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stylistics 6 The Fly

Exercise: Read this novel.

The Fly by Katherine Mansfield（1888-1923）

'Y'are very snug in here,' piped old Mr Woodifield, and he peered out of the great, green leather armchair by his friend the boss's desk as a baby peers out of its pram. His talk was over; it was time for him to be off. But he did not want to go. Since he had retired, since his... stroke, the wife and the girls kept him boxed up in the house every day of the week except Tuesday. On Tuesday he was dressed and brushed and allowed to cut back to the City for the day. Though what he did there the wife and girls couldn't imagine. Made a nuisance of himself to his friends, they supposed.... Well, perhaps so. All the same, we cling to our last pleasures as the tree clings to its last leaves. So there sat old Woodifield, smoking a cigar and staring almost greedily at the boss, who rolled in his once chair, stout, rosy, five years older than he, and still going strong, still at the helm. It did one good to see him.

Wistfully, admiringly, the old voice added, 'It's snug in here--upon my word!'

'Yes, it's comfortable enough,' agreed the boss, and he nipped the Financial Times with a paper-knife. As a matter of fact he was proud of his room; he liked to have it admired, especially by old Woodifield. It gave him a feeling of deep, solid satisfaction to be planted there in the midst of it in full view of that frail old figure in the muffler.

'I've had it done up lately,' he explained, as he had explained for the past--how many?--weeks. 'New carpet,' and he pointed to the bright red carpet with a pattern of large white rings. 'New furniture,' and he nodded towards the massive bookcase and the table with legs like twisted treacle. 'Electric heating!' He waved almost exultantly towards the five transparent, pearly sausages glowing so softly in the tilted copper pan.

But he did not draw old Woodifield's attention to the photograph over the table of a grave-looking boy in uniform standing in one of those spectral photographers' parks with photographers' storm-clouds behind him. It was not new. It had been there for over six years.

'There was something I wanted to tell you,' said old Woodifield, and his eyes grew dim remembering. 'Now what was it? I had it in my mind when I started out this morning.' His hands began to tremble, and patches of red showed above his beard.

Poor old chap, he's on his last pins, thought the boss. And, feeling kindly, he winked at the old man, and said jokingly, 'I tell you what. I've got a little drop of something here that'Il do you good before you go out into the cold again. It's beautiful stuff. It wouldn't hurt a child.' He took a key off his watch-chain, unlocked a cupboard below his desk, and drew forth a dark, squat bottle. 'That's the medicine,' said he. 'And the man from whom I got it told me on the strict Q.T. it came from the cellars at Windsor Cassel.'

Old Woodifield's mouth fell open at the sight. He couldn't have looked more surprised if the boss had produced a rabbit.

'It's whisky, ain't it?' he piped, feebly.

The boss turned the bottle and lovingly showed him the label. Whisky it was.

'D'you know,' said he, peering up at the boss wonderingly, 'they won't let me touch it at home.' And he looked as though he was going to cry.

'Ah, that's where we know a bit more than the ladies,' cried the boss, swooping across for two tumblers that stood on the table with the water-bottle, and pouring a generous finger into each. 'Drink it down. It'll do you good. And don't put any water with it. It's sacrilege to tamper with stuff like this. Ah!' He tossed off his, pulled out his handkerchief, hastily wiped his moustaches, and cocked an eye at old Woodifield, who was rolling his in his chaps.

The old man swallowed, was silent a moment, and then said faintly, 'It's nutty!'

But it warmed him; it crept into his chill old brain--he remembered.

'That was it,' he said, heaving himself out of his chair. 'I thought you'd like to know. The girls were in Belgium last week having a look at poor Reggie's grave, and they happened to come across your boy's. They're quite near each other, it seems.'

Old Woodifield paused, but the boss made no reply. Only a quiver in his eyelids showed that he heard.

'The girls were delighted with the way the place is kept,' piped the old voice.

'BeautifuIly looked after. Couldn't be better if they were at home. You've not been across, have yer?'

'No, no!' For various reasons the boss had not been across.

'There's miles of it,' quavered old Woodifield, 'and it's all as neat as a garden. Flowers growing on all the graves. Nice broad paths.' It was plain from his voice how much he liked a nice broad path.

