What is meant by language style

Language style (hereinafter referred to as style) is the core

term of linguistic stylistics (hereinafter referred to as stylistics), and its definition connotes the summary and consolidation of stylistic researchers' understanding of the essential features, causes, and coverage of style, and its recognition and understanding are related to a series of stylistic research

problems. Its importance determines that it is the primary question that style theory research must answer, and many style

style theories have attached great importance to the definition of style.

A

Since 1949, scholars in China have given a variety of definitions of style, which can be summarized in 9

kinds of statements:

(a) the atmosphere of speech and tone. For example, Gao Mingkai said, "The style of language is the atmosphere or tone of speech produced when language is used by people in different

similar communication occasions to adapt to the communication occasions and to achieve a certain communication purpose

. (Note: Gao Mingkai, "Theory of Language", p. 413

, Science Press, 1963.) Hu Yushu: "Language style refers to a certain

atmosphere and tone formed by the selection of some linguistic means adapted to the situation and purpose due to the differences in communicative environments and

communicative purposes." (Note: Hu Yushu, ed. Modern Chinese (updated edition), p. 548,

Shanghai Education Press, 1981.) This view inherits and develops the traditional stylistic theory of China about

the statement of body momentum.

(ii) the sum of speech features said. For example, the Chinese Department of Peking University, Chinese Language Teaching and Research Center: "Language style

is the sum of the various characteristics expressed

by different nations, different times, different schools, and individuals in the use of language." ) Zhang Jing: "Linguistic style

Geometry refers to the sum of the various characteristics expressed in the use of language." (Note: Zhang Jing, edited by Zhang Jing, New

Edited Modern Chinese, next volume, p. 229, Shanghai Education Press, 1980.) This statement is

more influential and more familiar to the academic community.

(C) the comprehensive expression of speech features. For example, Zheng Yuanhan: "Speech style is the comprehensive expression of a series of speech features formed by the influence or constraints of different communicative environments in the use of language

." (Note: Zheng Yuanhan, Speech Stylistics (Updated), p. 1, Hubei Education Press

, 1998.)

(D) means of expression system. For example, Fang Guangtao: "Style should be narrowly defined as a certain

system of means of expression of worldview." (Note: Fang Guangtao, "The Present

Stage of Discussion on Language and Speech Issues," in The Collection of Discussions on Language and Speech Issues, p. 158, Shanghai Educational Publishing House, 1963

.) This argument was popular among scholars in the former Soviet Union.

(v) Variation theory. For example, Ye Fusheng and others: "Language can also show different variations according to different occasions of use

. The same person speaking to different objects on different occasions often has different

characteristics. ...... This kind of variation is called the stylistic variation of language." (Note: Ye Fusheng and Xu Tomang

Outline of Linguistics, p. 12, Peking University Press, 1981.) This kind of statement is more influential in Europe and America

.

(F) the synthesis of language and speech features said. For example, Zhang Deming: "Language style, refers to the characteristics of the language

system itself and the synthesis of various characteristics in the use of language." (Note: Zhang Deming,

Language Stylistics, p. 25, Northeast Normal University Press, 1984.)

(vii) systematic features said. For example, Hu Fanzhu: "Language style is a systematic characteristic that is expressed

presented by the use of a certain language under the comprehensive constraints of various factors such as the subjective

psychology of the language user and the content reflected by the language." (Note: Hu Fanzhu, "A Brief Introduction to Language Style", Revision

Rhetorical Learning, No. 2, 1987.)

(viii) the synthesis of speech personality or the sum of distinguishing features said. For example, Wang Huan Yun: "In one or

a language style, the comprehensive speech personality with

personal differentiation expressed in phonetics, vocabulary, grammar and rhetoric is called language style." (Note: Wang Huan Yun,

A Brief Introduction to Chinese Style

, p. 2, Hebei Education Publishing House, 1993.) Wang Xijie: "Speech style, on

is the sum of distinguishing features expressed in language use." (Note: Wang Xijie, The General Theory of Rhetoric

, p. 498, Nanjing University Press, 1996.)

