第一篇：修辭學與文體學

修辭學與文體學

“修辭”顧名思義就是修辭。人們在講話或寫作時總是要用到修辭，以使表達出來的語句得體、準確，具有較強感染力。“修辭”是語言運用中的一個重要方面。自古以來，人們對修辭活動做過不少研究，并創建了有關的學科。在法語中，研究修辭的學科主要有兩種：

一、修辭學；

二、文體學。

法語修辭研究的內容很廣，它研究一切非語言因素對語言運用活動的作用。眾所周知，語言是人類的交際手段（Moyen de communication），人們在運用這一手段進行交際時會受到很多因素的制約，我們可以把這些因素簡單地分為語言因素和非語言因素。語言因素是指語言本身的一些規律，例如其中的語法。人們在講話或寫作時應遵循語法來組詞、造句，不能隨心所欲，否則就無法使人理解了。非語言因素是指言者本身的情緒、年齡、地位、職業、文化修養等因素，以及交際場合、聽者或讀者的情緒、年齡、地位、職業、文化修養等因素。這些非語言因素也會對寫、說者產生一種制約力，使之自覺、不自覺地考慮這些因素來修飾自己的辭語。法語修辭主要是研究后一類因素即非語言因素對語言運用的影響，下面略舉幾例說明：

a.-C’est laid.這很丑。

--Qelle horreur!真是丑死了！

這兩個例句的意思基本相同，句子結構也都正確。但是第二句的言者在表達自己看法的同時流露出了內心強烈的厭惡情緒。這說明一個人的感情、內心活動可以通過他使用的語言形式反映出來，不同的感情會產生不同形式的語句。

b.–Dis-moi su ce spectacle t’a plu.告訴我，你喜歡這場演出嗎？

-Ce spectacle vous a-t-il plu,monsieur?先生，您是否喜歡這場演出？

這兩個例句從語法角度來說都正確，意思也大致相同。但是，我們可以清楚地感覺到第一句的言者是在向一個熟人或者地位比自己低的人發問；而第二句的言者卻是在向一個不很熟悉的人或者地位比自己高的人發問。可見對不同類型的人，一般都要采用不同的語言形式來表達思想。

c.-Il est atteint de surdité.他失聰了。

-Il est sourd.他是聾子。

這兩句話的意思也基本相同，句子結構也都符合語法規定。但是，第一句話是醫學的術語，只有在醫院里或學術會議上，或其它正式場合才使用；而第二句話在任何一般場合，尤其是在日常會話中就可以聽到。可見場合不同，用詞造句的方式也不相同。

d.-Je suis las de cet homme.我對此人感到厭煩。

-J’en ai assez de cet homme.我討厭這個人。

-Ce type-là,ras de bol!這家伙，真討厭！

這三個例句意思相同，語句結構都正確。但是我們可以感覺到這三句話的言者的文化修養不盡相同。第一句話給人的印象文縐縐的，其言者一般來說具有一定的文化修養；第二句話是一般人常用的句型；第三句話給人的感覺是很隨便。甚至有點俗，其言者大多是文化修養不很高的人。這一組例句表明言者的文化修養（以及社會地位）會在語言表達形式上留下痕跡。

以上四組例句表明語言的運用并不是一件簡單的事，我們不僅要學會用語法組詞造句，還要學會根據不同的情況（即考慮各種非語言因素）選用恰當的語言形式，準確、得體地表達自己的思想感情。這就是修辭研究的內容。

