【摘要】：文學(xué)語用學(xué)是一門將語用學(xué)與文學(xué)研究相結(jié)合的新興的交叉學(xué)科。該學(xué)科將文學(xué)文本視作是交際的動態(tài)的話語而不是靜止的抽象的文本，認(rèn)為文本解讀是一項(xiàng)豐富的多變活動，涉及讀者、作者、文本、語境等多項(xiàng)變元。在文學(xué)作品的研究中，文學(xué)語用學(xué)有很強(qiáng)的解釋性。本文試圖從文學(xué)語用學(xué)的角度來解讀尤金·尤涅斯柯的荒誕戲劇《課堂》，以揭示該劇的荒誕本質(zhì)。 本文首先對文學(xué)語用學(xué)的發(fā)展以及戲劇和荒誕劇的特點(diǎn)做了簡要的回顧和總結(jié)，探討了從文學(xué)語用學(xué)的角度研究戲劇文本的可行性而和有效性，然后指出了研究所需的理論框架。本文的研究采用了Short的戲劇交際的雙層模式理論，認(rèn)為戲劇交際包含微觀和宏觀兩個層面。從微觀層面來看，戲劇人物之間通過對話進(jìn)行交際；在宏觀層面上，劇作者則通過舞臺指令與讀者們進(jìn)行交流。本文使用的語用學(xué)理論和原理包括Brown和Levinson的禮貌理論和Leech的禮貌原則，以及指示語。這些理論從宏觀和微觀兩個層面上對作者和讀者以及戲劇角色和角色之間的人物關(guān)系進(jìn)行了全面的闡釋。 通過分析得出，從宏觀層面來看，怎樣使讀者們認(rèn)同自己的作品是劇作者需要完成的一項(xiàng)重要任務(wù)。通過對人稱代詞和模糊限制語的恰當(dāng)選擇，以及對Leech的禮貌原則的遵守，劇作者拉近了他與讀者之間的距離，從而贏得的讀者們對該劇的青睞。從微觀層面來看，劇作者通過運(yùn)用違背常理的人稱代詞和稱呼語構(gòu)建了一個荒誕的三角人物關(guān)系，這一關(guān)系從很大程度上體現(xiàn)了該劇的荒誕性。本文的分析一方面驗(yàn)證了語用學(xué)理論對戲劇文本的可適用性，，另一方面從文學(xué)語用學(xué)的角度證實(shí)了荒誕劇是如何通過語用策略來構(gòu)建人物關(guān)系以及戲劇沖突，進(jìn)而揭示戲劇的荒誕本質(zhì)的。 通過從文學(xué)語用學(xué)的角度對尤金·尤涅斯柯的荒誕劇《課堂》進(jìn)行宏觀和微觀研究，本文希望能夠?yàn)楦玫慕庾x、欣賞這部經(jīng)典戲劇有所貢獻(xiàn)，并對戲劇評論理論和戲劇教學(xué)有一定的啟示。
[Abstract]:Literary pragmatics is a new interdisciplinary subject which combines pragmatics with literary research. The subject regards literary text as a dynamic discourse of communication rather than a static abstract text, and holds that text interpretation is a rich and varied activity involving readers, authors, text, context and other variables. In the study of literary works, literary pragmatics has a strong explanation. This paper attempts to interpret Eugene Yunesco's absurd drama "classroom" from the perspective of literary pragmatics in order to reveal the absurd nature of the play. This paper first reviews and summarizes the development of literary pragmatics and the characteristics of drama and absurd drama, and probes into the feasibility and validity of studying drama texts from the perspective of literary pragmatics. Then the theoretical framework of the research is pointed out. This paper adopts Short's theory of double-level model of drama communication, and holds that drama communication consists of two levels: micro and macro. At the micro level, the characters communicate with each other through dialogue; at the macro level, the writers communicate with the readers through stage instructions. The pragmatic theories and principles used in this paper include Brown and Levinson's politeness theory and Leech's politeness principle as well as deixis. These theories comprehensively explain the relationship between the author and the reader, as well as between the role and the character. It is concluded from the analysis that how to make readers agree with their works is an important task for the playwright. Through the proper choice of personal pronouns and hedges, and the observance of Leech's politeness principle, the author draws closer the distance between him and the readers, thus winning the readers' favor for the play. From the micro level, the playwright constructs a grotesque triangular character relationship by using perverse personal pronouns and address terms, which to a great extent reflects the absurdity of the play. On the one hand, this paper verifies the applicability of pragmatic theory to drama texts, on the other hand, from the perspective of literary pragmatics, it verifies how absurd drama constructs character relationships and dramatic conflicts through pragmatic strategies. And then reveal the absurd nature of drama. From the perspective of literary pragmatics, this paper makes a macro and micro study of Eugene Yunesco's absurd drama classroom, hoping to contribute to a better interpretation and appreciation of this classic drama. And the theory of drama criticism and drama teaching have certain enlightenment.
【學(xué)位授予單位】：西華大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I565.073

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