Organizational Strategies in Classroom Activities

崔艳英

Abstract

   Nowadays, the topic of how a teacher teaches and how learners learn has widely studied. Little energy is spent on the organization of classroom activities. However, it has been a variable to affect learners’ learning since we began to teach in the classroom situation. Since the aim of teaching is to promote students’ learning, in the meantime, the organization has an impact on their learning, therefore, we have to take it into consideration and make it serve as an active element for students’ learning.

   Since classroom activities link the teacher and students and teaching materials, it is necessary to organize classroom activities effectively in order to promote learners’ learning. This paper focuses on the analysis of typical classroom activities and offers some organization techniques for teaching.

   In the first place, the author points out the importance of classroom organization, and offers some concepts of activities. Then, in chapter three, the paper attempts to explore the procedures in the classroom, while these procedures are composed of a series of activities, involving revision activity, presentation activity, practice activity and the like. In every activity period, the author puts forward some specific techniques for it.

   In order to illustrate these techniques further, the author compares two versions of classroom activities and analyses the reasons for the differences and makes teachers aware of these differences. On the basis of the findings, teachers are expected to take into consideration everything that may have negative effect on learning and find out corresponding approach to their own organization of classroom activities.

Key words: classroom activity, organization, strategy

摘   要

近些年来，教学法更多研究的是教师的教法和学生的学法问题。对于课堂活动的组织问题涉猎很少，然而课堂教学的组织也是影响学生学习的一个变量。既然我们的教学目的是为了促进学习者的学习，那么我们就有必要将此变量进行探索，使之有利于学习者的学习。

课堂教学活动把教师，学生及教材紧密结合起来，因此活动组织是否得当，就会直接影响到三者的结合程度。本文旨在分析课堂教学活动并提出了一些教学组织策略。

文章的第三部分意在探索课堂活动程序，并在各步骤中提出了具体的活动顺序，以供参考。为了更好地阐明这些活动策略，作者又对中学与大学教学活动作了比较，并说明产生不同点的原因。教师们应考虑到这些因素并找出适合自己课堂活动的组织策略。

关键词：课堂活动， 组织 ，策略

The Analysis on the Vague Terms in Advertisement

高哲静

Abstract

Since professor L. Zadeh in the United States put forward the vagueness theory in 1965, a series of new subjects such as fuzzy linguistics, fuzzy mathematics, fuzzy logic, fuzzy psychology came into bloom overseas; in China, scholars like Wu Tieping conducted detailed analysis on the fuzzy words or fuzzy semantics. Based on the research, this thesis analyzes the vagueness phenomena in advertisement from the perspective of pragmatics by adopting the Adaptation Theory of Jef Verschueren.

According to Jef Verschueren, he considers the language use as a process of making linguistic choices. He conducts his theory from the three perspectives: the variability, negotiability and adaptability of language. This is the comprehensive framework outlined by the author. Adaptability is the property of language which enables human beings to make negotiable linguistic choices from a variable range of possibilities in such a way as to approach points of satisfaction for communicative needs. This thesis conducts its research based on the Adaptation Theory. Advertising language is the main medium between advertiser and consumer. We try to illustrate the problem from the following two adaptations: one is from the adaptation to the consumer’s psychological needs, and the other is from the adaptation to the social conventions. In the former, we categorize the adaptation as follows: The social psychology advertisements concerned are a multi-layered psychological system, which includes the consuming psychology for choosing products, consuming needs and advertising-accepting psychology. When subcategorized in detail, it can be divided into several groups: adapting the quality of products, the costs of products, the value of products to the consuming psychology; Adaptation to pursuing the comfort and convenience, adaptation to pursuing status and identity, adaptation to pursuing the warmness; Adaptation to avoiding the psychology of advertisement resisting, adaptation concerning pursuing the novelty, adaptation concerning protecting the privacy, pursuing the compliment, respecting the character of the consumer.

All in all, all the advertisements try to influence the choices for the products. Apart from the adaptation to the psychological states of the addressees, the thesis considers the adaptation to the social conventions. Traditional culture is a psychological tendency for generations in our nation. For instance, the Chinese pay much attention to the filial piety, the get-together, pursuing the happiness and expecting their children to grow healthily either in body or in mind. So the usage of vague terms in advertisement serves as a significant role in the communication between the advertiser and the consumer. There are some personal differences in understanding the connotations of the advertisement because of the influence of personal experience and cultural background of the consumers. The advertiser can realize his marketing goal by adapting to the different psychological and social factors.

