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
☆
71
17
         
         
             
www.screenwrightist.com; www.freelancewritinggigs.com; www.odtl.org/docs/in_defence_of_hopefully.pdf; thewritingroad.blogspot.com
          17:
The road to hell is paved with adverbs (Stephen King); 
(John Gardner);
I would recommend to all storytellers watchful attitude and a thoughtful,
careful choice of adjectives and adverbs, because the bakery shop of

a long distance, needs more muscle than fat (Ursula K.Le Guin);
I am dead to adverbs; they cannot excite me. To misplace an adverb is a
thing which I am able to do with frozen indifference; it can never give        they confuse me, they mean absolutely nothing to me, and this adverb         earn, and there is no use in fretting about it. I cannot learn adverbs; and what is

      
            -        

     
Cross out as many adjectives and adverbs as you can (A.Chekhov);
When you catch an adjective, kill it (Mark Twain);
The adjective is the enemy of the noun, though it agrees with it in number
and gender (Voltaire);
.
72
  -                     

     - 

(124) Judge Mason made a play for Mrs. Marlow. He tried to seduce her
– unsuccessfully, of course. His actions caused the arguments at the
theatre and in front of the Bank Exchange (Broomall, 244).
           to seduce               
Lucas has deceived many experts,” Rendell said comfortingly. His
forgeries happen to be a hobby of mine” (Sheldon, 322).
 comfortingly     ,  
(. ).
(126) The storm raged more and more ferociously as the night went on
(Rowling (1), 53)
        
      

(127) Оnly my grandmother could tell me the facts truthfully (Whitney,
76).
                                        
73
(127b) Only my grandmother could tell me the facts.
          
        
(128) A beefy man who combed his hair across the top of his head to
conceal his bald spot, he was expensively and conservatively dressed
(Clark, 204).
             conservatively)   expensively  A beefy man …, he was dressed            He was dressed.          II dressed       
       

(129) We’ve got a gal whose ad mistakenly read that she was a wealthy
divorcee (Clark, 123).


(130) These Democratic folks do not actually live socialistically or
communistically because they are living in America
(http://ipatriot.com/profiles/blogs/);
(131) Mrs. Farrow was a splendidly built woman with pale eyes and
narrow feet (Lee H., 235).
      , .: * These Democratic folks do not actually live because they
are living in America; *Mrs. Farrow was a built woman with pale eyes and narrow feet.
       

74
   -ly  
              -ly                                      
     
         
        
  
       
             -     -
       
              
        
                                           
75
                
       
                                  
76
ГЛАВА 2. РОЛЬ НЕВЕРБАЛЬНОЙ ИНФОРМАЦИИ В
КАТЕГОРИЗАЦИИ ОПЫТА
2.1. О соотношении вербальной и невербальной коммуникации
    
               -5).
     
                                       04;         Ekman 1975; Verschueren 1999; Streek
1992; Spurrett 2004; Keestra 

                      246).
 
                                  
77
18
          18.

        (http://www.polit.ru/article/2011/06/01/kreydlin/                                    
(http://www.psynavigator.ru/artpages/766.htm).
      
                                                                
         To be successful in
negotiating you actually need to listen to the other party and hear    always said in the words they are saying, but hear the hesitatio  
 
that you can pick up over the telephone the clues as to what is actually going through
        are taking or 
is a very important skill (Business Class, 167).
         
78
Паралингвистика  
                         
(132) Он извинился за свой английский, может быть, зря.
Интонация Радзинского значит не меньше, чем слова 
     II  
.      ,
                 понять         
(133) “Ron,” said Hermione, in an I-don’t-think-you’re-being-very- sensitive sort of voice, “Harry doesn’t want to play Quidditch right
now…” (Rowling (2), 134); (134) His voice was trembling treacherousely (Caldwell, 443); (135) “You are afraid,” her voice was accusing (Robbins, 414); (136) – Привалов слушает, – поднимая трубку, сказал я. Очень
хорошим голосом, серьезным, уверенным и в то же время
усталым. Сотрудника, отвечающего таким голосом, никак нельзя
послать на подшефную овощную базу или потребовать сдачи квартального отчета об экономии электроэнергии… 
2010, 296).
      
                                             
79
                                                     .:
(137) Tears streamed down her ravaged face and her voice rose hysterically (Hayakawa, 129);
Did you call me, Norah?” her mother’s voice said drowsily from the bedroom (Norris, 20) (   ); (139) …Her voice was much older than her years (Robbins, 71).
      
                                                            
Кинетика (кинесика, кинестика,      
    http://www.dialog-
21.ru/dialog2011/materials/html/35.htm)                                  
80
     kinetics)      Ray L. Birdwhistell                  a communicative
code analogous to language, it could be analyzed using methods similar to those used in linguistics) (Kendon 1994, 1845).
      

(140) Fate, thought Charlotte, gazing innocently back into his admiring,
devoted, humiliated and furious face, has certainly given me the upper
hand of you, my boy! (Peters, 54).
       
        
(141) He shut his mouth and swallowed hard, and in the space of about
two seconds she saw a whole kaleidoscope of emotions flash in
succession through his mind (Peters, 54);
(142) – Принеси-ка мне, хлопче, кофею. Харч у вас тут поганый, но
кофей варить вы умеете.
Солдат, в прежние времена служивший официантом в
первоклассном столичном ресторане, изобразил на лице
одновременно восторг по поводу похвалы «кофею» и скорбь из-за
критики «харча», умудрившись при этом за счет одной только
мимики еще и обозначить деликатное несогласие с такой
оценкой .
        

(143) He shrugged his shoulders contemptuously (Maugham (2), 480);
(144) Johny dropped into a chair in front of her. His brows knilted
together puzzledly (Robbins, 54);
(145) She met this sedately, but her cheeks were red with something like
anger (Norris, 75);
(146) From the grin on his face, I’d say he did very well indeed (IHT,
Febr.22, 02);
Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]