| Appraisal theory is a system of textual semantic resources,which was born in the 1990s.It is used to discuss the linguistic resources of the relationship among specific subjects and ideological resources in discourse or speaker expression,negotiation and naturalization.It is often used in discourse analysis.Martin’s comprehensive analysis and summary of Halliday’s systemic functional linguistics introduce interpersonal meaning into systemic functional linguistics and extend it in depth to form an independent theoretical system of linguistic value.Frog is one of the classic representative works of Mo Yan,a famous writer and Nobel Prize winner of literature in China.The novel takes the ups and downs of rural childbirth and birth control history in the early days of the founding of New China as the background,inherits and shapes the image of ordinary Chinese people,depicting the characters such as aunt,Chen Mei,tadpole,and precipitates the birth view and philosophy of life that linger in the difficult process of family planning in China.However,few scholars analyze the work professionally,comprehensively and systematically from the perspective of the inherent characteristics of discourse.This paper attempts to systematically examine the discourse attitude resources in Frog from the perspective of appraisal theory.Through the attitude,engagement and graduation system of appraisal theory,the discourse intrinsic characteristics of Frog are analyzed comprehensively,thoroughly and meticulously.The appraisal resources in Frog and their appraisal significance are discussed,and the role of lexical attributes in the expression of characters’ personality is studied,and the grammatical structure in the expression of characters’ mood is discussed.It aims to provide a new perspective and approach for the literary study of Frog,to promote the practice and application of appraisal theory in literary analysis engineering,and to improve the readers’ appreciation of the work and to excavate the interpersonal significance of the work. |