自從二十世紀(jì)六十年代文體學(xué)作為一門獨立的現(xiàn)代學(xué)科建立之后,它一直是許多學(xué)者討論的焦點之一。大部分學(xué)者比如奈西,斯皮澤,劉世生,王佐良,秦秀白等很關(guān)注與文學(xué)文本相關(guān)的文學(xué)文體學(xué),而與戲劇文本相關(guān)的戲劇文體學(xué)則受到了不公正的待遇。盡管作為文學(xué)文體學(xué)一分支的戲劇文體學(xué)和文學(xué)文體學(xué)有許多共同之處,但兩者差異很大,這使得戲劇文本的文學(xué)文體分析和一般文學(xué)文本的文體分析既有相同性也有不同性。一些學(xué)者比如俞東明,李華東,楊雪燕等雖然采用語用學(xué)和話語分析的方法來探索與戲劇文本相關(guān)的戲劇文體學(xué),但是還沒建立一個真正的分析模式。以文體理論,語用和話語分析理論,戲劇理論基礎(chǔ),本文力圖探索并建立‘戲劇文本的文學(xué)文體分析模式’(為術(shù)語使用之便,別處稱之為模式)以便提供一個針對此問題的比較滿意的解決辦法。 本文共分四章。第一章為本文的概述。第二章陳述理論基礎(chǔ)。第三章為本文的核心章節(jié),本章節(jié)首先探索文體學(xué)的一般內(nèi)容,然后歸納出文學(xué)文體學(xué)和戲劇文體學(xué)的一般內(nèi)容,最后提出模式的三個組成部分:一是把戲劇文本當(dāng)作一般的文學(xué)文本探討它的一般性,即進(jìn)行戲劇文本的一般文學(xué)文體分析,二是還原戲劇文本的本來面目來探究它的特殊性...

【文章頁數(shù)】：140 頁

【學(xué)位級別】：碩士

【文章目錄】：
1 Introduction
2 Theoretical bases
    2.1 The stylistic theory concerning the stylistic deviation
    2.2 The pragmatic theory and the conversational analysis theory
        2.2.1 The pragmatic theory
        2.2.2 The conversational analysis theory
    2.3 The drama theory
        2.3.1 The meaning of drama
        2.3.2 The conventions of drama
        2.3.3 The principles of three unities
        2.3.4 The unity of the dramatic impression
3 Deduction Process of the Model
    3.1 Exploring the general concerns of stylistics
    3.2 Exploring the general concerns of literary stylistics
        3.2.1 The bi-planar models in formal stylistics
        3.2.2 The overlapping tri-planar model of functional stylistics
        3.2.3 Jakobson's theory of structural equivalence
        3.2.4 The socio-historical and socio-cultural stylistics
        3.2.5 The major models of discourse stylistics
        3.2.6 Rough summary of 3.2.1-5
        3.2.7 Exploring some other famous scholars' literary stylistic models
        3.2.8 The general concerns of literary stylistics
    3.3 Exploring the general concerns of dramatic stylistics
        3.3.1 The difference between drama and poetry, drama and fiction
        3.3.2 Why should the dramatic stylistic analysis first concern itself with the dramatic text?
        3.3.3 The general concerns of dramatic stylistics
    3.4 The establishment of the Model
        3.4.1 The first component part of the Model: The general literary stylistic analysis of the dramatic text (generality: treating the dramatic text as the general literary text)
            3.4.1.1 Participant of the general literary text
            3.4.1.2 The analysis of the general literary stylistic language features
            3.4.1.3 The literary psychological effect from the LTIIR
            3.4.1.4 The literary aesthetic effect from the LTIIR
            3.4.1.5 The understanding of the author from the LTIIR
            3.4.1.6 The understanding of the social factor from the LTIIR
            3.4.1.7 The literary theme from the LTIIR and the author
        3.4.2 The second part of the Model: The dramatic stylistic analysis of the dramatic text (particularity: restoring the dramatic text as what it is)
            3.4.2.1 The stylistic analysis of the dramatic text itself．
                3.4.2.1.1 The participant of the dramatic text
                3.4.2.1.2 The analysis of the dramatic stylistic language features of the dramatic text through the pragmatic and conversational approach
                3.4.2.1.3 The dramatic psychological effect from the IAPIAIRDTI
                3.4.2.1.4 The dramatic aesthetic effect from the IAPIAIRDTI
                3.4.2.1.5 The understanding of the playwright from the APIAIRDTI
                3.4.2.1.6 The understanding of the social factor from the IAPIAIRDTI
                3.4.2.1.7 The dramatic theme from the IAPIAIRDTI and the playwright
            3.4.2.2 The stylistic analysis of the dramatic performance of the dramatic text
                3.4.2.2.1 The artistic configuration of the dramatic conflict
                3.4.2.2.2 The artistic configuration of the dramatic principle of 3 unities
                3.4.2.2.3 The artistic configuration of the unity of the dramatic impression
                3.4.2.2.4 The artistic configuration of the dramatic conventions
                3.4.2.2.5 The artistic configuration of the dramatic skills
                3.4.2.2.6 The consideration of the reader, audience and the theatre
        3.4.3 The third component part of the Model: The relationship between the first and the second component part of the Mode
4 Practical Analysis
Conclusion
Acknowledgement
Notes
Bibliography
Articles Published During MA Course



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