)、數(shù)量、特征等具體情況留待失主認(rèn)領(lǐng)時核實(shí)，以防止他人冒領(lǐng)）落款三部分內(nèi)容。

[招領(lǐng)啟事范文]

招 領(lǐng) 啟 事

本旅社于4月5日上午拾得皮包一個，內(nèi)有手機(jī)、手表、人民幣、身份證、票據(jù)等，望失主前來認(rèn)領(lǐng)。

某某 旅社

電話：×××××××

2007年4月5日

八、留 言 條

[留言條范文]

留

言

條

女兒：

早餐在電飯煲里，自己拿出來吃。出門一定要注重交通安全。祝你快樂！

永遠(yuǎn)愛你的爸爸媽媽 2011年8月17日

八、請柬

[請柬范文]

請

柬 送呈某某臺啟：

謹(jǐn)訂于2009年某 月某日(星期一)為某某先生某某女士舉行結(jié)婚典禮敬備喜筵。席設(shè): 某某酒店某某廳。敬請光臨！

某某某敬邀

時間: 某月某日某時

十、倡議書

[倡議書范文]

愛心捐款倡議書 各位黨員、團(tuán)員、工會會員、員工、全體女職工們： 你們好!

擁有健康和快樂是我們每個人的夢想。當(dāng)我們和朋友高歌、放聲歡笑的時候；當(dāng)我們和家人團(tuán)聚、共享天倫的時候；當(dāng)我們努力工作，暢想人生理想的時候，您可知道，就在我們身邊，有一位柔弱的女子正遭受著癌癥的折磨，用她微薄的力量與死亡抗?fàn)?，用她的堅?qiáng)來詮釋生命的意義！

誰都知道“天有不測風(fēng)云，人有旦夕禍?！?。這樣的厄運(yùn)現(xiàn)在就發(fā)生在某某身上。年月份某某在某某單位組織的體檢中發(fā)現(xiàn)肝腹水，被緊急送往某某醫(yī)院，確診為**癌晚期，治療費(fèi)用需數(shù)萬元。某某丈夫是下崗工人，全靠某某與丈夫打零工的微薄收入支撐著這個家庭，經(jīng)濟(jì)上十分困難。就是在這樣困難的情況下，某某從來沒有向單位和組織伸過一次手。俗話說，一人向隅，舉桌不歡。人，免不了有難，幫助和撫慰他們，是我們每個人的義務(wù)，是全社會的共同責(zé)任。

在人類歷史的長河中，愛的暖流綿綿不斷，源遠(yuǎn)流長。中華民族素有積德行善、濟(jì)貧扶危的傳統(tǒng)美德。今天，沐浴著改革開放的春風(fēng)，集聚在共同富裕的旗幟下，我們怎能眼睜睜看著一個人等待死亡，怎能視若無睹，讓一條年輕的生命離我們而去!病魔可以奪去生命的健康，但卻不能奪去人間的真情。為了拯救這條寶貴的生命，拯救某某和她這個家庭。現(xiàn)向全公司廣大員工發(fā)出倡議，請伸出友愛之手，獻(xiàn)一份愛心，幫助某某戰(zhàn)勝病魔吧!

誰說人世無情，你的仁愛之心，你的點(diǎn)滴之恩，就有可能拯救一個年輕的生命；誰說命運(yùn)不公，你的無名關(guān)懷，你的善意之舉，就是她最大的幸運(yùn)。眾人拾柴火焰高，能力不分大小，捐款不分多少，善舉不分先后．貴在有份愛心。滴水匯成大江，碎石堆成海島。哪怕就是一元錢，只要您獻(xiàn)出愛心，她就多了一份生存的希望。只要人人獻(xiàn)出一點(diǎn)愛，世界將變成美好的未來！