從上面的闡述中可以看出語言的準確性和得體性對語言交際功能的發揮有著重要的意義。下面談談準確、得體的涵義：

“準確”即選用的詞和句型能真正反映言者的思想感情和意圖，語氣要適當。例如，對于一般的違法行為，如果你不想夸大其辭，就應選用“délit”而不是“crime”（指殺人放火等罪行）來表達；當你對某人的行為感到氣憤時可以說：?a,c’est le comble!（這簡直糟糕透頂！）；若對某人行為只想一般性表示異議就應該改換口氣：Je ne compends pas ce que vous avez fait.(我對你的行動很不理解)；如果你想告訴別人你是在上海長大的，可以說：J’ai grandi à Shanghai.若你想突出強調你成長的地方是上海而不是別的地方就應該說：C’est à shanghai que j’ai grandi.“得體”即選用的詞和句型要適合言者自己的身份、年齡、社會地位、文化修養。例如成年人就不應該使用小孩子的語言；教師不應該對學生使用粗俗的語言。在此同時，還要注意使自己的語言適合對方的年齡、身份、地位、文化修養。例如，對小孩與對大人講話的口氣應是不一樣的；對高級知識分子講話一般可以用較規范的語言，而對一般文化水平的人講話就必須使用通俗易懂的語言；對下級、對下屬講話可以用命令式口吻講話，但對上級、長輩一般不能使用這種口氣。

“得體”還意味著選用的詞句與交際場合相適應。如，在外交場合一般力求措辭高雅，但是在家里可以使用通俗語；在學術會議上大多使用嚴肅的專業詞匯，而在聯歡會上宜用風趣輕松的語言。

總之，修辭所說的準確、得體可以歸納為一句話：寫文章、講話、要因人、因時、因地而異。

第二篇：修辭學

春晚小品中的修辭運用

春晚作為全國人民除夕之夜的必備大餐，已經伴隨我們近三十年的時間，而其中的語言類節目更是讓大家記憶深刻。小品是一門借助語言來塑造描寫人物的舞臺幽默表演藝術，在中國喜劇小品中宋丹丹小品具有代表性。近十幾年來的央視春晚上，來自北方特別是東北的小品、相聲幾乎壟斷了春晚的語言類節目，由此東北方言幾乎成了每年春晚的主流語言，并且一度成為中國社會流行語。這主要得益于語言、表演等幽默形式的展現。而一位來自山東青島的小丫頭在1989年憑借《懶漢相親》走進了我們的視野，也讓我們記住了那個嘴邊總是掛著“俺娘說了??”的樸實得農村丫頭。一炮走紅之后她與黃宏、趙本山表演的一連串小品，伴隨全國的電視觀眾度過了十多個春節。可以說，白云的形象早已深入人心。她的語言雖然很土、很俗，卻讓人感覺很新鮮、很特別。例如“你太有才了 ；走了，太傷自尊了；那是相當??”等等這些耳熟能詳地道的東北方言已為廣大電視觀眾所喜愛，并廣泛地運用在我們日常生活中，給人們帶來了很多樂趣。獨具特色的語言正是其小品魅力構成的重要因素，也是其小品生命力的保障。本文主要從語音的搭配、辭格的運用兩個方面，每個方面各選兩種其最具代表性的修辭方式，對宋丹丹小品臺詞的修辭藝術進行分析。

一、語音搭配

1、諧音。諧音就是利用漢字同音或近音的條件，用同音或近音字來代替本字，使聽者產生誤解已達到說話人的目的。在宋丹丹小品中經常借助語音的諧音聯系達到其喜劇小品幽默風趣

例1，1999年的小品《昨天 今天 明天》

崔：今天的話題是“昨天 今天 明天”

趙：昨天在家準備了一宿，今天上這里來了，明天回去了。

崔：不是 我不是讓你說昨天、今天、明天，往前說。

宋：前天，我們倆剛領到鄉里通知。

崔：大叔大媽，我說的這個昨天今天明天呀，不是昨天今天明天！

趙：那是后天？

崔：不是后天

宋：那是哪一天啊？

崔：不是哪一天！我說的這個昨天今天明天啊就是咱回憶一下過去，再評說一下現在，再展望一下未來 您聽明白來了嗎？

趙：那是過去、現在和將來。

宋：那也不是昨天、今天、明天呀·

“昨天、今天、明天” 是運用了詞語的多義。它們真正的意義有兩種，（1）今天的前一天，說話時的這一天，今天的下一天；（2）過去、現在、不遠的將來。在這里，崔要表達的是第2個意思，而白云、黑土這對老夫妻理解得是第一個意思，造成了語言理解上的偏差 這段對話簡單讀后會讓人感到詼諧幽默、滑稽可笑，在舞臺上，再加入三人對話時的語氣、表情、動作，可是說是風趣到了極點，令人捧腹大笑。

