辽宁师范大学海华学院

美国文学论文

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完成时间 20xx年6月9日

Abstract:

The interpersonal function is one of the three functions of the functional grammar, interpersonal function, mood, modality and evaluation system to analyze the "Cop and the Anthem" Writing Style - humor, interpersonal function to the understanding of the text can be seen provide an important means and appreciation. 摘要：

人际功能是功能语法的三大元功能之一，根据人际功能的语气、情态和评价系统来分析《警察与赞美诗》的主要写作特色——幽默，可以看出人际功能可以给文本的理解与欣赏提供重要手段。

Keywords: interpersonal functions; tone; modality; evaluation

关键词：

人际功能；语气；情态；评价

A three meta-functions, one of the interpersonal function according to Halliday's Functional Grammar, Functional Grammar. Interpersonal function refers to the language through the exchange of words the role of other members of society with them to establish or maintain interpersonal relationships, in order to influence the behavior of others.Interpersonal function tone system, the modal system and, later, Martin added, and the proposed evaluation system to achieve

dialogue and sole functional analysis of human from "The Cop and the anthem " （A） the Soviet with the first police

“Where’s the man that done that?”inquired the officer excitedly．“Don’t you figure out that I might have had something to do with it?”said Soapy，not without sarcasm，but friendly。As one greets good fortune．This conversation, the police asked special questions. Its function is to answer specific special word the information needed. Therefore, as the answer man Soapy information focus is on the "where", but the Soviet Union is eager to go to jail, with a rhetorical question to answer, contrary to common sense.Second, the sentence in his reply, the use of qualified ingredients clause might show Soapy "hidden subjective(implicit subjectivity)Small clause subject "I" state responsibility for the use of sentient significance, showing the willingness of the Soviet Union responsible for what happens. Obviously, the police and the end understand as the meaning of modal verbs and the subject to select interpersonal meaning.Just based on common sense crime will not stand still. Humorous effect contrary to the principles of communication Soapy, due to the ignorance of the police end result is that the police ran away, Soapy prison did not bring it.

(B) Soviet with another police

“What are you doing here?”asked the officer．“Nothing．”said Soapy．“Then come along,”said the policeman．

The same with the previous conversation. Similarly, a special questions, for the wh-word part of the police the information needed. Did not adopt the tactics of theround about network. Full compliance with the interpersonal discourse rules.But the police to a discourse of the master of the "then" plus Yi sentence response, the achievements have determined the prodigal son of the Soviet Union than the

imprisonment of the "dream", there is no logical relationship before and after the Soapy A language with the police command.In addition to his proposition is an imperative sentence above Soapy A language is no logical relationship: all these show

Soviet Union than into the hotel the customer role, waiters should be the provider of the product or service, but the Soviet Union intended to provocation, with the imperative mood .in addition, after 'and' the imperative clause shows the evaluation of properties of the proposition, show Soapy anger. This attitude further segmentation, belonging to the emotional areas, refers to people's emotions.Soapy apparently so fitted the like angry want to cause resentment of the attendants, so as to achieve the purpose of jail. A language look at the waiter with the evaluation of the color, the assessments of the Soviet Union lost again than to enable the police to seize the

sentence contains a responsibility of the modal metaphor, in fact, in Man, "You are supposed to call a policeman". The combination of the above two points, we should deduce an umbrella man is the victim immediately called the police caught Soapy.But when the dramatic scenes. Humorous effect has been well represented, the umbrella man first said: of course, according to Halliday's theory, this additional tone language (modal adjunct) used to indicate the obvious, seems to be that this umbrella is obvious I Followed by continuous 8 dashes and incomplete sentence revolutionized the status of his own victims, so that the Soviet Union than be a victim of humorous effects

have emerged.

First,the 8 dash to speak to a standstill, incoherent thinking. Take to make a man do not know how to explain their behavior; at the same time most of the sentence subject to the "I".First, take the initiative by the more important is the modal Metaphor, the "I" is the situation state the responsibility of stakeholders, namely the Soviet Union than is the victims, while Soapy 'A language "of course, it's mine", this show that the dominant modality adjunct beckons to his victims into the changing role and go to jail "dream" shattered.