The pause came again. Then the old man brightened wonderfully.

'D'you know what the hotel made the girls pay for a pot of jam?' he piped. 'Ten francs! Robbery, I call it. It was a little pot, so Gertrude says, no bigger than a half-crown. And she hadn't taken more than a spoonful when they charged her ten francs. Gertrude brought the pot away with her to teach 'em a lesson. Quite right, too; it's trading on our feelings. They think because we're over there having a look round we're ready to pay anything. That's what it is.' And he turned towards the door.

'Quite right, quite right!' cried the boss, though what was quite right he hadn't the least idea. He came round by his desk, followed the shuffling footsteps to the door, and saw the old fellow out. Woodifield was gone.

For a long moment the boss stayed, staring at nothing, while the grey-haired office messenger, watching him, dodged in and out of his cubby hole like a dog that expects to be taken for a run. Then: 'I'll see nobody for half an hour, Macey,' said the boss.

'Understand? Nobody at all.'

'Very good, sir.'

The door shut, the firm heavy steps recrossed the bright carpet, the fat body plumped down in the spring chair, and leaning forward, the boss covered his face with his hands. He wanted, he intended, he had arranged to weep....

It had been a terrible shock to him when old Woodifield sprang that remark upon him about the boy's grave. It was exactly as though the earth had opened and he had seen the boy lying there with Woodifield's girls staring down at him. For it was strange. Although over six years had passed away, the boss never thought of the boy except as lying unchanged, unblemished in his uniform, asleep for ever. 'My son!' groaned the boss. But no tears came yet. In the past, in the first months and even years after the boy's death, he had only to say those words to be overcome by such grief that nothing short of a violent fit of weeping could relieve him. Time, he had declared then, he had told everybody, could make no difference. Other men perhaps might recover, might live their loss down, but not he. How was it possible? His boy was an only son. Ever since his birth the boss had worked at building up this business for him; it had no other meaning if it was not for the boy. Life itself had come to have no other meaning. How on earth could he have slaved, denied himself, kept going all those years without the promise for ever before him of the boy's stepping into his shoes and carrying on where he left off?

And that promise had been so near being fulfilled. The boy had been in the office learning the ropes for a year before the war. Every morning they had started off together; they had come back by the same train. And what congratulations he had received as the boy's father! No wonder; he had taken to it marvellously. As to his popularity with the stag, every man jack of them down to old Macey couldn't make enough of the boy. And he wasn't in the least spoilt. No, he was just his bright, natural self, with the right word for everybody, with that boyish look and his habit of saying, 'Simply splendid.' But all that was over and done with as though it never had been. The day had come when Macey had handed him the telegram* that brought the whole place crashing about his head. 'Deeply regret to inform you....' And he had left the office a broken man, with his life in ruins.

Six years ago, six years.... How quickly time passed! It might have happened yesterday. The boss took his hands from his face; he was puzzled. Something seemed to be wrong with him. He wasn't feeling as he wanted to feel. He decided to get up and

have a look at the boy's photograph. But it wasn't a favourite photograph of his; the expression was unnatural. It was cold, even stern-looking. The boy had never looked

like that.

At that moment the boss noticed that a fly had fallen into his broad inkpot, and was trying feebly but desperately to clamber out again. Help! help! said those struggling legs. But the sides of the inkpot were wet and slippery; it till back again and began to swim. The boss took up a pen, picked the fly out of the ink, and shook it on to a piece of blotting-paper. For a fraction of a second it lay still on the dark patch that oozed round it. Then the front legs waved, took hold, and, pulling its small, sodden body up it began the immense task of cleaning the ink from its wings. Over and under, over and under, went a leg along a wing, as the stone goes over and under the scythe. Then there was a pause, while the fly, seeming to stand on the tips of its toes, tried to expand first one wing and then the other. It succeeded at last, and, sitting down, it began, like a minute cat, to clean its face. Now one could imagine that the little front legs rubbed against each other lightly, joyfully. The horrible danger was over; it had escaped; it was ready for life again.

But just then the boss had an idea. He plunged his pen back into the ink, leaned his thick wrist on the blotting paper, and as the fly tried its wings down came a great heavy blot. What would it make of that? What indeed! The little beggar seemed absolutely cowed, stunned, and afraid to move because of what would happen next. But then, as if painfully, it dragged itself forward. The front legs waved, caught hold, and, more slowly this time, the task began from the beginning.