也許您與她素不相識，但愛心與真誠是沒有界限的！希望大家都能伸出援助之手，幫助這位女工與病魔抗?fàn)幇?！也許這些捐款對您而言是一筆小小的支出，但是這些積少成多的愛心，就能換回她的生命呵！她渴望找回以往陽光的笑容，健康的身體，祈望同您一樣接受未來生命中的挑戰(zhàn)和收獲。相信您一定會伸出同情、友愛的手，扶一把躺在病床上的某某。

請獻(xiàn)出一份愛心，成全一份勇敢的堅持，傳遞一份生命的熱度。

她需要您、需要我、需要我們大家伸起雙臂，用我們的愛、我們的心，點(diǎn)亮一盞希望的燈，幫她撐起一片蔚藍(lán)的天。

正在與病魔抗?fàn)幍哪衬臣捌浼胰酥x謝您的關(guān)心與捐助！

捐資地點(diǎn)：某某某

電話：12345677898

十一、贈言

[生日贈言范文]

感謝上帝賜給我像你這樣的朋友!今天，你像小鳥初展新翅;，明天，你像雄鷹鵬程萬里。愿你擁有愉快的生日!更祝愿你年年歲歲幸福永伴！

（王正文 編撰于 2012.12.23）

第三篇：各類文體教案

課程名稱（一定要寫單元、課時，課題名稱）

一、學(xué)習(xí)目標(biāo)（根據(jù)題目及是否給出所教班級學(xué)生條件等調(diào)整）1.準(zhǔn)確掌握重點(diǎn)字詞和讀音的意義，了解詞的有關(guān)知識 2.分析詞與景的關(guān)系，理清作者的基本思路和方法

3.體會詞人豪邁的思想感情，意識到不斷充實(shí)的精神生活、完美人格的重要性。

教學(xué)重點(diǎn)、難點(diǎn)

二、課堂導(dǎo)入：（1-2分鐘）略（1、溫故知新：同學(xué)們，在上節(jié)課當(dāng)中我們學(xué)習(xí)了。。我們先來回憶一下，誰還記得。。？作者是怎樣描寫的？誰來回答下？很好，下面我們就來學(xué)習(xí)另一個人物，板書。

2、情境導(dǎo)入：運(yùn)用圖片、音樂、幻燈設(shè)備；老師這里有。，請同學(xué)跟我一起看一下，這里是。。，大家看后有什么影響，誰來發(fā)表一下看法？總結(jié)

3、舉例

這就是我們今天要學(xué)習(xí)的內(nèi)容。。

三、教學(xué)實(shí)施

1.在黑板上寫出學(xué)習(xí)目標(biāo)、本文重點(diǎn)掌握的詞語、生字、拼音；

2.播放錄音，或者自行朗讀，讓學(xué)生圈出停頓、重讀，以及認(rèn)為對理解本文思路有重要作用的詞句；

3.開著互動式教學(xué)，通過提問回答評價的形式引導(dǎo)學(xué)生層層深入地開著教學(xué)； 1）自讀課文，回答問題

2）分組討論，注意傾聽，匯報心得 4.老師總結(jié)

四、鞏固提高

五、布置課后作業(yè)

六、小結(jié)

根據(jù)板書進(jìn)行歸納

七、教學(xué)評價（答辯環(huán)節(jié)，從導(dǎo)入、實(shí)施等環(huán)節(jié)是否實(shí)現(xiàn)教學(xué)目標(biāo)等）

相關(guān)文學(xué)常識： 詞的有關(guān)知識： 詞興起于隋唐，是一種和樂可唱、句式長短不齊的詩體。初起時稱“曲子”“雜曲子”“曲子詞”，后來也稱作“樂府”（如《東坡樂府》）“長短句”（如《稼軒長短句》）或“詩余”（如《草堂詩余》）等。它的特點(diǎn)是“詞有定格，句有定數(shù)，字有定聲。”每首詞都有一個曲詞名稱，叫“詞牌”。如“沁園春”就是詞牌。詞牌決定了這首詞的字?jǐn)?shù)、句數(shù)和平仄聲韻。