這些看似荒唐可笑的對話讓我們開懷大笑得同時我們往往忽略為什么他們會有這樣的對話。白云黑土他們是地地道道得農民，沒怎么讀過書，平時所接觸得人也不會用一些文縐縐的詞語和他們對話，當小崔和他們交流時恰恰忽略了這一點，這就提醒我們在面對不同的人物身份時要選用不同得語言，已達到交流的目的。而這種為甲答乙的對白恰恰可以收到了幽默風趣的藝術效果，增強了小品語言的藝術魅力，塑造了鮮明的人物形象。因此這一手段在小品中經常出現。

例2，2006年小品《小崔說事》

崔：哎，大媽……你們這次到北京是怎么來的？

白：俺們，搭專機來的崔：那太貴了，那我們報不起

白：不用報，都小錢兒，嘿嘿，現在，有錢，瞅這穿的，相當有錢，嘿，太有錢了????

崔：大叔啊，聽說你們這次到北京是搭專機來的？

黑：啊，是搭拉磚拖拉機過來的對話中，開行的飛機或是機關單位或個人專用的飛機事實上崔也是這樣理解的雖然有些質疑，感覺不大可能隨著黑土大叔的回答才恍然大悟，“專”與”磚”同音，白云就是借助這種諧音搭配達到了交際的目的，即提高自己作為名人兒的身價，博取了眾人們的笑趣.2、重音。小品是一種短小的藝術表現形式，每個小品在臺上演出的時間大約30分鐘左右，在這短短的30分鐘內，怎樣用語言打動觀眾，贏得觀眾的掌聲和歡笑非常重要。宋丹丹以其獨特的語言表達技巧給觀眾留下了深刻的印象她的獨特性表現在，大量運用程度副詞，且重音經常落在程度副詞上，主要體現在程度副詞“太”“相當的”使用上。如：

那家伙，那場面，那是相當壯觀，是鑼鼓喧天，鞭炮齊鳴，紅旗招展，人山人海······《說事兒》

你太有才了！（《策劃》）

二、辭格的運用

1、飛白。

飛白是一種根據語言表達的需要，將明明知道是錯誤的語言，故意如實地記錄或仿效的修辭格主要分為語音字形語義邏輯飛白四種類型飛有憑空或任意運用的意思，“白”有錯字的意思其目的是為了使語言滑稽幽默，甚至是給人揶揄之感其作用是不但增加文章的趣味性和語言的感染力，而且往往有助于體現人物形象的真實性。

例3，1999年小品《昨天今天明天》

宋：秋波是啥玩意兒你都不懂？咋這沒文化呢？

趙：啥啊？

宋：秋波就是秋天的菠菜。

例4，2000年小品《鐘點工》

宋：美國著名明星麥當娜抹啥我抹啥？

趙：麥當娜是誰呀？

宋：你不認識呀？她妹妹你指定熟悉。

趙：誰啊？

宋：麥當勞么！

例3例4 中“秋波”“麥當娜”借用同音關系飛白，而例一中《昨天、今天、明天》是用錯了詞語的義項而使意義飛白。小品就是能夠“很精心地把一個個源于生活的喜劇環節非常合適地連接起來——這正是他獲得成功的選擇”在這里，看似簡單地將“秋波”理解成“秋天的菠菜”；將話題“昨天、今天、明天”理解成“今天的前一天、說話時的這一天、今天的下一天”，但其作用卻是真實生動地表現了這對農村夫婦落后的文化水平，這些語言不但對他們十分合身，也增添了對白的趣味性，把小品的搞笑幽默的特點充分體現了出來。例4 中將明星與美食結成姐妹，趣味橫生，表現了陪人聊天嘮嗑的鐘點工老太太一味地追求名 牌名人效應，引出的笑話同時也真實地反映了當下社會中人們盲目地攀比，追求大品牌的現

象外表雖華麗卻掩蓋不了內心的空虛與無知。

2、移用。

詞語都有固定的意義和固定的用法如果在一定的語言環境中，為了一定的修辭效果，可以臨時改變詞在小品語言中較為常見語的用法，這種修辭手段叫移用。

例5，1999年小品《昨天、今天、明天》

宋：現在不行了，現在是頭發也變白了，皺紋也增長了，兩顆潔白的門牙，去年也光榮下崗了。

這句話巧妙地運用了移用這一修辭手法。“下崗”本指職工因企業破產裁減人員等原失去工作崗位或指離開執行守衛警戒等任務的崗位，這里移用來指人歲數大了，牙齒自然脫落這一生理現象，不僅增強了語言的幽默感與趣味性而且獨具匠心，別出心裁，使人聽來頗有情趣。

