第一篇：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.
第二篇：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）.
第三篇：英語文體學(xué)論文范式
題目：1)stylistic analysis of …………..2)comparative study of a and b from the perspective of stylistics
abstract in english
key words（3-5）
introduction（the text you analyze）
ⅰat the phonological level
ⅱat the graphological level
ⅲat the lexical level
ⅳat the syntactic level
ⅴat the semantic level
conclusion
references(including at least 2 references)
appendix（the text you analyze）
1.根據(jù)所學(xué)內(nèi)容對某個文本進(jìn)行分析。論文里若引用別人的觀點必須用夾注標(biāo)明，格式為（thomas, XX: 12）；論文末尾列出的參考文獻(xiàn)必須是論文里引用過的。引用別人的內(nèi)容不得超過15%，否則視為抄襲。切忌拼湊。
2.格式要求按以上模板，統(tǒng)一用times new roman五號字體，每部分大標(biāo)題用黑體，1.25倍行距,頁面兩端對齊。使用英文標(biāo)點。
3字?jǐn)?shù)要求：1500以內(nèi)
文末參考文獻(xiàn)格式：
論文
thomas, j.d.XX.“science and the sacred: intertextuality in richard powers's the gold bug variations.” critique 51, no.1: 18-31.academic source premier, ebscohost(accessed december 7, XX).專著
hung, eva.XX(ed.).teaching translation and interpretation 4: building bridges.amsterdam-philadelphia: john benjamins.4.論文截止時間：18周周二三四節(jié)，打印版：a4紙打印，（學(xué)委收齊后按學(xué)號排序）
電子版（文件名：班級+中文姓名+論文題目）由學(xué)委收齊后，按學(xué)號排序，打包壓縮發(fā)至（電子版可延至18周周五交。）
5.評分標(biāo)準(zhǔn)：原創(chuàng)性；語言流暢地道；格式符合要求；按時與否
第四篇：文體學(xué)答案
A Ⅱ.Read the following short passages and answer the questions or do the assignment that follow(40 points).Question 1: a.lexical differences(5 points): length, formalityb.syntactic differences(5 points): length, structure Question 2: sample 2:oral,informal(2 points)
sample 3: formal,written(2 points)
sample 1: the style is between that ofsample1&2
Question 3: antithesis(2 points): not that……but that……
Rhetorical question(2 points): had you……to live all
freemen?
Parallelism: complete parallelism(2 points): as…I…
partial parallelism(2 points):tears for his love, joy
for his fortune……
repetition:(2 points)if any, speak, for him have I offended
Question 4(10 points):
without you have read=if you have not read2 pointsthat ain’t no matter=that isn’t matter2 pointsI never seen= I have never seen2 points Without it was Aunt Polly=it was not Aunt Polly2 pointsAunt Polly and Mary, and the widow Douglas is all told=Aunt Polly and Mary, and the widow Douglas are all told Question 5(5 points): lower class, less educated
III.Read the following passages and analyze the stylistic features of the following passages(30 points).1.total: 15 points
1)lexical(5 points): word length;word color;structure of
noun/verb group
2)syntactic(5 points): structure & type, tense, length
3)textual(5 points): news report;inverted pyramid;
paragraphing;inverted commas 2.total: 15 points
1)lexical(5 points): technical terms;word length;word color;structure of noun/verb group
2)syntactic(5 points): tense, structure, length, passive voice3)textual(5 points): research abstract;goal;method;
result/conclusion
IV.Read the poem below and analyze its language and style(10 points).1.phonological(3 points): iambic tetrameter;rhyme scheme
(aabb ccdd)
2.lexical(2 points): common words with one syllable and two
syllables
3.syntactic(2 points): using coordinated sentence structure to
weave contrasting ideas or elicit action.4.theme(3 points): describing the miserable life of British
people and giving them suggestions.B
Ⅱ.Read the following short passages and answer the questions or do the assignment that follow(40 points).Question 1: a.lexical differences(5 points): length, formalityb.syntactic differences(5 points): length, structure Question 2: sample 2:oral,informal(2 points)
sample 3: formal,written(2 points)
sample 1: the style is between that ofsample1&2
Question 3: antithesis(2 points): not that……but that……
Rhetorical question(2 points): had you……to live all
freemen?