詞的標(biāo)題和詞牌是有著嚴(yán)格區(qū)別的，詞的標(biāo)題是詞的內(nèi)容的集中體現(xiàn)，它概括樂詞的主要

內(nèi)容。詞牌是一首詞詞調(diào)的名稱。詞分為小令、中調(diào)、長調(diào)，這是依照字?jǐn)?shù)多少來劃分的。小令的字?jǐn)?shù)在58字以內(nèi)；59至90字，為中調(diào)；長調(diào)為91字以上。例如辛棄疾的《清平樂·村居》共46字，屬于小令；《蝶戀花》共60字，則為中調(diào)；《念奴嬌·赤壁懷古》則屬于長調(diào)。豪放派和婉約派是宋代詞壇上的兩大流派，其作品分別表現(xiàn)出不同的風(fēng)格。豪放派作品氣勢豪放，意境雄渾，詞中充滿豪情壯志，給人一種積極向上的力量，代表作家是蘇軾、辛棄疾。婉約派作品語言清麗含蓄，詞內(nèi)容中抒寫的感情婉轉(zhuǎn)纏綿，情調(diào)或輕松活潑，或婉約細(xì)膩，體裁較狹窄，多是寫個人遭遇，男女戀情，也間有寫山水，融情于景的。婉約派的代表詞人有柳永、秦觀、李清照等。

詩歌：

詩，是一種文學(xué)體裁，透過語言，除了表達(dá)文字的意義外，也表達(dá)情感與美感，引發(fā)共鳴。詩能夠自成一格，也能與其他藝術(shù)相結(jié)合，如詩劇、圣詩、歌詞或散文詩，文字配上音樂則稱為歌?！霸姟备从诤啙崱⒂辛Φ叵胂裼X察，或與經(jīng)驗、想法、情緒反應(yīng)作聯(lián)想，將意義、意識和潛意識的表現(xiàn)、象征化、正式或非正式的式樣、聲音和韻律等以某種規(guī)則加以重組安排。這種文學(xué)類型包含敘述性、戲劇性、諷刺性、訓(xùn)誡式、情色和個人形式。

中國古代不合樂的稱為詩，合樂的稱為歌，現(xiàn)代一般統(tǒng)稱為詩歌。它按照一定的音節(jié)、韻律的要求，表現(xiàn)社會生活和人的精神世界。詩的起源大約可以追溯到上古。虞舜時期就有相關(guān)文獻(xiàn)記載。《詩經(jīng)》是我國第一部詩歌總集，相傳為孔子所編。近年來關(guān)于這個問題學(xué)術(shù)界尚有爭論。中國古代詩歌歷經(jīng)漢魏六朝樂府、唐詩、宋詞、元曲之發(fā)展。

第四篇：英語寫作文體

Description 描述文

A description is a verbal picture of a person, place or things.To make the work picture as vivid and real as possible you must observe and record specific details that appeal to your reader’s sense(sight, hearing , taste, smell, and touch.)Narration記敘文

Relating a single story or several related ones.Though narration, we make a statement clear by relating in detail.We present the details in which they happened Narration includes 5W and 1H.Exposition說明文

In exposition, the writer provides information about and explains a peculiar subject.Argumentation 議論文

Exposition is to illustrate the main means of expression to explain things, explains reasons and give people knowledge genre of literature

第五篇：英語文體學(xué)教學(xué)大綱

《英語文體學(xué)》課程教學(xué)大綱

課程編號：ENGL3002 課程類別：專業(yè)選修課

授課對象：英語、英語師范專業(yè) 開課學(xué)期：秋（第7學(xué)期）學(xué)

分：2 主講教師：王軍

指定教材：《新編英語文體學(xué)教程》，董啟明主編，外語教學(xué)與研究出版社，2008年。

教學(xué)目的：英語文體學(xué)是一門實(shí)用性非常強(qiáng)的學(xué)科,對閱讀、翻譯、文章分析、文章欣賞以及得體地使用英語都有很大的幫助，此外，英語文體學(xué)也是英語語言學(xué)研究重要的基礎(chǔ)性學(xué)科之一。作為一門課程，英語文體學(xué)主要由兩部分構(gòu)成：其一為文體學(xué)研究主要內(nèi)容介紹，包括文體類型、文體特征、文體價值等方面，其次為具體文體分析方法介紹。

第一課 Introduction to Stylistics 課時：第一周，共2課時

教學(xué)內(nèi)容：What is stylistics and how is it associated with other linguistic studies? 第一節(jié)：

The position of stylistics in general linguistics.The importance of studying stylistics.第二節(jié)：

What is stylistics?