例6，2007年小品《策劃》

趙：實在憋不住了，就找了個狗窩把蛋下了。

牛：狗窩？是怎么發現的？

宋：被狗仔隊發現的唄。

“狗仔隊”本指記者特別是一些八卦周刊的記者跟蹤報道明星的緋聞這里將現代社會人盡皆知的狗仔隊移用指狗窩里的狗仔這一實質性動物，不僅增添了語言生動形象性，而且突出反映社會中一部分人特別是明星為了出名，刻意炒作，不講原則，制造出一些緋聞，以此來吸引讀者和觀眾，達到成名的目的。

例7，別瞎掰1999年小品《昨天、今天、明天》

黑 土：，當時還有一樣家用電器呢。

主持人：還有家用電器呀？

黑 土：手電筒嘛。

約定俗成的觀念，幾乎所有人把“家用電器”定義為狹義的比較高檔的電器產品，而當大叔說出“手電筒”是家用電器時，大叔明顯偏離了常規思維，把“家用電器”廣義為一切由交流電和直流電控制的家庭日常用品。不論這是幼稚還是狹黠，觀眾確實被它逗樂了。又如：

上述例子，都是宋丹丹小品臺詞中極具代表性的語言她的小品演繹的都是東北農村喜聞樂見的生活瑣事，貼近現實生活樸實無華的語言，在給人們帶來笑趣的同時，還真實地反映了社會現象，可謂一舉兩得正如臺灣修辭學家沈謙所說，追求語言文辭之美，大概有拙通巧樸四個階段，而真正最高的境界應該是第四層的樸質真醇自然高妙，以最尋常的題

材，最平淡的字句，最熟稔的意象，表達最深刻的情理，這第四階段就尋常詞語藝術化的表現，沒有刻意的雕琢，表面上也不那么惹眼，似乎也不見絢爛奪目的好辭，可是細細品味之后，卻是真摯感人，余韻無窮。

參考文獻：

[1]葉濤.《成功的基礎—讀趙本山演出的喜劇小品文學本》J.電視與戲劇;l992;(2);40

[2]沈謙.《語言修辭藝術》M.北京：中國友誼出版公司，l998;3

[3]邵敬敏.《現代漢語通論》第2版M上海;上海教育出版社.2007.7

[4]黃伯榮，廖序東.《現代漢語》.北京：高等教育出版社.1997.7

第三篇：文體學答案

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

第四篇：文體學學習心得

文體學學習心得

研究生的第一個學期，學校為我們翻譯專業安排了《文體學》這門課程。在付曉麗老師的指導下，我們對文體學這門課形成了系統的認識，對翻譯活動也有了更深層次的見解。通過這學期的學習，我不僅了解了文體學的相關理論，學會了用這些理論服務來于翻譯實踐，而且還發現了許多學習的樂趣，真正體會到生活處處皆學問的內涵。

一、《文體學》之前期準備

在開設這門課之前，對《文體學》這門課沒有絲毫的了解，甚至有同學猜測是不是跟瑜伽有關，聽上去很修身養性的課程名稱。后來在網上查了一下，才知道，“文體學，也稱語體學、風格學，現大都譯為文體學。它是一門研究文本體裁的特征、本質及其規律，介于語言學、文藝學、美學、心理學等學科之間，方興未艾的綜合性邊緣學科，目前正處于發展、完善的階段。”也有的說“文體學是一門教我們怎樣使用語言，怎樣使用不同風格的語言的一門學科。”不管哪種說法，跟翻譯聯系起來，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》之學習過程

剛上第一節課，便發現文體學老師講課很有意思，為人隨和、教學風格幽默，我們學生也不用一直拘謹，課堂氛圍非常活躍。后來才知道付老師在語言學方面的造詣相當深厚，經過老師精彩的講解，我們對文體學的概念及其在日常生活中的應用，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，例如大家平時津津樂道的“甄嬛體”、“梨花體”、“淘寶體”等。這時候我才發現文體學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系還如此密切。