He's a plucky little devil, thought the boss, and he felt a real admiration for the fly's courage. That was the way to tackle things; that was the right spirit. Never say die; it was only a question of.... But the fly had again finished its laborious task, and the boss had just time to refill his pen, to shake fair and square on the new cIeaned body yet another dark drop. What about it this time? A painful moment of suspense followed. But behold, the front legs were again waving; the boss felt a rush of relief. He leaned over

the fly and said to it tenderly, 'You artful little b... ' And he actually had the brilliant

notion of breathing on it to help the drying process. All the same, there was something timid and weak about its efforts now, and the boss decided that this time should be the last, as he dipped the pen deep into the inkpot.

It was. The last blot fell on the soaked blotting-paper, and the draggled fly lay in it and did not stir. The back legs were stuck to the body; the front legs were not to be seen.

'Come on,' said the boss. 'Look sharp!' And he stirred it with his pen--in vain. Nothing happened or was likely to happen. The fly was dead.

The boss lifted the corpse on the end of the paper-knife and flung it into the waste-paper basket. But such a grinding feeling of wretchedness seized him that he felt positively frightened. He started forward and pressed the bell for Macey.

'Bring me some fresh blotting-paper,' he said, sternly, 'and look sharp about it.' And while the old dog padded away he fell to wondering what it was he had been thinking about before. What was it? It was.... He took out his handkerchief and passed it inside his colIar. For the life of him he could not remember.

文体学分析1

《英语文体学》1~7章小结一．关于文体学本章主要是介绍了骨水泥与文体学的一些基本知识。简单的来说，文体学就是学习如何使用语言和使用语言方式的一种规则。在现代文体学中包括普通文体学和文学文体学。这本书主要涉及普通文体学。普通文体学在很多方面都有体现，本书主要讨论一种特定体裁的总体特征。接着，课文简单介绍语言在不同时期的不同定义和在不同领域人民对语言的不同观点。并且，文章的上下文决定这语言的意思。语言在使用过程中表现出以下功能：概念功能、人际功能、指称功能和语篇功能，它们不可分割，相互影响。接下来是风格的介绍有四种：集体语言使用特点、个人独特写作风格、表达模式效果、“好”或“漂亮的”文学写作。本书倾向于了解第一种。即问题学的研究限制在特定场合。现代文体学一直在发展，我们得出定义：它是一门研究文体体裁特征的本质及规律。二．学习文体学的需要本章主要涉及学习文体学的重要性。（一）学习问题学能培养人们对语言的敏感性即应该能分清在不同场合应该采取不同的说话方式，以避免不必要的尴尬。（二）对我们理解外国文学作品有很大作用。因为文学创作中，作者往往采用违反常规的写作方法：背离与重复。这就牵扯到文学批评，对其“描述——解释——评估”，以此突出其作品的鲜明特点。这在文体学上被称为“前景化”。（三）帮助达到适应翻译外国文学作品的效果。翻译时不可能直译过来，这是由各国文化差异决定的。三．语(言)[义]的变体根据语言的使用方式可以把语言分为两种：方言和变体。人们所处的背景和地位决定了他们的语言——方言。方言可以分为个人方言（如海明威用语方法）、时间方言（如古今英语用法不同）和社会方言（如男女用法不同）。而语域的变体可以分为几种：社会经济地位变体（不同阶层）、种族变体（美国社会黑白人不通用法）性别变体和年龄变体。语域是一个语言使用者的语言反映，它是一种社会活动，即告知别人话里所包含的信息。语域有话语范围：特定场合（命令、法律等）与非特定场合（例如应酬性谈话）。有话语方式：口语和书面语。有话语基调：人及际基调（人们使用语言的规范程度）和功能语旨（说话人意欲）。总之方言和语域是相互依靠的，不可能有单独使用的情况出现。四．语言的描述先介绍文体学特点的三个层次： ●音系学和字系学。英语在音系学上有音段（包括拟声词、象声词、语音同化和重复）和超音段（包括重音、韵律、语调停顿和语速）。这些特征的不同表达式包含了说话人的不同心情。 ●有语法和词汇。语法方面体现在句子类型（省略句、圆周句、松散句和对偶句）、从句类型、词组类型（名词、动词词组）和词语类型（合成词）。词汇方面有：用词倾向（如抽象、具体、普遍、专有等）、内涵意义（与之关联的词）和词的搭配（固定搭配）。 ●语义单元和语义角色。语义单元包括连贯（互指、成段、语篇模式、修辞手段）和语义角色（增强语言丰富性） ●接下来介绍语言描写四步骤：（一）系统阅读文章写下认为重要的风格；（二）确定语言特点的使用频率；（三）估计风格特点的重要性；（四）陈述语言使用模式，判断该模式在文中的重要性。

