夜场酒吧的英文对话

夜场酒吧的英文对话（精选4篇）

篇1：夜场酒吧的英文对话

作者希望能够通过本研究来揭示在语言交流中被忽视了的一些特征。尤其特殊的一点是, 作者没有采取传统的说话人-听话人顺序对参与者顺序进行研究, 而是颠倒了这个顺序, 以突出说话人是如何对听话人的行为作出反应的。因此, 本文的研究对象是由答复引出的答复, 而不是由正在进行的语言活动中的主要说话人的言语而引出的答复。在产出像点头、微笑或是一个“mhm”这样的最小应答标记语的过程中, 听话人表现出的是其愿意在大部分时间内保持沉默, 来抑制自己打断说话人, 并鼓励当前主要说话人延续其谈话。这种将“听”的过程也视为一种实践的研究方法反对将说话人视为言语产出的唯一来源的公认的语言模型。

同时, 笔者认为, 谈话和语言的许多特征都不是从个人想法中产生, 而是由于两方或多方沟通的作用下产生的。通过观察听话人回复对说话人的作用, 笔者寻求对沟通中说话人之于其他参与者的地位重新估量。文中将对听话活动与其文化依据 (礼貌、话轮转换、沉默和重叠谈话等) 进行比较, 并研究说话人和听话人角色及话语权的社会惯例。还需要研究的是是否一些英语国家会像日本那样, 利用应答标记语来表现一定程度的顺从、礼貌和团结 (Maynard, 1986, 1990;Tanaka, 2004;Kita and Ide, 2007) .本文利用的语料库是Santa Barbara Corpus of Spoken American English (SBCSAE) 和Longman Spoken and Written English Corpus (LSWEC) , 其中包括了大量不同语境中不同身份对话者对话的英语语料。

1 听话人行为

Sacks等人 (1974) 观察出话轮大小是非固定的。一个参与者可以连续发言, 产出非特定数量的话轮建构单元 (TCUs) , 就像在讲故事、讲笑话、给予指示等情形下那样。当某一参与者开始像讲故事那样持续控制发言权, 那么其他参与者就自动落入接受者的参与身份 (Goffman, 1974) 。作为接受者的参与者应允许或鼓励说话人继续产出多个话轮建构单元, 并应不断以最小应答标记语进行回应, 如“uh-huh”。经过批准的听话人也可以在说话人完成多个话轮的发言之前, 以一种衡量说话人表现或故事的方式进行评论, 而却不抢走主要话语权。听话人还可以在说话人讲述故事或给予指示的过程中进行同意、反对、要求澄清等话语行为, 但却不退出其作为话语接受者的角色。即使说话人不时地对听话人的应答标记语进行回应, 仍然不影响双方在目前对话中的总体角色。经过批准的听话人角色是依靠于正在进行中的话语行为的, 而不是由其中任何个人的言语行为而决定 (Hymes, 1974) 。

2 延续语

中性的延续语, 例如“uh-huh”和“mhm”, 以及大多数情况下的“yeah”通常表示的是对话语的接受, 而不会得到说话人的特殊回应, 如下例:

(1)

Ted:and I was in plays fairly solidly all year.

Ashley:mhm.

Ted:and so I would come home at really weird times.

LSWEC-AC 164801

Schegloff认为“uh-huh”代表了其使用者理解了其他说话人的话轮仍在延伸, 要说的话语单元还没有或者可能没有完成。也表示了其使用者同意说话人继续讲下去。Jefferson (1993) 认为“mhm”代表了一种被动接受。当“uh-huh”和“mhm”等词用降调形式说出来或是和另一个降调“yeah”连用时, 是典型的延续语, 且最不可能引起当前说话人的回应。

3 评价语

评价语通常代表了带有更加激烈感情的回应。Drummond&Hopper (1993) 和Gardner (2001) 认为, 根据一个多单元话轮即将结束的标志是听话人越来越接近取代说话人的位置。如“wow”和“damn”的评价语可能会先出现, 然后再加一个“okay”作为转折。Goodwin (1986) 对延续语和评价语进行了区分, 他认为, 虽然两种应答语都可以出现在正在进行的对话中, 但评价语可以出现在一串延伸话语单元的最末尾, 是一种典型的将延伸话轮终止的方式。下例中的“wow”起到了关闭话题的作用。

(2)

Gail:it’s a lot...a hundred and, uh, thirty eight dollars.