(ix) Aesthetic style said. For example, Zong Shihai: "Speech style is the overall aesthetic appearance of speech works which is guided by the aesthetic interests of the individual

persons who express their words, and conveyed by the linguistic elements and linguistic means of expression with different aesthetic functions." (Note: Zong Shihai, "On the Definition of Speech Style,"

See Lai Yunhan and Xiao Peixiong, editors, Rhetorical Studies Toward the 21st Century, p. 395, Guangdong People's

Publishing House, 2001.)

The above statements reflect the stylistic views of various researchers, with similarities and differences, or language style or

speech style, all of which are mainly from the perspective of language use to examine the phenomenon of language style, and from different

perspectives or sides to reveal some of the essential features and factors of the formation of language style, but with a certain degree of conceptual connotation,

emphasis, and extension. There are some differences in the conceptual connotations, focuses and extensions of the concept. First of all, based on the sociolinguistic and linguistic understanding of the phenomenon of

style, some emphasize the constraints of the external factors of language on the use of language, and believe that style

is the result of using language under the constraints of the specific external factors of language, such as (a), (

three), (e), (v), and (vii); while some are based on the linguistic understanding of the phenomenon of style, focusing on the external factors of language, such as (a), (b), (d), (e), and (f). (ii), (viii)

; some, based on the linguistic understanding of the phenomenon of style, hold the broad theory that style is a combination of the characteristics of the national language

itself and the various characteristics of language use, as in (vi); some, based on the aesthetic

and linguistic understanding of the phenomenon of style, hold that style is a combination of the characteristics of the language itself and the various characteristics of language use, as in (vi); and some, based on the aesthetic and linguistic understanding of the phenomenon of style, hold that style is a combination of the characteristics of the language itself and the various characteristics of language use, as in (vii). style phenomenon, that style is the result of individual aesthetic interests acting on language

use, such as (ix). Secondly, the connotation of the object referred to by each person in the same statement

is not the same. For example, while the same person emphasizes the role of external linguistic constraints, Gao Mingkai's constraints refer to "communicative occasions", and the atmosphere covers "the speech style of the general communicative function", "the speech style of

literary works", and "the speech style of literary works".

The constraints of Hu Yushu are "

communicative environment, communicative purpose", and the atmosphere and tone cover "the national style of language". national style of language", "

period style of language" and "personal style of language"; Hu Fanzhu's constraints refer to "the subjective psychology of language users, the subjective psychology of language reflections"; Hu Fanzhu's constraints refer to "the subjective psychology of language users, the subjective psychology of language reflections". The constraints of Hu Fanzhu refer to "the subjective psychology of the language user and the content reflected by the language", and the characterization system refers to "stylistic style", "expressive

presentation style", "personal style", "community style" and "community style".

The system is synthesized by various characteristics of "style of speech", "style of representation", "personal style", "community style" and "genre style"; Zong Shihai's constraints are "the personal aesthetic interest of the speaker", "the aesthetics of the speaker", and "the aesthetics of the speaker", and "the content of the speech". The constraint of Zong Shihai is "the personal aesthetic interest of the verbal expressor", and the aesthetic

style only covers "style of expression". Another example is that, focusing on the same external morphological factors, the sum of the characteristics of the Chinese Language Teaching and Research Department of the Chinese Language Department of Peking University

covered "national style", "period style", "stream

school style ", "personal style" and "linguistic style of the genre"; the sum of Zhang Jing's characteristics covers

"national style", "period style," "personal style," "stylistic style," and "expressive

style" The synthesis of Zhang Deming's characteristics covers the "national style" and "contemporary style" of linguistic style, and the "stylistic style" of verbal style,

Speech style "genre style", "performance style" and

"personal style" and so on.

Two

The above differences are normal, and in foreign countries, the definition of language style is also varied.

All new disciplines, in the founding period and even in the development, the definition of its core terms are inevitably

everyone is different. The term "culture" in "cultural linguistics" is a concept that has been the subject of much debate this century.

