Добавил:
Опубликованный материал нарушает ваши авторские права? Сообщите нам.
Вуз: Предмет: Файл:

Наречие оценки и категоризация опыта. Монография

.pdf
Скачиваний:
0
Добавлен:
07.09.2026
Размер:
1 Мб
Скачать
☆
91
21
22
2.3. Невербальная коммуникация как способ выражения
эмоционального и интеллектуального опыта человека
21,
                  

                

             
        
the ability
to express and interpret feelings and attitudes is necessary for regulating interpersonal affairs and cultures  . Such interpersonal negotiating activities depend, to a large extent, on the capacity to produce, coordinate, and understand emotive signals in speech (Arndt, Janney 1991, 521-522)). 
         22.
were relegated to psychologists or to put it somewhat differently: emotions were predominantly conceived of as a privileged topic of psychology. Today this situation has changed dramatically due to the efforts of linguistic philosophers, 
private, personal, unique part of your self. This is a part of your self which has enormous power over your life. Your work, your life and even your death can be
 
logical relations between concepts in speech, but also for expressing feelings and
For a long time emotions as a subject of scholary analysis and explanation

 up in a culture learn techniques not only for expressing
92

                                           individual emotions are only
overtones of social evaluation: the I can realize itself in the world only by relying on weBodor 1997, 195; Bakhtin 1926/1985, 21).

-       

- 
-      
        
-      
 
- 
- 

      
                      
(191) She was holding out her hand to him, and there was no emotion in
her eyes except endless weariness and dullness (Caldwell, 506).
          
        
attitudes towards things, events, concepts, partners, etc. Techniques of both types depend on, and learned through (Arndt, Janney 1991, 522).
93
(192) ”I’ll discuss it with you”, she said, in a voice that could have been
used to defrost the refrigerator (Swan, 279).
       
      эмоциональный интеллект                                  

                     

                                             -DaneKryk-Kastovsky                                  -           
94
    

(193) A slight spasm crossed Uncle Vernon’s large, purple face. The
moustache bristled. Harry thought he knew what was going on behind
the moustache: a furious battle as two of Uncle Vernon’s most
fundamental instincts came into conflict. Allowing Harry to go would
make Harry happy, something Uncle Vernon had struggled against for
thirteen years. On the other hand, allowing Harry to disappear … would
get rid of him two weeks earlier than anyone could have hoped, and
Uncle Vernon hated having Harry in the house (Rowling (2), 33-34).
    
       
(194) After a long moment, a knowing smile crossed Langdon’ face
(Brown, 463);
(195) He recalled Tanya, thinned to the bone, looking at him with
accusing dying eyes (Murdoch, 56).
     
                        
(196) Wade looked at Jack, then Kathy.
“The Mariposa. If that’s where the gold is, that’s where Jack and I
should be going”.
Jack nodded, reluctantly it seemed (Broomall, 67);
(197) Wilfred smiled, a tolerant smile, which made me feel childish, but
which also betrayed a deeper anxiety than I had yet suspected in him
(Drabble, 140).
   Wilfred’s tolerant smile       made me feel childish   ,   Wilfred’s deep anxiety).
95
      

 
                 
2)    
                         -   понять  
3)      
                                    
4)         что
       как                          

                                   
96
ГЛАВА 3. НАРЕЧИЕ ОЦЕНКИ: КАТЕГОРИЗАЦИЯ
ЭМОЦИОНАЛЬНОГО ОПЫТА ЧЕЛОВЕКА
3.1. Категоризация невербальной информации об эмоциональном
состоянии человека
       
                         
зрительного и слухового восприятия (look, eye, watch, gaze,
glance, listen  see, hear         see angrily, *hear suspiciously        
(198) He hugged her, squeezing Ruby in between them, kissed Sarah’s
cheeks and eyed the plastic bag hopefully (Davies, 71);
(199) Phoebe listened sympathetically (Skelton, 34).
мыслительной деятельности

(200) It was she who was frightened now. She retreated from him,
backwards. She watched him go, and she thought to herself, fearfully
(Caldwell, 110);
(201) …a man about whom the whole world knew, whose life was an open
book – no, a succession of books. But what did she really know about
him? She roamed back thoughtfully into childhood memories, hunting for
the little clues her mother and grandmother had let fall about him, and
the sum of them all was remarkably meager (Peters, 13);
(202) She stood looking at the photographs for a long time, touching the
moments, thinking of each of them, gently brushing up against the
97
memories, while trying not to bump into those that were too painful (Steel
(5), 10).
 физического действия    
         
(203) Malfoy’s eagle owl was always bringing him packages of sweets
from home, which he opened gloatingly at the Slytherin table (Rowling
(1), 159);
(204) The general drank his brandy furiously (Caldwell, 418).
    
