【摘要】：相聲是我國特有的民族藝術(shù),它用詼諧幽默的手段反映不同的社會(huì)背景,以其特殊的表現(xiàn)形式反映生活及再現(xiàn)生活,歡笑之余留給人們更多的思考。相聲既是“語言”的藝術(shù),“說”的藝術(shù),同時(shí)它又是“笑”的藝術(shù)、“幽默”的藝術(shù)。相聲之所以使人發(fā)笑,是通過“包袱”這一藝術(shù)手段達(dá)到的,這里所指的包袱是語言藝術(shù)的包袱。 近年來許多學(xué)者從語言學(xué)的多個(gè)角度研究幽默,但我國語言學(xué)界對(duì)幽默的研究尚處于初級(jí)階段,對(duì)我國具有民族文化特色的相聲藝術(shù)表現(xiàn)形式更是缺乏完整系統(tǒng)的研究與分析。有學(xué)者用語用學(xué)中順應(yīng)理論與關(guān)聯(lián)理論對(duì)相聲進(jìn)行了初探,但用順應(yīng)一關(guān)聯(lián)模式研究中國相聲中的言語幽默還寥寥無幾,它比已經(jīng)廣泛用于各種語言現(xiàn)象分析的順應(yīng)理論和關(guān)聯(lián)理論更完善。 本文在借鑒前人成果的基礎(chǔ)上將運(yùn)用順應(yīng)-關(guān)聯(lián)模式,從認(rèn)知語用學(xué)視角對(duì)相聲中的言語幽默進(jìn)行分析。以文本相聲為語料,通過對(duì)相聲藝術(shù)兩大類包袱“肉中噱”和“外插花”生成與理解的解讀,推斷出相聲言語幽默的產(chǎn)生與理解是一個(gè)動(dòng)態(tài)的順應(yīng)與關(guān)聯(lián)的過程。 該研究先回顧了國內(nèi)外對(duì)言語幽默的語言學(xué)研究以及對(duì)相聲言語幽默的語用學(xué)研究,再對(duì)相聲做概述,最后詳細(xì)分析“肉中噱”和“外插花”兩大類包袱的言語幽默在順應(yīng)-關(guān)聯(lián)模式下的生成與解讀,得出只有在演員與聽眾雙方不斷的推理互動(dòng)才能實(shí)現(xiàn)相聲的言語幽默效果,以揭示順應(yīng)—關(guān)聯(lián)模式對(duì)相聲中言語幽默的解釋力和適用性,進(jìn)一步驗(yàn)證順應(yīng)-關(guān)聯(lián)模式研究言語幽默在理論上是站得住腳,在實(shí)際中也是可行的,從而擴(kuò)大此理論的應(yīng)用廣度。 通過對(duì)相聲語料的具體分析得出相聲表演不僅是表演者之間的互動(dòng),也是相聲作者與聽眾之間的動(dòng)態(tài)交際過程。同時(shí)對(duì)不同類型包袱的分析可以幫助聽眾更好地理解包袱的組織與抖開機(jī)制,從而理解相聲語言的幽默本質(zhì)。
[Abstract]:Crosstalk is a unique national art of our country. It reflects different social background by humorous means, reflects life and reappearance life with its special form of expression, and leaves people more thinking when they laugh. Crosstalk is not only the art of language, the art of saying, but also the art of laughter and humor. Crosstalk makes people laugh by means of "baggage", which refers to the burden of language art. In recent years, many scholars have studied humor from various angles of linguistics. However, the study of humor in Chinese linguists is still in its infancy, and there is a lack of complete and systematic research and analysis on the expression forms of crosstalk art with national cultural characteristics in China. Some scholars have used adaptation theory and relevance theory in pragmatics to probe into crosstalk, but there are few researches on verbal humor in Chinese crosstalk using adaptation relevance model. It is more perfect than the adaptation theory and relevance theory, which have been widely used in the analysis of various linguistic phenomena. Based on the previous achievements, this paper analyzes the verbal humor in crosstalk from the perspective of cognitive pragmatics, using the adaptation-relevance model. Based on the analysis of the generation and understanding of the two kinds of baggage of crosstalk art, the author concludes that the generation and understanding of crosstalk verbal humor is a dynamic process of adaptation and relevance. This study first reviews the linguistic studies of verbal humor at home and abroad and the pragmatic studies of verbal humor in crosstalk, and then gives an overview of crosstalk. Finally, this paper analyzes in detail the generation and interpretation of verbal humor in adaptation and relevance mode of the two kinds of burden of "amusement in meat" and "floral arrangement". It is concluded that only when the actors and listeners interact with each other continuously, can the verbal humor effect of crosstalk be realized. In order to reveal the explanatory power and applicability of adaptation-relevance model to verbal humor in crosstalk, it is further proved that the study of adaptation-relevance pattern is theoretically sound and feasible in practice. In order to expand the scope of application of this theory. Through the concrete analysis of crosstalk corpus, it is concluded that crosstalk performance is not only the interaction between performers, but also the dynamic communication process between crosstalk writers and listeners. At the same time, the analysis of different types of baggage can help the audience to better understand the organization of the baggage and the mechanism of shaking, thus understand the humorous nature of crosstalk language.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：H13

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