Christa:wow.

Sabina:for that price I could fly to Santa Barbara.

LSWEC-AC 119201

下面一个例子中的“really”引出了说话人的立即回复。

(3)

Janet:I think my brother worked for E-Systems for a while.

Patti:really?

Janet:yeah, I’ll have to find out.

I called my dad today.

LSWEC-AC 128701

但也有一些评价语无法引起说话人的直接回复, 如下例:

(4)

Frank:no bigger than that.

Melissa:[wow].

Frank:[we and

we got]out to...Earth,

SBCSAE 019

“oh”也通常能够让说话人澄清或修正之前说出的信息, 见下例:

(5)

Nancy:and then you just put them in Mason jars.

and sterilize Mason jars?

Irene:I don’t sterilize them.

Nancy:oh.

Irene:well, I wash them.

LSWEC-AC 111601

4 表示理解困难的应答语

像“oh”或“hm”的一类词通常标志着信息被接收的同时存在着对新信息吸收的困难或无能, 因此也会引出说话人的回复。Heritage (1984:311) 认为“oh”充当的最重要角色就是让说话人对自己说的话进行回顾。如下例:

(6)

Annette:we:ll,

they know th-–

I mean,

that..we have different schedules and stuff.

( (sniffs) )

Alice:hm.

Annette:but yeah they’re,

like I said they’re, they’re,

still kinda sore,

SBCSAE 043

因为这类词会扰乱正在进行中的说话人话轮, 所以很明显要比“uh-huh”和“mhm”一类的延续语不礼貌。

5 表达疑惑的应答语

当“oh”和“yeah”还有“really”搭配使用, 再用声调表达出来时, 通常表示的是听者的质疑和不信任。这种情况下通常都会得到说话人的回复。如下例:

(7)

Joe:I grew up in Ventura.

Margaret:oh yeah?

Joe:yeah, up until I was about fourteen.

LSWEC-AC 111501

当“well”用升调讲出来作为应答语时, 通常蕴含了一种不太礼貌的不耐烦。比如在下例中, “well”被听者用来引起注意并要求说者给予确定的回答。

(8)

Betty Ann:are you gonna buy some extra salsa to take home?

Mark:I could.

Betty Ann:well?

Mark:I don’t know.

LSWEC-AC 124001

“So”因为有模式化的搭配“so what”的影响, 通常被视为语气较强的一种应答语。通常意味着听者认为说者之前的话不够充分, 需要说者额外辩护的强烈请求。如下例:

(9)

Deanna:I get puffy eyes.

Derek:so?

Deanna:they look like rings.

Derek:so guys do too.

Deanna:yeah but see women can cover it up.

LSWEC-AC 150701

6 结论

经过研究, 笔者得出如下结论。第一, 不同的应答标记语会引起说话人不同的答复, 从而影响当前会话的进展。第二, 从会话分析的角度来看, 话轮转换系统应该从两方面进行分析。并且, 一些非语言因素, 如凝视、点头等, 也应该被纳入一个完整的分析中。最后, 从交流社会语言学的角度来看, 听者活动对了解交流双方立场和身份等方面意义很大。因此, 今后对应答标记语的继续研究是必要的, 并且可以从跨文化等角度进行开展。

参考文献

[1]Drummond, Kent, Hopper, Robert.Acknowledgement tokens in series[J].Communication Reports, 1993, 6 (1) :47-53.

[2]Gardner, Rod.When Listeners Talk[M].Benjamins, Amsterdam, 2001.

[3]Goffman, Erving.Frame Analysis:An Essay on the Organization of Experience[M].New York:Harper and Row, 1974.

[4]Goodwin, Charles.Between and within alternative sequential treatments of continuers and assessments[J].Human Studies, 1986 (9) :205-217.

[5]Heritage, John.A change-of-state token and aspects of its se quential placement[M]//Atkinson J, Heritage J, Eds.Structures of Social Action.Cambridge University Press, 1984:299-347.

