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中文摘要
摘要
欧内斯特?海明威是美国的著名作家,出色的文体家,是1954年诺贝尔文学奖的获得者。他独特的写作风格为他赢得了无数的读者,国内外许多专家学者对
他的作品进行了多方面、多视角的学术研究。然而,大部分研究都是从文学角度
出发,而从语言学视角的研究显得不足。本文旨在从语言学角度出发来研究海明
威作品的文体特征,运用定量分析的方法弥补以往研究中定性分析的不足。没有
比较就没有鉴别,作者建立了海明威作品语料库,并与语料库Brown(K-R)进行
对比以揭示其文体特征。.
本文以现代文体学的理论为基础,借助计算机软件及程序(FoxPro和SPSS),从字系,词汇,句法和语义等层次进行了一系列的统计测试。结果显示,两个语
料库在四个层面上均存在显著性差异。海明威对短段落以及简单句的偏爱,普通
日常词汇的选用,形容词、副词的节省,重复技巧的使用等等,体现了他独特的
文体特色。海明威以此成功地贯彻了他的“寓丰富于简洁”的写作原则,从而给
读者留下了巨大的阐释空间。
关键词:语料库;海明威作品;文体学分析;卡方检验
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ListofT{lblesandCharts
ListofTablesandCharts
Table3.1ErnestHemingway’Sworksinthecorpusandnumberofwordsineachone.15
Table4.1ThedistributionandratioofpunctuationmarksinEHWandBrown(g-R)。19
EHWandBrown(K-R)…….:…..20Table4.2Significanceofpunctuationmarksbetween
Table4.3PercentageofpunctuationmarksinEHWandBrown(K-R)…………………….21
Table4.4AverageparagraphlengthofEHWandBrown(K-R)……………………….22
Table4.5AverageparagraphlengthoftheworksinEHW………………………………………22
Table4.6Token,typeandstandardizedtype-tokenratio…………………………………………23
Table4.7FiftymostfrequentwordsinEHWandBrown(K-R)………………………………24
Table4.8Top50wordscategorizedintowordclass……………………………………………….26
Table4.9Open—classwordsamongthetop50……………………………………………………….27
Table4.10MeanwordlengthinEHWandBrown(K-R)………………………………29
Chart4.1WordlengthinEHW……………………………………………………………………………30
Chart4.2WordlengthinBrown(K-RJ…………………………………………………………………30
Table4.11RelativeproportionsofmajorwordclassesinEHWandBrown(K-R)……31
Table4.12MeanSentenceLengthinEHWandBrown(K-R)…………………………34
Table4.13ThedistributionofcoordinatorsinEHWandBrown(K-R)…………………….36
Table4.14SignificanceofcoordinatorsbetweenEHWandBrown(K-R)……………36
Table4.15PercentageofeachcoordinatorinEHWandBrown(K-R)………………。37
ThedistributionofsubordinatorsinEHWandBrown(K-R)………………38Table4.16
Table4.17SignificanceofsubordinatorsbetweenEHWandBrown(g-R)………………39
Table4.18ProportionsofpassivepatternsinEHWandBrown(K-R)…………………40
Table4.19ProportionsofadverbialconnectorsofEHWandBrown(K-R)…………..42
Table4.20SignificanceofadverbialconnectorsbetweenEHWandBrown(K—R)……42
Table4.21PercentageofnarratingwaysinEHW………………………………………………….45
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Chapter1Introduction
(1)WhatarethemostdistinctivestylisticfeaturesofErnestHemingway’Sworks?
(2)Whydohisworkspossesssuchkindoffeatures?
1.2SignificanceofThisStudy
Withthedevelopmentofcorpuslinguistics,thecorpus-basedapproachhasbeguntoshowitspowerfulstrength.BycompilingacorpusofHemingway’Sworkswhich
includessomeofhisfamousnovelsandshortstoriesandusingcomputational
techniquesofmodemlinguistics,theauthoraimstoshowHemingway’Sstylistic
featuresmoreobjectivelyandscientifically.Inthisprocess,theauthorwillchoosethe
imaginativeprosepartofBrowncorpus(Brown(K-R))tocarryoutacomparison
betweensomeimportantdatatoseethedifference.Inthisway,thespecialfeaturesof
Hemingway’SwritingstyleCanbeseenmoreclearly.
