Cardioversion 发表于 2025-3-23 13:34:56
http://reply.papertrans.cn/24/2372/237161/237161_11.pngcondescend 发表于 2025-3-23 15:35:52
http://reply.papertrans.cn/24/2372/237161/237161_12.pngOUTRE 发表于 2025-3-23 20:26:08
Anders Larsson,Johan S. Gustavssonenres across European languages, using parallel corpora (aligned translated texts) and/or comparable corpora (genre-matched original texts). The articles have their origin in a seminar at the 12th ESSE conference in Kosiče, Slovakia 29 August–2 September 2014 convened by the editors.evasive 发表于 2025-3-24 00:32:12
https://doi.org/10.1007/978-3-642-24986-0eir more or less grammaticalized alternatives in English and Swedish. In both languages the obligation markers were associated with specific contexts of use depending on genre. In fiction the obligation markers were frequent with first and second person subjects. . was used for exhortations. . was u内部 发表于 2025-3-24 04:10:18
Krassimir Panajotov,Franco Pratiis study investigates the functional scope of both based on close scrutiny of the bidirectional Dutch-English component of the ., a 10 million word sentence-aligned corpus of translated texts. Seven functions are identified in the ideational, interpersonal and textual domains. The mutual corresponde等级的上升 发表于 2025-3-24 07:13:07
http://reply.papertrans.cn/24/2372/237161/237161_16.png有特色 发表于 2025-3-24 13:23:08
Der Kampf mit Kopenhagen, Teil IIs towards the author’s intended interpretation. Such is also the case with legal opinions which abound in instances of explicit authorial marking, although, naturally, author visibility levels vary from language to language. This chapter examines the use of modal adverbs of certainty in judicial arg和蔼 发表于 2025-3-24 16:31:51
http://reply.papertrans.cn/24/2372/237161/237161_18.pngLAITY 发表于 2025-3-24 22:44:00
http://reply.papertrans.cn/24/2372/237161/237161_19.pngOffstage 发表于 2025-3-25 01:04:47
https://doi.org/10.1007/978-3-642-25191-7e devices are also mentioned so as to provide some background on how stand-up comedy shows are structured. Stand-up comedy shows are indeed quite generally ignored in the discussion of genre-related cohesion-building mechanisms, and this paper aims at filling this gap. The paper uses as theoretical