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November 26 愛的宣言 親愛的爹地和媽咪: 基於您們放棄選擇的權利，本人擁有所有權來決定您們的聖誕禮物。 此通告發出，該禮物也隨即發出。有關於對禮物的預測，請於五至六 天內回覆您們的答案。禮物抵達後，一切錯誤的猜測，本人一概不負 責任。 女兒 敬上 November 25 Shall I compare thee to a summer's day這是一首追求永恆的詩，無論是從韻律或詞意方面來看，朗讀起來都能傳情達意。莎士比亞將這首詩寫給一個少男，所以在他的戀愛史上也引起不少爭議。許多人對詩的喜愛純粹是一種情感的流露，把詩科學化或系統化地進行研究，只會破壞詩的意境，對詩的欣賞可說是各有各的看法。 這首詩曾經是我的一份禮物。 The Shakespear’s Sonnet 18 is one of the most famous poems which presents a philosophical sense of immortalizing an amorphous love to an eternal course of time. The verse is an embodiment of the affection by contrast with the most pleasant season and the threat of Death. The tender passion and the assertion of the immortality to his beloved are written in the verse with various technical devices. Deviation of metaphors, sounds and symbols present the references of his abstract idea of passion to his beloved. Sonnet 18 is a Shakespearean sonnet which consists of three quatrains and a couplet with the rhyme scheme of abab cdcd efef gg. The phonetic transcriptions of the last and the penultimate syllables of each line are shown as below. The phonetic transcriptions are listed in Standard English; the pronunciation of “temperate” and “date” in the end of line 2 and 4 respectively shows the difference in vowels. Thus we may infer the sounds of articulation in Standard English of these two lexical items are different from Middle English.
Each quatrain is semantically related to each other. The first quatrain evokes the faults of summer even if summer symbolizes fresh and bright day “As fressh as is the brighte someres day”(Chaucer, Merchant’s Tale 1896). The beauty of “thee” would be “more lovely and more temperate” in contrast with too windy occasionally in the beginning of summer and everything on earth exist which under “summer’s lease” is transitory. The subtle transition of temporal progression leads to the second quatrain. The peak of summer time would be “too hot” and “dimm’d” as cloudy. Unavoidably ‘‘sometime” in the end of summer “fair from fair” would decay in the course of changes in the nature. Then the turning point of the perspective begins with the volta from octave to sestet: “But thy eternal summer shall not fade,”. The affection to “thee” is capsulated by the “eternal summer” in the verse and will be last forever. The following alliteration of “Nor” exhibits the phonetic parallelism, binding together the challenges of affection fading into the course of time and the “shade” of Death. But the course of changes in the flow of time will be unchangeable in the “eternal lines”. As long as “men can breathe or eyes can see”, this verse with its affection will be immortal. In the end of the poem concludes by parallelism in a couplet. This poem is believed to be written to a male. If four seasons are symbolized one’s life, summer is the period of maturity and ripeness like flowers blooming with full strength in the summer, “Summer’s ardent strength,” in Thomson’s phrase (“Winter”1030). The lexical item ‘‘fair” is derived from Old English ‘faeger’ which means ‘beautiful and pleasant’. In the sonnet 18, “more lovely” and “fair” would be appropriate to describe a young woman rather than a mature woman if it was written for a female. If so, there is an inherent contradiction between the summer and young woman. Because “summer” is considerably getting past her prime to a young women. Some words are also apparent from the linguistic choice. The older term ‘ofte’ or ‘oft’ is replaced by “often” in sonnet 18. The sonnet is written in the same century when ‘often’ is adopted to a new lexis in the Middle English. The verse produces a series of contrasts between the lexical fields associated with a lively eternal life and “Death”. The most obvious spark features of the lexical items are “lovely”, “darlings buds”, “fair”, “eye of heaven” and “gold complexion”; and the threat of doom are included “rough winds”, “too short”, “too hot”, “dimm’d”, “declines”, “Death” and “in his shade”. “Death” is capitalized in the first syllable and hence it is deviated orthographically in the poem. It also precedes transitive verb “brag” with an active voice. The sonnet consists of three personas: the embodiment of affection to his beloved, “a summer” and “Death”. We can thus see that the universal matter of Death is personified, “Nor shall Death brag thou wander'st in his shade,” Indeed, the whole poem is in the present tense which illustrates to the specific story for his beloved and to timeless or instantaneous. The Death is the universal matter and instantaneous whereas the eternality of the verse is timeless. It is likely to the indefinite noun phrase “a summer’s day” and the generic noun “summer’s lease” force readers into seeing the beauty of summer which is the universal matter and instantaneous in contrast with the immortality of his affection to his beloved. The coherence can be found from the poem in which the interrogative structure is in the first line of the stanza. It raises a question “Shall I compare thee to a summer's day?” and it gives a statement in the manner of declarative structure in the end, “So long as men can breathe or eyes can see , So long lives this, and this gives life to thee.” The deictic expression “this” and the repetition of deixis “this” zoom in the emotional distance between his beloved and his inner affection in a strong determination of being immortal. In fact, the objective second-person lexis “thee” in Elizabethan English is meant for addressing a single intimate. In respect of the sound patterns, the monosyllables with long vowels slow down the rhythm and emphasize the connotation of “this” – the immortality of the verse.
In the whole poem, there are some technical devices in the sound effects. The alliteration, assonance, rhyme and meter achieve the meaning and associate them with the emotions. Sonnet 18 is an iambic pentameter which begins with a remiss (weak stress) first then follows by an ictus (strong stress) in a five-beat rhythm.
The weak functional word “I” and “to” are promoted to minor syllables in an attempt to take the beats. /tuː/ is replaced by /tu/ in order to articulate a weak stress. “Shall” is articulated in the strong stress /ʃæl/ rather than weak stress /ʃəl/. However, sometimes the deviation of the stress can foreground the effect of the lexical items. “Rough winds” both take the strong stress to form a sound symbolism of strong blowing winds.
