Типы вопросительных предложений в английском языке.

Оглавление
ВВЕДЕНИЕ
ГЛАВА I. ВОПРОСИТЕЛЬНЫЕ ПРЕДЛОЖЕНИЯ В АНГЛИЙСКОМ ЯЗЫКЕ
1.1. Дефиниция понятия "предложение" в лингвистике
1.2. Общая характеристика предложения
1.3. Типы предложений по коммуникативной установке
1.4. Структурные типы предложений
1.5. Особенности структуры и семантики вопросительных предложений в английском языке
1.6. Структурные типы вопросительных предложений в английском языке и их классификация

ВЫВОДЫ ПО ГЛАВЕ 1
ГЛАВА II. ВОПРОСИТЕЛЬНЫЕ ПРЕДЛОЖЕНИЯ В ХУДОЖЕСТВЕННОМ ТЕКСТЕ
2.1. Использование вопросительных предложений различных типов в диалогической речи
2.1.1. Общие вопросы
2.1.2. Специальные вопросы
2.1.3. Альтернативные вопросы
2.1.4. Разделительные вопросы
2.2. Использование вопросительных предложений различных типов в монологической речи
2.2.1.Общие вопросы
2.2.2. Специальные вопросы
2.2.3. Альтернативные вопросы
2.2.4. Разделительные вопросы

ВЫВОДЫ ПО ГЛАВЕ II
ЗАКЛЮЧЕНИЕ
СПИСОК ИСПОЛЬЗОВАННОЙ ЛИТЕРАТУРЫ
СПИСОК СЛОВАРЕЙ
СПИСОК ИСТОЧНИКОВ ФАКТИЧЕСКОГО МАТЕРИАЛА
ПРИЛОЖЕНИЕ 1
ПРИЛОЖЕНИЕ 2

Типы вопросительных предложений в английском языке.

2.2. Использование вопросительных предложений различных типов в монологической речи
2.2.1. Общие вопросы
Монологическая речь, также как и диалогическая, обладает своими определенными лингвистическими и психологическими характеристиками. Она является организованной системой облеченных в словесную форму мыслей, характеризуется преднамеренным воздействием на окружающих или способом выражения настроения героя. Монологическая речь существенно отличается от диалога, прежде всего особенностями логико - психологического порядка, так как она представляет собой, по определению В.В. Виноградова, продукт индивидуального построения речи (Виноградов, 1963). Интонация, лексика и синтаксис здесь сложнее, чем в диалогическом высказывании. В качестве примеров монологической речи мы рассматривали так называемую несобственно - прямую речь.
В художественной литературе для передачи речи персонажей используется особая форма передачи чужой речи — несобственно - прямая речь. Такая дословно сохраненная прямая речь формально не выделена в составе авторской, синтезирована с авторским текстом:
Несобственно - прямая речь — прием изложения, когда речь персонажа внешне передается в форме авторской речи, не отличаясь от нее ни синтаксически, ни пунктуационно. Но несобственно - прямая речь сохраняет все стилистические особенности, свойственные прямой речи персонажа, что и отличает ее от авторской речи (Словарь терминов. Интернет школа просвещение). В то же время, такой тип речи является монологической речью. Письмо героя, приведенное автором для характеристики персонажа или в других целях, также является примером монологической речи.
В качестве источника примеров монологической речи мы использовали произведение Дж. Голсуорси "Сага о Форсайтах" - "The Forsyte Saga" и произведение Энн Райс "Пандора" - "Pandora". В произведении Дж. Голсуорси "Сага о Форсайтах" встречается несколько писем, которые мы использовали в качестве источника примеров для анализа монологической речи.
Приведем примеры общих вопросов в монологической речи. Вопросы имеют структуру вопросительного предложения со вспомогательным глаголом:
1. Did he send the itch and the patch and the twitch? Is that why she prays? What she rubs on the window is the stain of sin. Oh, she committed some crime! (Galsworthy John. The Forsyte Saga).