The famous American anthropologist Kroeber (Alfred Louis) has searched and listed

more than 160 scholars in the West to study the different definitions of "culture", and if

plus the definitions of the Oriental scholars*** there are hundreds of definitions. There are hundreds of definitions. (Note: See Dai Zhaoming's Cultural Linguistics

Introduction, p. 4, Language Publishing House, 1996. ) The definition of pragmatics is also not yet a relatively unanimous

view, "Research has been carried out from many different perspectives, the results of which have influenced different definitions of pragmatics

". (Note: He Natural, "The Implications of Pragmatics for Rhetoric," in Lai Yunhan and Xiao Peixiong, "Toward the 21st Century of Chinese Rhetoric," p. 486, Guangdong People's Publishing House, 2001). Scholars have given various definitions of "rhetoric", and even under the same understanding of its connotation, the expressions are different. Stylistics is a new discipline born out of rhetoric, and style is an intricate and complex phenomenon in language phenomenon. It is not easy to define its connotation scientifically, and it is necessary to deepen the understanding of its essence and to deepen and develop the research in order to get a reasonable solution. Zong Shihai in "On the Definition of Speech Style

" (Note: Zong Shihai's "On the Definition of Speech Style" is found in p. 395 of "Rhetorical Studies Toward the 21st Century" edited by Lai Yunhan and Xiao Peixiong, Guangdong People's Publishing House, 2001).

In his article "The Definition of "Language Style" and Its Characteristics," Zhang Deming commented on the four definitions outlined by Zhang Deming, and argued that the theory of "style and atmosphere," represented by Gao Mingkai and Hu Yushu, is "the closest to

aesthetic atmosphere of speech style, but because it emphasizes the necessary

connection between speech style and the verbal communication environment, it leads to the indistinguishability of speech style from corpora". The "

Comprehensive Characteristics Theory" represented by Zhang Jing and others emphasizes the comprehensive expressiveness of verbal style, which does not lead to the understanding of verbal style as a simple addition of various characteristics, and the "Means of Expression System" theory represented by Fang Guangtao The theory of "system of means of expression" represented by Fang Guangtao "reveals

the material factors of the creation of verbal style, and facilitates the understanding of the type of verbal style from the point of view of the series of means of expression and the system of methods of expression", but both of them "lack the verbal atmosphere of 'atmosphere", which is the same as the style of speech. 'as the provisions of speech

style performance, therefore, its 'various characteristics', 'means of expression' are easily understood

as general rhetorical features, can not be deducted from the aesthetic style, and can not be separated from the style. Nor can they be divorced from the corpus of speech."

The theory of "conventional variation", represented by Ye Fusheng and others, "lacks not only the limitations of aesthetic style and means of speech, but also the definition of speech attributes and personal expression, and focuses only on variation and

variation, thus confusing the individual variation with the collective variation. the boundary between individual and collective variation, leading to the indistinguishability of style and style

, but also obliterating even the basic boundary between language and speech, confusing style and style

with language and dialect." This comment is more than fair and insightful, and it reflects

the reviewer's deeper understanding of the essential features of style. In order to distinguish it from the above statements,

he positioned style as expressive style, an aesthetic style, which is a great progress.

At present, some scholars in China equate language style with style of speech or style of language, or with rhetoric, understanding style as "the sum of general rhetorical features" or "the unity of the means of expression

body

. "and believe that "language stylistics is rhetoric" (Note: Tang Songbo, "Style - Rhetoric -

Style", p. 41, Jilin Educational Publishing House, 1988). It seems that none of them originates from the influence of the above various style

style definition sayings. Language style is both related to and fundamentally different from style and style of speech.

Language style is a general term for all kinds of language styles

such as expression, style, ethnicity, era, region, genre, and individual, etc. Style of speech is the style of expression of the body of speech, which is an important

type in the system of language styles and is not the same as the whole language style. Style is a system of speech characteristics formed by the use of universal language to meet the needs of different communicative fields, purposes, objects

and ways. For example, extensive use of

scientific terminology; extensive use of restrictive additions, complete syntax, and a large number of complex sentences; rare use of

descriptive rhetoric; extensive use of scientific symbols, this is a series of verbal features of the specialized scientific style of speech

and the synthesis of these verbal features presents the atmosphere of the tone - -These features of speech combine to present a tone and atmosphere of strictness, plainness and solemnity

, which is the style of the specialized scientific style of speech. Stylistic style is a phenomenon of speech which is superior to stylistic style, and it has a superior and inferior relationship with

stylistic style, not an equivocal relationship. Therefore, it is not appropriate to equate stylistic style with linguistic style in terms of a system of

speech features or a series of means of expression formed by the use of language - stylistic style is equal to stylistic style. Nor is linguistic style equivalent to general rhetorical features or features of the use of language. For example, Zhenxi's "On the Language Style of Liu Bai

Yu's Prose" says that Liu Baiyu's language style is: bold, colorful, new

new and bright. (Note: See Studies in Rhetoric (Fourth Collection), p.