文体学课堂总结

Brief Summary of Stylistics General Stylistics is the science which explores how readers interact with the languages of texts in order to explain how we understand and are affected by texts when we read them. The stylistic mainly concerns about the examination of grammar, lexis, semantics, as well as phonological properties and discursive devices. It’s developing and not come to maturity now. According to different standards, the stylistics mainly divide into two major types ：linguistic stylistics and literary stylistics. And there are many school of stylistics such as lingvo-stylistics, literary stylistics, applied stylistics, contrastive stylistics, applied stylistics and so on. In the basic notions of stylistics, the 通述文体学是为一门教我们怎么更好的使用语言的一门学科，主要关注语法，词汇，语义，语音特征和表达手段。文体学目前是不完善的，处于发展阶段。

上市公司重大资产重组管理办法中英文

上市公司重大资产重组管理办法 Measures for the Administration of Material Asset Reorganization of Listed Companies 颁布机关:中国证券监督管理委员会 Promulgating Institution: China Securities Regulatory Commission 文号:中国证券监督管理委员会令第109号 Document Number: Order No.109 of the China Securities Regulatory Commission 颁布时间: Promulgating Date: 10/23/2014 10/23/2014 实施时间: Effective Date: 11/23/2014 11/23/2014 效力状态: Validity Status: 有效 Valid 第一章总则 Chapter 1: General Provisions 第一条为了规范上市公司重大资产重组行为，保护上市公司和投资者的合法权益，促进上市公司质量不断提高，维护证券市场秩序和社会公共利益，根据《公司法》、《证券法》等法律、行政法规的规定，制定本办法。 Article 1 These Measures are formulated pursuant to the provisions of the Company Law, the Securities Law and other relevant laws and administrative regulations, for the purposes of regulating material asset reorganization of listed companies, protecting the lawful rights and interests of listed companies and investors, and promoting the constant improvement of the quality of listed companies, and maintaining the order of the securities market and the social public interests. 第二条本办法适用于上市公司及其控股或者控制的公司在日常经营活动之外购买、出售资产或者通过其他方式进行资产交易达到规定的比例，导致上市公司的主营业务、资产、收入发生重大变化的资产交易行为（以下简称重大资产重组）。 Article 2 These Measures shall be applicable to asset trading behaviors, other than the daily business activities, conducted by a listed company or companies held or controlled by it, such as the purchase and sale of assets, or asset trading by other means that reach a specified proportion, thereby causing major changes to the main business, assets, or income of that listed company (hereinafter, "material asset reorganization"). 上市公司发行股份购买资产应当符合本办法的规定。 Purchase of assets by a listed company by means of issuing shares shall be in compliance with the provisions of these Measures.