2. Dangerous—ah, dangerous! June, of course, had not seen this, but, though not yet nineteen, she was notorious. Had she not said to Mrs. Soames—who was always so beautifully dressed—that feathers were vulgar? Mrs. Soames had actually given up wearing feathers, so dreadfully downright was dear June! (Galsworthy John. The Forsyte Saga).
3. He could not understand what she found wrong with him. It was not as if he drank! Did he run into debt, or gamble, or swear; was he violent; were his friends rackety; did he stay out at night? On the contrary. (Galsworthy John. The Forsyte Saga).
4. Granted that Swithin took a bachelor's view of the situation—still what indeed was not due to that family in which so many had done so well for themselves, had attained a certain position? If he had heard in dark, pessimistic moments the words 'yeomen' and 'very small beer' used in connection with his origin, did he believe them? (Galsworthy John. The Forsyte Saga).
Такие вопросительные предложения можно охарактеризовать как вопросы, в которых выражается сомнение автора к сложившейся ситуации, он как бы сомневается и в то же время желает чтобы это было правдой.
Примеры с модальными глаголами в монологической речи:
1. Could a man own anything prettier than this dining - table with its deep tints, the starry, soft - petalled roses, the ruby - coloured glass, and quaint silver furnishing; could a man own anything prettier than the woman who sat at it? (Galsworthy John. The Forsyte Saga). В этом примере с помощью модального глагола could выражается сильное сомнение и большая доля неуверенности в происходящем.
2. She was ever silent, passive, gracefully averse; as though terrified lest by word, motion, or sign she might lead him to believe that she was fond of him; and he asked himself: Must I always go on like this? (Galsworthy John. The Forsyte Saga). В этом примере показана убежденность, основанная на достоверных фактах – я знаю, что это именно так.
4. A hum rose from the street, and, piercing it with a sharp 'ping,' the bell sounded for the raising of the curtain. June did not stir. A desperate struggle was going on within her. Should she put everything to the proof? Should she challenge directly that influence, that attraction which was driving him away from her? It was her nature to challenge, and she said: "Phil, take me to see the house on Sunday!" (Galsworthy John. The Forsyte Saga). Спрашиваем совет, настоятельную рекомендацию.
В монологической речи также встречаются переспросы и риторические вопросы. Вопросы - переспросы представляют собой короткие предложения, часто без вспомогательного глагола. Например:
Hilda's the sister - in - law. Hilda? Hilda? Hilda Marsh - - Hilda the blooming, the full bosomed, the matronly. Hilda stands at the door as the cab draws up, holding a coin. (Galsworthy John. The Forsyte Saga).
Риторические вопросы часто сопровождаются возможным ответом. Например:
1. She drew back to the stairs, but did not descend. Leaning against the rail she tried to get rid of a feeling of being choked; and she gazed at the door with a sort of dreadful courage. No! she refused to go down. Did it matter what people thought of her? They would never know! No one would help her if she did not help herself! She would go through with it. (Galsworthy John. The Forsyte Saga).
2. How regal he looked. He had the presence of a free man. And his tunic was beautiful thin wool, striped in gold, belted in gold, well fitted across his chest. Even his ivory leg had been polished. I was more than pleased. But was he armed'? (Anne Rice. Pandora).
3. But young Jolyon, the bitterness of whose own feelings time had assuaged, saw Soames' side of the question too. Whence should a man like his cousin, saturated with all the prejudices and beliefs of his class, draw the insight or inspiration necessary to break up this life? It was a question of imagination, of projecting himself into the future beyond the unpleasant gossip, sneers, and tattle that followed on such separations, beyond the passing pangs that the lack of the sight of her would cause, beyond the grave disapproval of the worthy. (Galsworthy John. The Forsyte Saga).
4. June went along the Square with her bird - like quickness. She detested that woman now whom in happier days she had been accustomed to think so kind. Was she always to be put off thus, and forced to undergo this torturing suspense? (Galsworthy John. The Forsyte Saga).
