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Файл:From a word to an idea. Part 1. Учебное пособие
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Министерство образования и науки Российской Федерации
Федеральное государственное бюджетное образовательное учреждение
высшего образования
«Оренбургский государственный университет»
О. В. Евстафиади
FROM A WORD TO AN IDEA.
PART 1
Рекомендовано ученым советом федерального государственного бюджетного
образовательного учреждения высшего образования «Оренбургский
государственный университет» в качестве учебного пособия для студентов,
обучающихся по программам высшего образования по направлению
подготовки 45.03.01 Филология
Оренбург
2016
1
УДК 811.111(075.8)
Евстафиади, О. В.
Е26
From a word to an idea. Part 1: учебное пособие⁄ О. В. Евстафиади;
Оренбургский гос. ун-т. – Оренбург : ОГУ, 2016. – 109 с.
ISBN 978-5-7410-1582-7
УДК 811.111(075.8)
ББК 81.432.1я73
ISBN 978-5-7410-1582-7
© Евстафиади О. В., 2016
© ОГУ, 2016
ББК 81.432.1я73
Е26
Рецензент – кандидат филологических наук, доцент кафедры
немецкой филологии и методики преподавания немецкого языка
О. П. Симутова
В учебном пособии представлены отрывки из неадаптированных
произведений английских и американских авторов 19-20 веков, задания
и упражнения, направленные на развитие навыков аналитического
чтения.
Учебное пособие предназначено для студентов, обучающихся по
программам высшего образования по направлению подготовки
45.03.01 Филология, профиль «Зарубежная филология».
2
Содержание
Введение………………………………………………………………………
4
1 Unit 1. Literary text as an object of interpretation……………………………
6
1.1 Text units and text categories……………………………………………….
6
1.1.1 An Outline…………………………………………………
6
1.1.2 Practical tasks…………………………………………………………
18
1.2 Literary text as a poetic structure…………………………………………
23
1.2.1 An Outline……………………………………………………………….
23
1.2.2 Practical tasks……………………………………………………………
31
2 Unit 2. Macro-components of a poetic structure……………………………...
38
2.1 An Outline ………………..……………………………………………….
38
2.2 Practical tasks……………………………………………………………..
44
3 Unit 3. The author’s image …………………………………………….……..
48
3.1 Types of narration ………………………………………………..…………
48
3.1.1 An Outline……………………………………………………..………..
48
3.1.2 Practical tasks……………………………………………………….......
51
3.2 Plot and structural composition …………………………………………..
62
3.2.1 An Outline ………………………………………………………………
62
3.2.2 Practical tasks……………………………………………………………
64
3.3 Narrative-compositional forms …………………………………………...
67
3.3.1 An Outline………………………………………………………..……...
67
3.3.2 Practical tasks……………………………………………………….......
68
3.4 Text categories: modality, the categories of the comic and the tragic……
78
3.4.1 An Outline………………………………………………………..……...
78
3.4.2 Practical tasks……………………………………………………………
84
4 Unit 4. Word-imagery. Expressiveness of vocabulary……………..……….
87
4.1 An Outline…………………………………………………………………
87
4.2 Practical tasks……………………………………………………………..
99
Список использованных источников…………...…………………………..
105
Приложение А ………………………………………………………..……...
106
Приложение Б ………………………………………………………..………
108
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Введение
Учебное пособие «From a word to an idea: практикум по интерпретации
текста, part 1» предназначено для обеспечения контактной и самостоятельной
работы студентов-бакалавров 3 курса в 5 и 6 семестрах очной формы обучения
по направлению 45.03.01 Филология, профилю «Зарубежная филология».
Целью пособия является систематизация и обобщение теоретического и
практического материала по темам «Цель и предмет интерпретации текста.
Единицы текста, категории и типология», «Образная природа
художественного текста», «Образ автора» и «Образ словесный.
Выразительность словаря» в соответствии с разделами 1-4 рабочей
программы дисциплины «Практикум по интерпретации текста».
Настоящее пособие знакомит бакалавров с особенностями
литературного текста как сложного структурного единства системы
взаимодействующих элементов, служащих раскрытию его идейнотематического содержания; формирует базовые знания литературоведческого
анализа художественного текста, а также умение находить в тексте средства
художественной выразительности, развивает навыки прочтения, понимания и
комментирования художественных текстов на английском языке (ОПК-3
ФГОС ВО по направлению подготовки 45.03.01 «Филология»).
