發(fā)布時間：2018-06-11 22:58

  本文選題：主述位理論 + 主位推進模式　； 參考：《江西師范大學》2012年碩士論文

【摘要】：主述位理論，尤其是主位推進模式近些年來正逐漸被應用于語篇分析，一方面可以很好的體現(xiàn)語篇的結(jié)構(gòu)特點，幫助分析語篇，另一方面語篇分析理論的豐富也促進了語言學的對比分析由語音、詞匯等擴展到語篇層面，從而便于讀者更好的理解語篇。 主位、述位的概念最初是由Henri Weil提出的，隨后布拉格學派的創(chuàng)始人之一馬泰休斯及其他功能語言學派語言學家發(fā)展了主述位理論，并在此基礎上提出了主位推進模式，用以幫助分析文本在各種文體中的發(fā)展情況。國內(nèi)外很多語言學家從不同方面對主位推進模式進行了研究，其中旦奈什提出的三種基本主位推進模式影響最為廣泛。在他的基礎上，隨后許多語言學家從不同方面提出了多種分類方式，并把這種模式運用到各類體裁的文本分析中，然而對詩歌，尤其是英漢愛情詩歌的對比性研究甚少。 詩歌在文學作品中是一種很有研究價值也是很重要的文學體裁，其語言有獨特的變形特征和跳躍性。為了更深入的理解英漢兩種語言之間的關系，在本文中，筆者基于旦奈什的三種基本推進模式綜合出六種主要的主位推進模式，即主位統(tǒng)一型、延續(xù)型、述位同一型、交叉型、對比型以及派生型，從三個方面嘗試對34首英漢愛情詩歌的主位選擇及主位推進模式進行了對比研究：中英愛情詩歌中主位選擇分別有什么特點，英漢愛情詩歌主位推進模式的運用有何不同及這些不同能給讀者什么啟示。該研究將分為兩步：首先從英漢愛情詩歌的主位選擇特點和主位推進模式運用的異同，分別對兩首英漢詩歌進行具體分析，并揭示對比的意義；其次，通過定量分析得出這六種主位推進模式在15首英美浪漫主義時期的愛情詩歌和15首唐朝時期的中文愛情詩歌中分布的統(tǒng)計數(shù)據(jù)，得出以下結(jié)論：英漢愛情詩歌中都普遍存在主位省略現(xiàn)象，且英文詩歌中存在更多標記主位和小句主位；英文愛情詩歌中運用的主位推進模式比漢語愛情詩歌中更豐富，也更復雜；在英語愛情詩歌中，對比型主位推進模式運用較少，漢語愛情詩歌中同一型和交叉型主位推進模式更少見。 本文通過主述位理論和主位推進模式在中英愛情詩歌中的應用對比分析，可以揭示英漢愛情詩歌中主位述位的不同分布及兩者中不同的語言特點，盡管有一定的局限性，其特點仍可以一定程度上幫助讀者更好的把握詩歌的話題，體會詩人的思緒，領會詩歌的意義。
[Abstract]:Theme-rheme theory, especially the thematic progression model, has been gradually applied to discourse analysis in recent years. On the one hand, it can well reflect the structural characteristics of the discourse and help to analyze the discourse. On the other hand, the enrichment of discourse analysis theory also promotes the expansion of contrastive analysis of linguistics from phonetics and vocabulary to discourse level, thus facilitating the readers to better understand the discourse. The concept of theme and rheme was originally put forward by Henri Weil. Then Mathieus, one of the founders of Prague School, and other linguists of functional linguistics developed thematic theory, and then put forward thematic progression model to help analyze the development of text in various styles. Many linguists at home and abroad have studied the thematic progression model from different aspects, among which the three basic thematic progression models proposed by Dannich have the most extensive influence. On his basis, many linguists later put forward a variety of classification methods from different aspects, and applied this model to the text analysis of various genres. Especially, there are few contrastive studies on love poems between English and Chinese. Poetry is a kind of literary genre of great research value in literary works, and its language has its unique characteristics of deformation and jumping. In order to better understand the relationship between English and Chinese, in this paper, the author synthesizes six main thematic progression models based on Danesh's three basic progression models, namely, thematic unity, continuation, rheme, and crossover. Contrastive and derivative, this paper attempts to make a contrastive study on the theme selection and thematic progression of 34 English and Chinese love poems from three aspects: what are the characteristics of theme selection in Chinese and English love poems? What are the differences in the use of thematic progression patterns in love poetry between English and Chinese and what enlightenments these differences can give readers? The study will be divided into two steps: firstly, from the characteristics of theme selection and the similarities and differences of thematic progression mode, the author makes a specific analysis of the two poems and reveals the significance of comparison. Through quantitative analysis, the statistical data of the distribution of these six thematic patterns in 15 Romantic Love Poems in Anglo-American period and 15 Chinese Love Poems in Tang Dynasty are obtained. The following conclusions are drawn: the phenomenon of thematic ellipsis is common in both English and Chinese love poems, and there are more marked themes and clauses in English poems, and more thematic progression patterns are used in English love poems than in Chinese love poems. It is also more complicated; in English love poems, the contrastive thematic progression model is less used. The theme progression pattern of the same type and the cross type in Chinese love poetry is more rare. This paper makes a contrastive analysis of the application of theme and theme progression model in Chinese and English love poems. It can reveal the different distribution of theme and rheme in English and Chinese love poetry and their different linguistic characteristics. Although they have some limitations, their characteristics can help readers to grasp the topic of poetry and understand the thoughts of the poet to a certain extent. Grasp the meaning of poetry.
【學位授予單位】：江西師范大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I0-03;I106.2

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本文編號：2007011