發(fā)布時間：2018-10-04 19:23

【摘要】：戲劇作為一種重要的文學形式,具有鮮明的文體特征,但是語言學家對戲劇文體的研究較少,且目前大部分都圍繞著會話分析、話輪轉換進行,而從前景化的角度對戲劇文本進行的研究較為鮮見。本論文以語言學、文體學理論作為基礎,以2005年諾貝爾文學獎獲得者哈羅德·品特的首部荒誕戲劇《房間》為研究對象,運用前景化理論和言語行為理論從全新的視角探究戲劇文本的文體學特征。 前景化是形成戲劇文體風格的重要途徑,因此被廣泛應用于文體學研究,可分為兩類：偏離(質量前景化)和超常規(guī)(數(shù)量前景化)。前者指偏離或違背常規(guī)語言的現(xiàn)象,主要通過變異來實現(xiàn)；后者指某個語言現(xiàn)象以很高的頻率出現(xiàn)時,它就從背景中凸顯出來構成超常規(guī),從而吸引讀者的注意力,重復和平行為其主要手段。在《房間》中,人物之間重復的臺詞和看似毫無意義的對話實現(xiàn)了前景化的效果,揭示了劇中人物隱秘的思想和行為動機,展現(xiàn)了現(xiàn)實迫使人們言語及行為荒誕的主題。言語行為理論為本研究提供了另一重要的理論依據(jù)和分析工具,可用于揭示戲劇中微妙、復雜的人際關系,充分展現(xiàn)了人物對話的荒誕性。基于上述兩種理論,本研究揭示了《房間》這部作品獨有的文體特征,揭示了荒誕戲劇是如何通過戲劇語言來表現(xiàn)人物性格、關系及戲劇沖突從而增強文體效果,揭示了隱藏在荒誕形式背后的現(xiàn)實主題。 本文分析表明,不同語言層面上的前景化特征可從多個維度展現(xiàn)戲劇人物的思想及性格特征。主人公蘿絲的語言簡單而直白,平均句長僅為5個詞,極少使用超過三個音節(jié)的難詞、大詞,與現(xiàn)實生活中人物對話極為相似,但是內容重復、無意義且毫無邏輯,形式荒誕。而根據(jù)言語行為理論的分析,本論文作者發(fā)現(xiàn)說話人為了達到真實目的往往遵循言語行為原則,從而透露出其看法、態(tài)度及說話雙方之間的關系與沖突�？偠灾�,《房間》突破了傳統(tǒng)戲劇語言上邏輯性與連貫性的桎梏,而是將簡單乏味的語言用到超出人們的忍耐限度,讀者才體會出人物的異常及怪誕。戲劇中人物的異常與怪誕,又恰好表現(xiàn)出現(xiàn)實社會的荒誕。 通過作者研究表明,荒誕戲劇文本也存在許多前景化特征和言語行為理論研究的可行性：前景化理論和言語行為原則對于分析荒誕戲劇文本是有力的理論工具,亦是文體風格研究的重要線索,有助于文本研究趨于客觀化,科學化,有助于讀者更好的進行文學欣賞,有助于戲劇主題的闡釋,它們所具有的解釋力或許是其他文體思想所不能企及的。這些都值得學者們對其進行關注以及深入研究。
[Abstract]:Drama, as an important literary form, has distinctive stylistic features. However, linguists have done little research on drama style, and most of it is centered on conversational analysis and conversational transformation. However, the study of drama texts from the perspective of foregrounding is relatively rare. Based on the theories of linguistics and stylistics, this thesis focuses on Harold Pinter's first absurd play, "Room", by the Nobel Prize winner in literature in 2005. By using the theory of foregrounding and speech act, the stylistic features of drama texts are explored from a new perspective. Foregrounding is an important way to form the style of drama, so it is widely used in stylistic research. It can be divided into two categories: deviation (quality foregrounding) and abnormal (quantity foregrounding). The former refers to a phenomenon that deviates from or violates a conventional language, mainly through variation; the latter means that when a linguistic phenomenon occurs at a very high frequency, it highlights from the background and constitutes a supernormal, thus attracting the attention of the reader. Repetition and parallelism are its main means. In Room, the repeated lines and seemingly meaningless dialogues between the characters achieve the effect of foregrounding, reveal the hidden thoughts and motives of the characters in the play, and reveal the theme of the absurd speech and behavior forced by reality. Speech act theory provides another important theoretical basis and analytical tool for this study, which can be used to reveal the subtle and complex interpersonal relationships in drama and fully demonstrate the absurdity of the character dialogue. Based on the above two theories, this study reveals the unique stylistic features of the novel "Room", and reveals how absurd drama expresses character, relationships and dramatic conflicts through dramatic language, thus enhancing the stylistic effect. It reveals the realistic theme hidden behind the absurd form. The analysis shows that the characteristics of foregrounding in different language levels can show the characters' thoughts and characters from many dimensions. Rose's language is simple and straightforward, the average sentence length is only 5 words, seldom use more than three syllables of difficult words, big words, very similar to the characters in real life, but the content is repetitive, meaningless and logic, the form is absurd. Based on the analysis of speech act theory, the author finds that the speaker usually follows the principle of speech act in order to achieve the real purpose, thus revealing his opinion, attitude, and the relationship and conflict between the two sides. In a word, the room breaks through the shackles of logic and coherence in the traditional drama language, but uses the simple and boring language beyond the limit of people's patience, so that the reader can realize the abnormal and grotesque characters. The abnormal and grotesque characters in the drama just show the absurdity of the real society. Through the author's research, it is shown that there are many foregrounding features and feasibility of speech act theory research in absurd drama texts: foregrounding theory and speech act principle are powerful theoretical tools for analyzing absurd drama texts. It is also an important clue in the study of stylistic style, which is conducive to the objective and scientific study of the text, to the readers' better literary appreciation and to the interpretation of the drama theme. Their explanatory power may be beyond the reach of other literary ideas. These are worthy of scholars to pay attention to and in-depth study.
【學位授予單位】：河北科技大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I562.073

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本文編號：2251573