Добавил:
ivanov666
Опубликованный материал нарушает ваши авторские права? Сообщите нам.
Вуз:
Предмет:
Файл:From a word to an idea. Part 1. Учебное пособие
.pdf
They came out upon the high road to Alfreton, which was white between the
18
19
20
darkening fields. There Paul hesitated. It was two miles home for him, one mile
forward for Miriam. They both looked up the road that ran in shadow right under the
glow of the north-west sky. On the crest of the hill, Selby18, with its stark houses and
the up-pricked headstocks of the pit, stood in black silhouette small against the sky.
He looked at his watch.
"Nine o'clock!" he said.
The pair stood, loth19 to part, hugging their books.
"The wood is so lovely now," she said. "I wanted you to see it."
He followed her slowly across the road to the white gate.
"They grumble so if I'm late," he said.
"But you're not doing anything wrong," she answered impatiently.
He followed her across the nibbled pasture in the dusk. There was a coolness
in the wood, a scent of leaves, of honeysuckle, and a twilight. The two walked in
silence. Night came wonderfully there, among the throng of dark tree-trunks. He
looked round, expectant.
She wanted to show him a certain wild-rose bush she had discovered. She
knew it was wonderful. And yet, till he had seen it, she felt it had not come into her
soul. Only he could make it her own, immortal. She was dissatisfied.
Dew was already on the paths. In the old oak-wood a mist was rising, and he
hesitated, wondering whether one whiteness were a strand of fog or only campionflowers pallid in a cloud.
By the time they came to the pine-trees Miriam was getting very eager and
very tense. Her bush might be gone. She might not be able to find it; and she wanted
it so much. Almost passionately she wanted to be with him when he stood before the
flowers. They were going to have a communion20 together — something that thrilled
her, something holy. He was walking beside her in silence. They were very near to
Selby — a small coal mining town
loth = loath — unwilling
communion — here: one and the same mystical feeling
101
each other. She trembled, and he listened, vaguely anxious.
Coming to the edge of the wood, they saw the sky in front, like mother-ofpearl, and the earth growing dark. Somewhere on the outermost branches of the
pine-wood the honeysuckle was streaming scent.
"Where?" he asked.
"Down the middle path," she murmured, quivering.
When they turned the corner of the path she stood still. In the wide walk
between the pines, gazing rather frightened, she could distinguish nothing for some
moments; the greying light robbed things of their colour. Then she saw her bush.
"Ah!" she cried, hastening forward.
It was very still. The tree was tall and straggling. It had thrown its briers over
a hawthorn-bush, and its long streamers trailed thick, right down to the grass,
splashing the darkness everywhere with great spilt stars, - pure white. In bosses of
ivory and in large splashed stars the roses gleamed on the darkness of foliage and
stems and grass. Paul and Miriam stood close together, silent, and watched. Point
after point the steady roses shone out to them, seeming to kindle something in their
souls. The dusk came like smoke around, and still did not put out the roses.
Paul looked into Miriam's eyes. She was pale and expectant with wonder, her
lips were parted, and her dark eyes lay open to him. His look seemed to travel down
into her. Her soul quivered. It was the communion she wanted. He turned aside, as if
pained. He turned to the bush.
"They seem as if they walk like butterflies, and shake themselves," he said.
She looked at her roses. They were white, some incurved and holy, others
expanded in an ecstasy. The tree was dark as a shadow. She lifted her hand
impulsively to the flowers; she went forward and touched them in worship.
"Let us go," he said.
There was a cool scent of ivory roses — a white, virgin scent. Something
made him feel anxious and imprisoned. The two walked in silence.
"Till Sunday," he said quietly, and left her; and she walked home slowly,
feeling her soul satisfied with the holiness of the night. He stumbled down the path.
102
And as soon as he was out of the wood, in the free open meadow, where he could
breathe, he started to run as fast as he could. It was like a delicious delirium in his
veins.
4. Do the tasks for discussion and analysis.
1. What is the extract about?
2. Give a general definition of the text. Is it written in the form of
narration, description or argumentation?
3. Who is the narrator?
4. What is the prevailing tone of the extract (lyrical, dramatic, tragic,
optimistic/pessimistic, melodramatic, sentimental, unemotional/emotional, pathetic,
dry and matter-of-fact, gloomy, bitter, sarcastic, cheerful, etc.)?
5. How many logical parts can we divide the extract into?
6. Dwell upon the setting of the story. What part of day is it? How does
the author portray it? Pick all colorful epithets and metaphors to prove your point of
view.
7. Is there any contrast in the description of nature? How is it sustained
and why does the author make it prominent?
8. Who are the main characters of the story? What do you know about
them? How are they portrayed?