   эмоциональной реакции           laugh, smile, cry, weep, sob, frown, etc.                                      
smile v.1. to raise the corners of your mouth when you are happy,
pleased, or being friendly, or when you think something is funny; 2. to
think that something is funny or pleasant (MED, 1351).
 smile      
              smile cunningly, warmly, uneasily,
calmly, smugly, knowingly, faintly, playfully, mockingly, indulgently, sweetly, cheerfully, impishly, bitterly, meditatively, disarmingly, sardonically, confidently 
    smile    
               smile mockingly        smile
threateningly, disarmingly.
98
  -    
              
Sally blushed furiously 
(205b) Sally blushed because she was furious (fury made Sally blush);
(206a) “Oh, James”, Eugenia sighed sadly, and we all chorused, “We
love it. We’re most terribly happy” 
(206b) Eugenia sighed because she was sad.
      
      .
     
                
repeat the question vs repeat the question dramatically / composedly / quizzically / gruffly / suspiciously / angrily.
     

1) физическое / физиологическое состояние в момент речи:
(207) May said, tiredly, reluctant to surrender the innocence of Knocknarea, ”Oh, whatever, Kate, can’t it wait until tomorrow” (Skelton,
580);
2) психоэмоциональное состояние:
(208) ”Wah!” roared Phillip, ferociously, “you stupid woman, why you throw dis oil for ground?” (Durrel, 135);
3) интеллектуальное состояние:
(209) ”You mean you would like it canceled, the marriage?” Barry asked
interestedly (Norris, 199);
4) указание на социальное положение субъекта речи / обладание
информацией, позволяющей «выделяться»:
(210) That was very important. And according to everyone who ever
spoke authoritatively on the subject, and according to everything Norah
had ever read, even the humblest job might lead to fame and fortune some
day (Norris, 17);
99
5) отношение к партнеру / партнерам по коммуникации:
(211) …If I had ventured upon a colon, she remarked stingingly:
“obsolete” (Maugham (1), 17);
6) целевая установка по отношению к себе или адресату:
 I haven’t had an intelligent conversation with anyone but you
since we left New York” she said accusingly and smiled (Steel (5), 71);
7) мера искренности его слов:
(213) ”In these parts that’s almost like being in the next street at home”
said Mr. Macphail facetiously (MESS, 196);
8) оценка сообщаемого с точки зрения уверенности, убежденности:
(214) They looked at each other. After a moment Keith said uncertainly, “But somehow I don’t see us living anywhere but in the city” (Norris, 14);
9) осознание степени серьезности сообщаемого:
 Where is she?” “Oh, coming, somewhere”, said Phoebe, airily (Skelton, 80);
10) суждение об адекватности речи ситуации: (216) “You are”, Norah answered noncommittally (Norris, 196);
11) степень четкости формулирования мысли:
(217) She said dimly: “You have changed, Alfred” (Caldwell, 507);
12) характер звучания речи (тон, тембр, темп): (218) “Oh, yes”, replied Florentyna emphatically (Archer (2), 40);
13) интенсивность речевого действия:
(219) ”On the contrary”, he answered promptly, “that’s exactly what ought to – begin it” (Norris, 51).
        
                    
(220) Her voice had risen dangerously and her eyes were darting around
the room (Steel (1), 243);
(221) “Thanks, Vic”, he said expressionlessly (Robbins, 422).
          
       
100
    синтеза речи и невербальной информации        
       
 enthusiastically   
                              
(222) “Cosmetics?” she asked. “What kind?”
“Mary Kay Cosmetics”, I answered. “You have probably never heard of
us.
We’re a small company in Texas – just a little more than two years old”.
Then, before I knew it, I was enthusiastically telling her about our
product (Kay Ash, 51).
 аngrily  
            of being angry         
(223) Prime Minister Tony Blair angrily denied that his government had
exaggerated intelligence reports showing that Saddam Hussein was
harboring weapons of mass destruction (IHT, June 1, 03).
       
          “I was thinking of Anne      -           gently, softly, sympathetically, fondly, wretchedly, angrily                      

 
Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]