本文選題：多模態(tài)語(yǔ)篇分析 + 系統(tǒng)功能語(yǔ)法��； 參考：《湖北工業(yè)大學(xué)》2013年碩士論文

【摘要】：多模態(tài)話語(yǔ)指運(yùn)用聽覺，視覺，觸覺等多種感覺模式，通過語(yǔ)言，圖像，聲音，動(dòng)作等多種手段和符號(hào)資源進(jìn)行交際的現(xiàn)象。國(guó)外學(xué)者Kress和Van Leeuwen以Halliday的系統(tǒng)功能語(yǔ)法為基礎(chǔ)，比照系統(tǒng)功能語(yǔ)法中的三大純理功能，提出了第一個(gè)系統(tǒng)而全面的視覺語(yǔ)法分析框架，，全面建立了社會(huì)符號(hào)學(xué)的多模態(tài)話語(yǔ)分析框架。雖然關(guān)于多模態(tài)的分析研究一直在發(fā)展，但電影語(yǔ)篇由于包含多種符號(hào)系統(tǒng)及其相互作用，一直被視為一個(gè)復(fù)雜而又困難的課題。 本文共分為四個(gè)章節(jié)，本文第一章節(jié)對(duì)本文的研究背景以及國(guó)內(nèi)外研究情況進(jìn)行了簡(jiǎn)要的介紹。本文第二章節(jié)介紹了本研究的理論基礎(chǔ)，本文的理論支撐主要來(lái)自于Halliday的系統(tǒng)功能語(yǔ)法,由系統(tǒng)功能語(yǔ)法發(fā)展而來(lái)的Kress和VanLeeuwen的視覺語(yǔ)法，以及O’Halloran和Baldry以及Thibault在視覺語(yǔ)法基礎(chǔ)上關(guān)于多模態(tài)語(yǔ)篇分析理論進(jìn)一步的研究與探索。第三章節(jié)是本文的主體部分，根據(jù)第二章節(jié)的理論基礎(chǔ)構(gòu)建了一個(gè)分析框架，并用其對(duì)電影肖申克的救贖進(jìn)行了多模態(tài)話語(yǔ)分析，以畫格（Frame）為單位，采用定性研究為主的分析方法，構(gòu)建電影語(yǔ)篇的多模態(tài)分析框架作為話語(yǔ)分析工具，首先選取電影《肖申克的救贖》的十個(gè)畫格為語(yǔ)料，分別以電影三要素人物，環(huán)境，情節(jié)為著腳點(diǎn)，從人物的情緒表達(dá)，環(huán)境的氛圍營(yíng)造，以及情節(jié)發(fā)展的信息傳達(dá)三個(gè)角度對(duì)電影進(jìn)行視覺模態(tài)分析，再?gòu)囊袅�，音調(diào)，節(jié)奏等角度分析與十個(gè)畫格相對(duì)應(yīng)的聽覺模態(tài)與視覺模態(tài)的共同作用，視覺模態(tài)與聽覺模態(tài)共同構(gòu)建電影語(yǔ)篇的整體意義，為電影這樣的多模態(tài)動(dòng)態(tài)語(yǔ)篇賞析提供一個(gè)新的角度。第四章節(jié)總結(jié)了文章的成果與創(chuàng)新之處以及不足和局限。 首先，在當(dāng)前的多模態(tài)話語(yǔ)分析領(lǐng)域，電影語(yǔ)篇是一個(gè)具有挑戰(zhàn)性的課題，本文試圖對(duì)電影語(yǔ)篇進(jìn)行多模態(tài)話語(yǔ)分析，力圖在課題研究的選擇上有所創(chuàng)新，對(duì)多模態(tài)話語(yǔ)分析的語(yǔ)料進(jìn)行探索與拓展；其次，本文在Kress和Van Leeuwen的視覺語(yǔ)法，以及O’Halloran和Baldry以及Thibault的動(dòng)態(tài)語(yǔ)篇分析理論的基礎(chǔ)上構(gòu)建了一個(gè)新的視覺模態(tài)分析框架，并將其運(yùn)用到電影《肖申克的救贖》的視覺分析中對(duì)其進(jìn)行驗(yàn)證，力圖在研究方法上有所創(chuàng)新；第三，雖然當(dāng)前的多模態(tài)研究越來(lái)越多將目光投向動(dòng)態(tài)語(yǔ)篇，但多只集中于視覺模態(tài)的分析，而本文在電影語(yǔ)篇的視覺模態(tài)分析的基礎(chǔ)上加入了聽覺模態(tài)的分析，將兩種模態(tài)相結(jié)合，力求在研究?jī)?nèi)容上也有所創(chuàng)新。但由于多模態(tài)話語(yǔ)分析文獻(xiàn)資料十分龐大且較為艱深，作者限于能力，對(duì)于聽覺模態(tài)的分析還不夠深入；另一方面本文在語(yǔ)篇分析時(shí)選取了電影分析的最小水平單位畫格作為分析單位在一定程度上仍受限于靜態(tài)的視覺影像，以后的研究有待在更宏觀的水平上對(duì)動(dòng)態(tài)語(yǔ)篇進(jìn)行分析。
[Abstract]:Multimodal discourse refers to the phenomenon of communication through language, image, sound, action and other means and symbol resources, using auditory, visual, tactile and other sensory patterns. Foreign scholars Kress and Van Leeuwen put forward the first systematic and comprehensive analysis framework of visual grammar based on the systematic functional grammar of Halliday. The multimodal discourse analysis framework of social semiotics is established. Although the research on multimodal analysis has been developing, film discourse has been regarded as a complex and difficult subject because it contains a variety of symbolic systems and their interactions. This paper is divided into four chapters. The first chapter briefly introduces the research background and research situation at home and abroad. The second chapter of this paper introduces the theoretical basis of this study. The