论文摘要

.自从美国Ｌ.Ｚａｄｅｈ教授于1965年提出了著名的模糊理论后,在国外,一系列新兴学科,诸如模糊语言学、模糊数学、模糊逻辑学、模糊心理学、模糊修辞学等相继应运而生;在国内,伍铁平等学者在模糊词语,模糊语义进行了深入细致的探讨。笔者在总结前人研究的基础上，主要从广告语中的模糊现象入手，运用Jef Verschueren 的顺应理论，从语用学的角度进行理论探讨与研究。

Jef Verschueren认为使用语言的过程就是选择语言的过程。作者从三个方面，即语言的变异性，商讨性及顺应性来分析语言的顺应性，这正是作者构建的统一的语用学的理论框架。而顺应性是从选择的一个可变量的范围之内使人们将语言选择变得具有协商性，以便刚好满足交际需要。广告语言是广告商与消费者交流的主要媒介，广告商通过语言选择来顺应消费者的心理或顺应社会规约以满足自己的交际需要。

广告一词，有“宣传产品”，“吸引大众注意力”，“推销所需”等涵义。广告语言是社会生活实用性很强的一种独特语言，它集中反映了顾客的需要动机，选择，同时又充分表达出产品信息，树立产品形象。因此商家最完美的选择是少投入，多收入。广告商往往灵活采用现代语言中不同的修辞手法增强广告语言的生动性，艺术力和感染力，其中含糊用语的使用起到了积极的作用。因为广告语的含糊用法既可以节省时间又少占用空间，还会为商家节约成本，达到最佳收益。广告创意以语言为核心，既要传达商品信息，又要树立品牌形象，美化企业声誉。由于受传播时空所限和感知—接受规律的制约，广告语言必须做到简洁明了，语约意丰，以尽可能简约的文字记载尽可能丰富的信息，模糊语言的使用与精确语言相比往往较简练，且信息含量大，因此不失为一种好的方法。

消费行为是一个复杂的受影响过程，它建立在个人的心理活动，社会活动以及人类活动基础之上，研究消费行为的有效途径之一便是研究消费者的心理活动，研究他们的生活方式，研究广告语言。广告语言集中反映了顾客的需要，顾客的动机及顾客的选择（王紫娟，1995：73）。笔者试着就此将广告语中的含糊用语分为广告商对消费者心理规约的顺应及对社会规约的顺应两大类。其中对心理规约的顺应笔者试着归纳了几点。笔者从顾客的消费抉择心理，消费需要心理，以及广告接受心理入手，其中包括消费者对购买产品的质量，价格及价值的顺应；包括追求舒适，方便，渴望温馨，追求体面和身份感的顺应；包括对消除人们对广告的抗拒心理例如追求刺激性生活以及新含意生活（摆脱常规生活）的顺应。

总而言之，一切广告都试图影响人们对商品的选择。除了上述对大众心理的顺应之外，也应考虑到广告对社会规约的顺应。如对中国人自古以来讲究孝道，喜好团圆，追求吉利，望子成龙的社会规约心理的顺应。广告语中含糊语言的使用从几个角度顺应了广告受众的心理。当然，人们对广告内涵的理解存在着个体差异，它受人们个人经历和文化背景的影响。因此，人们在诠释广告时，对广告涵义的理解是一个动态的过程，只要善于观察，善于思考，就能得到比较圆满的信息

山西大学2003届硕士研究生学位论文

A CRITICAL ANALYSIS OF ENGLISH HEDGING                           AND ITS COMMUNICATIVE FUNCTIONS

June 2003山西大学2003届硕士学位论文

评析英语模糊限制语

及其交际功能

研 究 生      何娟 导    师       庞人骐教授 专    业       英语语言文学 研究方向      语篇分析和文体学 系    所       外语学院 论文起止         时间

2002年9月—2003年6月

 

Abstract

As a part of fuzzy language, hedges are common and play an important role in spoken or written communications. They dramatically benefit linguistic expressiveness and increase communicative effects. Their proper use can make linguistic expressions more mild, polite, flexible and effective and improve the interpersonal relationship between discourse participants, thus helping achieve the purpose of communication.