AlthoughtherehavebeenmanybooksandreviewsonErnestHemingwayandhisworks,mostofwhichareorientedtoliteraryratherthanlinguisticaspect.Thelackof
commondefectsofthesestudies.Thisresearchaimsatprovidingquantitativedataisthe
quantitativedataregardingthestyleofErnestHemingway’Sworks.Incomparison,the
authorattemptstofindthesamenessanddifferencesbetweenthetwocorpora.Itis
eliminatethedifficultiesinunderstandinghopedthatthisthesiswillenablestudentsto
andappreciatingErnestHemingway’Sworks,andalsoenablethemtolearnto
substantiatearguments、析nlquantitativeevidence.Ontheotherhand,itisalsohoped
thatitwillassisttheteachers,especiallythosewhoteachliterature,toobtainaclearidea
oftheworksofErnestHemingwayandthustohelpthemtoteachbetter.Itisalso
expectedthatthisthesiswillthrowlightonf],LrtherresearchonErnestHemingwayand
otherAmericanwriters.
13ErnestHemingway’SLifeandHisWorks
Beforetheanalysisofhisworks,itisnecessaryforustohaveanoverviewofErnestHemingway.ThispartisdevotedtoHcmingway’slife,works,andallthe
essentialinformationabouthislifeandliteraryinfluences.
HemingwayWasborninOakPark,Illinois,onJuly21,1899.Influencedbyhisparents,Hemingwaylovedartandsports,andenjoyedhunting,fishing,adventuresand
otherkindsofoutdooractivities,whichprovidedhim埘nlalotofmaterialsforhis
futureliteraryworks.Inhighschool,Hcmingwaydevelopedallenthusiasmforboxing
andotherkindsofsportsandhealsowrotejournalisticpiecesandpoemsforthe
2
Chapter1Introduction
onend.GertrudeSteincharacterizedtheexpatriatesbyherviewofAmericawhenshesaid,‘'Americaismycountry,andParisismyhometown.’’Thisideaofhavinga
placethatyouconsideryourhome,butnotyourhomeland,isthebasisoftheexpatriatemovement.111eexpatriateswerealienatedfromtheirmotherlandspiritually.Asmostofhiscontemporarywritersdid,HemingwaywenttoParisin1921topursuehisdreamtobeaseriouswriter.SherwoodAnderson,oneoftheleadingwritersoftheday,helpedhimalot.Duringthe.periodlivinginParis,hemetwithEzraPound,andsoonPoundbecamehisadviser,advocateandfriend.HemingwayalsomadefriendswithothergreatwriterssuchasGertrudeSteinandJamesJoyce.Heworkedwimallhisenergyinliterarycreation.GertrudeSteindubbedyoung
Americanwriterslikehim‘'thelostgeneration’’bysaying‘‘Allofyouyoungpeoplewhoservedinthewar,youarealostgeneration'’.Thegenerationis“lost'’inthesensethatitsinheritedvalueswerenolonger
relevantinthepostwarworld.The
feelingofrootlessnessanddisillusionmentwereshownintheirworks.Hemingwayusedtheremarkasan
epigraphforhisnovelTheSunAlsoRises.Thushemadethetermpopular.Asmostlostgenerationwritersdid’Hemingwaysetuphisliteraryreputationduringthe1920s.Hepublishedtwohighlypraised,promisingvolumes,ThreeStoriesandTenPoems(1923)and/nOurTime(1924);twoshort-storycollections,/nOurTime(1925)andMenWithoutWomen(1927);twomajornovels,刀lPSunAlsoRises(1926)andAFarewelltoArms(1929);andthecontroversialTheTorrentsofSpring(1926).
nelostgenerationwasnevera
literarysch001.Inthe1930s,asthesewritersturnedindifferentdirections,nleirworkslostthedistinctstampofthepost-warperiod.Duringthisperiod,Hemingwaytraveledalotandcollectedlotsofmaterialsforhisworks.ThereappearedDeath拥theafternoon(1932),WinnerTakeNothing(1933),GreenI哦llsofAfrica(1935),ToHaveandHaveNot(1937),tomentionjustafew.ButthemostimportantworkaccordingtohisexperienceinSpainWasForWhomtheBell
乃lls(1940),whichWasanexcellentnovelaboutRobertJordan,anAmerican
Spanish
instructorwhofought晰ththeLoyalistforces.Afterthat,in1952,Hemingway
publishedTheoldManandtheSea。whichWasoneofhismostacclaimednovels.The
OldManandtheSeanotoilysucceededcommerciallybutalsowonthePulitzer
FictionPrizefor1952andtheNobelPrizeforLiteraturein1954.
