本文關(guān)鍵詞： 相聲仿擬 概念整合理論 認(rèn)知研究　出處：《魯東大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：相聲是一種語言的藝術(shù)。這種以對話為主的表演方式，有著特殊的魅力，承載著中華民族深厚的文化積淀。仿擬，以“舊瓶裝新酒”的特色在相聲中起著表達(dá)意義和產(chǎn)生幽默的重要作用。 相聲語言一直以來都受到國內(nèi)學(xué)者的關(guān)注。之前大部分研究都是從相聲語言自身特點及發(fā)展過程進(jìn)行，或者是利用語用中的關(guān)聯(lián)理論對相聲中的幽默進(jìn)行分析。而對仿擬的研究也多限于詞匯語用效果等層面,更沒有人從認(rèn)知層面對相聲藝術(shù)中的仿擬進(jìn)行研究。本文嘗試用Fauconnier提出的概念整合理論闡述相聲中的仿擬，以解釋相聲仿擬現(xiàn)象與意義的構(gòu)建過程。 本文的發(fā)現(xiàn)有以下幾點：首先，通過運用概念整合理論進(jìn)行分析，仿擬的仿體空間和本體空間總是相互作用的，，在認(rèn)知語境的作用下，促成各個空間概念產(chǎn)生關(guān)聯(lián)，這些關(guān)聯(lián)成為認(rèn)知推理的基礎(chǔ)，在合成空間里形成層創(chuàng)結(jié)構(gòu)，即仿擬話語的隱含意義。其次，概念整合網(wǎng)絡(luò)是概念整合理論的核心。本文結(jié)合例子與圖示，運用四個子網(wǎng)絡(luò)各自的運作機(jī)制詳細(xì)分析相聲中的仿擬現(xiàn)象，揭示其認(rèn)知過程。再次，本文將概念整合理論運用到相聲仿擬的一種特殊形式-曲仿的研究中。本文發(fā)現(xiàn)概念整合理論的四空間模型并不能完全適用于相聲中曲仿的解讀機(jī)制，而仿體空間與本體空間則形成了彼此沖突的觸發(fā)機(jī)制，必須建立第三空間的關(guān)聯(lián)才能對曲仿進(jìn)行完整的解讀，同時例析了背景區(qū)的建構(gòu)對于理解曲仿的重要作用。最后，由于相聲語言較大的隨意性，不免出現(xiàn)一些不恰當(dāng)?shù)姆聰M形式。通過概念整合來分析相聲中仿擬的負(fù)偏離現(xiàn)象，揭示了其空間沖突和難以整合的特點。但文章也指出，由于相聲語言幽默的需要，一些仿擬的負(fù)偏離現(xiàn)象也為聽者所接受。本文通過對具體相聲語料的分析證明概念整合理論對相聲中仿擬現(xiàn)象研究的可行性，從而為相聲研究提供了一個新的研究角度，同時也擴(kuò)大了概念整合理論的解釋范圍。
[Abstract]:Crosstalk is a language of art. This dialogue based on the performance, has a special charm, bearing the profound cultural accumulation of the Chinese nation. The new wine in old bottle plays an important role in expressing meaning and producing humor in crosstalk. Crosstalk language has always been the focus of domestic scholars. Previously, most of the research was carried out from the characteristics and development process of crosstalk language. Or the relevance theory of pragmatics is used to analyze the humor in crosstalk, and the study of imitation is limited to lexical and pragmatic effects and so on. No one has studied the parody of crosstalk art from the cognitive level. This paper attempts to use the conceptual integration theory proposed by Fauconnier to explain the parody in crosstalk. In order to explain the cross-talk imitation phenomenon and the meaning of the construction process. The findings of this paper are as follows: first, through the use of conceptual integration theory to analyze, parody space and ontology space always interact, under the role of cognitive context. These associations form the basis of cognitive reasoning, creating structures in synthetic space, that is, the implicit meaning of parody utterances. Conceptual integration network is the core of conceptual integration theory. In this paper, with examples and illustrations, the simulation phenomenon in crosstalk is analyzed in detail by the operation mechanism of four sub-networks, and the cognitive process is revealed. In this paper, the concept integration theory is applied to the study of a special form of crosstalk imitation, and it is found that the four-space model of conceptual integration theory can not be fully applied to the interpretation mechanism of cross-talk simulation. On the other hand, the parody space and the ontology space have formed the trigger mechanism which conflicts with each other, must establish the third space correlation to carry on the complete interpretation to the qu imitation. At the same time, the paper analyzes the important role of the construction of background area in understanding qu imitation. Finally, because of the randomness of crosstalk language. The negative deviation of parody in crosstalk is analyzed through conceptual integration, which reveals the characteristics of spatial conflict and difficulty of integration. Because of the need of cross-talk humor, some negative deviation phenomena of imitation are also accepted by listeners. This paper proves the feasibility of conceptual integration theory in the study of mimicry phenomenon in crosstalk through the analysis of specific crosstalk corpus. Therefore, it provides a new research angle for crosstalk research, and also expands the scope of explanation of conceptual integration theory.
【學(xué)位授予單位】：魯東大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：H15

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