The concepts of hedge and hedging have been in the linguistic literature since the term hedge was introduced by Lakoff (1972) to describe “words whose job it is to make things more or less fuzzy”. In English, there are various kinds of words and sentence patterns which can function as hedges. Because they have plentiful semantic features and pragmatic functions, there is no substitute for them. Hedging is one part of epistemic modality. With regard to its pragmatic functions, it indicates the speaker or writer’s lack of an explicit and complete commitment to the truth value of a proposition, as well as the speaker or writer’s unwillingness to make the commitment.

For a long time, the study of hedging can only be found on the levels of semantics and syntax. But this is just one side of the same coin. In order to improve the language proficiency, a pragmatic analysis from the perspective of language use and interpretation is an important and necessary process for the research of hedging. The concepts of hedge and hedging have been developed from logic and semantics to discourse analysis and pragmatics since the 1980s. Based on the relevant research, this paper further explores the semantic features, linguistic realizations and classifications of hedging. Then this paper analyzes the use of hedging devices in detail through communicative principles: Cooperative Principle, Politeness Principle and FTA theory and examines the epistemic reasons for the use of hedges and their pragmatic values and interpersonal functions in communication. At last, the author sums up the main points that the study tries to achieve in this paper and points out some issues the paper does not discuss fully, but they are worth studying in the future. The issues include: hedging research from the perspectives of interlanguage and foreign language teaching; the contrastive analysis of hedging devices in different fields and genres; hedging research from the hearer’s or the reader’s point of view.

Key words: Hedging;  Pragmatic analysis;  Discourse analysis;  Communicative functions

内容摘要

作为模糊语言家族中的一员，模糊限制语是语言交际中的普遍现象，在交际中起着非常重要的作用。恰当使用模糊限制语能增强语言的表现力和交际效果，使语言表达更缓和含蓄、礼貌客气、灵活有效，从而更好地改善和维系交际双方的人际关系，使交际顺利进行，实现交际目的。

1972年拉科夫提出模糊限制语的概念，从此这一术语进入了语言学研究领域。拉科夫把模糊限制语描述为“能使事物更加清晰或模糊的词语”。本文认为很多模糊限制语并不是孤立的词语，它们中多数属于认知形态的范畴，就其语用功能而言，既可暗示作者缺少对特定命题真实价值的完全承诺，也可内含作者不愿无条件的表达那种承诺。在英语中许多词、词组和句型可用作模糊限制语，其丰富的语义内容和语用功能是其它词语无法替代的。对模糊限制语进行全面而深入的研究，不但对促进语义学和语用学的进一步研究有一定的理论意义，而且对正确地使用模糊限制语进行有效的交际也颇具实用价值。

多年来，语言学家对模糊限制语的研究多是从语义、句法等方面进行的。但是，从语言使用和理解的角度对模糊限制语进行语用分析，对提高正确使用语言的能力是有益的，也是很有必要的。二十世纪八十年代以来，模糊限制语的概念从语义学扩展到语用学和语篇分析的研究领域。本文首先结合国内外相关研究，对模糊限制语的语义特征、语言表现形式及分类等作了深层次的探讨，然后运用语用原则中的“合作原则”、“礼貌原则”和“面子威胁”理论对模糊限制语在语言交际中的使用进行具体的语用分析，讨论了其使用原因以及在交际中的语用价值和社交功能，最后提出将来的研究可以从以下几个方面继续探索：跨文化方面的研究和在外语教学中的运用；模糊限制语在不同文体的使用情况，比如法律、医学、物理等；从读者角度去研究模糊限制语的使用，因为模糊限制语的使用属于认知的范畴，所以个人对模糊限制语的反应会有所差异，通常可以从文化、心理等角度进行分析。

关键词：模糊限制语;  语用分析；语篇分析;  交际功能               

中 文 摘 要

米哈依尔•米哈依洛维奇•巴赫金 (1895-1975) 的对话批评理论借助于对陀思妥耶夫斯基小说的分析, 提出了他在诗学、美学乃至哲学上的基本立场 — 对话主义。巴赫金把对一位具体作家( 陀思妥耶夫斯基 )作品的具体分析、一套新的诗学话语( “复调小说”的理论 )的提出及一种新的审美理想( 对话主义 )的构筑有机结合在一起, 由此开拓了一条从具体专家专书研究“通向” 抽象理论建构之途。