Generallyspeaking,Hemingway’Sthemesandstyleofwritingalongwinla
4
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Chapter2LiteratureRenewandTheoreticalFramework
Chapter2LiteratureReviewandTheoreticalFramework
ThischapterprovidesthetheoreticalbackgroundforthestudyofErnest
Hemingway’Sworks.Thedefinitionsofstyleand
stylisticswillbegivenfirst,what
followsistheemergenceanddevelopmentofstylistics.Andthenthecomputationalstylisticswillbeintroduced.Ageneralintroductiontostylisticanalysisisprovidedatlast.
2.1Style
Fromtheetymology,theword‘‘style'’derivesfromGreekandLatinword‘‘stile",“stilus”.Itreferstotheobject,theonetopwhittledstick.Thenthemeaningexpandsbutisstillinthescopeofobjects.Besidespointingtothesharppenorthesteelpenetc,itcoulddescribethecaringknife,theneedleofthephonographandthehourhandofclocketc.Themeaningofwritingtoolsisstillusedtoday.TheprinterofthemultinationalcorporationEpsoniscalled‘‘STYLUS’’.Thenthesemanticmeaningof‘‘style’’expandsagain.It
meansthewaytowriteandtalkwhichiscausedbydifferentnations,historicperiods,literatureformsandpersonalfeatures.Forexample,"thearchaicstyleof
writing'’,‘'thisisnotmystyle'’.Thebasicsemanticmeaningofoutside
distinguishable
expresswaycouldalsobeusedintheareaofarchitectureorarts.Forexample,‘'the
Greek,medieval,andRenaissancestyles”,‘'thegypsystyleofmusic".Anothersemantic
meaningof“style”referstothewayoflives.Italwayshasrelationship、)I,itllthe
appearance,manner,andsocialrelationsetc,whichhavefashionfeatures.Itusuallyisa
commendatoryterm.Forexample,‘'hehasgreatstyle'’,‘'thestyleoflord”etC.Inthe
chronologicaltable,‘‘style'’meansthewaytocalculatetime.Forexample,‘‘oldstyle'’,
‘'newstyle'’.Afterall,“style'’alwaysreferstothedistinguishedonewhichhasdifferent
featuresamongmorethantwothingsanditisusedasacommendatoryterm.(Hu
Zhuanglin,2002).
TreatisesdevotedtothestudyofstyleCanbefoundasearlyasDemetrius’SOns艺vle(C.E.100).Styleisnoteasytodefine,however,theveryfrequentdefinitionof
styleisoneexpressedbySeymourChatman:“Styleistheproductofindividualchoices
and
patternsofchoicesamonglinguisticpossibilities.”(Chatman,1967:30)
ThefollowingarefourcommonlyoccurringsensesofthetermstylegivenbyD.CrystalandD.Davy:(Widdowson,1975:5)
(1)Stylemayrefertosomeorallofthelanguagehabitsofoneperson—aswhen
6
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Chapter2LiteratureRenewandTheoreticalFr—amewo—r——k——
oftheword,ofascientificoratleastamethodicalstudy.”H.GWiddowson(1975:22)
givesafurtherexplanation,“Bystylistics,Imeanthestudyofliterarydiscoursefroma
orientationandIshalltaketheviewthatwhatdistinguishesstylisticsfromlinguistic
literarycriticismontheonehandandlinguisticsontheotheristhatitisessentiallya
meansoflinkingthetwo.”AccordingtoCrystal,stylisticsis“abranchoflinguistics
whichstudiesthecharacteristicsofsituationallydistinctiveUSesoflanguage,with
particularreferencetoliterarylanguage,andtriestoestablishprinciplescapableof
andsocialgroupsintheirUSeaccountingfortheparticularchoicesmadebyindividuals
oflanguage'’(1969:32).AccordingtoGN.Leech(1981),stylisticsisalinguistic
andartisticfunction,approachtoliterature,explainingtherelationbetweenlanguage
withmotivationquestionssuchas‘Ⅵhy'’and‘'how”morethan‘'what”.