Another example about articulation in line 8:
The affricates are more ease in articulation. The full alliteration /tʃ/ and the similar consonant /dʒ/, with the full assonance /eɪ/ and loose assonance of diphthong’s /ɪ/ and /ə/ share the ease of suppression in articulations. Between the turning point of volta, the majority of high front vowels in line 8 build up a difference from the low mid central and low mid back vowels in line 9.
So now we can explore the scale of obstruence in the following example:
“Nor”, “Death” and “brag” are the monosyllables and take the strong stress respectively. Because “shall” is surrounded by dominated strong stresses and its weak functional word, therefore it takes the weak stress. The density of the short vowels in /deθ/ and /bræɡ /, and the high incidence of plosive consonants /d/, /b/ and /g/ with central approximant /r/ enact the slowness of the process in reading aloud. Since the plosive consonants are at the highest scale of obstruence which share the most obstruent in pronunciation. Therefore, in this line it is easily to produce the sound effects like struggling with the doom in a manner of difficult articulations. The teeming stylistics features enlarge the scope of imagination and enrich the depth of philosophical sense of immortal spirits to the poem. The desire of immortalizing this verse, Shakespear seemed to make it success.
Bibliography § Short, Mick. Exploring the Language of Poems, Plays, and Prose. Harlow, England: Longman, 1996 § Wikipedia § Gramercy Books, Word lore: the history of 200 intriguing words. New York: Random House Reference, 2002 § Michael Ferber, A Dictionary of Literary Symbols, Second edition, England: Cambridge University Press, 2007 ---------------------------------------------------------------
My homework in October :
Introduction to Literary Analysis English Philology Faculty of Arts University of Helsinki November 23 "A Rose for Emily"“A Rose for Emily”是描寫十九世紀美國密西西比州的一則短篇小說, 主角Emily一連串的怪異行為在小說的終結才被世人了解。這是作者William Faulkner的第一篇發表的散文, 由於他曾得過諾貝爾文學獎 , 相信許多唸有關英語文學的學生都會讀到他的作品。個人而言不是很喜歡看這類題材的散文, 癡迷, 孤癖, 戀屍癖等怪異行為真教人不安。無奈這是功課, 唯有把小說完完整整地看完, 然後寫分析囉。 小說的原文可在此網頁找到: The Norton Introduction to Literature website 根據原文, 文體的分析如下: Stylistic Analysis of Prose - “A Rose for Emily” “A Rose for Emily” is a short story narrated from the first-person perspective. There is an observer to tell the story about the life of Emily whose narrative point of view amalgamates myriad thoughts of people’s compassion, voyeurism, scorn and hostility. The first-person uses a plural narrator ‘we’ to shift the scene. The movement of Emily’s life is dynamic whereas the narrator is being static in describing from her parentage to the end of her day. These techniques of frequently flashforward (prolepsis) and flashback (analepsis) intensify the mysteriousness of the story and prolong the suspense. Until the end of the story narrator uncovers a ‘long stand of iron-gray hair’ and the corpus of Homer Barron who is laid in the obscure wedding room where saturates the stink of ‘acrid pall’. Then the puzzles of Emily’s grotesque behavior in the past decades start to be untangled. The chronology of the story is complex. The beginning of the story introduces the funeral of Miss Emily Grierson with an unintroduced speech. “When Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old man-servant—a combined gardener and cook—had seen in at least ten years.” This technique of ‘in medias res’(Latin for ‘into the middle of things’) forces the readers to presume that the characters and situation are known and be familiar without strangeness and to associate the readers with narrator’s stream of consciousness in this context. It sets out a general viewpoint reflected from people’s perception about Emily – women’s unconcern toward Emily’s death but curious about her house and men’s paradoxical feeling of “a sort of” respectful affection in the funeral. The ‘zoom-in’ camera effect on the protagonist is soon to be foregrounded - Miss Emily Grierson. Then the following sentence is an internal deviation from the norm which is embedded a clause with two noun phrases to indicate the identity of the old man-servant, he seems to be Emily’s confidant, a surrogate of the protagonist. The narrator names her Miss Emily Grierson with the relevant socially deictic expression; we can thus infer the remoteness between people and Emily upon people’s behavior in the funeral. Then the scene departs from the funeral back to the stage of equilibrium in the following paragraph which draws readers’ attentions to Emily’s property and its surrounding. The shape of the house, the style of the building and the awesome neighborhood in the past prompt the readers to perceive her eminent parentage in a psychological sequencing, and lead the readers to know that she is ‘an eyesore among eyesores’ in Yoknapatawpha County, Jefferson where is a fictional county in Mississippi. The reasons of being an eyesore among eyesores start to posit the matters of tax remittance and taxpaying over the temporal aspect of two generations. Emily’s physical appearance is first to be described in an expository methods. ‘‘—a small, fat woman in black, with a thin gold chain descending to her waist and vanishing into her belt, leaning on an ebony cane with a tarnished gold head. Her skeleton was small and spare; perhaps that was why what would have been merely plumpness in another was obesity in her. She looked bloated, like a body long submerged in motionless water, and of that pallid hue. Her eyes, lost in the fatty ridges of her face, looked like two small pieces of coal pressed into a lump of dough as they moved from one face to another while the visitors stated their errand.’’ There is relatively little lexical repetition, but there are a number of lexical combinations present her a dowdy person, unbalanced body scale, a figurative symbol of a walking corpse. They are all vocabularies with connotations of ugly and lifeless: a small, fat woman, tarnished gold, skeleton was small and spare, obesity, looked bloated, motionless, pallid hue, fatty ridges. And thus the description about her shows a striking contrast with the image of ‘‘a slender figure in white’’ and none of suitors were good enough for her in the later narrator’s description in section II. The image and description about Emily are all colored by the first-person narrator. Somehow the readers may wonder the reliability of the narrator. The conflict between Emily and the tax officers prompts the story of the inciting action. From the very beginning of the story until almost the end of first section, narrator starts to present Emily’s conversation with tax officers. "I have no taxes in Jefferson. Colonel Sartoris explained it to me. Perhaps one of you can gain access to the city records and satisfy yourselves." "But we have. We are the city authorities, Miss Emily. Didn't you get a notice from the sheriff, signed by him?" "I received a paper, yes," Miss Emily said. "Perhaps he considers himself the sheriff. . . . I have no taxes in Jefferson." "But there is nothing on the books to show that, you see. We must go by the—" "See Colonel Sartoris. I have no taxes in Jefferson." "But, Miss Emily—" "See Colonel Sartoris." (Colonel Sartoris had been dead almost ten years.) "I have no taxes in Jefferson. Tobe!" The Negro appeared. "Show these gentlemen out." The repetition of ‘I have no taxes in Jefferson shows how Emily keeps the tax officers silent and her blindness about the obligation of taxpaying. She takes the most turns and has the longest turns in the conversation. Actually there is no two-way communication. In Emily’s speech, she speaks 72 words totally while tax officers utter 43 words, and their two third of the sentences are interrupted by Emily. Tax officers address her with title and first name, is trying to be polite and gentle in order to gain the turn-taking of utterance but still fail to articulate and be deterred from her imperative manner: ‘‘Show these gentlemen out.’’ Emily even breaks the quality of maxim of asking the tax officers to see Colonel Sartoris who had been dead already. Rudeness, blindness, regardless of her public self-image, her baldly speech gives no mitigation of Face Threatening Acts at all. The narrator’s vision of Emily has been adduced by presenting her direct speech. The credibility of narrator’s reliability is more or less increased. Readers hence will be aware of the subtext if there is the story behind the story led by the narrator in any subtle transitions. At the beginning of section II, the narrator illustrates Emily’s story in brief about her father’s death and her sweetheart who abandoned her. The smell, sounds prosaically in the story. However, the hints about Emily’s encounter in her spinsterhood are foreshadowed, and it is an allusion to reveal the reasons of her grotesque and perverseness. The complaints about the stench from Emily’s neighbors are stated in direct speech from their conversations. In the narration, it presents the genuineness of how her neighbors’ dissatisfactions with Emily and Emily’s ignorance of communal benefits. Because Emily is living in her own world as well as she does not carry out her ‘noblesse oblige’ regardless of her kinsfolk’s obligation. Emily’s world is built by the house which her father bequeathed to her in the Yoknapatawpha County. She is completely isolated from outsiders, or more reasonably her father has isolated her from anyone. The spraddle-footed silhouette of his father in the foreground and Emily’s slender figure in white in the background is one of the visualized symbolization of the relationship between father-daughter in the story – it is a family of an inveterate patriarchy. In addition, the picture Emily’s father clutches a horsewhip is placed in the entrance of the house. Obviously, her father’s vindication of Emily would give dramatic repulsion for any suitors. Emily is alone and lonely, but clings to her father’s inseparable spirits of possession and vindication. So the narrator’s representation of speech acts of ‘‘She told them that her father was not dead… the doctors, trying to persuade her to let them dispose of the body.’’ presents her dissociableness, imperviousness and perverseness. Emily’s inner conflict and her conflict with the druggist intensify the plot to the rising action. In the second to last dialogue, readers can read Emily more from her direct speech. The speech is uttered in her spinsterhood when she buys the poison. "I want some poison," (the description of Emily’s physical appearance is omitted here) "Yes, Miss Emily. What kind? For rats and such? I'd recom—" "I want the best you have. I don't care what kind." The druggist named several. "They'll kill anything up to an elephant. But what you want is—" "Arsenic," Miss Emily said. "Is that a good one?" "Is . . . arsenic? Yes, ma'am. But what you want—" "I want arsenic." The manners of Emily’s speech act seem to be the same as she speaks to the tax officers. Thus we can infer that her skills of interpersonal relation do not change. Perhaps, her dissociableness, imperviousness and perverseness are her innate personal characters bestowed by her father’s vindication, become an unchangeable tragedy of her destiny. When she is asking for poison, her utterance is simple and definite, without adverbial to explain her reason or modify the purpose of buying poison. The druggist speaks 37 words which is more than Emily’s 24 words. However, the druggist is interrupted by Emily’s repetitions of ‘’I want arsenic’’. The person who has the right of decision making for selling the arsenic but lost the eloquence to manipulate her plain and impervious request. Paradoxically, ‘For rats’ would be a prescription written out for a betrayer who runs away like rat. ‘‘When she opened the package at home there was written on the box, under the skull and bones: "For rats."’’ In the ending of the section III a prepositional phrase precedes a colon which alludes to another story behind the purpose of her action without answer in such extension structure. Pragmatically it is not for rats but for someone else. The incessant gossips about Emily and Homer Barron in the section IV, the topics are surrounded by committing suicide, possibilities of marriage, Homer’s sexual orientation, outsiders’ sympathy and curiosity. The section IV is almost constructed by narrator’s Representation of Speech Acts and Free Indirect Thought. The scene thus flashforwards (prolepsis) to the current event in the beginning of the story of Miss Emily Grierson’s death. ‘Rose’ in the title only appears in two occasions in the story. A rose has an arbitrary relation of meaning to romance and blooming. In Romeo and Julie – ‘‘What’s in the name? That which we call a rose. By any other name would smell as sweet.’’ However, ‘rose’ is processed by the functional conversion – the grammatical class of ‘rose’ is changed to a verb and semantically relates to decay and unattractive. ‘‘a faint dust rose sluggishly about their thighs’’ (Sec1.5) ‘‘They rose when she entered—a small, fat woman in black…’’(Sec1.6) Then the ‘rose’ returns to a noun in the final section of the story. ‘‘A thin, acrid pall as of the tomb seemed to lie everywhere upon this room decked and furnished as for a bridal: upon the valance curtains of faded rose color, upon the rose-shaded lights, upon the…’’ (Sec5.4) The similar allusions to decay and macabre connotations shadow Emily’s desire for love who is obsessed perversely by Homer Barron – the corpus ‘had lain in the attitude of an embrace’. The story is ended in the climax. This technique produces an effect of prompting the readers to reorganize the events chronologically and fill in the reason or imagination to the ellipses of the plot. Miss Emily Grierson does have opponent (antagonist) in life to cause her tragedy. Not because of the gossipers or her ungrateful sweetheart, but the skew value of morality clutches a woman’s life. Bibliography <!-§ Course packet: ‘‘Elements of Fiction,’’ William Faulkner, ‘‘A Rose for Emily,’’ George L.Dillon, ‘‘Styles of Reading,’’ Judith Fetterley, ‘‘A Rose for ‘A Rose for Emily,’’’ Jennings Mace ‘‘Waterboarding Homer Barron’’. <!-§ Short, Mick. Exploring the Language of Poems, Plays, and Prose. Harlow, England: Longman, 1996 <!-§ Wikipedia
--------------------------------------------------------------------------- My homework in October : Introduction to Literary Analysis English Philology Faculty of Arts University of Helsinki November 11 Itelmen language這是俄羅斯東岸半島的一個瀕臨絕跡的語言(Itelmen language)，我試將一些基本句型排列出來，找出它的語素, 時態和人稱的詞形變化。 The following verbs (modified) are from the Itelmen language spoken in the Russian Far East.  (i) Separate the verbs into morphs, make a list of all morphs (including zero morphs) and their meanings using the terms ‘subject’ and ‘object’.   (ii) Translate the following into Itelmen, separating the verbs into morphs.
(iii) In the presence form of Itelmen verbs, there is a phonetic alternation. What sounds alternate with each other? Which morph they belong to? Formulate a phonological rule that explains this alternation and write its formal representation, using phonological features.
Compare the following three sentences: The verb ‘to praise’ can be realized to ‘anjas’ or ‘anjaz’. So that [s] and [z]
are in the complementary distributions in Itelmen. They are the allophones of
/z/. The morph ‘anjaz’ is realized to ‘anjas’ when it precedes the alveolar
fricative voiceless consonant /s/. Phonological features : [+alveolar, +fricative, +obstruent] →[-voiced] / __ [-voiced, +consonant] --------------------------------------------------------------------------- My homework in October : Introduction to Linguistics English Philology Faculty of Arts University of Helsinki November 06 Morphology - 葡萄果還是葡萄柚開始對語文學的學習有點印象了，就是不管多麼簡單的一個字(或是兩個字)，都要長篇大論地講述一番。這個學科有點可愛也有點可惡喔!
題目: How would you analyse the following English words – as a one word or two words? Justify your answer.
grapefruit travel agency son-in-law a) grapefruit - It would be probably because the fruits grow in clusters. Grapefruit is a semantic shift word which is extended the scope of ‘grape’ & ‘fruit’ in 19th century. ‘Grape’ and ‘fruit’ were both the existing words, they are nouns and identified as same as the open class after extending. ‘Grapefruit’ is a lexeme which can be consulted from dictionary and is realized by word-forms. For examples: singular form – grapefruit plural form – grapefruits In addition, it has a semantic coherence in which expresses a unified semantic concept: a large round yellow citrus fruit with an acid juicy pulp. In respect of phonological criteria, ‘grapefruit’ carries one single stress: ‘Grapefruit’ is also considered as an utterance on its own since it is the smallest unit. For instance, ‘grapefruit’ is uninterruptable but positional mobilizable. It maintains its internal stability. Since ‘grapefruit’ is identified to a noun, it is a content word from the lexical categories. Hence, grapefruit is a one word in conclusion.
b) travel agency - It is a derivative which is compounding two existing words to form a relative meaning to both ‘travel’ and ‘agency’. It has a semantic coherence as a whole: A company or shop that makes travel arrangement for people. The stress of the word-form ‘travel agency’ is at the first syllable which also meets the phonological criteria. However, it can lead to a different meaning or grammatical mistake if the word-form was interrupted. For examples: Travelled agency –> grammatical error Travel agent –> different meaning from travel agency Therefore, ‘travel agency’ consists of two words in a lexeme.
c) son-in-law – It is also a derivative in which ‘in-law’ is being a suffix like adding to the tail end of a stem with a group of relatives’ titles. For examples: brother-in-law, sister-in-law and daughter-in-law etc. It is producing a semantic coherence preceding ‘in-law’: your daughter’s husband or the spouse of ‘the title’ preceded ‘in-law’. It is uninterruptabe with an internal cohesion and is indivisible by other units. For examples: Son-in-law’s house My son-in-law Furthermore with its positional mobilizable and internal stability, even this content word consists of 3 syllables, however, it should be identified as a one word.