Учебное пособие состоит из четырех разделов «Literary text as an object
of interpretation», «Macro-components of a poetic structure», «The author’s image»
и «Word-imagery. Expressiveness of vocabulary». Каждый раздел содержит
краткий обзор теоретического материала, упражнения, направленные на его
закрепление, а также отрывки из неадаптированных произведений английских
и американских авторов 19-20 веков, снабженные заданиями и вопросами,
которые подготавливают студентов к написанию развернутого комплексного
анализа художественного текста. В приложении в конце пособия дана
примерная схема анализа текста и речевые клише.
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Необходимость разработки учебного пособия обусловлена
потребностью развить навыки изучающего чтения и умения осуществлять все-
сторонний анализ литературного текста, раскрывая социальную значимость
произведения и особенности его стиля.
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1 Unit 1. Literary text as an object of interpretation
1.1 Text units and text categories
1.1.1 An Outline
It is a well-known fact that the reader's appreciation of the book depends upon
his personal experience. A literary work that represents the epoch and social /
cultural settings familiar to the reader will be more profoundly perceived by him
than that of an entirely alien setting.
The reader's appreciation of the literary work depends upon his age and
education, as well as upon his intellectual and emotional impressionability, the
innate ability to share in the attitude of others. The gift of appreciation develops
when one gains experience in reading. But he who has, besides, some knowledge of
the verbal art laws will more subtly perceive the poetic content than one who lacks
such knowledge.
1. What is text?
Here are three definitions of text given by foreign scholars. There is one
definition given by Russian linguist I. R. Galperin. Read them and try to understand
what text is, what it consists of and what its characteristic features are.
"Text. A stretch of language, either in speech or in writing, that is
semantically and pragmatically coherent in its real-world context. A text can range
from just one word (e.g. a SLOW sign on the road) to a sequence of utterances or
sentences in a speech, a letter, a novel, etc." (Ronald Carter and Michael McCarthy,
Cambridge Grammar of English. Cambridge Univ. Press, 2006).
"On the one hand, TEXT may be defined as 'any sequence of sentences
having a certain coherence,' and in this weak sense of the term each folk-tale is a
text. On the other hand text may be defined more rigorously as 'any unchangeable
sequence of sentences which has a strong cohesion and the unchangeable character
of which is related to a value system of some sort'" (Thomas G. Pavel, "Some
6
Remarks on Narrative Grammars," in Linguistic Perspectives on Literature, ed. by
M. K. L. Ching et al. Taylor & Francis, 1980).
"As a result of a communicative act, a text may be defined as a
relatively independent and hierarchically structured linguistic unit (macrostructure)
which reflects a complex state of affairs and has a specific communicative intention.
The state of affairs may refer to the real world or to the world of imagination and
fiction" (Rosemarie Glaser, "A Plea for Phraseo-Stylistics," in Linguistics Across
Historical and Geographical Boundaries, ed. by Dieter Kastovsky and A. J.
Szwedek. Walter de Gruyter, 1986).
Текст – это произведение речетворческого процесса, обладающее
завершенностью, объективированное в виде письменного документа
произведение, состоящее из названия (заголовка) и ряда особых единиц
(сверхфразовых единств), объединенных разными типами лексической,
грамматической, логической, стилистической связи, имеющее определенную
целенаправленность и прагматическую установку" [2, с. 18].
According to these definitions we may conclude that text consists of a
sequence of utterances (sentences) interconnected semantically, syntactically and
pragmatically.
2. Text units
The basic text unit is called a “supra-phrasal unity” (the term of L. A.
Bulakhovsky) or a “complex syntactic unity” (the term of N. S. Pospelov).
Supra-phrasal unity (SPU) is used to denote a larger unit than a sentence. It
generally comprises a number of sentences interdependent structurally (usually by
means of pronouns, connectives, tense-forms) and semantically (that means that
they are united by one definite idea). Such a span of utterance is also characterized
by the fact that it can be extracted from the context without losing its relative
semantic independence. This cannot be said of the sentence, which, while
representing a complete syntactical unit, may lack the quality of independence [8].
E.g. Rolland picked out a tiny pearl handled knife with a blade of soft silver
folded into it. Sophie took it from him. When she opened the blade to show it to him,
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the whole thing was still no more than four inches long (Golding).
This SPU consists of three sentences which are united both structurally and
semantically.