[1]Thompson. , Geoffrey. Introducing Functional Gram-mar [M].Beijing: Foreign Language Teaching and Research Press, 2000.

[2], Li war child. Mood, modality to evaluate. Foreign language study, 2005

(6) :14-15.

[3], Huang Guo wen."Introduction to Functional Grammar" Introduction to the

[M].Beijing: Foreign Language Teaching and Research Press.2000.

[4] Martin, J. R. Factoring out Exchange: Types of structure [A]. M. Coulthard, J. Cotterill, & [6] F. flock. Work-hag with Dialogue [C]. Tubingen: Niemeyer, 2000.

[5], Halliday, M. A. K. An Introduction to Functional Grammar[M]. Beijing: Foreign Language Teaching and Research Press, 2000.

第二篇：英国语言文学论文

The term English literature refers to literature written in the English language, including literature composed in English by writers not necessarily from

England; Joseph Conrad was Polish, Robert Burns was Scottish, James Joyce was Irish, Dylan Thomas was Welsh, Edgar Allan Poe was American, Salman Rushdie is Indian, V.S. Naipaul was born in Trinidad, Vladimir Nabokov was Russian. In other words, English literature is as diverse as the varieties and dialects of English spoken around the world. In academia, the term often labels departments and programmes practising English studies in secondary and

tertiary educational systems. Despite the variety of authors of English literature, the works of William Shakespeare remain paramount throughout the English-speaking world.

This article primarily deals with literature from Britain written in English. For literature from specific English-speaking regions, consult the see also section at the bottom of the page.

Contents [hide]

1 Old English

2 Renaissance literature

3 Early Modern period

3.1 Elizabethan Era

3.2 Jacobean literature

3.3 Caroline and Cromwellian literature

3.4 Restoration literature

3.5 Augustan literature

4 18th century

5 Romanticism

6 Victorian literature

7 Modernism

8 Post-modern literature

9 Views of English literature

10 See also

11 External links

Old English

Main article: Anglo-Saxon literature

The first works in English, written in Old English, appeared in the early Middle Ages (the oldest surviving text is C?dmon's Hymn). The oral tradition was very strong in early British culture and most literary works were written to be

performed. Epic poems were thus very popular and many, including Beowulf,

have survived to the present day in the rich corpus of Anglo-Saxon literature that closely resemble today's Norwegian or, better yet, Icelandic. Much

Anglo-Saxon verse in the extant manuscripts is probably a "milder" adaptation of the earlier Viking and German war poems from the continent. When such poetry was brought to England it was still being handed down orally from one generation to another, and the constant presence of alliterative verse, or

consonant rhyme (today's newspaper headlines and marketing abundantly use this technique such as in Big is Better) helped the Anglo-Saxon peoples

remember it. Such rhyme is a feature of Germanic languages and is opposed to vocalic or end-rhyme of Romance languages. But the first written literature dates to the early Christian monasteries founded by St. Augustine of Canterbury and his disciples and it is reasonable to believe that it was somehow adapted to suit to needs of Christian readers. Even without their crudest lines, Viking war poems still smell of blood feuds and their consonant rhymes sound like the smashing of swords under the gloomy northern sky: there is always a sense of imminent danger in the narratives. Sooner or later, all things must come to an end, as Beowulf eventually dies at the hands of the monsters he spends the tale fighting. The feelings of Beowulf that nothing lasts, that youth and joy will turn to death and sorrow entered Christianity and were to dominate the future landscape of English fiction.

Renaissance literature

Main article: English Renaissance

Following the introduction of a printing press into England by William Caxton in 1476, vernacular literature flourished. The Reformation inspired the production of vernacular liturgy which led to the Book of Common Prayer, a lasting

influence on literary English language. The poetry, drama, and prose produced under both Queen Elizabeth I and King James I constitute what is today labelled as Early modern (or Renaissance).