My homework in October :
Introduction to Linguistics English Philology Faculty of Arts University of Helsinki October 29 What are the similarities and differences between computer languages and natural languages? 這份功課的議題沒什麼特別, 但一下筆時就發現這道題理論的爭議範疇很廣. 這是我九月份上語言學的第一份功課. Computer languages have been close interrelated to our daily activities nowadays since the first programming language was invented in the 19th century. The ample function of the computer languages have became a huge supply for the information storage and devices for processing unstructured and semi-structured natural languages. This massive demand can be seen from the growth of World Wide Web, search engine, E-mail and mobile technology etc, all of those are processing our natural languages. Computer languages, its fundamental binary attribute execute the algorithm. Giving details of instruction on processing the information storage and information analysis, and it achieves the artificial intelligence, cognitive science and general linguistics also. Quoted from Ajdukiewicz, Kazimierz ‘since the languages studied by logicians are in many respects modeled on natural languages, it seems that logicians may be able to make some contribution to general linguistics.’ The primitive computer languages can be traceable to George Boolean logic in which the variables can be input to an equation with propositions ‘and’, ‘or’, ‘not’, or ‘if…then’. The evaluation is the calculation to a result of binary: true or false. So that we can see the computer languages are mainly developed from the concepts of binary logic and algorithm. Many programming languages are designed in the form of specific syntax, lexical structure and grammatical structure, and they are mainly written text of English alphabets. Most of the programming languages are standardized with the core library which includes definitions for algorithms, data structures and mechanisms for input and output. The tasks of algorithmic are to implement the computational processes in the hardware with precise and accurate commands, and to deal with what computational processes can process and produce the semi-structured or the unstructured natural language. However, the computer languages cannot be always correct in semantic. For example, the following 3 sentences are corrected in computer languages whereas the 2) is false in semantic, and the 3) is arguable in pragmatic. 1) Moon is white. 2) Moon is star. 3) Moon is small. Natural languages are the contribution to the abstract discourses such as philosophy, literature, politics and science etc. It is an innate created language and develop an universal grammar in its speech. It consists of the phonological level to the pragmatic level in forms of verbal signs and nonverbal signs. Vagueness, ambiguity, normal non-fluency, anaphora and ellipsis can be axiomatic in the composition of the natural languages. And the sound of speech to the meaning of the word is considered as arbitrary. The origin of the natural languages can be only known from the fable or some thoughts of scholars. However, it is certain that the natural languages have been evolved from the time of Homobabilis while it will continuously develop its depth of written languages in different aspects. Reference • Keith Brown (2004). Encyclopedia of Language and Linguistics (2nd Edition). 96, 136, 313, 451, 557. • Wikipedia My homework in September: Introduction to Linguistics English Philology Faculty of Arts University of Helsinki October 24 LUTOctober 21 Shakespear's sonnet 60 - anaylsis這是我在赫爾辛基大學其中一份英國文學科的功課，老師說要交三至五頁，結果我才寫了兩頁。老師說: 沒關係! 你可以下次再補充。>_< 交功課的日子真辛苦。好吧! 下次再補充吧! The theme of Shakespear’s sixtieth sonnet dwindles the time of life into minutes and contrasts it with the sonnet itself (spiritual embodiment in literature) to tell the eternity of the spirit. The figurative items consist of prepositions which indicate the direction and movement of time, and the fluidity of reference about the loss of hard-won gain is all in a relentless march of time. This sonnet consists of three quatrains and a concluding couplet with the rhyme scheme of ABAB CDCD EFEF GG. The last syllables of the first 3 quatrains are alternated consistently the front vowels and back vowels, and the last couplet are the same rhyme. The octave is concerned with the temporality loss and hard-won gain in human life, the sestet with the comparison of the life with the eternity of verse. In this sonnet, ‘‘time’’ has repeated for several times and the alliteration ‘‘And’’ is applied to connect the flow of time in different stage of life. Inversion is also used in the sonnet to indicate the importance of the subject and help for the rhythm. For example, ‘‘So do our minutes hasten to their end;’’ (line 2) the literal version would be ‘‘So our minutes do hasten to their end.’’ Furthermore, the prolonged syntax enriches the description about the effort in life and suspends the result of ‘‘nothing’’ at the end. It builds the reader’s expectation but gives a desperate ending in line 12. ‘Our days’ can be considered as a dead metaphor which is used so habitually and invisibly about the time. In the first quatrain, Shakespear uses ‘our minutes’ to highlight the main theme of the sonnet and to emphasize counter-movement of life is short. Compare with sonnet 12, the life of time is hours on the clock face ‘‘When I do count the clock that tells the time’’(line 1) whereas the time is considered as minute, life is in a rush in sonnet 60. Short time in life and work like ‘‘in sequent toil’’ burden the harsh life. In line 1, ‘‘Like as the waves make towards the pebbled shore’’ waves are figurative to life which have to make effort to move forward, and the ‘‘pebbled shore’’ means where the shore is surrounded by round stones. The pebbled stones became round since they have been polished by a series of incessant waves for a long time. Therefore, the effort of the waves seems to be hard but not smooth. In addition, the preposition of ‘towards’, ‘to’, ‘before’ and ‘forwards’ intensify the movement of waves in ‘our minutes’. In