分析文体特征和表现手法

分析文体特征和表现手法一、(2017《考试说明》新题型)阅读下面的文字，完成1～3题。(12分) 吴祖光：旷世才情不平则鸣吴祖光，当代中国影响最大、最著名、最具传奇色彩的文化老人之一。戏剧导演牟森曾这样评价：“吴祖光在中国现代戏剧史上是非常重要的作家，极具名士风范。” 吴祖光的祖籍是江苏省武进县。父亲吴瀛是位饱学之士，以诗、文、书、画闻名，又是一位文物鉴赏家。母亲也识文断字，经常念诗给他听。家庭的文化氛围给少年吴祖光以一定的熏陶和影响。他酷爱戏曲，常泡在戏园里看戏，接触了大量戏曲。中学毕业后入中法大学文学系，在抗战爆发的一九三七年，二十岁的吴祖光完成了他的话剧处女作《凤凰城》。该剧是根据东北抗日义勇军苗可秀烈士的事迹写成的。剧中歌颂了苗可秀领导“中国少年铁血军”在白山黑水之间与日寇展开的艰苦顽强的斗争。该剧成为全国戏剧界与日本侵略者进行斗争的有力武器。这部剧作，曾得到当时戏剧大师曹禺的大加称赞。曹禺称他“一出手就是战士”。但对这部剧作，晚年的吴祖光在《“投机取巧”的〈凤凰城〉——我从事剧本写作的开始》一文中介绍说：“这个剧本写得太幼稚，今天一看会让我感到脸红耳赤。譬如剧中苗可秀别家出征总带着义仆张生，完全是旧戏里公子与随身的书童那样的主仆关系。” 随后几年间，他笔耕不辍，陆续创作了《正气歌》《林冲夜奔》《牛郎织女》《少年游》和《风雪夜归人》等声震文坛的剧作。其中完成于1942年的《风雪夜

归人》是吴祖光的代表作。这部剧作集中体现了吴祖光以戏曲思维创作话剧的另一种思路，他将中西戏剧“写实”与“写意”艺术手法相融合，尝试不同题材和富有异趣的创作风格，对民族戏剧的现代化和现代话剧的民族化做出了有益的探索。除了艺术上久负盛名，吴祖光还被称为中国知识分子的脊梁。作为剧作家，吴祖光连续撰文抨击国民党统治之下的审查制度，称之为“奴隶的审查制度”。他抨击国民党删除曹禺之作《蜕变》中“打游击”的情节；他嘲讽蒋介石因自己是秃头而将张天翼的童话《秃秃大王》改成《猴儿大王》；他愤怒自己创作的《正气歌》被国民党删去关于朝廷昏庸的所有内容。对当时的政治形势，吴祖光有自己的判断和立场。1945年，他冒着生命危险率先发表了毛主席词《沁园春·雪》。毛主席诗词的突然发表，极大地改变了共产党的政治形象与文化形象，为此他遭到国民党通缉追杀。历史在发展过程中往往会出现一些拐点，作为社会中的个体，难免也会深随其中而无法左右自己的命运。1957年吴祖光被错划为右派，下放北大荒劳动。对于这种不期而来的遭遇，他以诗明志。诗云：眼高于顶命如纸，生正逢时以至此。行船偏遇打头风，不到黄河心不死。“生正逢时”，正是他一生最喜欢的词语。唐代王维在《酬张少府》云：“晚年惟好静，万事不关心。自顾无长策，空知返旧林。”但吴祖光即便到了晚年也绝非万事不关心的人。1991年12月23日，两位女顾客在北京国贸中心购物，遭到服务员无端怀疑，并受到解衣、开包检查的侮辱。关于此事，吴祖光写了题为“高档次的事业需要高素质的职工”一文，发表在《中华工商时报》上。这就是吴祖光，虽然和他没有关系，但是他也要说出来。