5. Concerning the cause of this death—his family would doubtless reject with vigor the suspicion of suicide, which was so compromising! They would take it as an accident, a stroke of fate. In their hearts they would even feel it an intervention of Providence, a retribution—had not Bosinney endangered their two most priceless possessions, the pocket and the hearth? And they would talk of 'that unfortunate accident of young Bosinney's,' but perhaps they would not talk—silence might be better! (Galsworthy John. The Forsyte Saga).
2.2.2. Специальные вопросы
Группа специальных вопросов является самой многочисленной и в примерах из монологической речи. Среди специальных вопросов встречаются вопросы, построенные по всем правилам грамматики и вопросы без вспомогательных глаголов, которые часто следуют один за другим. Например:
1. But who knows (so they thought as they pressed the parasol into the earth) what precipices aren't concealed in them, or what slopes of ice don't shine in the sun on the other side? Who knows? Who has ever seen this before? (Galsworthy John. The Forsyte Saga).
2. But from that he began indulging in one of those strange impersonal speculations, so uncharacteristic of a Forsyte, wherein lay, in part, the secret of his supremacy amongst them. What atoms men were, and what a lot of them! And what would become of them all? (Galsworthy John. The Forsyte Saga).
3. Folding his opera hat, he sat down, drew out his lavender gloves in the old way, and took up his glasses for a long look round the house. Dropping them at last on his folded hat, he fixed his eyes on the curtain. More poignantly than ever he felt that it was all over and done with him. Where were all the women, the pretty women, the house used to be so full of? Where was that old feeling in the heart as he waited for one of those great singers? Where that sensation of the intoxication of life and of his own power to enjoy it all? (Galsworthy John. The Forsyte Saga).
4. He knew it to be nonsense, or it would have frightened him. What was the world coming to! Suddenly recollecting the story of young Jolyon, however, he felt a little comforted, for what could you expect with a father like that! This turned his thoughts into a channel still less pleasant. What was all this talk about Soames and Irene? (Galsworthy John. The Forsyte Saga).
5. In life, however, there were many occasions when the business of making up his mind did not even rest with himself, and this was one of them.
What could he do? Talk it over with Soames? That would only make matters worse. And, after all, there was nothing in it, he felt sure. (Galsworthy John. The Forsyte Saga).
6. And Soames stood motionless. What prevented him from following her? (Galsworthy John. The Forsyte Saga).
7. And the Forsytes! What part did they play in this stage of Soames' subterranean tragedy? Truth to say, little or none, for they were at the sea. (Galsworthy John. The Forsyte Saga).
8. Like old Jolyon, he, too, at the bottom of his heart set the blame of the tragedy down to family interference. What business had that lot — he began to think of the Stanhope Gate branch, including young Jolyon and his daughter, as 'that lot' — to introduce a person like this Bosinney into the family? (He had heard George's soubriquet, 'The Buccaneer,' but he could make nothing of that — the young man was an architect.) (Galsworthy John. The Forsyte Saga).
9. Soames got into his cab, and, with the glass down, crept along Sloane Street, and so along the Brompton Road, and home. He reached his house at five. His wife was not in. She had gone out a quarter of an hour before. Out at such a time of night, into this terrible fog! What was the meaning of that? (Galsworthy John. The Forsyte Saga).
9. He looked now at the clock — a quarter to three! It would be all over in a quarter of an hour. Where could the young fellow be?
It was only when Mr. Justice Bentham delivered judgment that he got over the turn he had received. (Galsworthy John. The Forsyte Saga).
10. Bewildered and torn, the girl stood at the top of the stairs. Why had Irene gone, leaving her mistress of the field? What did it mean? Had she really given him up to her? Or had she...? And she was the prey of a gnawing uncertainty.... Bosinney did not come.... (Galsworthy John. The Forsyte Saga).