the second quatrain, the verb is missing in ‘‘Nativity, once in the main of light’’(line 5) which lead to dictate the nativity is personified and happens in the main of light. Follow by the ‘‘maturity’’, ‘‘being crowned’’ and ‘‘his glory fight’’, the ‘‘nativity’’ is certainly a human being, perhaps a dauphin turns to adulthood. The inversion of ‘‘Crooked elipses 'gainst his glory fight,’’ would be in the Standard English ‘Crooked elipses fight against his glory’. The adjective ‘‘Crooked’’ pre-modifies a dishonest personality. However, the appreciation of ‘‘glory’’ is not an obstruction to fight for. In the third quatrain, after the volta the sonnet elaborates the effort besides the glory he fight, but also the some anticipations he is searching for. ‘‘parallels’’ is an abstract idea of something without specific item in between the ‘‘beauty's brow’’ in line 10, and ‘‘beauty’’ can be faded away by time. The fluidity of reference about the effort and result shift the loss of hard-won gain is all in a relentless march of time: ‘‘And nothing stands but for his scythe to mow:’’ (line 12) the effort of ‘‘delve’’ may only return nothing but left a changing facet in the agricultural land. Above all, the conclusion of the sonnet is stated in the couplet. The eternity of the verse is the figurative to embody the spirit which can be existed in life long. ‘‘Praising thy worth, despite his cruel hand.’’ (line 14) ‘‘Praising’’ and ‘‘worth’’ are meant for spiritual values; ‘‘despite his cruel hand’’ is mettle of having a flash of physical life in an amorphous philosophical sense of the verse. [It is my homework in the University of Helsinki, Literature tutorial - English Philology - Faculty of Arts] Shakespear's sonnet 60
April 07 第八届“汉语桥”世界大学生中文比赛暨芬兰第二届汉语演讲活动Translated into English from the news below: Five students from Lapeenranta University of Technology sang a famous song 'Beijing welcomes you' which has edited into 'Finland welcomes you', showed the Finnish friendship towards Chinese people. Lapeenranta University of Technology's 5 students: Finland welcomes you, We'ce opened our world for you. Its charming tides of change teems with life. Finland welcomes you! Sharing a breath beneath the sun. Setting new records upon the snow white earth. 特写：汉语架起中芬友谊桥 2009年04月05日 16:34:43 来源：新华社 第八届“汉语桥”世界大学生中文比赛暨芬兰第二届汉语演讲活动当地时间３日在芬兰首都的赫尔辛基大学孔子学院举行。 来自芬兰多所大学、基础学校和孔子学院的学生，以丰富多彩的形式向来宾展示了他们对中国传统文化的喜爱和对中国的深厚情谊。 他们当中不仅有六七岁的儿童，也有年近八旬的老人。 在活动现场，众多参赛者表演了中国书法，中文歌曲演唱，太极拳表演，唐诗宋词朗诵；相声、小品和小话剧等项目，与来宾共同分享学习汉语所带来的快乐与希望。 年近八旬的芬兰老人柯灵先生应邀前来介绍了５６年前在北京大学学习汉语的经历以及同中国老师建立的深厚友情。 芬兰老人柯灵先生：身体好，学习好，工作好。我对你们所有人（表示）祝贺，身体好，学习好，工作好。 拉彭兰塔科技大学的５名男学生将北京奥运会期间家喻户晓的歌曲《北京欢迎你》重新填词改编成《芬兰欢迎你》，表达了芬兰人民对中国人民的友好感情。 拉彭兰塔科技大学５名学生：芬兰欢迎你，为你开天辟地。流动中的魅力充满着朝气。芬兰欢迎你，在太阳下分享呼吸，在白雪里刷新成绩。 他们多才多艺的表演和发自内心的对中国文化的热爱打动了在场所有观众的心，博得了阵阵热烈掌声。在持续４个小时的活动中，所有的来宾和前来参加才艺展示的芬兰朋友都沉浸在轻松欢乐、愉快和谐的气氛之中。 赫尔辛基大学学生松娅考拉宁：这种活动是一个很好的机会，把我的汉语水平提高一点。然后也有一点表演的经历。 赫尔辛基大学孔子学院院长高歌先生：通过汉语他们可以更深地了解中国的变迁。 我觉得这次的演讲活动非常的成功。 随着中芬两国在政治、经济、科技和文化等各个领域里的交流与合作增多，近两年来，先后有数千人次参加了赫尔辛基大学孔子学院举办的汉语教学课程和各类讲座。 新华社记者赵长春、杜新赫尔辛基报道。 http://news.xinhuanet.com/video/2009-04/05/content_11134609.htm March 17 Don't you know : ygUDuh noo
Is this English? Yup, try to read it aloud and infer their meanings from your voice. Read it in a coarse manner. ygUDuh ygUDuh is one of the best-known of cummings’s poems. The persona is portrayed as a racist, a gutter-speaker and an uncivilized man with an extremely ironic light. Look at the ‘translation’ as below: You've got to ...you’ve got to... ygUDuh was written in 1944. Japanese were blamed for causing the Second World War by a New Yorker. The persona’s speech is ironically projected by cummings as uneducated, unthinking qualities with evidence of infelicities of expression. See the analysis as below:
Heh, what an interesting
phonological deviation! March 16 The Night of Pied BeautyI have struggled to understand this poem for almost an hour. It was so difficult to me at first sight. When I scrutinized the structure of the poem, the difficulty of the pervasive parallelism was unlocked much more easily: ‘Glory be to God for dappled things’ is applied to the first and the second stanza; ‘dappled things’ are the multi-colored sky, brindled cow, dappled rose, chestnut, finches’ wings, plotted and pieced landscape, all trades… The second stanza continues the same parallelism as the first stanza. The meaning of ‘dappled things’ is widening in the scope. Things could be visually perceived and be presented metaphorically in many different kinds of multifacetedness, or even in contrast. ‘fathers-forth’ is a neologised lexis. The persona praises God for his vicissitudes of varied ‘dappled things’. I am an antitheist and I am an Asian. Presumably I do not have any emotional attachment to the devotional story of ‘Western God’. However, when I found some pictures from the internet which conformed to those meaning of the poem, I started to have the feelings of reverence for life. To lose and to hold, how many things you remember to hold in hand? How many days you remember to live on earth? How many people who care about your living on earth? Share with you all, my friends. Gerard Manley Hopkins, ‘Pied Beauty’ Glory be to God for dappled things— All things counter, original, spare, strange;
Pictures go to ^_^ http://palaceofwisdom.net/st_patrick.htm
February 13 Keep Your New Year's ResolutionSix Tips on How to Stick
with your New Year's Resolutions source: Health Tip of the Day. by David Olsen - Developer from
Philadelphia
December 26 在台灣在台灣，沒有陌生的感受，卻只有一份好奇的感覺。走在縱橫挫折的捷運人行道中，熙來攘往的人潮不難喚起我對台灣的認知，才兩三個小時後，發現自己患上了恐懼症，就是跟芬蘭人一樣的 “phobia about crowd” ，這種症狀是呼吸不暢通，東張西望也找不到沒人的地方，百般不自在地急著回宿舍…天知曉如何在台灣活上一個悠長的芬蘭冬假，看來我已經失去了亞洲人的生存天賦了。 “對面是日殖時期建成的演奏廳” 透過六樓的窗戶，周主任指著對面一棟小小的建築物說著。“雖然演奏廳裡的座位很少，可是仍保留至今…” 有關於國立台灣師範大學的歷史，周主任娓娓道來。也許我太久沒有閱讀中國歷史與文化的書籍，對於他的介紹，我是很感興趣的。五個年輕的美國人，熟讀中國文學卻不通曉基礎應用中文，在五零年代來到了台灣，本想著在師範大學的中文系裡找學習中文的機會，卻受到中文系教授不諳英文為由的拒絕，於是五個美國人跑去了英文系，終於有教授肯收他們做學生，並開始了三個月家教形式的漢語學習。三個月後學習成果不錯，他們再繼續學習，而教導他們的英文系教授，正是梁實秋，師範大學的國語教學中心也由此而成立。我聽到了這裡，梁實秋的那本中英字典和中學時期課本裡的文章一一跑回了我的記憶裡，頓時覺得我走進了他的學堂裡，在他的字行間漫步。這種情懷，在芬蘭的日子裡早遺失了。拾回記憶的感覺，真好! 清醒了三十六個小時終於來到了久違的台灣，沒有陌生的感受，卻只有一份好奇的感覺。 October 24 Tourism in Hong Kong