9. How do the main characters feel on their way home?
10. Why is it so important for Miriam to show the wild-rose bush to Paul?
How does the author describe Miriam’s impatience and her desire to show it to
Paul?
11. Describe the wild-rose bush that Miriam shows to Paul. What does the
author compare the flowers with? What stylistic devices are used to create the
image? Give examples and comment upon them.
12. Why does the author describe the flowers in a detailed way? What do
they symbolize?
13. Dwell upon Miriam’s and Paul’s attitude to the flowers they are
contemplating. Do they share feelings about the roses?
14. How do they part? Compare the way they both return to their houses.
15. Sum up your observations and dwell upon the main idea of this extract.
16. Speak about:
a. the role of nature in this text;
b. the author’s choice of vocabulary (point out the author’s favourite
stylistic devices; frequently repeated words);
103
c. the syntax of the extract and its role in foregrounding the feelings of the
21
characters.
Task 3. Look through the extracts from the analysis of D.H. Lawrence’s
style made by I.V. Arnold and prove that the text under discussion fully
corresponds to the writer’s outlook.
The main characteristic of Lawrence's art is his capacity for detailed and
penetrating psychological analysis. The slightest hue and shade of his heroes'
feelings are revealed by the writer with the utmost delicacy of touch and subtlety of
understanding. And yet he is hardly ever, if at all, successful in drawing convincing
characters. For one thing, he neglects the importance of social surroundings in the
formation of character; for another, he is less preoccupied with the conscious than
with the subconscious mind.
<…> In the whole novel Lawrence is subjective, emotional, irrational. His
purpose is to express the indefinite, the fugitive, the irrational world of intimate
feeling.
<…> Lawrence's place in the history of English literature is that of a master
of word-painting. He brings out the sharp contrast between the glory and loveliness
of nature and the disharmony of men's feelings in richly sensual imagery, probing
deep into the hidden recesses of the heart21.
Task 4. Prepare a written analysis of the extract taken from the novel by
D. H. Lawrence “Sons and Lovers” (Chapter. Lad-and-girl Love). Make use of
the analysis scheme of a literary text and stylistic clichés given on pp. 107-110.
Арнольд И.В. Аналитическое чтение (английская проза XVIII – XX веков): Пособие для
студентов педагогических институтов и филологических факультетов университетов. – Л.:
«Просвещение», 1967. – 367 с.
104
Список использованных источников
1 Арнольд И. В. Аналитическое чтение (английская проза XVIII – XX
веков): пособие для студентов пед. институтов и филолог. фак-тов ун-тов / И. В.
Арнольд, Н. Я. Дьяконова. – Л.: Просвещение, 1967. – 367 с.
2 Гальперин И. Р. Текст как объект лингвистического исследования / И.Р.
Гальперин. – М.: Наука, 1981. – 138 с.
3 Ивашкин М. П. Практикум по стилистике английского языка = A
Manual of English Stylistics: учеб. пособие / М. П. Ивашкин, В. В. Сдобников, А.В.
Селяев. - М.: АСТ, 2007. – 103 с.
4 Знаменская Т. А. Стилистика английского языка = Stylistics of the
English Language: основы курса: учеб. пособие для вузов / Т. А. Знаменская. – 5-е
изд. – М.: УРСС, 2008. – 224 с.
5 Кухаренко В. А. Интерпретация текста: учеб. пособие / В. А.
Кухаренко. - Л.: Просвещение, 1979. – 327 с.
6 Кухаренко В. А. Практикум по стилистике английского языка. Seminars
in stylistics: учебное пособие / В. А. Кухаренко. – М.: Флинта: Наука, 2009. – 184
с.
7 Обидина Н. В. Стилистика: учебное пособие / Н. В. Обидина. – М.:
ИПГУ, 2011. – 124 с. – Режим доступа: http://www.biblioclub.ru/108078_Stilis
tika_Uchebnoe_posobie.html. — 7.12.2015.
8 A Manual of English Practice Stylistics – Режим доступа:
umk.utmn.ru›files/0000003435.doc. — 14.01.2016.
9 Galperin I. R. Stylistics: учеб. для вузов / I. R. Galperin. – М.: Higher
School Publishing House, 1971. – 343 p.
10 Nordquist R. Text – Режим доступа: http://grammar.about.com/od/tz/g/
textterm.htm. — 21.11.2015.
11 Sosnovskaya V. B. Analytical reading: учеб. пособие / V. B. Sosnovskaya.
– M.: Higher School Publishing House, 1974. – 184 p.
12 What is the English we read: Универсальная хрестоматия текстов на
английском языке / Сост. Т. Н. Шишкина, Т. В. Леденева, М. А. Юрченко. – М.:
ТК Велби, Изд-во Проспект, 2003. – 792 с.