[6]Hymes Dell.Foundations of Sociolinguistics:An Ethnographic Approach[M]Philadelphia:University of Pennsylvania Press, 1974.

[7]Jefferson, Gail.Caveat speaker:preliminary notes on recipient topic-shift implicature[J].Research on Language and Social In teraction, 1993, 26 (1) :1-30.

[8]Kita, Sotaro, Ide, Sachiko.Nodding, aizuchi, and final particles in Japanese conversation:how conversation reflects the ideology of communication and social relationships[J].Journal of Prag matics, 2007, 39:1242-1254.

[9]Maynard, Senko.On backchannel behavior in Japanese and English casual conversation[J].Linguistics, 1986, 24:1079-1108.

[10]Maynard, Senko.Conversation management in contrast—listen er response in Japanese and American English[J].Journal of Pragmatics, 1990 (14) :397-412.[]Sacks, Harvey, Schegloff, Emanuel A, Gail, Jefferson.A simplest sys tematics for the organization of turn-taking for conversation[J].Language, 1974, 50:696-735.

篇2：英文字母的对话

Q对O说：头发少就梳小辫儿吧，你看我，酷不？

a对@说：你跟我装大尾巴狼呢！

D对B说：小样儿，扎个裤带我照样认识你！

Z对N说：孩子他爹，老趴着睡觉，多累呀？

P对D说：这体形，还是照半身相吧！

I对T说：兄弟，扛个杆儿上哪去呀？

I对H说：两口子也太懒了吧，那么小的孩子也抬着走？

L对J说：心情不错呀，小尾巴摇得挺欢呢！

V对M说：这又是让谁打了，咋还架上拐啦？

V对N说：你以为拄个文明棍儿就算文明人啦？

V对Y说：妹子，在哪儿买的高跟鞋呀？

E对F说：大冬天咋不穿鞋就出来呢？

V对K说：我看你是“不撞南墙不回头”啊！

V对W说：结婚了咋不告诉我一声呢？

Y对y说：孩子，别伤心啦，等长大了腿就直了。

n对h说：跟我装刺儿头，是不？

o对d说：是谁把你的长发高高盘起？

p对q说：我也是偶然翻起相片才想起同桌的你。

W对M说：兄弟，躺着比趴着舒服多啦。

q对Q说：孩子，有头发多好哇，我年轻时的发型比你还酷呢！

光头

夏天爷爷剃了个光头,两岁的胖胖骑在爷爷的脖子上,时而摸摸爷爷的脑袋,时而又拍拍爷爷的脑袋。奶奶在一旁笑着嘁：“胖胖会打蓝球啦。”

不久胖胖也闹着要剃光头。胖胖剃了光头后，骑在爷爷的脖子上，下巴放在爷爷的头顶上，妈妈看见了拍着手说：“哇，小球碰大球啦。”爸爸双手叉腰，在一旁十分认真地说：“一个酒葫芦。”

感叹

在火车上，坐在面对面的四位乘客，都望着车窗外。

作家说：“这里山清水秀，生活在这里的人一定有很多优美的故事。”

地质学家说：“这里是典型的地质地貌。”

开发商说：“这里可以建一个别墅花园区，一定是好价钱。”

篇3：夜场酒吧的英文对话

Stylistics has been undertaken in western for more than two thousand years.Crystal defined it in 1980 as“studies the features of situationally distinctive uses (varieties) of language, and tries to establish principles capable of accounting for the particular choices made by individual or social groups in their use of language.”In other words, it intends to analyze the style of spoken or written language.

Austen's Pride and Prejudice focuses on love matters and marriage of three Bennet sisters.Characters in the novel have distinctive features such as snobbish Mrs.Bennet, caprice Mr.Bennet, and arrogant Mr.Darcy.The vivid description in her novel was quite different from novels at that time and this made this novel popular through centuries.In this paper, the dialogues in the novel would be analyzed with stylistic approaches both at lexical level and syntactic level.

2 Stylistic Analysis on the Dialogues of Pride and Prejudice

Dialogues in Austen’s Pride and Prejudice are very important to display the characteristics of the roles.In this chapter, approaches both in lexical level and syntactic level would be employed to analyze certain dialogues.