Stylisticsinthetwentiethcenturyreplacesandexpandsontheearlierstudyofrhetoric.Followingthepublicationofatwo-volumetreatiseonFrenchstylisticsby
Ballyin1909,apupilofthestructuralist,SaUSsure,interestsinstyliaicsgradually
spreadacrossEuropeviatheworkofSpitzerandothers.ItWasinthe1960sthatit
reallybegantoflourishinBritainandtheUnitedStates,givenimpetusfrompost-War
developmentsindescriptivelinguistics,granlmarinparticular.
Inmanyrespects,stylisticsisnotonlyclosetoliterarycriticismbutalsopracticalcriticism.Thedifferenceliesinthatthegoalofmoststylisticstudiesisnotsimplyto
describetheformalfeaturesoftextsfortheirownsake,butinordertoshowtheir
functionalsignificancefortheinterpretationofthetext;orinordertorelateliterary
effectstolinguistic“caUSes'’wherethesearefelttoberelevant.
BecaUSeofitseclecticism,stylisticshasincreasinglycometobeusedaSteachingtoolinlanguageandliteraturestudiesforbothnativeand如rei盟speakersofEnglish.
Duetothespecialtyandtheprofittotheliterarystudies,modernstylisticsisemployed
toanalyzetheworksofHemingway’Sinthisthesis.Itprovidesaconvenientwayforthe
analyses,anditalsoprovidesafirmtheoreticalfoundation.
Stylisticscanberoughlydividedintotwoaspectsaccordingtothdrdifferentresearchobjects:thatis,literarystylisticsandnon-literarystylistics(generalstylistics).
Stylisticanalysisofliteraryandnon-literarytextshasanidenticaloutcome,USually
non—literarytextsareeasiertoanalyzethanliterarytexts.Non-literarystylisticscovers
studiesofthevarietiesoflanguage,suchasthelanguageoflaw,scienceandtechnology,
8
Chapter2LiteratureRenewandTheoreticalFramework
mainlyfocusedondescribingagivenlanguageinitsspokenformsynchronically.Theperiodfromthe1930stothe1950sisregardedfitsthesecondstageofstylisticdevelopment.InfluencedbylinguistictheoriesadvancedbyRussianformalistRomanJakobson,RomanphilologistSpitzerhonoredfitsFatherofliterarystylistics,andCzechoslovakianstructuralistMukarovsky,stylistics,inthisperiod,stressedtheimportanceoftheformoflanguageinliteraryworksandalsoaffirmedtheaestheticvalueoflanguageinnon-literaryworks.
Itwasnotuntilthelate1950sthatstylisticsbecameanindependentacademicdisciplineandbegantodeveloprapidly.In1958,thefirstinternationalsymposiumonstylisticswasheldatIndianaUniversity,U.S.A.Thiswasaprimemoverforthedevelopmentofstylisticsandalsohelpeditreceivewidepublicity.
Anotherstagefollowsfrom19608to1980s,whichWascharacterizedbytheinfluenceofgenerativelinguistics,sociolinguisticsanddiscourseanalysis(Shen,2000).
AccordingtoCarterandSimpson(Carter&Simpson,1989)thestageCallbedivided
intofoursub?stages:
?The1960sisadecadeofformalstylistics
Asthenamesuggests,formalstylisticsisbasedonformalisminlinguistictheories
whichincludeSaussure’SstructuralistlinguisticsandChomsky’Stransformationalgenerativelinguistics.
?The1970sisadecadeoffunctionalstylistics
FunctionalstylisticsisbasedonM.A.K.Halliday’Ssystematicfunctionallinguistictheorywhichholdsthatlanguagehasthreemetafimetiom?--——ideationalfunction,interpersonalfunction,andtextualfunction.
?m1980sisadecadeofdiscourse
stylisties
Inthisperiodoftime,stylisticshasabsorbedthenewlydevelopedtheoriesindiscourseanalysissuch勰speechacttheoryputforwardbyAustinandSearleandthetheoryofinferenfialmeaningby
Grice.ThesetheoriesoJ'eprimarilyconcernedwitllthe
relationshipoflanguagetoitscontextofuse.
?The1990sisadecadeofcontextualizedstylistics
Contextualizedstylistics,alsotermed鹤socio-historicalandsoeio-cultural
stylistics,isbasedontheassumptionthattheway
peopletreatthingsreliesontheir
viewpointswhichreflectfeaturesofsoeio—historyandsoeio—culture.Stylistsworkingin
10
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andTheoreticalFramework
Chapter2LiteratureReview
categories(Xu,2000).Oneisfocusedonnon-literaturevariety,anotherisonliterature
variety,andthethirdreferstostyleinabroadsensenamelygeneralstylistics.