11. He looked back up the hill. Really, poor young Bosinney had made an uncommonly good job of the house; he would have done very well for himself if he had lived! And where was he now? Perhaps, still haunting this, the site of his last work, of his tragic love affair. Or was Philip Bosinney's spirit diffused in the general? Who could say? That dog was getting his legs muddy! (Galsworthy John. The Forsyte Saga).
Особого внимания заслуживают предложения со структурой вопросительного предложения, но с восклицательным знаком или точкой в конце предложения. Такие предложения структурно вопросительные, но, по сути, являются скорее размышлениями, чем вопросами.
Например:
1. Why were her own relations so rich, and Phil never knew where the money was coming from for tomorrow's tobacco. Why couldn't they do something for him? But they were so selfish. Why couldn't they build country - houses? (Galsworthy John. The Forsyte Saga).
2. He knew it to be nonsense, or it would have frightened him. What was the world coming to! (Galsworthy John. The Forsyte Saga).
3. Fancy Uncle Jolyon turning out at this time of night! Why hadn't June come to Irene, as she usually did, and it occurred to him suddenly that he had seen nothing of June for a long time now. (Galsworthy John. The Forsyte Saga).
4. Who spoke those words! Who summoned me and who would attempt the theft? (Anne Rice. Pandora).
Среди специальных вопросов в монологической речи также встретилось большое количество риторических вопросов. Это риторические вопросы, эквивалентные повествовательному высказыванию (Вейхман, 1990). Например:
1. After receiving the cheque back there seemed to him to be something wrong somewhere. Why had his son not gone to the dogs? But, then, who could tell? (Galsworthy John. The Forsyte Saga).
2. In Montpellier Square Soames, who had come from the picture room, stood invisible at the top of the stairs, watching Irene sort the letters brought by the last post. She turned back into the drawing - room; but in a minute came out, and stood as if listening. Then she came stealing up the stairs, with a kitten in her arms. He could see her face bent over the little beast, which was purring against her neck. Why couldn't she look at him like that? (Galsworthy John. The Forsyte Saga).
3. It was impossible to discuss with his son the true nature and meaning of Bosinney's defection. Had not his son done the very same thing (worse, if possible) fifteen years ago? There seemed no end to the consequences of that piece of folly. (Galsworthy John. The Forsyte Saga).
4. He did not desire this glimpse of what lay under the three stars of his catalogue. God forbid that he should know anything about the forces of Nature! God forbid that he should admit for a moment that there are such things! Once admit that, and where was he? One paid a shilling for entrance, and another for the programme. (Galsworthy John. The Forsyte Saga).
5. But how far — how far had 'those two' gone? How far were they going to go? Could they really be going at all? Nothing could surely come of it, for neither of them had any money. At the most a flirtation, ending, as all such attachments should, at the proper time. (Galsworthy John. The Forsyte Saga).
6. It was difficult to refuse! But why give the thing to him to do? That was surely quite unbecoming; but so long as a Forsyte got what he was after, he was not too particular about the means, provided appearances were saved. (Galsworthy John. The Forsyte Saga).
7. Flight! But why should Bosinney fly? A man fled when he was in danger of destroying hearth and home, when there were children, when he felt himself trampling down ideals, breaking something. But here, so he had heard, it was all broken to his hand. (Galsworthy John. The Forsyte Saga).
8. In this search, who knows what he thought and what he sought? Bread for hunger — light in darkness? Who knows what he expected to find — impersonal knowledge of the human heart — the end of his private subterranean tragedy — for, again, who knew, but that each dark couple, unnamed, unnameable, might not be he and she? (Galsworthy John. The Forsyte Saga).
9. For what or whom was she waiting, in the silence, with the trees dropping here and there a leaf, and the thrushes strutting close on grass, touched with the sparkle of the autumn rime? Then her charming face grew eager, and, glancing round, with almost a lover's jealousy, young Jolyon saw Bosinney striding across the grass. (Galsworthy John. The Forsyte Saga).
10. What if she did? What if she made him a confession? How would he stand then? He would have to bring a divorce! (Galsworthy John. The Forsyte Saga).