INTRODUCTION Hong Kong has provided a financial platform in the globe where has been developing a high degree autonomy and capitalist economic system society. Along with the decline in industry sector in the late 1970s, tourism became one of major economic activities in the service sector. To insight the prosperous tourism in Hong Kong, its historical and political elements cannot be ignored. They are the key to build the foundation of developing a popular destination. The advantages of geography in Asia and its special society background make Hong Kong becoming a diversified cultural area and having a strong capacity of receiving different nationals in the world. To polish the tourism performance, Hong Kong Special Administration Region has dedicated to preserve the traditional scenes and developing array of tourist services and infrastructure in recent years. Ample amount of capital are invested in tourism infrastructure, enhancement projects and cultural activities. High quality of services and standard of performance are offering wide range of convenience to the international convention and exhibition. In terms of profit, they are the efforts of making contribution to the HK$117.3 billion in inbound tourism in 2006. The fact is, the tourism industry further strengthens the prosperous economy and consolidates the local recreational culture in Hong Kong.
THE HISTORICAL BACKGROUND IN BRIEF Hong Kong, a mixture of western and eastern culture establishes a diversified society. A colony was handover peacefully to China in 1997. Nearly 150-year British sovereignty has graved the land of Hong Kong impressively. To trace back to the beginning of this colony, Hong Kong was ceded to Britain in the First Opium War in 1841. Since then, Hong Kong has been a gateway between China and Britain. In the early 20th century, the intensity of British trading had boosted Hong Kong’s economy. The necessary import and export activities had shaped Hong Kong to become a business hub. At that time, Hong Kong had been frequently visited by British business travelers. After the World War II, the withdrawal of Japanese army and the establishment of People’s Republic of China accelerated the process of immigration. The population in Hong Kong arises dramatically and the immigrants are mainly from Mainland China. The changes of population structure, the shortage of food and the process of recovery from the war caused several turbulence in 1950’s to 1960’s. To stabilize the society, the British government implemented a series of policies in education and housing, included 9-year compulsory education and launched plenty of public housing estate to settle down the influx of immigrants. Started in 1970’s, Cantonese Chinese has been legislated an official language as well as English. Since the sovereignty was dominated by British, English and its culture have been highly praised in the society. The demand of English speakers and talents are welcome in employment in Hong Kong. Therefore the adaptability of different culture and language are considerably strong of Hong Kong people. Besides the influences of British governance and culture, Hong Kong has been closely to the Mainland China in aspects of business and trading. The growth of China economy brings the demand of accounting and business services to the foreign countries. Along with the China economic reforms and joining to the World Trade Organization, Hong Kong has devoted herself to the finance, business and trading services between Mainland China and foreign countries for decades. Hence it has cultivated a business atmosphere of international convention and exhibition taking place in Hong Kong.
TOURISM DEVELOPMENT IN HONG KONG Hong Kong is an area of 1,104km2 inhabited almost 7 million people. This is one of the highest density population in the world where consists the diversification of culture and active economy activities. To insight the tourism development can witness the changes of this society. - Enrichment of Domestic Travel Service in 1980’s The economy has grown rapidly in 1980’s which boosts the need of domestic travel service. Hong Kong established an amusement park in 1977. The Ocean Park is a marine-themed park which is a popular recreational destination in 1980’s to 1990’s. It comprises cable car with aerial views of mountain and sea, killer whale and dolphins’ performance and some rides like roller coaster etc. Besides the theme park, Hong Kong has its long-standing traditional cuisine culture. Dim-sum is one of the most favorable cuisines in the locals. During the 1980’s, people engaged to start business in which tea restaurant is the popular one in the private and small to medium business sector. The tea restaurant prospect is closely related to the Hong Kong style cuisine culture and eating out habits. To diversify the eating out habits, restaurants have started to set up inside the shopping mall. Hong Kong has strong potential of being a shopping paradise. Since the textile industry has been developed in Hong Kong in 1950’s. An influx of Shanghai textile merchants immigrated to Hong Kong with their textile skills, labors and capital. Hong Kong has been involved in the textile industry and wholesaler service for decades. In addition to the toy industry, Hong Kong’s shopping mall development is taking advantage of the low cost of distribution in its retailers’ business. Therefore, the Hong Kong’s shopping malls are successful in gaining revenue in general. Enjoyments in the restaurant, shopping mall and the theme park become the vital recreation and interpersonal activities in 1980’s. Those enrich the regional structure of tourism in Hong Kong in that period of time. - Development of Inbound Travel Service in 1990’s The Hong Kong economy in 1990’s enjoys a wealthy and prosperous than ever. In 1994, Hong Kong’s GDP per capital grew at an annual rate of 6.5% from 1965 to 1989 in World Bank report. The inbound travel service is hence increased by the steady