2.1 Stylistic analysis at lexical level

The way to choose the words and to arrange them can make great difference.In this section, Austen’s choice of noun phrases would be analyzed.

2.1.1 Appellation

Appellation is used to address somebody and shows the relation between the addresser and addressee.What is funny in the dialogues of this novel is the appellation when the wife addresses her husband.In Chapter 1, volume 1 of the novel, the first conversation is like this:

“My dear Mr.Bennet, ”said his lady to him one day, “have you heard that Netherfield Park is let at last?”

Mr.Bennet replied that he had not.

“But it is, ”returned she;“for Mrs.Long has just been here, and she told me all about it.”

Mr.Bennet made no answer.

“Do not you want to know who has taken it?”cried his wife impatiently.

“You want to tell me, and I have no objection to hearing it.”This was invitation enough.

“Why, my dear, you must know, ...”

In this short passage excerpted from the beginning of the story, two different kinds of appellation were used.They are:My dear Mr.Bennet and my dear.The first appellation the wife employed is“My dear Mr.Bennet”rather than“Mr.Bennet”or“my dear”.The ironic and humorous tone can be felt just through this appellation.There is an awkward feeling when the wife addresses her husband like that, not too intimate or too indifferent.

After finish reading Chapter one, Volume 1, there is 1“Mr.Bennet”, 2“my dear Mr.Bennet”and 4“my dear”.Those titles vary along with the emotional changes of Mrs.Bennet.One of the“My dear Mr.Bennet”appears at the beginning of the conversation and the other appears when Mrs Bennet is slightly unhappy.4“My dear”all appear when Mrs.Bennet is in a good mood and 1“Mr.Bennet”appears when the lady is angry.From the variation of titles, readers can clearly feel the mood of the wife and easily picture the scene which was described by Austen.

2.1.2 Pronouns

In a conversation, pronouns, especially the first-person singular and second-person, are most frequently used.To analyze the choice of the pronouns can identify specific stylistic effect, for example, if the speaker always emphasizes“I”, he may be an egocentric person.A dialogue between Mrs.Bennet and her friend lady Lucas in Chapter 5, volume 1 shows the frequent usage of“I”.Here is the selection:

“Oh!—you mean Jane, I suppose—because he danced with her twice.To be sure that did seem as if he admired her—indeed I rather believe he did—I heard something about it—but I hardly know what—something about Robinson.”

Pronouns above are:you, I, he, he, I, I, I.“I”is in a heavy proportion.As the common practice, one should come to the conclusion that Mrs.Bennet is an arrogant woman, while, for anyone who has ever read this novel would know that this lady is far from that.Then why she uses so may“I”?Mrs.Bennet is the kind of woman who crazily wants her daughters to get married.She is shallow and vainglorious.Therefore, when a rich man danced with her daughter twice which has not been experienced by any other girl in that night, she must be very happy and proud.In this case, she is not egocentric but kind of excited and so eager to express her own idea.In a word, this short sentence vividly shows the eagerness of Mrs.Bennet.

2.2 Stylistic analysis at syntactic level

In this section, attempts will be made to examine the stylistic effect of certain syntax on two aspects.Let us now come to the first one:sentence length.

2.2.1 Sentence length

How to understand the characters in a fiction?Except viewing the description of the writer, measuring the sentence length when different roles are having a conversation is an important way.Here is an example:

“Why, my dear, you must know, Mrs.Long says that Netherfield is taken by a young man of large fortune from the north of England;that he came down on Monday in a chaise and four to see the place, and was so much delighted with it that he agreed with Mr.Morris immediately;that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.”

“What is his name?”

“Bingley.”

“Is he married or single?”

“Oh!single, my dear, to be sure!A single man of large fortune;four or five thousand a year.What a fine thing for our girls!”

“How so?how can it affect them?”

“My dear Mr.Bennet, ”replied his wife, “how can you be so tiresome!You must know that I am thinking of his marrying one of them.”

“Is that his design in settling here?”

“Design!nonsense, how can you talk so!But it is very likely that he may fall in love with one of them, and therefore you must visit him as soon as he comes.”