Early Modern period

Further information: Early Modern English and Early Modern Britain

Elizabethan Era

Main article: Elizabethan literature

The Elizabethan era saw a great flourishing of literature, especially in the field of drama. The Italian Renaissance had rediscovered the ancient Greek and Roman theatre, and this was instrumental in the development of the new drama, which was then beginning to evolve apart from the old mystery and miracle plays of the Middle Ages. The Italians were particularly inspired by

Seneca (a major tragic playwright and philosopher, the tutor of Nero) and Plautus (its comic clichés, especially that of the boasting soldier had a powerful influence on the Renaissance and after). However, the Italian

tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage. In Seneca's plays such scenes were only acted by the characters. But the English playwrights were intrigued by Italian model: a conspicuous community of Italian actors had settled in London and Giovanni Florio had brought much of the Italian language and culture to England. It is also true that the Elizabethan Era was a very violent age and that the high incidence of political assassinations in Renaissance Italy (embodied by

Niccolò Machiavelli's The Prince) did little to calm fears of popish plots. As a result, representing that kind of violence on the stage was probably more cathartic for the Elizabethan spectator. Following earlier Elizabethan plays such as Gorboduc by Sackville & Norton and The Spanish Tragedy by Kyd that was to provide much material for Hamlet, William Shakespeare stands out in this period as a poet and playwright as yet unsurpassed. Shakespeare was not a man of letters by profession, and probably had only some grammar school education. He was neither a lawyer, nor an aristocrat as the "university wits" that had monopolised the English stage when he started writing. But he was very gifted and incredibly versatile, and he surpassed "professionals" as Robert Greene who mocked this "shake-scene" of low origins. Though most dramas met with great success, it is in his later years (marked by the early reign of James I) that he wrote what have been considered his greatest plays: Hamlet, Romeo and Juliet, Othello, King Lear, Macbeth, Antony and Cleopatra, and The Tempest, a tragicomedy that inscribes within the main drama a brilliant pageant to the new king. This 'play within a play' takes the form of a masque, an interlude with music and dance coloured by the novel special effects of the new indoor theatres. Critics have shown that this masterpiece, which can be considered a dramatic work in its own right, was written for James's court, if not for the monarch himself. The magic arts of Prospero, on which depend the outcome of the plot, hint at the fine relationship between art and nature in poetry. Significantly for those times (the arrival of the first colonists in America), The Tempest is (though not apparently) set on a

Bermudan island, as research on the Bermuda Pamphlets (1609) has shown, linking Shakespeare to the Virginia Company itself. The "News from the New World", as Frank Kermode points out, were already out and Shakespeare's interest in this respect is remarkable. Shakespeare also popularized the English sonnet which made significant changes to Petrarch's model.

The sonnet was introduced into English by Thomas Wyatt in the early 16th century. Poems intended to be set to music as songs, such as by Thomas Campion, became popular as printed literature was disseminated more widely

in households. See English Madrigal School. Other important figures in Elizabethan theatre include Christopher Marlowe, Thomas Dekker, John

Fletcher and Francis Beaumont. Had Marlowe (1564-1593) not been stabbed at twenty-nine in a tavern brawl, says Anthony Burgess, he might have rivalled, if not equalled Shakespeare himself for his poetic gifts. Remarkably, he was born only a few weeks before Shakespeare and must have known him well. Marlowe's subject matter, though, is different: it focuses more on the moral drama of the renaissance man than any other thing. Marlowe was fascinated and terrified by the new frontiers opened by modern science. Drawing on German lore, he introduced Dr. Faustus to England, a scientist and magician who is obsessed by the thirst of knowledge and the desire to push man's

technological power to its limits. He acquires supernatural gifts that even allow him to go back in time and wed Helen of Troy, but at the end of his twenty-four years' covenant with the devil he has to surrender his soul to him. His dark heroes may have something of Marlowe himself, whose untimely death

remains a mystery. He was known for being an atheist, leading a lawless life, keeping many mistresses, consorting with ruffians: living the 'high life' of

London's underworld. But many suspect that this might have been a cover-up for his activities as a secret agent for Elizabeth I, hinting that the 'accidental stabbing' might have been a premeditated assassination by the enemies of The Crown. Beaumont and Fletcher are less-known, but it is almost sure that they helped Shakespeare write some of his best dramas, and were quite

popular at the time. It is also at this time that the city comedy genre develops. In the later 16th century English poetry was characterised by elaboration of language and extensive allusion to classical myths. The most important poets of this era include Edmund Spenser and Sir Philip Sidney. Elizabeth herself, a product of Renaissance humanism, produced occasional poems such as On Monsieur’s Departure.