教学文体学

教学文体学：把文体学理论和分析方法应用到诸如口语、阅读、写作、文学、翻译等课程的教学中。文体学的目的：使学习者更好地理解各类文体的语言形式和功能，提高对语言及作品的鉴赏能力和对文体敏感性，以及恰当运用语言的能力。历史背景：教学文体学是一个基于语言（language-based）、以学生为本（student-oriented）、注重互动（activity-minded）、以流程为导向（process-oriented）来研究文学（或非文学）文本的研究方法。教学文体学作为文体学的一个分支，其发展一直贯穿于文体学的发展之中。19世纪开始，文学文本研究成为一门独立的学科，但是由于当时普遍认为文学不具学术研究性，所以它并没有被运用到教学中去。从文学文本研究成为一门学科直到其后的30多年时间里，文学教学一直遵循着一个不变的模式，后来这个模式被Freire称为囤积式教育（banking education），Freire认为这种模式好比是吧学习者当作空容器，他们不需要发言只需要接受所传授的东西，而教师所要做的就是把知识倒入这些“容器”里。在1938年，Rosenblatt提出文学是可授的并且强调需要激发学生的回应，虽然她的研究被认为是以学生为本观点（student-oriented perspective）的最早研究之一，但是并未成为教学文体学发展史的一部分。1975年，Widdowson开创性的提出：文学教学的重点在于提高学习者解读一系列语言的能力，包括文学和非文学，合乎语法或不合乎语法。这之后就渐渐形成了以学生为本、注重互动的教学文体学的特点。在20世纪的前25年，俄国文学形式主义者提出了语言的重要性，将“文学研究”与“文学资源的试议”区分开来。他们的这些观点使得后来出现了一系列关于如何在语言教学中使用文学文本的教科书。跟重要的是，他们提出“文学性”的问题，并以“陌生化”作为解答，对后来教学文体学产生了深远的影响。到1959年，J.R.Firth在爱丁堡大学谈及文体这一内容，使得文学教学从文体学的角度开始逐渐得到系统化。从此，EFL学者开始将文学文本作为语言学习的一个资源。1975年，Widdowson在《文体学与文学教学》中强调个人对文学的阐释应该建立在理解各语言项是如何获得话语的特殊价值的基础上, 即对文学的理解侧重通过语言形式的选择和排列表达了什么, 而不在于它描述了什么。也就是说要抓住作者的深层思想, 在教学中培养学生对文学交际的表达内容和方式的敏感性至关重要。Widdowson的这一论述是教学文体学历史上具有重大意义的里程碑，它开启了通过文体学将文学研究与语言研究相结合的道路，同时也为后来的学者留下了研究的空间。从1795年开始，许多关于这方面研究开始出现，加上俄国文学形式主义的影响，一个直接结果就是人们把对作品和作者的关注转向了对文学文本语言的关注。基于语言的、以流程为导向的教学语言学逐渐形成。研究趋势：教学文体学的研究趋势有很多，其中例举如下几个 1、语料库文体学，利用语料库以及新技术进行文体学教学 2、利用实证研究法进行文体学的教学 3、认知文体学和认知语言学，研究学生的意识和意识的产生。

The development of Stylistics

The development of Stylistics In the West The word “stylistics”first appeared in 1882,and the first book on stylistics was written by French scholar Charles Bally,student of the famous modern linguist Ferdinand de Saussure in 1902 and was published in1909,entitled Traite de Stylistique Francaise .This book is often considered as a landmark of modern stylistics.The subject of study in Bally’s time was oral discourse.Bally considered that apart from the denotative meaning expressed by the speaker,there was usually an “overtune”which indicated different “feelings”,and the tasks of stylistics was to find out the linguistic devices indicating these feelings. Later,the German scholar L.Spitzer,began to analyze literary works from a stylistic point of view,and therefore,Spitzer is often considered as the “father of literary stylistics”. From the beginning of 1930s to the end of the 1950s stylistics was developing slowly and was only confined to European continent.During this period,the Russian formalists,the Prague School and the French Structuralists all contributed to the development of stylistics. There emerged some well-known stylisticians,such as E.Auerbach, J.Marouzeau, M.Cressot, R.Jakobson. From the end of the 1950s to the present time,modern stylistics has reached its prosperity.This can be further divided into roughly four

企业重组【外文翻译】

外文翻译 Corporate Restructuring Material Source:https://www.wendangku.net/doc/3816060052.html, Author:Giuliano Iannotta The Holdout Problem When claimants are unable to find an agreement, they might not approve the restructuring plan, even when this will produce a sub-optimal outcome, such as a liquidation (which will waste the value of the firm “as a going concern”) or a formal bankruptcy procedure (which is more expensive and possibly leads to inferior result for creditors): this is the holdout problem. The likelihood of approval of the restructuring plan will depend on several factors, such as the number and sophistication of the claimants, the relative cost of the plan relative to other solutions, etc. For example, in the presence of many small bondholders it might be very difficult to get the restructuring plan approved, as some of them might believe they will be better off not approving the proposed plan. In other terms, when there is public debt (i.e., bonds) outstanding the holdout problem can be particularly severe. Scale down, maturity extension, or debt-for-equity swap might be very difficult if every bondholder has to agree to the term changes. Consider for example an exchange offer where outstanding debt is exchanged with equity (debt-for-equity swap): in other words, creditors take over the distressed firm. In such a situation, the bondholders who do not tender might benefit at the expense of those who do. Suppose the firm’s asset value is $100, with public debt outstanding for$120 (10 bondholders, each holding one bond with face value $12). The firm’s asset liquidation value is only$80: there is therefore an incentive to keep the firm doing business. Suppose the exchange offer is contingent on achieving a 50% tendering rate. If all bondholders tender, the firm will have the balance sheet reported in Table 10.1. The value to each bondholder will be $10, with a loss of $2: under liquidation each bondholders would receive just $8. Now suppose that only five bondholders tender: the exchange offer would succeed, but the five “holdout” bondholders will be better off. Indeed, the balance sheet of the firm would be that reported in Table 10.2.