对话关系不是存在于具体对话的对语之间，而是存在于各种声音之间，完整的形象之间，小说的完整层面之间（大型对话），而同时在每一句话，每一个手势，每一次感受中，都有对话的回响（微型对话）。巴赫金从对陀氏小说研究中，提出并论述了对话型小说不同于独白型小说的特点：

（1）作者与主人公都是对话的主体，二者之间是一种平等的、自由的对话关系。作品主人公在作品中具有自己的主体性、独立性和自由性，不是被动的默不作声的哑巴，任凭作者摆布。

（2）作品主人公都激烈地反对出自别人的或自己的对他们个人所作的某种定论。他们都意识到自己内在的未完成性和未论定性，深信自己有能力从内部发生变化。这样在人物性格创造上，彻底打破了传统的类型化模式，多侧面、立体地表现出性格发展的时空一体性。

（3）众声合唱的复调性表现在语言上的特点是，在对话的艺术世界上，一般没有任何物的存在，没有对象、客体，只有主体。因此没有单纯判断的语言，没有只讲客体的语言，没有背靠背的单纯指物的语言，只有交际中的语言，与他人语言接触对话的语言，谈论别人话语的语言，发向他人话语的语言，即双声语。

对话理论的文化基础是文学狂欢化。狂欢化的内在性质，是以狂欢式的世界感受、乌托邦理想、广泛的平等对话精神、开放性等为基础的。它对一切看来荒诞无稽而又出人意料的东西，赋予新的理解，并把它们组织到各种狂欢式的场面中来，创造出了它们的艺术真实。

在关于戏剧中对话关系存在与否的问题上，巴赫金认为，由于戏剧中不存在作者的话语结构，从而造成作品主人公无法拥有独立性，只能成为作者的传声筒，在作者的单一意图安排下行动，故而戏剧中不存在对话。然而并非所有的戏剧主人公都将失去其自身的独立性和自由性，任凭作者摆布，本文仅以美国戏剧作家尤金•奥尼尔的三部力作（《送冰的人来了》，《进入黑夜的漫长旅程》，《奇异的插曲》）为例表明戏剧中亦可存在对话关系。

在对话小说中，主人公持有不同的自我意识，进行精神上的平等对话，在同一命题场中形成多声部状态。这种人与人意识间的对话性关系在小说中表现为独白陈述，而在戏剧中表现为对白，自白与旁白。尤金•奥尼没有对笔下的希基 、玛丽和尼娜等人物加以明确的褒贬定性，而是让他们在舞台上说话，在自白，对白和旁白中坦露个性的意识。他们评价别人，也剖析自我，甚至对世界做出有决定性涵义的观点。这样各种不同的个性意识在同一舞台上、同一时刻发生碰撞与对话，和一般戏剧中人物只是机械地传达作者的单一意图截然不同。

双声语是对话关系产生的语言基础，它的四种形式（仿格体、讲述体、讽拟体、暗辩体）在奥尼尔戏剧中均有体现。仿格体是指使别人的指物述事的意旨服务于自己的目的，服务自己的新意图；讲述体是指作品中没有作者语言，由叙述人代替作者说话；在讽拟体中，作者赋予他人言语一种意向，并且同那人原来的意向完全相反；在暗辩体中，他人言语留在作者言语之外而没有直接进入作者言语，但作者言语必须时刻考虑他人言语的存在，并且是针对他人言语而言语。

在文学活动中，不同意识间的对话交际综合表现为四种可能：双声语中他者与自我的对话；微型对话中自我与自我客体上的对话；大型对话中各种不同思想者的对话；以及作者— 主人公— 观众的对话。基于文学作品产生的互动事实，对话精神无不渗透于文学文本内外，使对话现象成为文学活动中的一种普遍现象。

Abstract

 Bakhtin puts forward the critique of dialogue and pronounces that there is no existence of authentic dialogue in drama. This paper proves that it is not that there is no dialogue in all dramas by means of proving there is dialogue in E. O'Neill's dramas.

Through studying Dostoevsky’s novels, Bakhtin elaborates dialogic novels’ propensities, which are different from those of monologic novels:

(1) The author and the hero are subjects of dialogue, between which a kind of free and equal dialogic relationship exists. The hero has his own subjectivity、independence and freedom in the works, not being controlled by the author.

