本文選題：多模態(tài)話語分析　切入點：電影語篇　出處：《中南大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：多模態(tài)話語是指運用聽覺、視覺、觸覺等多種感覺,通過語言、圖像、聲音、動作等多種手段和符號資源進行交際的現(xiàn)象。多模態(tài)話語分析是隨著多媒體、計算機和數(shù)字化等技術(shù)的發(fā)展和興起而成為語言學(xué)研究的熱點的,因為人們發(fā)現(xiàn)話語意義并非由語言這一單一的符號來構(gòu)建,而是和一些非語言因素共同體現(xiàn)的。20世紀(jì)中后期,國內(nèi)外學(xué)者發(fā)現(xiàn)了傳統(tǒng)話語分析的不足,開始了對多模態(tài)話語進行廣泛地分析和研究。 在眾多的研究者及其研究成果中,以韓禮德的系統(tǒng)功能語法為理論框架的研究者所取得的成績最為人所接受。系統(tǒng)功能語言學(xué)將語言視為一種符號,具有三種實現(xiàn)意義表達的功能。Kress,G.和T. Van Leeuwen.兩人借鑒并發(fā)展了韓禮德的系統(tǒng)功能語法,使之適用于多模態(tài)話語分析。視覺語法將話語中涉及的視覺甚至聽覺模態(tài)視為與語言相類似的符號,討論這些符號再現(xiàn)意義、互動意義和構(gòu)圖意義的實現(xiàn),并討論不同模態(tài)符號之間共同作用所構(gòu)建出的多模態(tài)話語的綜合意義。 本論文選取電影語篇《勇敢的心》為文本,以功能語法為理論框架,分析《勇敢的心》的語言符號。然后,截取電影里的畫面進行個案分析,以視覺語法為理論框架,對該片進行多模態(tài)話語分析。從再現(xiàn)意義、互動意義和構(gòu)圖意義三個角度詳細分析了視覺模態(tài)對傳遞話語意義的作用,并結(jié)合聽覺模態(tài)的分析以達到最終對話語包含的多種模態(tài)形式的意義分析,不同的模態(tài)形式之間的整合互動,共同構(gòu)建電影語篇的整體意義。 本研究目的是為了驗證多模態(tài)話語分析在電影語篇分析方面的可行性和可操作性；同時希望可以提高人們多模態(tài)話語的識讀能力。并嘗試建立一個針對本文研究的分析框架。 通過具體的個案分析,本文實現(xiàn)了預(yù)期的研究目的,論證了視覺語法對電影語篇的話語分析有很強的適用性,實現(xiàn)了多模態(tài)話語分析研究領(lǐng)域的擴展,深化了理論認(rèn)識,加強了分析實踐能力,并且從語言學(xué)的角度對電影《勇敢的心》進行了評鑒。
[Abstract]:Multimodal discourse refers to the phenomenon of communication through language, image, sound, action and other means and symbolic resources using hearing, vision, tactile and other senses. The development and rise of computer and digital technology have become the focus of linguistic research, because people find that discourse meaning is not constructed by language as a single symbol, but is embodied by some non-linguistic factors in the middle and late 20th century. Scholars at home and abroad discovered the shortcomings of traditional discourse analysis and began to analyze and study multimodal discourse extensively. Among the many researchers and their research results, the researchers with Halliday's systemic functional grammar as the theoretical framework have achieved the most acceptable results. Systemic functional linguistics regards language as a symbol. There are three functions of meaning expression. KressG. and T. Van Leeuwen. both learn from and develop Halliday's systemic functional grammar. Visual grammar regards the visual and even auditory modes involved in the discourse as symbols similar to language, and discusses the realization of the representation, interactive meaning and composition meaning of these symbols. It also discusses the comprehensive significance of multimodal utterances constructed by the interaction of different modal symbols. This thesis selects the film text "the Brave Heart" as the text, takes the functional grammar as the theoretical frame, analyzes the language symbol of "the Brave Heart", then intercepts the picture in the movie for case study, and takes the visual grammar as the theoretical framework. The multimodal discourse analysis of the film is carried out. From the three angles of reproduction meaning, interactive meaning and composition meaning, this paper analyzes in detail the effect of visual modal on the transmission of discourse meaning. Combined with the auditory modal analysis to achieve the final meaning analysis of the various modal forms contained in the discourse and the integration and interaction between different modal forms, the overall meaning of the film text is constructed together. The purpose of this study is to verify the feasibility and maneuverability of multimodal discourse analysis in film discourse analysis and to improve the reading ability of multimodal discourse. Through specific case studies, this paper achieves the expected research purpose, demonstrates the applicability of visual grammar to the discourse analysis of film texts, expands the research field of multi-modal discourse analysis and deepens the theoretical understanding. It strengthens the ability of analysis and practice, and evaluates the film Brave Heart from a linguistic point of view.
【學(xué)位授予單位】：中南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：H05

【參考文獻】

相關(guān)期刊論文 前10條

1 何山燕;;國內(nèi)多模態(tài)話語分析研究述評[J];重慶文理學(xué)院學(xué)報(社會科學(xué)版);2011年03期

2 李妙晴;;改編電影的多模態(tài)話語分析——以《大紅燈籠高高掛》為例[J];電影文學(xué);2007年15期

3 程春松;;電影海報的多模態(tài)話語解讀[J];電影文學(xué);2008年15期

4 徐波;;電影《2012》的多模態(tài)話語分析[J];電影文學(xué);2011年09期

5 李妙晴;;復(fù)調(diào)的狂歡——多模態(tài)話語分析《陽光燦爛的日子》[J];電影評介;2008年18期

6 成文;田海龍;;多模式話語的社會實踐性[J];南京社會科學(xué);2006年08期

7 李戰(zhàn)子;多模式話語的社會符號學(xué)分析[J];外語研究;2003年05期

8 李戰(zhàn)子;;從語氣、情態(tài)到評價[J];外語研究;2005年06期

9 朱永生;;多模態(tài)話語分析的理論基礎(chǔ)與研究方法[J];外語學(xué)刊;2007年05期

10 李戰(zhàn)子;向平;;當(dāng)代中國新話語之一——《一個饅頭引發(fā)的血案》的巴赫金式解讀[J];四川外語學(xué)院學(xué)報;2007年06期

，

本文編號：1583622