Much has been written about theory and practice in the law, and the tension between practitioners and theorists. Judges do not cite theoretical articles often; they rarely "apply" theories to particular cases. These arguments are not revisited. Instead the Essay explores the working and interaction of theory and practice, practitioners and theorists. The Essay starts with a story about solving a legal issue using our intellectual tools - theory, practice, and their progenies: experience and "gut." Next the Essay elaborates on the nature of theory, practice, experience and "gut." The third part of the Essay discusses theories that are helpful to practitioners and those that are less helpful. The Essay concludes that practitioners theorize, and theorists practice. They use these intellectual tools differently because the goals and orientations of theorists and practitioners, and the constraints under which they act, differ. Theory, practice, experience and "gut" help us think, remember, decide and create. They complement each other like the two sides of the same coin: distinct but inseparable.

Of Theory and Practice

The Political Unconscious: Narrative as a Socially Symbolic Act

Paul Simpson. Stylistics: A Resource Book for Students. Routledge English Language Introductions. New York: Routledge, 2004. xiv + 247 pp. $99.95 cloth; $29.95 paper. Paul Simpson is a productive researcher in and an experienced teacher of stylistics. His third book for Routledge, Stylistics, provides a comprehensive overview of the subject in a clear, entertaining, insightful, and innovative way. Like other books in the Routledge English Language Introduction series, edited by Peter Stockwell, Simpson's Stylistics has a flexible "two-dimensional" structure, built horizontally around four self-contained sections centering on one topic-A introduction, B development, C exploration, and D extension-as well as vertically progressing from one topic to another. The book has twelve topics or strands: 1) What is stylistics? 2) Stylistics and levels of language, 3) Grammar and style, 4) Rhythm and metre, 5) Narrative stylistics, 6) Style as choice, 7) Style and point of view, 8) Represented speech and thought, 9) Dialogue and discourse, 10) Cognitive stylistics, 11) Metaphor and metonymy, and 12) Stylistics and verbal humour. The topics develop from section A to section D, giving rise to altogether 46 selfcontained units (topic or strand 12 does not have sections B or C). The A units are comprehensive and concise introductions to the topics concerned; B units are either illustrative expansions of the model introduced in A, or surveys of important research developments in the relevant area; C units are practical activities for students to try out and apply what they have learned from A and B; and finally, D units offer a wide-ranging selection of relevant readings by other famous stylisticians. In accordance with the "two-dimensional" structure, the book has two tables of contents, with "Contents" followed by "Contents Cross-Referenced." The former goes along the vertical dimension, progressing from section A (1-12) to section D (1-12), and the latter is primarily concerned with the horizontal dimension, progressing from Al-Bl-Cl-Dl to A 12-Dl 2. The reader can follow either table of contents. Or, for an alternative, the reader can go directly to a certain topic and read horizontally, for instance, starting from A10 ("Cognitive stylistics") to BlO ("Developments in cognitive stylistics"), to ClO ("Cognitive stylistics at work"), and then to DlO ("Cognitive stylistics" [by Margaret Freeman]). While the vertical reading takes the reader comprehensively through the broad field of study, the horizontal reading across the four stages enables the reader to build gradually on the knowledge gained in a specific area. The coexistence of and interaction between the vertical and horizontal dimensions make the book more dynamic, leave the reader more freedom of choice, hence helping bring the reader's initiative into fuller play. This flexible structure and the freedom it offers to readers seem to be partly influenced by computer technology, by the more flexible reading possible on screen. It shows that the limitations associated with the linearity of printed words may be to a certain extent overcome by a structuring that has more than one dimension. This two-dimensional structure has, however, one drawback. As we all know, "style as choice" is a key concept in stylistics and naturally Simpson makes it the subject of strand 6. But as each strand has to be more or less self-contained, this strand focuses on the system of transitivity, an area that "emphasises the concept of style as choice" (22). …

Stylistics: A Resource Book for Students

Language and Literature of the Malays

The paper introduces and makes brief comments upon s everal main modes or descriptions of the process of translation at present Acco rding to what they serve for,they can be divided two kinds of researches:one i s based on the view that translation is a kind of competence;the other is that translation is a kind of social activity The former only studies the transforma tion rules of two languges The latter also considers such factors, such as lite rature, society, and culture From this point of view, the process of translatio n is the process in which translated text is, through a succession of choices an d adaptation, eventually generated and read by readers under the constraints of the field of translation

On the Process of Translation

Exotericising through Translation: Style and its Effects on Arabic Readers

Chokri Ben Raouf Ghezal

Papers

Exotericising through Translation: Style and its Effects on Arabic Readers