Let’s find the elements which reveal its structural unity. Nouns used in the
first sentence are further substituted by personal pronouns or by a more general
word (Rolland – him, to him; knife – it – the whole thing). The verbs in the
sentences are used in one tense – past simple (picked, took, opened, was).
The following sentences are united also semantically as they deal with one
udea (theme) – the description of the knife.
So in the first sentence we get acquainted with the object mentioned for the
first time (a tiny pearl handled knife with a blade of soft silver). In the third sentence
we get to know additional information about this object (about its length).
SPU thus consists of several sentences which introduce a topic, develop it and
make a conclusion of it.
The principles to single out an SPU:
coherence;
interdependence of the elements;
one definite idea;
the purport of the writer.
The purport is the aim that the writer sets before himself, which is to make the
desired impact on the reader. So the aim of any utterance is a carefully thought-out
impact [8].
“I bring fresh showers for the thirsting flowers
From the seas and the streams;
I bear light shade for the leaves when laid
In their noon-day dreams.
From my wings are shaken the dews that waken
The sweet buds every one,
When rocked to rest on their mother’s breast,
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As she dances about the sun.
I wield the flail of the lashing hail,
And whiten the green plains under;
And then again I dissolve it in rain,
And laugh as I pass in thunder.” (Shelley. “The Cloud”)
There are three SPUs separated by full stops.
Within the first SPU, which comprises four lines, there are two more or less
independent units divided by a semicolon and integrated by parallel constructions (I
bring fresh showers; I bear light shade).
Within the second SPU – there are also four lines – there are two independent
ideas – the buds awakened by the dews and the earth moving around the sun. They
are bound together by the formal elements when and as forming one complex
sentence and a SPU. The formal means affect their semantic integrity.
The third SPU consists of four lines united by one idea – the usefulness of the
cloud giving all kinds of comfort, here moisture and shade, to what is growing
…showers, shade, dews, hail, rain [8].
Sometimes while singling out a SPU we notice that its boundaries coincide
with a paragraph. However these notions are not similar.
A paragraph is a graphical term used to name a group of sentences marked off
by indentation at the beginning and a break in the line at the end.
A supra-phrasal unity is a linguistic unit (structural-semantic) of a text.
A paragraph is a purely literary-compositional device. A paragraph can
include more than one SPU, or it may divide one SPU into parts, for example, for
the introduction of utterances in a dialogue or for the introduction of separate points
in enumerations.
Usually the length of a paragraph varies from 8 to 12 sentences. However a
paragraph may consist of one sentence. The more the paragraph is, the more
difficult it is to follow the purport of the writer.
So the paragraph is a compositional device aimed at facilitating the process of
comprehension or inducing a certain reaction on the part of the reader. Thus the
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paragraph from a mere compositional device turns into a stylistic one. It discloses
the writer’s manner of depicting the features of the object or phenomenon described.
Paragraphing varies from style to style. The paragraph in scientific, publicist
and some other styles generally has a topic sentence, i.e. a sentence that embodies
the main idea of the paragraph or the chief thought of the writer.
In the belles-lettres style the topic sentence may be placed in any part of the
paragraph, it is governed by emotiveness and natural representation. Sometimes it is
impossible to decide which sentence should be regarded as a topic one [8].
In scientific texts paragraph structure is built on logical principles:
1) an inference of general laws from particular instances (inductive), or an
inference of particular instances from a general law (deductive);
2) from cause to effect, or from effect to cause;
3) on contrast, or comparison.
E.g. All forces acting on a body, including the reactive forces caused by
supports, are considered external forces. These forces are classified as surface forces
and body forces. A surface force is of concentrated type when it acts at a point, but
it may also be distributed over a finite area. A body force acts on a volumetric
element rather than on a surface and is attributable to fields such as gravity and
magnetism. The force of the earth on an object at or near the surface is termed the
weight of the object. Internal forces in a body can be considered as forces of
interaction between the constituent material particles of the body (Mechanics of
Material).
In the newspaper style psychological principles (sensational effect, grasping
capacity of the reader for quick reading) play an important part, breaking the main
rule of paragraph building, i.e. the unity of idea.
Thus brief news items are very often crammed into one sentence, it being a
paragraph.
Brazil says there's no risk that the Olympic Games in Rio will be cancelled
despite the World Health Organisation's assessment that the spread of the Zika
virus constitutes an international public health emergency.
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