204, edited by the East China Rhetoric Society, Xiamen University Press, 1988. Chen Shuqin, "The Language Style of Zhao Shuli's Novels," says that the language style of Zhao Shuli's novels is reflected in the following: (1) the use of words (1) popularization,

colloquialization, and 2) vulgarity and vividness; (2) the use of sentence types and categories (1) the use of short

sentences, and 2) the use of declarative sentences of the subject-predicate sentence type; and (3) the comprehensive use of various rhetorical devices.

Use of various rhetorical devices (1) the uniqueness of the use of simile, 2) the wide application of borrowing, 3) the use of intricate devices

. (Note: See Collected Essays on Rhetoric (Fifth Collection), p. 178

, edited by the Chinese Rhetoric Society, Henan University Press, 1990.) Both of them are named language style, in fact, only the former is

language style research, the name is consistent with the reality; the latter is only rhetorical characteristics analysis, the name does not match the reality.

Language style is an open and complex dynamic system, an objective fact.

The definition of language style is a subjective product, which is a sublimated generalization of the researcher's knowledge

of the objective facts he studies. And "there is always a permanent distance between the facts and the definition, and it is impossible to conform exactly to the facts

. Herein lies much of the trouble with literary terms, much of the controversy. Whatever the definition, there are always a number of facts on which to base it; and whatever the definition, there are always a number of facts left to be summarized

, so that anyone who proposes a definition can always be encouraged to disprove it by facts to the contrary."

(Note: See Pctcr Dkon's "Preface" to On Rhetoric, translated by Yan Yuan-shu, Dawn Cultural Enterprise

Co. 1973). There is truth in this statement. The definition of linguistic style is not only a matter of benevolence and wisdom among different

researchers, but also a matter of frequent changes between the later and former statements of the same researcher, and even a major

updating and improvement. For example, Gao Mingkai said in 1960 in Contents and Tasks of Linguistic Stylistics

"Style is the atmosphere or tone of speech and its means of expression which is formed by the language in special communicative occasions in order to adapt to the special communicative purposes". (Note: See Linguistic Series, edited by the Linguistic Series Editorial Department of the Chinese Department of Peking University

Series, p. 180, Shanghai Educational Publishing House, 1960

.) In 1963, in his

Theory of Language

, he argued that "the style in language is the special speech atmosphere and speech style produced when language is used in different

communicative situations to adapt to the communicative situations and to achieve a certain communicative purpose." (Note: Gao Mingkai, Theory of Language, p. 411

, Science Press, 1963.) The latter deleted the phrase "means of expression", so that it was simply "style

tone atmosphere". Another example is Cheng Xianghui, who said in The Theory of Chinese Style: "Language style is a synthesis of the characteristics of language

itself and the characteristics of language use. " (Note: See Journal of Qinghai Institute of Nationalities

No. 1, 1979.) Later on, he had a new understanding of style, and in

The Essentials and Cutting Points of Style

, he revised the definition of style in the previous article, and regarded language style as "the special atmosphere of speech

that is constituted by the communicators in the specific operation of

language subjected to the different occasions of communication and the different purposes of communication. " (Note: See Cheng Xianghui and Lai Yunhan, editors, The Collected Essays on Language Styles, p. 24, South

King's University Press, 1994.) The abandonment of "the characteristics of language itself" and the change from "the synthesis of characteristics" to "the atmosphere of speech" are in line with the traditional literary theories of China, which emphasize the importance of "style". The change from "synthesis of features" to "verbal atmosphere" is in line with the understanding of "style" in traditional Chinese literature, and is more in line with the Chinese sense of style. Zhang Deming said in 1985 in "The Definition

and Characteristics of Language Style" that "Language style is a comprehensive expression of the characteristics of the language system itself and of the various

characteristics of language use." (Note: See page 203 of Collected Essays on Rhetoric (Fourth