growth of demand. The important tourism infrastructures in 1990’s include the Hong Kong International Airport, Tian Tan Buddha and Tsing Ma Bridge. The Hong Kong International Airport (Chek Lap Kok International Airport) is one of the world’s busiest airports which handles at least 47 million passengers and 3.7 million tones of cargo every year. Around 154 destinations worldwide are flying to/from Hong Kong everyday. The new airport accelerates the tourism accessibility between Hong Kong and other countries/regions. It also facilitates business travel and logistics services. In 1988, Hong Kong Convention and Exhibition Centre(HKCEC) is opened. The HKCEC is responsible for hosting the world’s greatest events and international exhibition and convention. To meet the growing demand of the exhibition space and to facilitate the potential new clients, the HKCEC was expanded in 1997 which cost HK$4.8 billion. About the Tsing Ma Bridge, it connects the busiest new airport and the transportation to the financial centre. The world’s seventh-longest span suspension bridge attracts many tourists coming for a visit its grand scene. The area around the Tsing Ma Bridge has well guidance in viewing points and viewing platform. Public transportation like bus and metro can reach to the destination. Tsing Ma Bridge is indeed a prototype of consisting business travel infrastructure, leisure and recreational services in the tourism development. Hong Kong is a high population density region. However, Hong Kong’s terrain has more than 75% not developed to urban land use. Most of these undeveloped terrains have been reserved as country parks and nature reserves. The world’s tallest outdoor seated bronze Buddha is situated in the countryside Lantau Island of Hong Kong. Monks and family visitors from all around the world are attracted to its harmonious Tian Tan Buddha (Big Buddha) every year. To reach the tallest Buddha in the world, a cable car ride is offered to tourists. Spectacular view of extremely slant landscape can be viewed in eyes. The tourism infrastructure has successfully developed Hong Kong as world-class destination of attraction. The Hong Kong Tourism Board also promotes cultural and arts events. The famous movie stars performance and various art exhibitions in local museums enrich visitors’ travel experience. - Consolidation and Rejuvenation of Tourism Development after year 2000 Hong Kong has implemented it autonomy as “one country, two systems” since 1997. To increase the accessibility between Mainland China and Hong Kong, the mobility quota from Mainland visitors in Hong Kong is abolished in 2002. The Individual Visit Scheme has introduced later in 2003. Under the scheme, 25.7 million individual visitors traveled Hong Kong according to figure in December of 2007. Other nationals from 170 countries enjoy visa free for periods ranging from 7 to 180 days in visiting Hong Kong. To cope with receiving ample amount of tourists from Mainland China, The Hong Kong Tourism Board has launches some policies to meet the demand of inbound travel service and enhance the quality of the facilitators. In 2002, near 9100 tourist guides has received training. A “Tourist Guide Pass” is required to be a tourist guide. In 2007, a Continuous Professional Development Programme is introduced to renew the Tourist Guide Pass. Tourist guides hence have to equip themselves in order to meet the requirement of the qualification renewal. A series of enhancement projects is implemented in the tourism infrastructure at the same time. Ocean Park is turning into a world-class marine themed park; “Discover Hong Kong by Rail” tour programme; green tourism promotion includes “Discover Hong Kong Nature” and “Hong Kong Wetland Park tour” etc.; the land use of the old airport Kai Tak will be designed to build a cruise terminal; Disneyland resorts and Disney World refresh the family traveling destination in Hong Kong. This year, Hong Kong hosts an international event of the 2008 Olympic Equestrian.
GEOGRAPHIC ADVANTAGES IN HONG KONG Hong Kong is located in the south coastal region of China. It is in the centre of Asia neighboring Macau, Taiwan, Singapore, Thailand, South Korea and Japan. High accessibility to other countries encourages frequent travelers and enriches the development of tourism. The well facilitated infrastructure establish a convenient network to other countries which beneficial to the business arrivals and family visitors. An easy-reach destination and well domestic travel service boost local consumption. The dynamic society is for this reason being advantageous to the inbound travel services. In respect of the weather, the mild climate in winter and sunny warm in summer attract tourists all around the year. How Hong Kong can be a special destination? It’s historical, political background and the geographic advantages bestow the potential of the successful tourism development.
List of sources Hong Kong – Wikipedia. Web Page.http://en.wikipedia.org/wiki/Hong_Kong Tourism in Hong Kong – Wikipedia. Web Page.http://en.wikipedia.org/wiki/Tourism_in_Hong_Kong Hong Kong Tourism Board. Web Page.http://www.discoverhongkong.com/eng/worldwide/annu/report.06-07.jhtml# Tian Tan Buddha – Wikipedia. Web Page.http://en.wikipedia.org/wiki/Tian_Tan_Buddha Tsing Ma Bridge – Wikipedia. Web Page.http://en.wikipedia.org/wiki/Tsing_Ma_Bridge Hong Kong Convention and Exhibition Centre. Web Page.http://www.hkcec.com.hk/english/introduction/intro_history.php Tourism Fact Sheets – Hong Kong Tourism Commission. Web Page.http://www.tourism.gov.hk/cgi-bin/tourism/search.pl?lang=eng&par=Yes&cat=7&vfmm=01&vfyyyy=2008&vtmm=12&vtyyyy=2008 May 18 實錄 5月16日 News reports about Chinese teaching in high school TV news: YLE Kaakkois-Suomen http://areena.yle.fi/toista?id=1266782 Newspaper in Etelä Saimaa: http://www.esaimaa.fi/Online/2008/05/16/Kiinan+kieli+rantautui+lyseolle/200815264631/4 : ) No English, no Chinese... I will do the translation later, "later" means when I have time to be lazy. : p |
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