Parallelism: complete parallelism(2 points): as…I…
partial parallelism(2 points):tears for his love, joy
for his fortune……
repetition:(2 points)if any, speak, for him have I offended
Question 4(10 points):
without you have read=if you have not read2 pointsthat ain’t no matter=that isn’t matter2 pointsI never seen= I have never seen2 points Without it was Aunt Polly=it was not Aunt Polly2 pointsAunt Polly and Mary, and the widow Douglas is all told=Aunt Polly and Mary, and the widow Douglas are all told Question 5(5 points): lower class, less educated
III.Read the following passages and analyze the stylistic features of the following passages(30 points).1.total: 15 points
1)lexical(5 points): word length;word color;structure of
noun/verb group
2)syntactic(5 points): structure & type, tense, length
3)textual(5 points): news report;inverted pyramid;
paragraphing;inverted commas 2.total: 15 points
1)lexical(5 points): technical terms;word length;word color;structure of noun/verb group
2)syntactic(5 points): tense, structure, length, passive voice3)textual(5 points): research abstract;goal;method;
result/conclusion
IV.Read the poem below and analyze its language and style(10 points).1.phonological(2 points): main metrical pattern(iambic
pentameter), rhyme scheme(abab)
2.lexical(2 points): common words with one syllable and two
syllables
3.syntactic(2 points): simple coordinated sentence structure 4.theme(4 points): living to love nature and pursue art rather
than strive for fame and fortune
第五篇：文體學(xué)學(xué)習(xí)心得
文體學(xué)學(xué)習(xí)心得
研究生的第一個學(xué)期，學(xué)校為我們翻譯專業(yè)安排了《文體學(xué)》這門課程。在付曉麗老師的指導(dǎo)下，我們對文體學(xué)這門課形成了系統(tǒng)的認(rèn)識，對翻譯活動也有了更深層次的見解。通過這學(xué)期的學(xué)習(xí)，我不僅了解了文體學(xué)的相關(guān)理論，學(xué)會了用這些理論服務(wù)來于翻譯實踐，而且還發(fā)現(xiàn)了許多學(xué)習(xí)的樂趣，真正體會到生活處處皆學(xué)問的內(nèi)涵。
一、《文體學(xué)》之前期準(zhǔn)備
在開設(shè)這門課之前，對《文體學(xué)》這門課沒有絲毫的了解，甚至有同學(xué)猜測是不是跟瑜伽有關(guān)，聽上去很修身養(yǎng)性的課程名稱。后來在網(wǎng)上查了一下，才知道，“文體學(xué)，也稱語體學(xué)、風(fēng)格學(xué)，現(xiàn)大都譯為文體學(xué)。它是一門研究文本體裁的特征、本質(zhì)及其規(guī)律，介于語言學(xué)、文藝學(xué)、美學(xué)、心理學(xué)等學(xué)科之間，方興未艾的綜合性邊緣學(xué)科，目前正處于發(fā)展、完善的階段?！币灿械恼f“文體學(xué)是一門教我們怎樣使用語言，怎樣使用不同風(fēng)格的語言的一門學(xué)科。”不管哪種說法，跟翻譯聯(lián)系起來，給人的印象絕對是那種枯燥、乏味，且屬于純理論的課程。因此，在正式上課之前，潛意識里就斷定這門課肯定很沒有意思。
二、《文體學(xué)》之學(xué)習(xí)過程
剛上第一節(jié)課，便發(fā)現(xiàn)文體學(xué)老師講課很有意思，為人隨和、教學(xué)風(fēng)格幽默，我們學(xué)生也不用一直拘謹(jǐn)，課堂氛圍非常活躍。后來才知道付老師在語言學(xué)方面的造詣相當(dāng)深厚，經(jīng)過老師精彩的講解，我們對文體學(xué)的概念及其在日常生活中的應(yīng)用，有了初步了解，老師還用生活中的具體事例向我們展示了身邊的文體學(xué)，例如大家平時津津樂道的“甄嬛體”、“梨花體”、“淘寶體”等。這時候我才發(fā)現(xiàn)文體學(xué)與我想象中的完全不一樣，它不但不是純理論，而且與日常生活的關(guān)系還如此密切。
由于大家都很喜歡付老師的行事作風(fēng)、講課風(fēng)格，所以每次上課，大家都會積極配合。每一節(jié)課都會有新鮮的材料、新鮮的知識，發(fā)生在身邊、自己卻又沒有留意到的課堂素材，甚至連街上的雙語廣告單頁也可以拿來給我們作為平行文本進(jìn)行分析，在一種輕松、愉悅的氛圍中，那種枯燥乏味的知識聽起來也變得有趣了許多，下課后還有意猶未盡的感覺，總想再多聽一會兒付老師的講解。有時候老師還會跟我們分享一些，她看到的雜志上的一些小篇幅文章，表面看來意義頗深，但對其深究，卻會發(fā)現(xiàn)其中的邏輯并不嚴(yán)謹(jǐn)。教導(dǎo)我們平時不僅要留心觀察，發(fā)現(xiàn)別人發(fā)現(xiàn)不到的問題，更要認(rèn)真思考，對事情保有自己的看法。老師還教導(dǎo)我們平時應(yīng)多讀一些優(yōu)質(zhì)文本，培養(yǎng)對語言的敏感度；多看一些專業(yè)相關(guān)的核心期刊，了解行業(yè)最新發(fā)展動態(tài)。
三、《文體學(xué)》之知識收獲
作為一名翻譯碩士，學(xué)習(xí)文體學(xué)的最終目的，無非是將其應(yīng)用于翻譯實踐，完善翻譯文本。翻譯必須要符合源文本的本意，這就需要與句子結(jié)構(gòu)、文體分析相結(jié)合，高質(zhì)量的目標(biāo)語文本不僅要傳達(dá)源語文本的信息，還要表現(xiàn)出源語文本的文體特征。文體學(xué)則是運(yùn)用語言學(xué)的理論去研究文章表面意義與深層內(nèi)涵、文體功用與實踐效果之間的關(guān)系，處理現(xiàn)代翻譯理論中的一個根本問題，即文體上的“形似”還是意義上的“神似”，或者說采用直譯還是意譯的問題。
學(xué)過文體學(xué)之后，每次做翻譯的時候，總要先通讀源文本，了解文本信息及其語言風(fēng)格，然后盡量在準(zhǔn)確傳遞信息的同時，采用源文本的語言風(fēng)格。雖然現(xiàn)在能力有限，做不到風(fēng)格的完全對等，但至少已經(jīng)注意到了這個問題，并且在努力使其形式、風(fēng)格更加接近。
現(xiàn)在，文體學(xué)課程已經(jīng)全部結(jié)束了，在整個學(xué)習(xí)的過程中，可以說是受益匪淺，我將會在今后的翻譯實踐中，更多地注意這方面的問題，不斷學(xué)習(xí)、鞏固自己的翻譯技能，更好地把握文體學(xué)在翻譯中的應(yīng)用。
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