《简·爱》英语文体学分析

《简·爱》文体分析摘要：文体学是连接语言学和文学批评的桥梁，它集中探讨作者如何通过对语言的选择来表达和加强主题意义和美学效果。《简·爱》是英国著名女作家夏洛蒂·勃朗特最为经典的作品。本文从文体学的角度对《简·爱》进行分析，探讨其在词汇运用、情节发展、人物刻画及主题思想方面的特点。一、作者简介夏洛蒂·勃朗特1816年生于英国北部约克郡的豪渥斯的一个乡村牧师家庭。母亲早逝，八岁的夏洛蒂被送进一所专收神职人员孤女的慈善性机构——柯文桥女子寄宿学校。在那里，她的两个姐姐玛丽亚和伊丽莎白因染上肺病而先后死去。于是夏洛蒂和妹妹艾米利回到家乡，15岁时她进了伍勒小姐办的学校读书，几年后又在这个学校当教师。后来她曾作家庭教师，最终她投身于文学创作的道路。夏洛蒂·勃朗特有两个姐姐、两个妹妹和一个弟弟。两个妹妹，即艾米莉·勃朗特和安妮·勃朗特，也是著名作家，因而在英国文学史上常有“勃朗特三姐妹”之称。二、小说内容概要简·爱是一个孤儿，寄住在舅母家，从小受尽欺侮和白眼。她被送进一家慈善学校，在那里，她学会了如何在恶劣的条件下生存，并最终成为该校的一名教师。后来，她应聘报纸广告上的职位，来到桑菲尔德庄园，担任庄园的主人罗切斯特先生收养的小女孩阿黛尔的家庭教师。简·爱相貌平平，出身寒微，却诚实真挚，独立自强，敢于表达自己的观点。罗切斯特被简·爱所深深吸引，而她也爱上了罗切斯特。就在他们即将成婚之际，简·爱得知罗切斯特已有妻室，她就是被关在阁楼里的疯女人伯莎。简·爱拒绝了罗切斯特要她留下来的请求，离开了桑菲尔德庄园。无家可归的简·爱被圣约翰·里弗斯兄妹收留，原来他们竟是表亲。圣约翰要去印度传教，他认为简·爱的品格非常适合做牧师的妻子，于是向她求婚，而简·爱却对罗切斯特念念不忘。一天晚上，她仿佛听见罗切斯特在呼唤自己的名字，于是她又回到桑菲尔德庄园，却发现昔日的庄园已被伯莎点的一把火化为灰烬。而罗切斯特也在抢救伯莎时受伤，双目失明。这时已经继承了一笔遗产的简·爱决定留在罗切斯特身边。三、文体赏析