Canons of Renaissance poetry

Jacobean literature

After Shakespeare's death, the poet and dramatist Ben Jonson was the leading literary figure of the Jacobean era (The reign of James I). However, Jonson's aesthetics hark back to the Middle Ages rather than to the Tudor Era: his characters embody the theory of humours. According to this contemporary medical theory, behavioral differences result from a prevalence of one of the body's four "humours" (blood, phlegm, black bile, and yellow bile) over the other three; these humours correspond with the four elements of the universe: air, water, fire, and earth. This leads Jonson to exemplify such differences to the point of creating types, or clichés.

Jonson is a master of style, and a brilliant satirist. His Volpone shows how a group of scammers are fooled by a top con-artist, vice being punished by vice, virtue meting out its reward.

Others who followed Jonson's style include Beaumont and Fletcher, who wrote the brilliant comedy, The Knight of the Burning Pestle, a mockery of the rising middle class and especially of those nouveaux riches who pretend to dictate literary taste without knowing much literature at all. In the story, a couple of grocers wrangle with professional actors to have their illiterate son play a

leading role in a drama. He becomes a knight-errant wearing, appropriately, a burning pestle on his shield. Seeking to win a princess' heart, the young man is ridiculed much in the way Don Quixote was. One of Beaumont and Fletcher's chief merits was that of realising how feudalism and chivalry had turned into snobbery and make-believe and that new social classes were on the rise.

Another popular style of theatre during Jacobean times was the revenge play, popularized by John Webster and Thomas Kyd. George Chapman wrote a couple of subtle revenge tragedies, but must be remembered chiefly on

account of his famous translation of Homer, one that had a profound influence on all future English literature, even inspiring John Keats to write one of his best sonnets.

The King James Bible, one of the most massive translation projects in the

history of English up to this time, was started in 1604 and completed in 1611. It represents the culmination of a tradition of Bible translation into English that began with the work of William Tyndale. It became the standard Bible of the Church of England, and some consider it one of the greatest literary works of all time. This project was headed by James I himself, who supervised the work of forty-seven scholars. Although many other translations into English have been made, some of which are widely considered more accurate, many

aesthetically prefer the King James Bible, whose meter is made to mimic the original Hebrew verse.

Besides Shakespeare, whose figure towers over the early 1600s, the major poets of the early 17th century included John Donne and the other

Metaphysical poets. Influenced by continental Baroque, and taking as his subject matter both Christian mysticism and eroticism, metaphysical poetry uses unconventional or "unpoetic" figures, such as a compass or a mosquito, to reach surprise effects. For example, in "A Valediction: Forbidding Mourning", one of Donne's Songs and Sonnets, the points of a compass represent two lovers, the woman who is home, waiting, being the centre, the farther point

being her lover sailing away from her. But the larger the distance, the more the hands of the compass lean to each other: separation makes love grow fonder. The paradox or the oxymoron is a constant in this poetry whose fears and anxieties also speak of a world of spiritual certainties shaken by the modern discoveries of geography and science, one that is no longer the centre of the universe. Apart from the metaphysical poetry of Donne, the 17th century is also celebrated for its Baroque poetry. Baroque poetry served the same ends as the art of the period; the Baroque style is lofty, sweeping, epic, and religious. Many of these poets have an overtly Catholic sensibility (namely Richard Crashaw) and wrote poetry for the Catholic counter-Reformation in order to establish a feeling of supremacy and mysticism that would ideally persuade newly emerging Protestant groups back toward Catholicism.