(2) The hero radically contradicts any kind of definition about himself. He acutely senses his own inner unfinalizability, his capacity to outgrow from within and to render unture any externalizing and finalizing definition of him.

(3) In a dialogic artistic world there is no things, no objects but subjects. There is no, therefore, object-directed discourse but double-voiced discourse, which is directed both toward the referential object of speech, as in ordinary discourse, and toward another’s discourse, toward someone else’s speech.

  The main point of Chapter 1 lies in the introduction of the critique of dialogue from the aspects of the genre resource of the dialogic literature, the cultural base — carnival, and dialogic relationships.

The main point of Chapter 2 lies in a detailed discussion of the embodiment of dialogue in Eugene O’Neill’s three dramas: “the Iceman Cometh”, “A Long Day's Journey into Night”, and “Strange Interlude”.

E. O'Neill portrayed his hero as the sum total of his consciousness and self-consciousness, ultimately through revealing the hero's final word on himself and on his world. What's important is not how the hero appears in the world but first and foremost how the world appears to the hero, and the hero appears to him. Thus it is inevitably to make the idea be the subject of artistic representation in his dramas.

Carnivalization, which makes the creation of the open structure of the great dialogue possible, permeates into O’Neill’s dramas. Ambivalence and laughter remain in the carnivalized image with the four carnival categories —eccentricity, familiarlization, mésalliances and profanation, when the images of carnival and carnivalistic laughter are transposed into literature. The second part of Chapter 2 gives a detailed expression about carnivalistic characteristics in O'Neill's dramas.

In the third part of Chapter 2, the paper examines in O'Neill's dramas the use of double-voiced discourse, which inevitably arises under conditions of dialogic interaction. The four kinds of double-voicedness (stylization, parody, hidden polemic, and hidden dialogicality), are employed by E. O’Neill.

The main points of Chapter 3 lies in the analysis of the reason of the existence of dialogue in drama and the following conclusion that there is neither absolute dialogic literature nor absolute monologic literature.

Lastly, the paper introduces the significance of Bakhtin's dialogic theory in western literary theories and evaluates it positively.

山西大学2003届硕士研究生毕业论文

On the Principles of Grammar Teaching

In Modern Language Pedagogy

姓    名    李建明

导    师    刘海量  教授

专    业    外国语言学及应用语言学

研究方向    应用语言学与英语教学

系    所    山西大学外语学院

学习年限    2000年9月-2003年7月

二○○三年六月

山西大学2003届研究生毕业论文

On the Principles of Grammar Teaching

In Modern Language Pedagogy

Name:       Li Jianming

Tutor:      Prof. Liu Hailiang

Major:      Foreign Linguistics & Applied Linguistics

Speciality: Applied Linguistics and ELT

Department: Foreign Language School of Shanxi University

June, 2003

摘    要

语法教学在近三十年来外语教学主流思想“交际教学法”中的地位一直是一个有争议的问题。随着争论的逐步深入，对语法教学持肯定态度的人似乎占了上风。然而人们在语法教学方面是否真正达成共识，还有待于进一步去探究。

本论文在回顾语法教学历史的基础上，对语法本身及其发展进行探讨，指出语言学家是通过语法来解释语言的，语法教学应在一定原则基础上进行。

论文首先对语法进行了界定。胡壮麟教授虽然提出了语法教学的三个维度（句法学、语义学和语用学），但并没有明确说明教学语法，而很多学者都把传统语法当作教学语法。对此，论文作者指出了语法本身也是发展的，并提出了所谓教学语法是围绕传统语法（句法），在形态学、句法学、语义学、语用学等层面上对语言解释的系统。这个系统既包括规则也包括结构。作者还对学习者（包括儿童和成人）语法学习的层次进行了分类，以便教师在实际教学中有效地操作语法教学。论文提出了语法教学的四大原则：1）结合大于句子的语法、句法和词法，以句法为中心，2）圆周式安排与直线式安排相结合，以圆周式为主，3）知识与示例相结合，以示例为主，4）学习者语法发展水平和语法意识水平相结合，提高以语法意识为主。根据以上诸原则以及学习者和学习环境的具体情况对语法教学进行设计。

Abstract

Through analyzing what grammar is and traditional class grammar teaching, it is concluded that grammar as a subject of language courses has been developing, and grammar learning and teaching is useful. Based on the traditional grammar, the development of grammar has gone through so many changes-prescriptive grammar, traditional grammar, structural grammar, systemic grammar, TG grammar, teaching grammar, universal grammar, and some even said that there is cultural grammar. Different as they are called, they share the same features-rules of a language, structural studies of a language, etc.