Collection), edited by the Chinese Rhetoric Society, Fujian People's Publishing House, 1987.) In 1994, in "The Basic

Principles of Stylistics" (Note: See Cheng Xianghui and Lai Yunhan, editors, Collected Essays on Linguistic Styles, p. 24, Nanjing University

School Publishing House, 1994.) This view is also held in The Applied

Value of the Theory of Language Stylistics

, and more recently in The Applied

Value of the Theory of Language Stylistics

, it is said, "The so-called language style is the comprehensive expression

representation of the various characteristics in the language use." (Note: See Lai Yunhan and Xiao Peixiong, editors, Chinese Rhetoric Toward the 21st Century

page 381, Guangdong People's Publishing House, 2001). Here the "characteristics of the language system itself" are cut off, highlighting the essential attribute that language style is the result of using language, reflecting the renewal of the style

view. Ding Jinguo, in 1984, argued that "language style is the tone of speech produced

by people in a special communicative environment

in order to accomplish a specific communicative task, using a system of means of expression with a relatively closed nature." (Note: Ding Jinguo, "A Few Questions on Linguistic Stylistics," Journal of He

North University, No. 3, 1984.) In 1997, he said, "The so-called style, as we

understand it, is the outward form of the inner essence of the communicative discourse formed by people's use of language."

Interpreting that "the inner nature of communicative discourse" refers to the external conditions of style generation, such as specific communicative occasions, specific communicative purposes, inner

content and tasks, as well as all the subjective conditions for the formation of the discourse, i.e., the discourse creator's own experience, upbringing, temperament, interest and psychological factors; "external" refers to the external conditions of style, such as the language used by the people, the language used by the people, the language used by the people, the language used by the people, the language used by the people. Psychological factors; "epiphenomenal shape" does not mean "the language system itself, but the atmosphere or tone that is pronounced by the semantic structure for the participants in the communication who have similar

subjective and objective conditions to recognize." (Note: Ding Jinguo, "Several Problems of Language

Stylistics," in Wu Yuezhen and Chai Chunhua, editors, Chinese Rhetoric Research and Application

, p. 209, Henan People's Publishing House, 1997.) Obviously, the latter statement not only reveals more correctly than the former statement

than the former statement certain essential features of style and the subjective and objective factors of style generation, but also, and more valuable, proposes

that "the atmosphere or tone of the participants in the communication with similar subjective and objective conditions," that is, "

expressing the subject's self-feeling.

Expression of the subject's self-feeling, the discourse object of the style of meaning and acceptance of the meaning of the subject of the understanding of the

Concordance or basic consistency, the atmosphere or tone to become a reality, "this new insight, a breakthrough in

The study of the causes of the style of the limited to the expression of the point of view, opening up a new field of style research. With the development of

language stylistics and the deepening of the understanding of the object of study, I have been improving and updating the definition of

style. For example, in Modern Chinese Rhetoric, which I co-authored with Zhang Weigeng, I said, "Language

style is the comprehensive manifestation of the characteristics formed by the means of language

expression that people use in their speech activities due to the differences in the occasions and purposes of communication." (Note: The Commercial Press (Hong Kong) 19

86 edition page 201.) In Rhetoric - Stylistics - Language Stylistics, it reads, "Language

Speech style, also called speech style, is the synthesized expression of the features

of the means of verbal expression under the guidance of subjective and objective factors." (Note: See Cheng Xianghui and Lai Yunhan, editors of

A Collection of Essays on Language Style, p. 78, Nanjing University Press, 1994.) And in

Chinese Style

Theory

, it is believed that "Chinese style is the product of the Chinese people's verbal communication, and it is the atmosphere and tone of the participants in the communication, who are guided by subjective and objective

view factors to utilize the characteristics of the Chinese means of expression to synthesize and express themselves.