文体学

一、Outline of this course: The name of this book is English Stylistics. Generally it is about the study of styles in language and variations in language, but in this course, we focus on modern stylistics, which has two branches, literary stylistics and general stylistics. The course introduced us an influential theoretical framework of stylistics and applied the theory in the concrete analysis of the main varieties of Modern English. 二、Terms definition. Stylistics: Stylistics is a b ranch of linguistics which applies the theory and methodology of modern linguistics to the study of the style. It studies the use of language in specific contexts and attempts to account for the characteristics that mark the language use of individuals and social groups. Style: 答案一：Style can be taken as the language habits of a person or group of persons in a given situation. (老师课堂讲授) 答案二：Style may be seen as the various characteristic uses of language that a person or group of persons make in various social contexts.(个人整理) Variety: Variety can be taken as the different types or styles of a language. Dialect: Dialect is the language variation that is associated with different users of the language. Register:答案一：Register is the language variation that is associated with different use to which they are put. (教材) 答案二：①Register can be taken as the varieties in which different situations with different situations with different occupational or social group.②Register can be taken as the distinctive varieties of a language used in different types of situation.(老师课堂讲授) 答案三：Registers are language varieties which are appropriate for use in particular speech situations, in contrast to language varieties that are associated with the social or regional grouping of their customary users. For that reason, registers are also known as situational dialects. (个人整理) 四、This term we covered Chapter1、2、3、4、5 and 9. In Chapter1(the aims and concerns of stylistics), we talked about the definitions of stylistics, modern stylistics, language, speech act, variety and style, 3 terms in language use, 4 influencing factors (regional variation, social variation, situational variation, topic variation), 5styles of formality. In Chapter 2(the necessity for stylistic study), we gave an introduction and analyzed the 3 need for stylistic study, i.e. stylistic study helps cultivate a sense of appropriateness; stylistic study sharpens the understanding and appreciation of literary works; stylistic study helps achieve adaptation in translation. In Chapter 3(the classification of varieties of English), we revealed two main kinds of situational varieties: dialectal varieties(dialects) and diatypic varieties(registers). We’ve 5 categories of the former, they are individual dialect(personal linguistic features); temporal dialect(dialect of time/ age/ epoch); regional dialect(origin of birth and grown-up) and social dialect(social groups and social background) and standard dialect. As to the latter, the field, mode and tenor of discourse and their relationships were covered. In Chapter 4(the levels of linguistic description & the content and procedure of stylistic analysis), we mentioned the aim of stylistics in linguistic description, which is to give an analytical tool. We also covered the 3 levels language, namely the level of phonology (to study the writing system);

外文翻译----过渡和企业重组在预算的作用

Transition and enterprise restructuring the role of budget Abstract:The focus of analysis is on the impact of financial leverage as a measure of bankruptcy costs on enterprise restructuring, based on budget constraints in the economy. Data of Bulgarian manufacturing firms allow comparison of firm behavior under soft and hard budget constraints as distinguished by the inception of a currency board in 1997. Controlling for change in sales, firm size and type of ownership, statistically significant relationship between financial leverage and firm restructuring through labor adjustments is found to exist under hard budget. 1 Introduction The impact of budget constraints on firm behavior in transition economies has been recognized in a number of studies where elimination of labor hording is identified as an important component of enterprise-restructuring policies (e.g., Grosfeld and Roland, 1996; Coricelli and Djankov, 2001). A large theoretical and empirical literature, summarized in Kornai et al. (2003), has identified the causes and channels of soft budget constraints (SBC). However, the effects of the heavy indebtedness resulting from SBC in transition economies and the influence of corporate capital structure on firm restructuring and economic efficiency have not been fully explored. In the finance literature, research has long been focused on how financial leverage and bankruptcy costs influence operating behavior and efficiency (e.g., Titman, 1984; Perotti and Spier, 1993; Sharpe, 1994; Rajan and Zingales, 1995). The main finding is that higher levels of debt in the capital structure discipline firms and force them to make optimal resource allocation decisions. This paper analyzes the impact of financial leverage on firm restructuring, based on budget constraints in the economy. The analysis explores an important channel through which the hardening of budget constraints is expected to cause active labor adjustment and enterprise restructuring. The empirical analysis uses data on more than 1500 Bulgarian manufacturing firms over the period 1994–2000. During the first half of the period, SBC were widespread and combined with inconsistent economic policies led to a severe financial crisis, which was followed by the inception of a currency board in mid-1997 and significant hardening of the budget constraints. Thus, data allow us to compare firm behavior under soft and hard budget constraints. Under hard budget constraints, a statistically significant relationship is found between determinants of the level of bankruptcy costs, such as firm size and financial leverage, and restructuring through labor adjustments. Ceteris paribus, the elimination of excess labor is more substantial in smaller and more highly leveraged firms. This relationship is not present under SBC. 2 Analytical framework and hypotheses The costs of adjusting firm labor force arise through the costs of hiring, training and firing employees, or the quasi-fixed components of the labor input (Oi, 1962; Fay and