Meanwhile,somewesternworksinthefieldofstylisticshavealsobeenintroducedto
ChinesereaderssuchasInvestigatingEnglishStyle(1969)byDavidCrystalandDerek
Davy;Stylistics(1973)byQW.Turner;Stytein,Fiction(1981)byGN.LeechandM.H.
Short;Practicalstylistics(1992)byH.J.Widdowson;Stylistics:APractical
Coursebook(2000)byL.WrightandJ.Hope;PatternsinLanguage:Stylisticsfor
StudentsofLanguageandLiterature(2000)byJ.ThomborrowandShanWareingand
ere.Therefore,weCallbeguidedandsupplementedbytherecentknowledgeinthisfield
timely.
2.4ComputationalStyfistics
Inadditiontothemodelsmentionedabove,thereisanotherimportantmodelthatdeservestobeintroduced,whichiscalledcomputationalstylistics.Computational
stylisticshasparticularlydevelopedsincethelate1960s.Withtheapplicationof
computerinstylistics,whatWasimpossiblebymanualcalculationsisnowpractical.
Computationalstylistics,nowasub—disciplineofcomputationallinguistics,USes
statisticalandcomputer-aidedmethodsandanalysesinthestudyofdifferentproblems
ofstyle.Computershaveprovedinvaluableindictionarycompilationorlexicography
andgrammarintheanalysisoflargesamplesofdata;andinformationtechnologyis
widelyappliedinsuchareasasautomaticspeechsynthesisandmachinetranslation
(Wales,1989).
Onewell-established
studyincomputationalstylisticsisknownasstylometry,theinvestigationofsuchfeaturesaswordlengthandsentencelengthindifferenttextsto
determineauthorship.In1978,Mortondefinedstylomc蛆ryasthesciencewhich
describesandmeasuresthepersonalelementsinliterary01"extemporeutterances,80
thatitcanbesaidthatoneparticularpersonisresponsibleforthecompositionrather
thananyotherperson.Honore(1979)notedthatstylometryisthestatisticalanalysisof
thewritingstyleofallauthorUSingthosefeaturesthatarcunconscioUSorarcdifficult
forallauthortocontr01.Holmes(1998)definedthatstylometryisthestatisticalanalysis
ofliterarystyleanditcomplementstraditionalliteraryscholarshipsinceitoffersa
meansofcapturingtheoftenelusivecharacterofanauthor’Sstylebyquantifyingsome
ofitsfeatures.
12
Chapter2LiteratureRenewandTheoreticalFramework
Identification----——Description??———Explanation
砀e
featureschosenfromanytextwillbethosewhichcharacterizeit
as
toits
function.111eywillbeusedbytheanalysttoprovetheinitial
statementwhichismade
aboutthelinguisticnatureofthetext勰awhole.
Thismethodpurportstobefairlyscientific.Ahypothesisisstatedandthenproved.
Itis
a
usefuldisciplinewhichencourageslogicalthought
andCanbetransferredtomany
otherareasofacademicstudy.Thisisone
ofthereasonswhythedisciplineofstylistic
analysis
is
SO
useful:it
Canbeappliedto
a
varietyofsubjects.
Insomeformsofstylisticanalysis,thenumerical
recI嗍Ce
ofcertain
stylistic
featuresis
usedtomakejudgmentsaboutthe
natureand
thequalityofthewriting.
However,itisimportanttorecognizethattheconceptofstyle
ismuchbroaderthanthe
mere“goodstyle'’ofliteraryprose.
Researchesofstylistic
analysis
earl
be
divided
intoqualitativeand
quantitative
analysis.Most
ofthe
previousstudiesarecenteredon
thequalitativedescriptions.
Qualitativemethods
ale
moresuitableforliteraryanalysiswhichishuman-oriented,
such
as
regulatingliteraryrules
and
describing
variousstylistic
features.However,
linguisticsis
a
dynamicsubject;wemust
impose
new
requirements
on
stylisticsinorder
toadaptittothenew
academic
development.Quantitativedescriptionswillgiveus
moreconcreteandconvincingexplanationsofsomestylisticfeatures.Inthis
case,
quantitativemethodshave
alreadybecomemoreandmoredominant
instylisticanalysis
inrecentyears.
14
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