由于大家都很喜歡付老師的行事作風、講課風格，所以每次上課，大家都會積極配合。每一節課都會有新鮮的材料、新鮮的知識，發生在身邊、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，卻會發現其中的邏輯并不嚴謹。教導我們平時不僅要留心觀察，發現別人發現不到的問題，更要認真思考，對事情保有自己的看法。老師還教導我們平時應多讀一些優質文本，培養對語言的敏感度；多看一些專業相關的核心期刊，了解行業最新發展動態。

三、《文體學》之知識收獲

作為一名翻譯碩士，學習文體學的最終目的，無非是將其應用于翻譯實踐，完善翻譯文本。翻譯必須要符合源文本的本意，這就需要與句子結構、文體分析相結合，高質量的目標語文本不僅要傳達源語文本的信息，還要表現出源語文本的文體特征。文體學則是運用語言學的理論去研究文章表面意義與深層內涵、文體功用與實踐效果之間的關系，處理現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。

學過文體學之后，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格，然后盡量在準確傳遞信息的同時，采用源文本的語言風格。雖然現在能力有限，做不到風格的完全對等，但至少已經注意到了這個問題，并且在努力使其形式、風格更加接近。

現在，文體學課程已經全部結束了，在整個學習的過程中，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，不斷學習、鞏固自己的翻譯技能，更好地把握文體學在翻譯中的應用。

第五篇：文體學論文

A Stylistic Analysis of the Speech I Have a dream

Course: English Stylistics and Rhetoric Lecturer: Zhang Xuhong Credit: 2 Time of Assigned on 28/11/2013 Time of Submission:19/12/2013 Student No:2010010225 Name:杜敏

Class:(Grade 2001)Class 1English Dept, Harbin Normal Univ.從文體學的角度分析演講稿《我有一個夢》

杜敏

摘要：本文根據文體學理論從文體手段角度試圖對美國著名黑人領袖馬丁.路德.金的著名演講《我有一個夢》中所使用的文體手段進行了詳盡的分析，作者在此基礎上進而對演講文體的風格進行了簡要的論述。本研究對演講稿的文體風格的選用具有啟示作用。