105
Приложение A
22
(рекомендуемое)
Analysis scheme of a literary text22
1. Speak of the author in brief.
a) the facts of his biography relevant for his creative activities;
b) the epoch (social and historical background);
c) the literary trend he belongs to;
d) the main literary pieces (works).
2. Give a summary of the extract (story) under consideration (the gist, the
content of the story in a nutshell).
3. State the problem raised (tackled) by the author.
4. Formulate the main idea conveyed by the author (the main line of the
thought, the author's message).
5. Give a general definition of the text under study:
a) narration;
b) narration interlaced with descriptive passages and dialogues of the
personages;
c) narration broken by digressions (philosophical, psychological, lyrical,
etc.);
d) an account of events interwoven with a humorous (ironical, satirical)
portrayal of society, or the personage, etc.
6. Define the type of narrative and the type of narrators:
a) the 3d person narrative – the omniscient narrator;
b) the entrusted narrative carried out in 1st person;
c) the entrusted anonymous narrative done in the 3d person.
Interpretation of a Text - Режим доступа: http://manutd4me.blogspot.ru/2014/02/interpretation-
of-text.html. — 15.01.2016.
106
7. Define the prevailing mood (tone, slant) of the extract. It may be
lyrical, dramatic, tragic, optimistic / pessimistic, melodramatic, sentimental,
unemotional / emotional, pathetic, dry and matter-of-fact, gloomy, bitter, sarcastic,
cheerful, etc.
8. The composition of the story. Divide the text logically into complete
parts and entitle them. If possible choose the key-sentence (the topic sentence) in
each part that reveals its essence. The compositional pattern of a complete story
(chapter, episode) may be as follows:
a) the exposition (introduction);
b) the development of the plot (an account of events);
c) the climax (the culminating point);
d) the denouement (the outcome of the story).
9. Give a detailed analysis of each logically complete part. Follow the
formula-matter form. It implies that firstly you should dwell upon the content of the
part and secondly comment upon the language means (expressive means and
stylistic devices) employed by the author to achieve a desired effect, to render his
thoughts and feelings.
10. Sum up your own observations and draw conclusions. Point out the
author's language means which make up the essential properties of his individual
style.
107
- The interest of the present selection is manifold.
- The story affords a masterful description of ...
- The main interest of the story lies in...
- The reader is at once prompted to...
- The author at once prompts the reader to catch the whole atmosphere of the
extract.
- The author’s irony is directed upon...
Приложение Б
(рекомендуемое)
Useful vocabulary and stylistic clichés
- ... is sustained by a special choice of words...
- ... is emphasized through...
- The opposition between ... is supported by...
- The author pointedly stresses...
- The author is lavish in the choice of stylistic devices.
- The composition of the extract deserves special attention.
- The epithets (metaphors, similes, etc.) speak volumes of ...
- ... the author's attitude is always expressed (in)directly .
- this device is much favoured by ...
- it's a vivid contrast with ...
- the author's own view is quite clearly voiced
- the simplicity of the language
- this idea finds a beautiful embodiment in the portrayal ...
- the atmosphere of (gloom) is intensified by ...
- the syntactical structure deserves special attention
- this device focuses the reader's attention on ...
- the author makes the reader understand ...
- this device produces a definite effect of...
- this impression is further enhanced by the choice of words ...
108
- the whole manner is pointedly matter-of-fact and suggestive of...
- these epithets convey most intimate feelings of...
- the emotional quality of the text is conveyed through ...
- there're masterly touches in rich and vivid epithets…
- the richness of imagery is further developed in effective similes ...
- the sharp contrasts and the emphasis are created by ...
- the abrupt change of sentence length and rhythm contribute to the
expressiveness of the passage ...
- the abundance of verbs and verbals denoting fast and noisy action ...creates
a threatening image of...
- the paragraph is dominated by the sustained metaphor ...
- the images are very rich and generous
- the central idea is approached in an direct way ...
- the portrait is drawn in a mildly ironical way (sarcastic, warm, friendly,
cynical, etc)
- this metaphor (epithet, metonymy) turns the text into a very awkward
direction
- all stylistic devices are of a definitely appraising character
- the perfect harmony between content and style makes this text a landmark
in English literature
- the language of emotion prevails over the language of reflection ...
- the dialogue is vivid, dynamic, full of humor and fun ...
- this method of portrayal is very typical of... and deserves special attention
- the author reveals his character's mentality by allowing the reader a glimpse
into the inner processes of his thoughts and feelings
- his (her) style is deliberately dry and dispassionate
- the emotional colouring is made definite by words naming or expressing
emotions
- the richness of imagery is further developed in effective similes (metaphors,
epithets) ...
109
Учебное пособие
Ольга Вячеславовна Евстафиади
FROM A WORD TO AN IDEA.
PART 1
110
Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]