11. Who the devil were all these people? He seemed to have forgotten all familiar things. The words 'no message—a trunk, and a bag,' played a hide - and - seek in his brain. It was incredible that she had left no message, and, still in his fur coat, he ran upstairs two steps at a time, as a young married man when he comes home will run up to his wife's room. (Galsworthy John. The Forsyte Saga).
12. I felt a shudder. It is I who summoned you. Who spoke those words? Beware, for you would be stolen from me now and I will not have it. (Anne Rice. Pandora).
13. But this was dim to me. I tried to listen. My eyes roved. Whence came that voice! Who spoke those words! Who summoned me and who would attempt the theft? (Anne Rice. Pandora).
14. Lucius - my much detested youngest brother - not coming to welcome me with tears but gliding in the shadows of the portico. Why'? (Anne Rice. Pandora).
15. I broke off, shocked and disoriented. Why was I so certain of this. Why was I using the name Amon Ra so casually, as if I believed in the god'? I scarcely knew his fables. (Anne Rice. Pandora).
2.2.3. Альтернативные вопросы
Альтернативные вопросы с монологической речи в анализируемых текстах - самое редкое явление. Нами обнаружено всего несколько таких примеров:
1. How should he set about it, or how refuse? Both seemed impossible. So, young Jolyon! (Galsworthy John. The Forsyte Saga).
2. It was interesting — most interesting — and then Soames was so clever that they were sure he would do something with those pictures if anybody could; but what was his plan now that he had won his case; was he going to leave London at once, and live in the country, or what was he going to do? (Galsworthy John. The Forsyte Saga).
3. Bewildered and torn, the girl stood at the top of the stairs. Why had Irene gone, leaving her mistress of the field? What did it mean? Had she really given him up to her? Or had she...? And she was the prey of a gnawing uncertainty.... Bosinney did not come.... (Galsworthy John. The Forsyte Saga).
2.2.4. Разделительные вопросы
Среди разделительных вопросов в монологической нами обнаружен только один пример: More like President Kruger than Prince Albert - - that's the best I can do for him; and I see him on a chair, in a black frock - coat, not so very high up either; I can manage a cloud or two for him to sit on; and then his hand trailing in the cloud holds a rod, a truncheon is it? - - black, thick, thorned - - a brutal old bully - - Minnie's God! (Galsworthy John. The Forsyte Saga).
Это объясняется тем, что функция разделительного вопроса - подтверждение высказанной информации, что чаще всего происходит при непосредственном общении в диалоге.
ВЫВОДЫ ПО ГЛАВЕ II
Изучив и проанализировав практический материал, мы пришли к следующим выводам:
употребление вопросительных предложений в монологической и диалогической речи отличается как по структуре, так и по функции в предложении;
риторические вопросы, используемые в монологической речи, часто используются с последующим возможным ответом;
риторические вопросы, используемые в монологической речи, служат не для запрашивания информации, а для передачи мыслей автора или героя, кому принадлежит высказывание;
все структурные типы вопросительных предложений как в монологической, так и в диалогической речи могут употребляться без вспомогательных глаголов;
как в монологической, так и в диалогической речи встречаются предложения, восклицательные по коммуникативной установке и вопросительные по структуре или наоборот - структурно невопросительные предложения могут употребляться с вопросительным знаком в конце предложения;
самым распространенным структурным типом вопросов как в монологической, так и в диалогической речи является специальный вопрос, наименьшее количество примеров найдено в группе альтернативных и разделительных вопросов;
чаще всего в диалогической речи наблюдается сочетание вопросительных предложений с восклицательными, в монологической речи - сочетание различных со структуре типов вопросительных предложений;
вопросительные предложения в диалогической речи чаще всего эллиптические.
ЗАКЛЮЧЕНИЕ
Изучив теоретический и практический материал на заданную тему. мы достигли следующих результатов:
рассмотрены дефиниции понятия "предложение" в лингвистике, данные различными теоретиками;