"

"And a new and diversified interpretation of its connotation is made: "1. Language style is the result of language use";

"2. Language style is the unity of multiple factors"; "3. Language style is the sublimation of language aesthetic form

"; "4. Language style is the expression style." (Note: Guangdong Education Publishing House, 20

00 edition, p. 7.) The fact that we updated the definition of style

three times in the mid-1980s, the early 1990s, and the early 2000s demonstrates the process of our continuous exploration of the definition of style, which is a manifestation of the deepening of our understanding of the essential characteristics of style

and is conducive to the deepening and development of stylistic research. Professor Zong Tinghu

and Dr. Wu Liquan said in "Advancing the Study of Chinese Stylistics in a Solid and Deeper Way--Reviewing Lai Yunhan's Book

'Chinese Stylistics'", "The pluralistic

interpretation of the connotation of the definition of Chinese style in the first chapter reflects the latest academic insights." (Note: See Wenhui Book Weekly, December

9, 2000 edition.) Prof. Zheng Yishou, in "New Paths in Chinese Stylistics--Review of Lai Yunhan, '

Chinese Stylistics,'" says, "A new and pluralistic interpretation of the definition of Chinese style has been made. This

interpretation reveals the essential characteristics of the object referred to in both its connotation and extension, and it is a profound, comprehensive

and novel discussion, reflecting the author's new view of language style." (Note: See Pingdingshan Teachers' College

School, No. 4, 2001.) These are words of affirmation and praise.

Three

Drawing on China's traditional style theory and modern language theory, and looking at the style definition

theory of the above, combined with my 40 years of research on the style of the experience, I believe that the language style is the product of the people's verbal

communication, and it is a communication participant in the subjective and objective factors guiding the use of the means of verbal expression, and all the

characteristics of the atmosphere and tone of the comprehensive expression. It is the atmosphere and style of the comprehensive expression of the participants in the communication, which covers the style of expression, style of language, national style, style of the times, regional style, genre style and personal style. This is the

core terminology of linguistic stylistics, and its conceptual connotations include: (Note: See Lai Yun-Han, Chinese Stylistics, p. 7

, Guangdong Education Publishing House, 2000.)

(1) Style is the result of language use

Language style arises and exists in language use and its finished speech. There is no language style without the use of language

, and there is no language style without the finished product of speech. Language style is not the state of the language system itself, it is not the sum of language materials or speech features or the system of language means, but it is the tone and atmosphere of the various features formed by the use of language style means under the guidance of subjective and objective factors. Stylistic means are born from linguistic materials, which are the basic material units of style generation. Stylistic means constitute stylistic features, but fragmented, individual stylistic means do not

could constitute stylistic features. Style features are not the sum of various style means, but

a series of functionally the same or similar style means into the crystallization. Style features to form a style atmosphere

atmosphere, but a feature can not form a style atmosphere, several features can not be added simply

out of a unified style atmosphere, only the fusion of each other will present a unified style atmosphere.

Since

this, style is the result of using stylistic means to generate stylistic features to present a stylistic atmosphere, it is a kind of dynamic

state of speech phenomenon, not a static language phenomenon. The linguistic world often said that the language style, in fact, for

speech style.

(2) style is the subject of expression and acceptance of the subject *** with the creation of the results

Language style is the product of verbal communication, verbal communication is the expression and acceptance of the interactive behavior,

interaction between the two sides are the main body of the creation of the style, the expression of the creation of some kind of linguistic style, in order to achieve

ideal effect of communication, by no means only the party can be completed. It must be accomplished by the receiving subject's creative reading, experiencing, understanding, confirming, and revealing the stylistic phenomenon of his language works

be completed. Therefore, what kind of language style the subject of expression creates and pursues is only provided as a possibility in its speech

use and its speech works, and it must be cognized and revealed by the subject of reception in order to make the possibility provided by

become a reality. Without the receptive subject's recognition and revelation, the linguistic style created and pursued by the expressive subject

is only a latent phenomenon in the use of language and its speech works. Therefore, the definition of style

includes the factor of receptive subject.