Traditional pattern drills teaching has been extended to conscious teaching and unconscious teaching. Grammar teaching has gone out of the field of syntactics, it concerns several levels such as phonology, lexicon, syntactics, contexts, etc.

It is not easy to say what kind of grammar teaching is better. In this paper, I try to give a prospect of grammar teaching concerning the sequences of grammar development for both children and adult learners, different grammar teaching and learning methodology and different classroom activities for use.

 Contents

Abstract

Acknowledgement

Contents

1 Introduction

1.1    Why study grammar at present

1.2    The ‘traditional’ language classroom

1.3    Place of grammar teaching

2  Literature review of relevant studies

2.1    Review of studies on grammar teaching

2.2    Review of studies on second language teaching

3  Sequences and teaching design

3.1 Sequences

3.2 Finding solutions by looking at the nature of grammar in use

3.3 Applications of discourse research in re-design of grammar curriculum

3.4 Consensus and system

4  Pedagogical Implications

4.1    Systemic functional linguistics and pedagogical grammars

4.2    Grammar and vocabulary

5  Learning and Teaching

5.1    Teaching methods

5.2    Activities

5.3    Types of learning involved in grammar

5.4    Demands from the learners

6  Conclusions

6.1    Awareness-raising

6.2    Grammatical consciousness raising

6.3    Improvement of teacher’s ability

7  Reference

8  Appendixes

Developing Students’ Oral English Communicative

Competence In the Intensive Reading Class

and In the Focus Listening Class

Abstract: Nowadays college English world has a common view on the importance of oral communicative competence. However, there is some difficulty in offering students oral classes. In the light of the status quo, this paper shows how to apply spoken English to the intensive reading class as well as the focus listening class respectively. It will help students develop a good habit of communicating orally in English and improve their oral communicative competence gradually. The above-mentioned English language teaching approach is still not perfect, therefore, researchers in this field have a long way to go.

摘要：现代教育学家将口头交际能力置于前所未有的高度，因而摆在教师面前的首要任务即是培养学生运用语言的能力，尤其是口头表达能力。然而，由于大学人数众多，无法进行分班和提供应有的设备，加之大学英语课时有限而任务重的种种情况，我们认为在大学教学中普遍单独开设口语课是不现实的。有鉴于此，笔者将在这里讨论如何把口语教学有意识的深入精读及听力教学中，培养学生的口头交际能力。另外，本文还对所取得的初步结果作了分析，毕竟这些课堂做法还不完善，今后愿和同行共同研讨，为进一步提高大学英语教学质量而努力。

Institutional Power: Turn-taking in Radio Talk Shows

鹿婷婷

Abstract

This thesis is a pragmatic analysis of turn-taking in radio talk shows, a particular type of institutional discourse, which is understood as a realization mechanism of show hosts’ and show guests’ adaptation to their own institutionally defined powers to achieve the goal of the program. The core of this study is the generation of an adaptation model of turn-taking analysis and a detailed analysis of the influence of institutional power on turn-taking in radio talk shows. Methodologically speaking, this study integrates qualitative with quantitative research method to support the presentation of a more complete understanding of the turn-taking study. The theoretical framework of the present study is based on Jef Verschueren’s Linguistic Adaptation Theory (1999).

Show hosts’ and show guests’ adaptation to their own institutional powers has been studied in the phase of turn initiation, turn development and turn ending. It is not show guests but show hosts who announce the starting and the ending of the talk show with particular institutional introductory and ending strategies. The influence of institutional power is exhibited through turn-type allocation and turn control strategies in the phase of turn development. The whole conversation goes mainly under question-answer adjacency pair. The differences and similarities of the turn-control strategies employed by show hosts and show guests have been investigated. It shows that both show hosts and show guests have well adopted the turn-control strategies to adapt to their own institutional powers.

In short, turn-taking in radio talk shows exhibits features different from that in daily conversation. Institutional power has great influences on turn-taking in radio talk shows and both show hosts and show guests have adapted themselves to their own institutional powers in radio talk shows.