The major contents of this study.Issues that need to be born in mind.思考題：

1.How to do stylistics in the framework of literature or translation? 2.What do you expect to learn from this course?

第二課

Style and Stylistics 課時：第二周，共2課時

教學(xué)內(nèi)容：The development and scope of stylistics 第一節(jié)：

The definition of style and stylistics.The relationship between appreciation and research.第二節(jié)：

The development of stylistics.The scope of stylistics.思考題：

1.What are the major differences between style and stylistics? 2.What areas in society can the knowledge of stylistics be applied to?

第三課 Procedure of stylistic analysis（1）

課時：第三周，共2課時

教學(xué)內(nèi)容：Linguistic description 第一節(jié)：

Linguistic description: methods and procedures.第一節(jié)：

A checklist of linguistic description.The functions of each one.思考題：

1.Why do we need linguistic description? 2.Think about the significance of conducting linguistic description.第四課 Procedure of stylistic analysis（2）課時：第四周，共2課時

教學(xué)內(nèi)容：Textual analysis and contextual factors analysis 第一節(jié)：

What is textual analysis?

How to conduct textual analysis? 第二節(jié)：

A classification of contextual factors.How to analyze contextual factors？ 思考題：

1.How do you understand the relationship between understanding and textual analysis? 2.Are there other ways to classify contextual factors?

第五課 Stylistic functions of linguistic items 課時：第五周，共2課時

教學(xué)內(nèi)容：Stylistic functions as defined at different levels 第一節(jié)：

Stylistic functions of speech sounds.Stylistic functions of graphological items.第二節(jié)：

Stylistic functions of lexical items.Stylistic functions of syntactic/grammatical items.思考題：

1.How do you evaluate the different kinds of stylistic functions? 2.What is the significance of studying stylistic function?

第六課 Varieties in relation to regions 課時：第六周，共2課時 教學(xué)內(nèi)容：Regional English 第一節(jié)：

A brief introduction to British English.The appearance of American English.第二節(jié)：

Differences between British English and American English.British and American regional dialects.思考題：

1.What are the major causes for the differences between British English and American English? 2.How to deal with the use of the two regional English in actual learning or daily communication?

第七課 Varieties in relation to media 課時：第七周，共2課時

教學(xué)內(nèi)容：Spoken English and written English 第一節(jié)：

Major features of spoken English and written English.What are the standards of using spoken English or written English? 第二節(jié)：

Electronic English.思考題：

1.What is the situation like if one is only skilled in using spoken English or written English? 2.What is the role of electronic English in the course of learning English?

第八課 Varieties in relation to attitude 課時：第八周，共2課時

教學(xué)內(nèi)容：Attitude-related styles 第一節(jié)：

Degree of formality.Politeness.第二節(jié)：

Impersonality.Accessibility.思考題：

1.Think about the relationship between meaning and emotion expressions.2.What do you think of the relationship between formality and politeness?

第九課 Varieties in relation to social factors 課時：第九周，共2課時

教學(xué)內(nèi)容：Social factors and their constraints on language 第一節(jié)：

Women’s English.Black English.第二節(jié)：

Taboo and euphemism.Cultural factors involved in social factors.思考題：

1.What are the reasons that maintain the existence of women’s English?

2.How do you understand the status of black’s English and the black’s social status?