theoretical support of this paper is mainly from the system functional grammar of Halliday, the visual grammar of Kress and VanLeeuwen developed from the system functional grammar. On the basis of visual grammar, O'Halloran, Baldry and Thibault further study and explore the theory of multimodal discourse analysis. The third chapter is the main part of this paper. According to the theoretical basis of the second chapter, it constructs an analytical framework, and uses it to carry out multi-modal discourse analysis of Shawshank's salvation, taking frame as the unit. Using qualitative research as the main analytical method, this paper constructs a multi-modal analysis framework of film discourse as a discourse analysis tool. Firstly, ten figures of the film "Shawshank's Redemption" are selected as the corpus, respectively, with the characters and environment of the three elements of the film. Plot for the foot, from the character's emotional expression, the atmosphere of the environment, as well as the development of the information transmission of the film from three angles of visual modal analysis, and from the volume, tone, From the angle of rhythm and so on, this paper analyzes the interaction between auditory mode and visual mode corresponding to ten pictorial frames, and constructs the whole meaning of film discourse by visual mode and auditory mode. It provides a new perspective for multi-modal dynamic discourse appreciation such as movies. The fourth chapter summarizes the achievements and innovations of the article, as well as shortcomings and limitations. First of all, in the field of multi-modal discourse analysis, film discourse is a challenging topic. Secondly, this paper constructs a new visual modal analysis framework based on the visual grammar of Kress and Van Leeuwen, and the dynamic discourse analysis theory of O'Halloran and Baldry and Thibault. And it is applied to the visual analysis of Shawshank's Redemption in order to make some innovations in the research methods. Thirdly, although the current multi-modal studies are more and more focused on dynamic discourse, However, most of them are focused on visual modal analysis, and this paper adds auditory modal analysis to the visual modal analysis of film discourse, and combines the two modes in order to make innovations in the research content. But because the literature of multimodal discourse analysis is very large and difficult, the author is limited to ability, and the analysis of auditory mode is not deep enough; On the other hand, this thesis chooses the smallest horizontal unit of film analysis as the analysis unit to some extent is still limited by the static visual image, and the later research needs to analyze the dynamic text at a more macro level.
【學(xué)位授予單位】：湖北工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：H315;J905

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本文編號(hào)：1934149