【摘要】：20世紀(jì)80年代，文學(xué)語(yǔ)用學(xué)這個(gè)介于語(yǔ)用學(xué)和文學(xué)之間的新興交叉學(xué)科開(kāi)始正式登上學(xué)術(shù)舞臺(tái)。文學(xué)語(yǔ)用學(xué)將語(yǔ)用學(xué)與文學(xué)研究相結(jié)合，從語(yǔ)用學(xué)的角度來(lái)研究文學(xué)作品，它的興起引起了文學(xué)界與語(yǔ)言學(xué)界廣泛關(guān)注。語(yǔ)用學(xué)理論不僅為文學(xué)作品研究提供新的研究視角，而且具有很強(qiáng)的闡釋性。 在語(yǔ)用學(xué)的主要理論中，語(yǔ)言哲學(xué)家格賴斯提出的會(huì)話含義理論是極為重要的理論之一；這一理論與言語(yǔ)行為理論堪稱(chēng)是語(yǔ)用學(xué)發(fā)展的里程碑。根據(jù)格賴斯的觀點(diǎn)，在人類(lèi)交際中“會(huì)話含義”普遍存在，其理?yè)?jù)是交際雙方對(duì)合作原則的遵守與否�？梢哉f(shuō)，合作原則是格賴斯提出會(huì)話含義理論的核心內(nèi)容。本文試圖從文學(xué)語(yǔ)用學(xué)的角度運(yùn)用會(huì)話含義理論中的合作原則來(lái)解讀由“黎氏八駿”之一的華裔美國(guó)作家黎錦揚(yáng)所著的小說(shuō)《花鼓歌》。本文將沿著合作原則對(duì)說(shuō)話者意圖的揭示反映了人物性格特征并塑造了人物形象這一主線對(duì)這部小說(shuō)進(jìn)行研究，通過(guò)本研究，作者擬進(jìn)一步證明運(yùn)用文學(xué)語(yǔ)用學(xué)這門(mén)新興學(xué)科的理論與方法來(lái)分析文學(xué)文本的意義和有效性，同時(shí)證明從文學(xué)語(yǔ)用學(xué)的視角更能彰顯小說(shuō)作者黎錦揚(yáng)對(duì)《花鼓歌》里華裔人物形象正面塑造的意圖，從而證明該作品在逆轉(zhuǎn)先前華裔負(fù)面形象的過(guò)程中所起到的積極作用。 文學(xué)作品中的人物形象豐滿與否，直接取決于每一個(gè)人物個(gè)性化的語(yǔ)言。鑒于此，本文以文學(xué)語(yǔ)用學(xué)為研究視野，運(yùn)用會(huì)話含義理論分別對(duì)《花鼓歌》中主要男性華裔人物：王老爺、王大、張靈羽、李老頭，和主要女性華裔人物：李梅、唐太太、趙海倫的大量經(jīng)典對(duì)話進(jìn)行了微觀研究。通過(guò)分析小說(shuō)各主要華裔人物在對(duì)話中對(duì)合作原則中數(shù)量準(zhǔn)則、質(zhì)量準(zhǔn)則、關(guān)系準(zhǔn)則及方式準(zhǔn)則的遵守和違反情況，總結(jié)了他（她）們各自的性格特點(diǎn)，，從而得出了這些人物都是黎錦揚(yáng)對(duì)華裔形象的正面塑造的結(jié)論。 通過(guò)運(yùn)用會(huì)話含義理論中的合作原則對(duì)小說(shuō)中華裔人物性格的分析，本文旨在闡明黎錦揚(yáng)在《花鼓歌》中對(duì)華裔人物形象的正面書(shū)寫(xiě)既是他對(duì)美國(guó)主流文化中華人既定刻板負(fù)面形象的隱性辯白，也是他反駁美國(guó)主流文化龐大霸權(quán)話語(yǔ)的一種特殊而有力的方式。以此，筆者希望本研究能夠拓展對(duì)《花鼓歌》的批評(píng)維度，并期待中國(guó)讀者能夠更好地解讀和欣賞這部曾經(jīng)“被遺忘的經(jīng)典”華裔文學(xué)著作，了解其在顛覆主流話語(yǔ)和重塑華人形象方面的重要作用。
[Abstract]:In the 1980's, literary pragmatics, a new interdiscipline between pragmatics and literature, began to appear on the academic stage. Literary pragmatics combines pragmatics with literary research and studies literary works from the perspective of pragmatics. The rise of literary pragmatics has aroused widespread concern in literary and linguistic circles. Pragmatics theory not only provides a new perspective for the study of literary works, but also has a strong explanatory nature. Among the main theories of pragmatics, the theory of conversational implicature put forward by linguistic philosopher Grice is one of the most important theories, and this theory and the theory of speech act can be regarded as a milestone in the development of pragmatics. According to Grice, conversational implicature is prevalent in human communication on the basis of adherence to the principle of cooperation. It can be said that the principle of cooperation is the core of Grice's theory of conversational implicature. This paper attempts to use the cooperative principle in conversational implicature from the perspective of literary pragmatics to interpret the novel "Flower Drum songs" by Li Jinyang, a Chinese American writer who is one of Li's eight Chun. In this paper, the author will study this novel by revealing the intention of the speaker along the principle of cooperation, which reflects the character characteristics and shapes the image of the character. The author intends to further prove the significance and validity of literary texts by using the theories and methods of literary pragmatics as a new discipline. At the same time, it proves that from the perspective of literary pragmatics, the author of the novel Li Jinyang's intention to positively portray the Chinese characters in "Flower Drum songs", thus proves the positive role that the novel plays in reversing the negative image of the former Chinese people. Whether the characters in literary works are full or not depends directly on the individualized language of each character. In view of this, this paper, from the perspective of literary pragmatics, applies conversational implicature theory to analyze the main male Chinese characters in "Flower Drum songs": Lord Wang, Wang Da, Zhang Lingyu, Li Old Man, and the main female Chinese characters: Li Mei, Mrs. Tang. Zhao Helen's a large number of classic dialogues carried out microscopic research. By analyzing the adherence and violation of the main Chinese characters of the novel to the principles of cooperation, quantity, quality, relationship and manner in the dialogue, this paper summarizes their respective personality characteristics. It is concluded that these characters are the positive portrayal of Chinese image by Li Jinyang. By applying the cooperative principle in conversational implicature theory, the author analyzes the characters of Chinese characters in the novel. The purpose of this paper is to clarify that Li Jinyang's positive writing of Chinese characters in Flower Drum Song is his recessive argument about the stereotyped and negative image of the Chinese people in the mainstream culture of the United States. It is also a special and powerful way for him to refute the hegemonic discourse of American mainstream culture. Therefore, the author hopes that this study can expand the critical dimension of "Flower Drum songs" and hope that Chinese readers can better interpret and appreciate this once "forgotten classic" Chinese literary work. Understand its important role in subverting mainstream discourse and reshaping the image of Chinese.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：I712.074

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