第十課 Review of the past lessons 課時：第十周，共2課時

教學(xué)內(nèi)容：A summary and comment of the past lessons 第一節(jié)：

The watershed of the whole course.Recall what have been learned.第二節(jié)：

What are the sections that interest you the most?

Is there possibility for you to conduct further research?

第十一課 The English of conversation 課時：第十一周，共2課時

教學(xué)內(nèi)容：Conversational English 第一節(jié)：

A general introduction to what to learn in the latter half of the term.About conversation.Phonological features.第二節(jié)：

Lexical features.Syntactic/grammatical features.Semantic features.Sample analysis of a student.思考題：

1.How do you understand conversation in terms of direct speech and indirect speech? 2.Is conversational English always informal?

第十二課 The English of public speaking 課時：第十二周，共2課時

教學(xué)內(nèi)容：Public speech and its features 第一節(jié)：

What is public speech?

Public speeches’ phonological features.Lexical features.第二節(jié)：

Syntactic/grammatical features.Semantic features.Sample analysis of a student.思考題：

1.What are the major differences between public speaking and conversation? 2.What are the major differences between public speech and written English?

第十三課 The English of news reporting（1）課時：第十三周，共2課時

教學(xué)內(nèi)容：General knowledge about news reporting 第一節(jié)：

What are news reports?

Different kinds of newspapers and magazines.第二節(jié)：

The make-up of news reports.A sample analysis of a piece of newspaper(New York Times/China Daily)思考題：

1.Is there any difference between formal news report and informal news release? 2.Specify the make-up of some pages of newspaper, both English and Chinese.第十四課 The English of news reporting（2）課時：第十四周，共2課時

教學(xué)內(nèi)容：Stylistic features of news reporting 第一節(jié)：

Graphological features.Lexical features.第二節(jié)：

Syntactic/grammatical features.Semantic features.Sample analysis of a student.思考題：

1.What are the functions of each group of stylistic features in news reporting? 2.What are the stylistic features that distinguish news reporting from other textual styles?

第十五課 The English of Advertising 課時：第十五周，共2課時

教學(xué)內(nèi)容：The language styles in advertising English 第一節(jié)：

Something about advertisements.Graphological features.第二節(jié)：

Lexical features.Syntactic/grammatical features.Semantic features.Sample analysis of a student.思考題：

1.What are the major purposes of advertisements? 2.Give some advertising examples that show the violation of some basic language rules in advertising.第十六課 Literary English 課時：第十六周，共2課時

教學(xué)內(nèi)容：Literary English: novel and poetry

第一節(jié)：

Some basic facts about the novel.Aspects for the analysis of the novel.General stylistic features of the novel.第二節(jié)：

Some basic facts about the poetry.Prosody.General stylistic features of poetry.思考題：

1.Between fiction and reality, what kinds of stylistic features are most suitable for the novel? 2.What effects does it have on appreciation to analyze the novel’s stylistic features? 3.How to balance meaning expression and poetic features in poetry? 4.What are the common stylistic features between poetry and novel?

第十七課：The English of science and technology 課時：第十七周，共2課時 教學(xué)內(nèi)容：Technical English 第一節(jié)：

Graphological features.Lexical features 第二節(jié)：

Syntactic/grammatical features.Semantic features.思考題：

1.How to handle formality and politeness issues in technical English? 2.How is objectivity achieved in technical English?

第十八課：Review and answer questions 課時：第十八周，共2課時

教學(xué)內(nèi)容：Review and answer questions 第一節(jié)：

Review.第二節(jié)：

Answer questions.參考書目：

1.王守元.《英語文體學(xué)要略》.濟(jì)南：山東大學(xué)出版社，2000.2.徐有志.《英語文體學(xué)教程》.北京：高等教育出版社，2005.3.Thornborrow,J.Patterns in Language: Stylistics for Students of Language and Literature.Beijing: Foreign Language Teaching and Research Press, 2000.4.Wright, L.Stylistics: A Practical Coursebook.Beijing: Foreign Language Teaching and Research Press, 2000.