關鍵詞：文體學；文體學理論；文體手段；文體的風格；分析；演講

A Stylistic Analysis of the Speech I Have a dream

DuMin

Abstract: On the base of the definition of stylistics, this thesis gives a detailed analysis of some the of stylistic devices used in the famous speech by the well-known American civil rights movement leader Martin Luther King, Jr., and then probes into the stylistic characteristics of speech as a style.Key words: Stylistics, Stylistic devices, Analysis, Speech.Introduction As an interdisciplinary field of study, stylistics promises to offer useful insights into literary criticism and the teaching of literature with its explicit aims and effective techniques.It is very useful in the analysis of various styles of writing.In this thesis, the author tries to offer a stylistic analysis of the famous speech by Martin Luther king, Jr.I Have a Dream.1.Introduction: Definition of Stylistics and Stylistic Analysis As far as the definition of stylistics is concerned different scholars define the branch of study in different ways.Wales defines stylistics simply as “ the study of style”(1989:437), while Widdowson provides a more informative definition as “the study of literary discourse from a linguistic orientation” and takes “a view that what distinguishes stylistics from literary criticism on the one hand and linguistics on the other is that it is essentially a means of linking the two”(1975:3).Leech holds a similar view.He defines stylistics as the “study of the use of language in literature”(1969:1)and considers stylistics a “meeting-ground of linguistics and literary study”(1969:2).From what Widdowson and Leech say, we can see that stylistics is an area of study that straddles two disciplines: literary criticism and linguistics.It takes literary discourse(text)as its object of study and uses linguistics as a means to that end.Stylistic analysis is generally concerned with the uniqueness of a text;that is, what it is that is peculiar to the uses of language in a literary text for delivering the message.This naturally involves comparisons of the language of the text with that used in conventional types of discourse.Stylisticians may also wish to characterize the style of a literary text by Systematically comparing the language uses in that text with those in another.Halliday points out, “The text may be seen as ?this? in contrast with ?that?, with another poem or another novel;stylistics studies are essentially comparative in nature…”(1971:341).On this points, Widdowson is of the same opinion as Halliday.He says：“All literary appreciation is comparative, as indeed is a recognition of styles in general”(1975:84).Thus, we may conclude that stylistic analysis is an activity that is highly comparative in nature.2.A Stylistic Analysis of the Speech(An analysis of some of the stylistic devices used in the speech.Martin Luther King?s speech of August 28, 1963 is widely regarded as one of the most powerful ever delivered in the United States.Although this address was delivered orally, it was read from a written text composed with GREat care.It is an example of formal English with a convincing style.Here are some of the stylistic devices(which maybe considered traditionally as rhetorical devices)used by Dr King to inspire and persuade.2.1 Repetition Throughout the speech, Dr.King repeats words and sentence.This is a very outstanding feature in this speech called repetition.It belongs to the stylistic device of syntactic over-regularity.The term repetition is restricted to mean the case of exact copying of a certain previous unit in a text such as a word, phrase or even a sentence(Leech, 1969), because all the over-regular features in literature are in some sense repetitious.Used in speech, repetition not only makes it easy for the audience to follow what the speaker is saying, but also gives a strong rhythmic quality to the speech and makes it more memorable.In paragraphs 8 through 16, for example, King uses the words “I have a dream” nine times.This repetition helps to achieve the function of coherence in discourse and the function of reinforcement in mood and emotion, expressing the speaker?s strong emotion of longing for freedom, justice, righteousness and a much more united nation of all of God?s children.If we study the whole speech more carefully, it is easy for us to find many other examples of repetition used.(1)But one hundred years later, we must face the tragic fact that the Negro is still not free.One hundred years later, the life of the Negro(2)is still sadly crippled by the manacles of seGREgation and the chains of discrimination.One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity.One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land.Here the phrase “one hundred years later” has been repeated three times, seemingly indicating that it is really a long time for the Negro to wait for the coming of the time of justice and righteousness.(3)But we refuse to believe that the bank of justice is bankrupt.We refuse to believe that there are insufficient funds in the GREat vaults of opportunity of this nation.(Par.4)(4)Now is the time to make real the promises of democracy.Now is the time to rise from the dark and desolate valley of seGREgation to the sunlit path of racial justice.Now is the time to open the doors of opportunity to all of God?s Children.Now Is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood.(Par.4)In this short passage, the clause “Now is the time to…” has been used four times to emphasize the fierce urgency of “NOW” and to encourage and persuade the blacks to take immediate action to rise above and gain their own rights and freedom.2.2 Use of Parallelism Parallelism is another syntactic over-regularity.It means exact repetition in equivalent positions.It differs from simple repetition in that the identity does not extend to absolute duplication, it “requires some variable feature of the pattern-some contrasting elements which are ?parallel? with respect to their position in the pattern”(Leech, 1969:66).To put it simply, parallelism means the balancing of sentence elements that are grammatically equal.To take them parallel, balance nouns with nouns, verbs with verbs, prepositional phrases with prepositional phrases, clauses with clauses, and so forth.In his speech, Martin Luther King uses parallelism to create a strong rhythm to help the audience line up his ideas.Here are few examples:(5)…by the manacles of seGREgation and the chains of discrimination…(Par.2, two parallel noun phrases)(6)“This is no time to engage in the luxury of cooling off or to take the tranquilizing drag of gradualism.”(Par.4, two parallel infinitive phrases: “to engage…to take…”)

(7)“there will be neither rest nor tranquility in America…”(Par.5, two parallel nouns joined with “neither…nor”)

