英语论文网

ordination constructions for this study and demonstrating theprevious studies carried out by scholars both at home and abroad from traditional,semantic, rhetorical, and cognitive and other perspectives. Apart from these, the gapsof previous studies are listed after the review, and a solution is proposed at the end.
…………

2.2 Pseudo-Coordination Constructions Delimited
As we have mentioned, many scholars regard pseudo-coordination constructionsas certain patterns of hendiadys. Therefore, before defining what thepseudo-coordination constructions are, we will review the definition of hendiadysfirstly. As Hopper (2002) points out, hendiadys has extended its spectrum from some‘core examples’ to much ‘broader sense’ and many studies have witnessed its changes.Some ‘conjoined twins’, such as ‘land and water’, ‘time and tide’, ‘pick and choose’,‘black and white’, ‘again and again’, ‘man and wife’, ‘curse and swear’, ‘knife andfork’ etc. have been seen as hendiadys by a great many of scholars. However, they arenot pseudo-coordination constructions since there is no subordinating or modifyingrelationship between the two conjoined terms. They are only two paratacticindependent elements under a single complex idea (Si Jitao, 2011). Therefore, thereare some divergent uses between pseudo-coordination constructions and hendiadys,and what are pseudo-coordination constructions should be delimited. At the end ofthis section, a working definition of pseudo-coordination constructions will be proposed. The word hendiadys originates from the Greek ‘hen dia duoin’ which means ‘onethrough two’, or ‘one (thing) by means of two’ in the 1580s. ‘Even though this termwas used by Greek grammarians, it is no longer found in their writings; instead, it isfrequent among Latin writers’ (Liu Fengchao, 2013). Hendiadys was first used in theform of two nouns conjoined by and. Later, the great playwright Shakespeare readilyadopted this rhetorical device of classical poetry. Hendiadys thus appears now andthen in his plays, for instance, ‘the due and forfeit of my bond’ in 4.1.36 of TheMerchant of Venice, and ‘Sound and fury, signifying nothing’ in scene 5 of Macbeth(Liu Fengchao, 2013). They offer the readers more striking images. What’s more, theBible translator of English has made it popular, too. Such as, Mark 2: 25 ‘…in needand hungry’, and John 3: 5 ‘water and the sprit’. Hendiadys can be seen in bothspoken and written English since then.
…………

Chapter Three Theoretical Framework ..........18
3.1 Introduction..........18
3.2 Theoretical Basis..........18
3.2.1 The Coercion Model in Construction ..........18
3.2.2 The Autonomy-Dependence Model•..........22
3.3 Theoretical Integration: The CAD Model..........25
3.4 Operation of the CAD Model ..........29
3.5 Summary ..........30
Chapter Four Data Analysis and Discussion..........32
4.1 Introduction..........32
4.2 Data Description and Classification..........32
4.3 The CAD Model for Pseudo-Coordination Constructions ..........33
4.4 Phonological Features of Pseudo-Coordination Constructions ..........44
4.5 Syntactic Features of Pseudo-Coordination Constructions ..........45
4.6 Semantic Features of Pseudo-Coordination Constructions..........46
4.7 Pragmatic Features of Pseudo-Coordination Constructions..........48
4.8 Plausible 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。