It is a conversation between Mr.and Mrs.Bennet.In total, Mr.Bennet says 23 words while his lady says 165 words.This quantified result shows that Mr.Bennet is reserved while his wife is talkative.It seems that Mrs.Bennet is in a dominant place as she is talkative and constantly urges her husband to do what she wants him to do.However, the truth is just the other way around.What Mr.Bennet says is just the trigger for his wife to continue.

Austen employs long and short sentences to obtain many effects—not only gave main information to push forward the development, but also vividly shaped the roles and let readers feel her ironic and humorous tone.

2.2.1 Sentence structure:clause complex

The structure of a sentence sometimes can be disrupted to achieve certain stylistic effects.Clause complex is one kind of disrupted structure.View following selection from Chapter 5, Volume1:

“Oh!—you mean Jane, I suppose—because he danced with her twice.To be sure that did seem as if he admired her—indeed I rather believe he did—I heard something about it—but I hardly know what—something about Robinson.”

Almost all the clauses are complex sentences, 8 out of 10.Austen uses dash to link them and a special stylistic effect was created.As mentioned before, these two women are friends.And after her daughter caught the attention of Mr.Bingley, Mrs.Bennet is very happy and proud.Therefore, when a friend appears, she becomes excited.This incomplete sentence structure mimics excited tone and quick speaking speed of Mrs.Bennet.Besides, the arrangement of the sentence is not logical and this just corresponds with the specific status of Mrs.Bennet.Through arranging sentences like this, Austen successfully formed a picture that two female friend sit down and talk about things that they concerns most.

3 Conclusion

This paper analyzes dialogues of Austen’s Pride and Prejudice with stylistic approaches.The analysis was done at two levels:the lexical level and syntactic level.

At the lexical level, a conversation between the couple was selected to analyze the choice of appellation.It shows that their relation is not so intimate or so indifferent.They are at a subtle balance.As for the analysis focused on pronouns, the heavy portion of“I”reflects the eagerness of Mrs.Bennet.

At the syntactic level, analysis mainly focuses on sentence length and structure.In the first aspect, it is Mr.Bennet who leading the conversation.For sentence structure, disrupted sentences show the intimate relations between these two friends.

The linguistic analysis has come to a conclusion that Austen’s profound insight, vivid description, exquisite writing technique and humorous and ironic tone make her novel a success.

参考文献

[1]Jane Austen.Pride and Prejudice.Central complication&Translation Press, Beijing, 2012, :2-5;21-24.

[2]Geoffery N Leech, Short M H.Style in fiction:A Linguistic In troduction to English Fictional Prose[M].北京:外语教学与研究出版社, 2001.

[3]Joanna.Thomborrow, Wareing Shan.Patterns in Language:An Introduction to Language and Literary Style[M].London and New York:Poutledge, 2000.

[4]胡壮麟.理论文体学[M].北京:外语教学与研究出版社, 2000.

篇4：你不知道的夜场故事

北京三里屯是夜场的天堂，男孩女孩酒吧更是地标式的夜场，这里有最好的音乐，因为驻唱都是国内小有名气的歌手，更不用说它的音乐总监是当年校园民谣的旗帜人物——李晓东。男孩女孩里我最喜欢唐红的声音，这个从全国某歌唱比赛走出的女孩，有着可爱纯净的声音，有很多到男孩女孩酒吧的人都是她的粉丝，也许你会质疑酒吧歌手的实力，但唐红绝对是实力派，而且难得可贵的是她是为梦想为心灵而唱歌，酒吧就是她的舞台，比起那些仍在北京漂泊的歌手，她是幸运的，因为她拥有男孩女孩这个平台，这个平台让她可以歌唱.....这是夜场里的一个奋斗史，我喜欢这个奋斗史！

夜场里真没有真情吗？北京工体某夜场老板蒙古族小伙巴特尔，告诉我们，有！这个最初只是一个夜场保安的蒙古汉子，硬是用自己的真实情感，打动了一个来来往往的买醉客，这其中有美女、老板，甚至还有一线明星。他在那个物欲横流的场所里，坚持着自己的真诚，用自己的真诚为每一个人服务。最终他赢得了所有人的心，很多人记住了他，很多人记住了他，于是，若干年后很多人给了他莫大的帮助，现在他已是工体那家夜场的老板，他的成功，与他在夜场的真诚，密不可分。