本文選題：語碼轉(zhuǎn)換　切入點(diǎn)：中文流行歌曲　出處：《西南交通大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：語碼轉(zhuǎn)換是語言使用的一種常見現(xiàn)象,是指人們在兩種或者兩種以上語言或者語言變體中做出選擇的一種語言行為。20世紀(jì)70年代以來,這種現(xiàn)象引起了很多學(xué)者的廣泛關(guān)注,他們從社會語言學(xué),句法學(xué),心理學(xué),會話分析等不同角度對語碼轉(zhuǎn)換進(jìn)行了大量研究,并取得了重要成果。然而,前期研究的對象更多體現(xiàn)為會話、廣告語以及文學(xué)作品中的語碼轉(zhuǎn)換,對流行歌詞中漢英語碼轉(zhuǎn)換現(xiàn)象的研究較少。隨著社會和文化的發(fā)展,流行歌曲日益受到人們,尤其是青少年的喜愛。因此,流行歌曲中漢英語碼轉(zhuǎn)換可能會對中英文的使用和變異產(chǎn)生一定的影響。這樣一來,對中文流行歌曲中漢英語碼轉(zhuǎn)換現(xiàn)象的研究不僅有意義而且是必要的。 本研究按照包含漢英語碼轉(zhuǎn)換的基本要求從http://music.baidu.com網(wǎng)站上搜集篩選了2002年至2012年十年間的300首中文流行歌曲,并以歌詞中的漢英語碼轉(zhuǎn)換為研究對象,在Scotton的主體語框架模式理論,Poplack的形態(tài)學(xué)理論以及唯索爾倫順應(yīng)理論的指導(dǎo)下,借助趙文(2007)的研究框架,結(jié)合定性和定量分析的方法來研究歌曲中漢英語碼轉(zhuǎn)換的語言結(jié)構(gòu)特征、語用功能及歌詞創(chuàng)作者的心理動機(jī)。 本研究的結(jié)果表明：(1)在中文流行歌曲的歌詞中,漢語占據(jù)主體語成分,英語語碼為嵌入語,其結(jié)構(gòu)特征表現(xiàn)在：一、在主體語+嵌入語的類型中,英語語碼主要體現(xiàn)為詞素、字母及字母組合和詞匯,其中詞匯占居的比例最大,達(dá)到了44.17%,詞素最少只占0.1%；在詞匯層面上,名詞和感嘆詞的語碼轉(zhuǎn)換頻率最高,分別為40.7%和37.13%。二、在嵌入語語言島類型中,英語語碼主要發(fā)生在詞組,句子和段落三個層面上,從出現(xiàn)頻率來看,句子層面最高,達(dá)到70.25%,段落最低,只有6%。在詞組層面上,名詞詞組和動詞詞組的語碼轉(zhuǎn)換頻率最高,分別為15%和7.5%。在句法結(jié)構(gòu)方面,嵌入語英語語碼要受到漢語主體語的句法結(jié)構(gòu)限制,當(dāng)嵌入主體語漢語之后,英語詞組將失去屈折變化,且遵循漢語的句法結(jié)構(gòu)和句序。三、在附加語轉(zhuǎn)換,句中和句間轉(zhuǎn)換的類型中,句中和句間轉(zhuǎn)換出現(xiàn)的頻率相當(dāng),分別為40.42%和44.03%,附加語轉(zhuǎn)換最低,只有15.55%。(2)在唯索爾倫順應(yīng)理論框架下,中文流行歌詞中漢英語碼轉(zhuǎn)換具有兩種類型共五種語用功能：一是在語碼轉(zhuǎn)換對于語言現(xiàn)實(shí)的順應(yīng)下,具有填補(bǔ)詞匯空缺,方便演唱,構(gòu)建韻律,三種語用功能；二是在對于社會規(guī)約的順應(yīng)下具有避免禁忌和有意突出社會背景兩種語用功能。(3)中文流行歌曲詞作者在中文歌詞中嵌入英文時表現(xiàn)出主動迎合聽眾對于幽默,異國情調(diào)的心理需求和有意識地引起聽眾的情感共鳴以及主動提升聽眾全球化意識四種心理動機(jī)。 總的來說,歌詞中的語碼轉(zhuǎn)換并不是任意行為,而是為了達(dá)到某種交際目的,遵循一定規(guī)則的言語行為。
[Abstract]:Code-switching is a common phenomenon in language use. It refers to a language behavior that people choose between two or more languages or language variants. Since 70s, this phenomenon has attracted the attention of many scholars. They have done a great deal of research on code-switching from different angles of sociolinguistics, syntax, psychology and conversational analysis. With the development of society and culture, popular songs are becoming more and more popular, especially among teenagers. The Chinese-English code conversion in pop songs may have a certain impact on the use and variation of Chinese and English, so it is not only meaningful but also necessary to study the phenomenon of Chinese-English code conversion in Chinese pop songs. According to the basic requirements of Chinese-English code conversion, this study collected and screened 300 Chinese pop songs from 2002 to 2012 on the http://music.baidu.com website, and took the Chinese-English code conversion in the lyrics as the research object. Under the guidance of Scotton's theory of subjective frame pattern and Poplack's morphological theory and Sorren's adaptation theory, and with the help of Zhao Wenyong's research framework, this paper combines qualitative and quantitative methods to study the linguistic structural characteristics of Chinese-English code conversion in songs. Pragmatic function and the psychological motivation of the lyric creator. The result of this study shows that in the lyrics of Chinese pop songs, