《小说文体分析》(Style in Fiction)是运用现代语言学的最新成果,对文学作品进行系统的文体分析的一部精采的教科书。随着语言学的日益发展,人们越来越多地把现代语言学的研究成果运用到文体学分析中来。1969年,利奇(Geoffrey N.Leech)发表了《英语诗歌语言分析入门》(A Linguistic Guideto English Poetry),用现代语言学的观点对

Style in Fiction:A Linguistic Introduction to English Fictional Prose

Time and space.

Oliver Twist by Charles Dickens Typical of many tales of the time, Oliver Twist by Charles Dickens was first released as a serial, appearing in Bentley’s Miscellany from 1837 to 1839. Partway through the release schedule Dickens re-edited the manuscript and the story was published as a novel in 1838, several months before readers of the serial discovered its conclusion. The plot revolves around the titular character, Oliver, an orphan whose father is an unknown figure (Dickens). He is portrayed as an unwitting thief drawn helplessly into a world of vice by Fagin, a criminal with a coterie of juvenile companions, when all he really wants is a fair share in life. In brief, the events of the novel are such that Oliver is expelled from the orphanage where he grew up and is forced to side with Fagin in order to avoid starvation. After a botched burglary, Oliver is caught, abandoned by his companions, and brought to trial for their crimes. This allows him to temporarily escape Fagin’s clutches and affords Oliver a measure of comfort and happiness for the first time in his life – until Fagin dispatches Bill and Nancy Sikes to retrieve him. Injured after the second burglary, Oliver meets Rose, adopted niece of the wealthy Mrs. Maylie. Over the rest of the novel the question of his parentage is resolved so that Rose is found to be his aunt, and Oliver is left to inherit riches from his father. In this way, honest Oliver is rewarded, while the wicked ones are punished for their sinful ways. Surname 1

狐雛涙 = Oliver Twist

Who Are These People

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Expositional Modes And Temporal Ordering In Fiction

Defining the reliable narrator: The marked status of first-person fiction

The Fairytale and Plot Structure

In Vladimir Propp's Morphology of the Folktale, uncertainty has continually hovered over the pivotal role occupied by the eighth function in what the Russian theorist suggested was a single invariant wondertale structure. In this article, I suggest that this discrepancy can be resolved: there are in fact two major types of wondertale, with their separate structures pivoting on the choice of one or other of the two eighth function options. By analyzing the Preparation and Complication sections of Charles Perrault's Cinderella, or the Little Glass Slipper and Jacob and Wilhelm Grimm's `The Robber Bridegroom', I suggest further that the notion of a pivotal eighth function requires the positing of the complementary notion of a pivotal fourth character. In conclusion, I briefly examine the introduction of four pivotal fourth characters in four canonical texts in order to pose the question: do such celebrated texts exhibit canonical ordering?

The pivotal eighth function and the pivotal fourth character: resolving two discrepancies in Vladimir: Propp's Morphology of the Folktale

In Aspects of the Novel, EM Forster makes a distinction between round and flat characters that has achieved a certain celebrity One reason for its celebrity is that it offers a plausible explanation for what might otherwise be inexplicable: the reader's tendency to give the benefit of the doubt to an otherwise very doubtful character, the indolent Lady Bertram in Jane Austen's Mansfield Park The passage in which Forster suggests Lady Bertram is transformed from a flat into a round character is ex plicable, however, in terms other than those the English novelist proposes Indeed, this alternative explanation is preferable because it throws valuable light on an aspect of novelistic discourse that has remained remarkably undeveloped: the " 'equiva lence' relation" that exists between direct and indirect speech (Leech and Short 320) In this essay, my intention is to demonstrate that the passage cited by Forster as part of his argument for the existence of flat and round characters demonstrates one half of a significant rhetorical strategy: the narrator's deliberate upgrading or rhetorical amelioration of the impact of a character's words I intend to show that this upgrad ing effect is matched, not least in Jane Austen herself, by the very opposite rhetorical effect, that of a deliberate downgrading or parodying of a particular character's re ported speech?something that Forster explicitly denies is part of Austen's reper toire As a result of the analysis, I draw the conclusion that Forster's focus on rotundity is in fact a misreading of the real significance of the passage about Lady

Monitored Speech: The "Equivalence" Relation between Direct and Indirect Speech in Jane Austen and James Joyce

The narrative use of the reverie over the past has often been seen as part of the stock-in-trade of popular fiction. This has produced scandal and silence in about equal measure. In many critical retellings of James Joyce's "Eveline", for example, the strategy of silence has prevailed, even when critics like Robert Scholes have attempted to make the relationship between story and recit the focus of their attention. A second form of neglect has resulted when critics attempt to read all narrative fictions as marked order narratives. To read all Joycean first-person narratives as marked order fictions is to obliterate what distinguishes chronologically ordinary and marked order narration altogether. In contrast, by focussing on the use of a marked order narrative in "Eveline", I attempt to demonstrate how an understanding of the significance of this authorial choice can throw into relief the basis for divergent critical interpretations of the short story. Through the use of four diagrams, I also reconstruct the two different chronological possibilities that critics use when they read "Eveline".

Terence Patrick Murphy

Papers

Defining the reliable narrator: The marked status of first-person fiction

The Fairytale and Plot Structure

The pivotal eighth function and the pivotal fourth character: resolving two discrepancies in Vladimir: Propp's Morphology of the Folktale

Monitored Speech: The "Equivalence" Relation between Direct and Indirect Speech in Jane Austen and James Joyce

Interpreting marked order narration: The case of James Joyce’s “Eveline”