It is traditionally believed that parallelism is used for the purpose of emphasizing and enhancing, esp.in speech, the ideas expressed by the speaker(or author in written versions), thus always encouraging and inspiring the audience.We need not to be very carefully to find out many more examples of parallelism used in King?s speech and classified as is followed: 2.2.1 Parallel Nouns:(8)This not was a promise that all men would be guaranteed the inalienable rights of life, liberty and the pursuit of happiness.(Par.3, three parallel nouns as attributive)(9)1963 is not an end, but a beginning(Par.5, two parallel nouns joined with “not…but…”)(10)Again and again we must rise to the majestic heights of meeting physical force with soul force.(Par.6)2.2.2 Parallel Noun Phrases:(11)So we have to came to cash this check-a check that will give as upon demand the riches of freedom and The security of justice.(Par.4)(12)I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave-owners will be able to sit down together at the table of brother hood(Par.10)2.2.3 Parallel Infinitive Phrases:(13)It would be fetal for the nation to overlook the urgency of the moment and to underestimate the determination of the Negro.(Par.5, two parallel infinitive phrases)(14)With this faith, we will be able to work together, to pray together, to straggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.(Par.7, five parallel infinitive phrases).2.2.4 Parallel Prepositional Phrases(15)I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.(Par.12)(16)…, when we let it ring from every village and every hamlet, from every state and every city, …(Par.25)

E.Parallel clauses:(17)…, have come to realize that their destiny is tied up with our destiny and(that)their freedom is inextricably bound t our freedom.(Par.6, two parallel objective clause)2.3 Use of Similes and Metaphors As two very important types of meaning transference in literature, similes and metaphors are comparisons that show similarities in things that are basically different, which can be used to add vividness and vitality to writing.As Leech points out, metaphor is associated with a particular rule of transference which may be called the “metaphoric rule”(1969: 151).That is, the figurative meaning is derived from the literal meaning or it is, as it were, the literal meaning.Throughout the speech, King makes extensive use of similes and metaphors.In paragraph 1, for example, King compares The Emancipation Proclamation to two forms of brilliant light cutting through darkness.The first-“a joyous daybreak”-compares it to the sunrise, which(in this case)ends “the long night of captivity”.In paragraph 2, he speaks of “the manacles of seGREgation and the chains of discrimination,” comparing segregation and discrimination under which the Negro people live to the manacles and chains once used on slaves.Therefore, it is very clear that the using of similes and metaphors can definitely add vividness and vitality to writing and make it easy for the readers or audience to understand.Now let?s cite some of the similes and metaphors used in King?s speech.(18)One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity.(Par.2, metaphors)(19)But we refuse to believe that the bank of justice is bankrupt.We refuse to believe that there are insufficient funds in the GREat vaults of opportunity for this nation(Par.4, metaphors)(20)This is no time … to take the tranquilizing drag of gradualism.(Par.4, metaphor)2.4 Use of Contrast Although maybe a rhetorical device instead of a stylistic one, contrast has also been used effectively, like repetition, in this speech, achieving the function of making clear the ideas of the speaker.In paragraph l, for example, “GREat beacon light of hope” is contrasted with “flames of withering injustice,” and “joyous daybreak” with long night of captivity.”

As it is defined, contrast is used to show the difference between two things.Therefore, it is not very difficult for us to understand why the speaker king uses so many contrasts in his speech.(21)One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity.(Par.2)(22)Now is the time to rise from the dark and desolate valley of seGREgation to the sunlit path of racial justice.(Par.4)(23)Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood(Par.4)

Conclusion

As we have analyzed above, stylistic devices are frequently used in the discourse of literary works especially in speech, to achieve certain specific purposes.Thus making the style of a speech somewhat particular to the others.Generally speaking, a speech may have the following stylistic characteristics: To begin with, it must be very persuasive.Thus the sentence patterns are very well-organized, with repetitions, parallelism and contrasts frequently used.Secondly, it should be emotional so as to be convincing, because the speaker should face the audience directly and his words should not only be orderly and informative but also be expressive and inspiring.Therefore, the stylistic devices such as similes and metaphors are often involved.Finally, in many cases, written-conversational style is usually used with not very formal diction and not very complicated sentence structure.Reference [1].Martin Luther King, Jr., I Have a Dream, August 28, 1963 [2].Wang Shouyuan, Essentials of English Stylistics, Shandong University Press, July, 2000 [3].Pan Shaozhang, English Rhetoric and Writing, Shanghai Transportation University Press, December, 1998 [4].Widdowson, H.G.Stylistics and the Teaching of Literature, Longman, 1975

[5].Leech, G.N.“ ?This bread I break? Language and interpretation”.In D.C.Freeman.(ed.).Linguistics and Literature Style.New York:Holt, Rinhart & Winston.