Caroline and Cromwellian literature

The turbulent years of the mid-17th century, during the reign of Charles I and the subsequent Commonwealth and Protectorate, saw a flourishing of political literature in English. Pamphlets written by sympathisers of every faction in the English civil war ran from vicious personal attacks and polemics, through many forms of propaganda, to high-minded schemes to reform the nation. Of the latter type, Leviathan by Thomas Hobbes would prove to be one of the most important works of British political philosophy. Hobbes's writings are some of the few political works from the era which are still regularly published while John Bramhall, who was Hobbes's chief critic, is largely forgotten. The period also saw a flourishing of news books, the precursors to the British newspaper, with journalists such as Henry Muddiman, Marchamont Needham, and John Birkenhead representing the views and activities of the contending parties. The frequent arrests of authors and the suppression of their works, with the consequence of foreign or underground printing, led to the proposal of a licensing system. The Areopagitica, a political pamphlet by John Milton, was written in opposition to licensing and is regarded as one of the most eloquent defenses of press freedom ever written.

Specifically in the reign of Charles I (1625 – 42), English Renaissance theatre experienced its concluding efflorescence. The last works of Ben Jonson

appeared on stage and in print, along with the final generation of major voices in the drama of the age: John Ford, Philip Massinger, James Shirley, and

Richard Brome. With the closure of the theatres at the start of the English Civil War in 1642, drama was suppressed for a generation, to resume only in the altered society of the English Restoration in 1660.

Other forms of literature written during this period are usually ascribed political subtexts, or their authors are grouped along political lines. The cavalier poets, active mainly before the civil war, owed much to the earlier school of metaphysical poets. The forced retirement of royalist officials after the

execution of Charles I was a good thing in the case of Izaak Walton, as it gave him time to work on his book The Compleat Angler. Published in 1653, the book, ostensibly a guide to fishing, is much more: a meditation on life, leisure, and contentment. The two most important poets of Oliver Cromwell's England were Andrew Marvell and John Milton, with both producing works praising the new government; such as Marvell's An Horatian Ode upon Cromwell's Return from Ireland. Despite their republican beliefs they escaped punishment upon the Restoration of Charles II, after which Milton wrote some of his greatest poetical works (with any possible political message hidden under allegory). Thomas Browne was another writer of the period; a learned man with an extensive library, he wrote prolifically on science, religion, medicine and the esoteric.

Restoration literature

Main article: Restoration Literature

Restoration literature includes both Paradise Lost and the Earl of Rochester's Sodom, the high spirited sexual comedy of The Country Wife and the moral wisdom of Pilgrim's Progress. It saw Locke's Treatises on Government, the founding of the Royal Society, the experiments of Robert Boyle and the holy meditations of Boyle, the hysterical attacks on theatres from Jeremy Collier, the pioneering of literary criticism from Dryden, and the first newspapers. The official break in literary culture caused by censorship and radically moralist standards under Cromwell's Puritan regime created a gap in literary tradition, allowing a seemingly fresh start for all forms of literature after the Restoration. During the Interregnum, the royalist forces attached to the court of Charles I went into exile with the twenty-year old Charles II. The nobility who travelled with Charles II were therefore lodged for over a decade in the midst of the continent's literary scene. Charles spent his time attending plays in France, and he developed a taste for Spanish plays. Those nobles living in Holland began to learn about mercantile exchange as well as the tolerant, rationalist prose debates that circulated in that officially tolerant nation.

The largest and most important poetic form of the era was satire. In general, publication of satire was done anonymously. There were great dangers in being associated with a satire. On the one hand, defamation law was a wide net, and it was difficult for a satirist to avoid prosecution if he were proven to have written a piece that seemed to criticize a noble. On the other hand,

wealthy individuals would respond to satire as often as not by having the

suspected poet physically attacked by ruffians. John Dryden was set upon for being merely suspected of having written the Satire on Mankind. A

consequence of this anonymity is that a great many poems, some of them of merit, are unpublished and largely unknown.