(3) Style is the product of the interaction between the guiding factors and the material factors

Style consists of three factors: the guiding factors, the material factors, and the products of the interaction between the guiding factors and the material factors, namely, the atmosphere and the tone. The guiding factors are non-verbal or external factors, including

subjective factors such as the conditions and characteristics of the participants in communication and objective factors such as the communicative environment, the object of communication, and the method of communication

, which are the factors that play a restraining or guiding role in the formation of style. Material factors are

language factors or internal factors, including style means in the three elements of language and style means in the non-linguistic elements, which is the material basis of style formation, without language factors, there is no linguistic style

style. Guiding factors are external factors, material factors are internal factors, external or internal factors alone

can not generate style, only the external factors and internal factors complement each other, interact with each other as

causes and effects, dialectical unity, presenting a kind of atmosphere style, is the language style, the lack of one of the two, can not be formed

style. Therefore, the connotation of the definition of style includes the guiding factors and material

factors of style formation.

(4) The generalization of style is embodied in the performance style

The performance style is a generalization of the rhetorical effect produced by the comprehensive use of various stylistic means.

From tuning, word choice, sentence selection to setting up a pattern, plotting and other stylistic means, comprehensively reflecting the rhetorical effect in a text

chapter (or a discourse), or a work, or a language, or a writer's work, or a writer's work of a region, or a writer's work of an era, or a writer's work of an ethnic group

work. The various atmospheres and tones concentrated in the works of writers of a region, or of a time, or of a nation, are their own styles of expression, and the abstract generalization of the atmospheres and tones of the various kinds of verbal works from different perspectives leads to the different types of styles of expression. For example, focusing on the strength and softness of the discourse momentum

is the boldness and softness; focusing on the amount of language used to express the content of the discourse is the abundance and simplicity

about; focusing on the language used to convey the message of the discourse straight and narrow is the implication and bright; focusing on the intensity of the discourse

is the rhetoric is the aloofness and the simplicity; focusing on the intensity of the discourse is the humor and solemnity; focusing on the

on the discourse is the humor and solemnity; focusing

on the discourse is the style of performance, which can be seen from different perspectives. p>

Focusing on the elegance and vulgarity of the discourse is elegant and popular; focusing on the looseness and tightness of the structure of the discourse is relaxed and

meticulous, etc. They are both different and related. They are both different and related, *** with the system of expression style. Expression style

Since it is abstractly summarized from the atmosphere of various kinds of speech works, they

exist in various styles such as style of language, national style, period style, regional style, genre

style and personal style, and can be used to summarize and refer to these styles. Therefore, the style of expression

is a generalized embodiment of language style.

(5) Style is the sublimation of language aesthetics

The language itself has both practical and aesthetic functions, and the material hand

segment system that generates the language style is mainly composed of the expression means that have the aesthetic function as well as those that do not have the aesthetic function, but can also embody the aesthetic function when cooperating with the components that have the aesthetic function in a specific

context. means.

What stylistic means and combinations the subject of expression chooses to compose the discourse, and what kind of discourse style and atmosphere he pursues are subject to his aesthetic interests, and he may even consciously or unconsciously give aesthetic information according to the characteristics of the object of expression, so as to make the discourse contain the beautiful quality of his own aesthetic personality. The receptive subject

reads and interprets the verbal work, cognizes and reveals the features of the language style and its aesthetic quality, which will also be subject to the constraints of his or her aesthetic sentiment

interest. Therefore, the expression of the subject's aesthetic outlook on the aesthetic function of the style means and

created by the receiving subject into their own aesthetic interests, so that it becomes a reality of the language style

is a sublimation of the aesthetic form of language. Scholars say that style is a kind of atmosphere and tone of speech

, that is, the aesthetic value orientation of speech. China's traditional language style theory and modern Chinese stylistics from the

verbal communication produced by the abstract generalization of the expression of the style, bold and soft, complex

abundance and simplicity, implicit and bright, beautiful and simple, solemn and humorous, elegant and common, meticulous

and sparse, etc. is the aesthetic form of the classification of the speech is the use of the art of language is a mature sign, is the beauty of the art of the world, is a symbol of the aesthetic form of the language.

It is the highest state of beauty

rhetoric.

The above five aspects of the connotation of both differentiated and related, *** with the same constitute the definition of language style

the whole, which not only reveals the essential features and causes of language style, but also covers the scope of its extension

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