1、2022/7/281 Varieties According to Medium Varieties of Contemporary English(2)Presented by Luo Zhaohui2022/7/282Spoken & Written EnglishThis section will focus on the differences between spoken and written English with regard to the following aspects, which condition (influence) the variations in spe

2、ech and writing:Channel limitation;Spontaneity of the message;Audience interaction;Publicity of the situation 2022/7/283Spoken VS. Written English(channel limitation and fluency)Spoken EnglishWritten EnglishNo channel limitation; it has multiple-channel effect (paralanguage) 全方位的信息渠道Limited to visua

3、l channel onlyLinguistic inexplicitness caused by exophoric (照應的) words (one, they, there, the) (shared context) Need of greater explicitness, without help of intonation, stress and rhythm, limited shared knowledge (信息表情圖，臉譜？)spontaneity normal non-fluency, : filled/unfilled pauses, unintended repet

4、itions, false starts, etc.Well-planned and structured, more fluent2022/7/284Spoken VS. Written English ( sentence structure)Spoken EnglishWritten Englishlack of clear sentence boundariesclear sentence boundariessyntactic pletenesssyntactic completeness the use of minor sentencescomplexity; major sen

5、tencesthe preference of paratactic structure( coordination, unlinked coordination, a clause with an appended clause表示臨時補充的增補從句)并列結構Often with connectives: and, but, then.heavily pre-modified NP; cleft sentence（What I like is English.）; the use of personal pronouns in a subordinate clause, preceding

6、the main clause (e.g.: As soon as he was ready, David began to work.)2022/7/285Spoken VS. Written English(sentence structure)Spoken EnglishWritten Englishthe use of postponed or anticipated identification in informal speech, eg.:They are all here, those boys.Your friend Cathy, I know her.the use of

7、various logical indicators(for addition, comparison, contrast, concession, enumeration, exemplification, summary. etc.)The comment clauses in end-position:You are right, I think. (I know, I see, I suppose, Im afraid, they tell me, you know, to be honest, generally speaking.)Pause fillers:Well, I mea

8、n, you knowthe repetition of the same syntactic form2022/7/286Spoken VS. Written English ( lexical choice)Spoken EnglishWritten Englishcommon vague or general words are often used when there is no need for explicitness:more careful choice of wordsthing, stuff, things like that, got, do, nice, what-d

9、o-you-call-it, whats-her-name, thingummy (refer to thing when you cannot remember or do not know the proper word or name for them, or dont bother to use the proper word or name), etc.2022/7/287Dialogue vs.Monologue( In terms of audience interaction) Dialogue MonologueThe speaker invites the particip

10、ation of the audience; No interaction between addresser and addresseeThe speaker keeps monitoring his/her message to keep the channel of communication open with monitoring signals: well, you know, what I mean is, do you get me? or questions etc.;Cooperation between speaker and audience.no interrupti

11、on by the audience, hence no monitoring signals usually; If monitoring signals occur in monologue, the speaker is aware of the audiences presence or reactions either in mind or in reality.Dialogues in literary texts(written to be spoken; 精心錘煉加工的，意圖表達人物心理狀態、情感、態度和含義) may serve to directly “show” rath

12、er than “tell” (fictional reality). More on p.165.Monologues in fictional narratives may represent characters mind/ consciousness. Show rather than tell.2022/7/288Dialogues in Fictional NarrativesFeatures of spoken style can be found in the first and third person narration, interior monologue and di

13、alogues in a novel. Dialogues play an important part in most novels. They are carefully designed to indicate characters speech style or habits, thoughts or emotions, social status or experiences, educational background and personalities, as well as developing the plot. (e.g.: 28 & 29， pp. 165-168)20

14、22/7/289Read the following extract from the short story “The Necklace” written by Guy de Maupassant, and compare it with its alternative version in terms of their effects: 2022/7/2810Dialogues in fictions resemble that in reality. They are also governed by Co-operative Principles (Maxim of Quality,

15、of Quantity, of Relation, of Manner). But the author usually designs the fictional dialogues in such a way as to violate the CP in order to produce conversational implicature, and represent characters emotional states, affectionate attitudes, and even the authors/narrators intentions. e.g.:2022/7/2811Read the foll