Key words: institutional power; turn-taking; adaptation; radio talk shows;

show hosts; show guests

摘要

话轮转换是日常会话中一个十分普遍的现象。它在广播谈话节目中呈现出不同于日常会话的特点。本论文以Jef Verschueren 的顺应理论为基础，从语用学的角度分析了主持人与嘉宾在话轮的开启阶段、展开阶段、及终结阶段如何利用话轮转换来实现他们对各自机构性权力的顺应，以及机构性权力对广播谈话中话轮转换的影响。

在广播谈话节目中，节目的开始与结束通常由主持人来完成。在这两个阶段，主持人采用了极具机构性特点的话轮开启与终结手段。在话轮的展开阶段，主持人与嘉宾对机构性权力的顺应又表现在话轮类型的分配、以及话轮的控制策略上。

本文采用了定量和定性的研究方法。本文语料来源于中央人民广播电台《午间一小时大型谈话节目》中12 期节目的录音材料。本文在定性分析的基础上采用z-test检验了主持人使用各种放弃话轮、取得话轮的方法的数量占主持人总话轮的比率与嘉宾使用各种放弃话轮、取得话轮的方法的数量占嘉宾总话轮的比率之间是否有显著差异。结果表明：在广播谈话节目中，主持人是节目的主导者、话题的引导者，在话轮的分配上起着主导作用，是节目的核心与灵魂。嘉宾是谈话节目的参与者，对话轮的控制力较弱，但嘉宾是谈话节目的焦点。

总之，机构性权力对广播谈话节目中的话轮转换产生了很大的影响。主持人与嘉宾在话轮转换的过程中都在不断地顺应他们各自的机构性角色，及其相应的机构性权力。

关键词：机构性权力；话轮转换；顺应；广播谈话节目；主持人；嘉宾

Abstract

This paper analyzes style layer by layer and combines the style and its translation closely together. It aims at giving readers a clear picture that style is translatable. It starts with the definition of style. Some define style from aesthetic point of view and some from the linguistic point of view. This paper defines style with the combination of the two points because the two points are not opposite but complementary, which is fully discussed and proved in the second part. Talking about the translation of style, we have to mention the translatability of style. Take the translation of poem whose style is the most difficult to translate as an example, there are lots of excellent translations. Thus, we come to a conclusion that style is not untranslatable but difficult to translate and the key point is the translator's talent. Moreover, every piece of writing will definitely show certain variety and each kind of variety has correspondent style. Knowing the features of every kind of variety plays an important role in the translation of style .

Key words: Style ;  Knowability ;  translatability ;  varieties

摘    要

文学中的风格是作品在传达思想时所创造的情调.气氛，是一种具有艺术感染力的规律。对于风格，有人从审美的角度阐述，有人从语言学的角度阐述，本文则将二者紧密地结合起来,因为审美角度的风格与语言学角度的风格并不冲突而是互补的。语言学中，可以通过作者的选词，择句，运用修辞及语篇来了解该作者的风格，审美的角度上风格没有语言学上的风格精确，读者在读一篇作品时，总会有一种模糊的审美意象，这也是分析作品风格时必不可少的。由此，风格是可知的，并不完全是一种模糊不全的东西。要抓住一篇文章的风格并非易事，那么要将一种风格译成另一种语言，则更不是一件简单的事情。

翻译中风格研究的基本问题是在语言转换中如何保证译文在文体和作家个人风格两方面的适应性。风格难译，是由于两种语言，两种文化之间横亘着天然的鸿沟。作者和译者民族不同，所处时代不同，个人风格不同，译文要超越这些差异，难免会有失真和走样的地方，但风格难译并非不可译。以最难译的诗歌风格的翻译为例，古今中外曾出现不少的优秀诗歌译文，而同一篇原文不同译者的笔下所表现出来的对原文的适应性是不相同的。因此，只要译者能准确捕捉原文的风格，又具有表达这种风格的能力，就能译出好的译文。

翻译中采用与原文相适应的文体是艺术上的需要。文学文体有小说，诗歌，戏剧，散文之分，科技文体也有科学文体，政论文体等。文体研究的一个主要目的是摸索语言使用的得体性，翻译研究也强调译文的得体性。翻译过程中，必然需要相应的文体特征，翻译不可能脱离文体。因而掌握各种文体的特点，即各种文体的风格，对风格的翻译也起到至关重要的作用。

关键词: 风格;  可知性;  可译性;  文体

作者：佚名
出处：未知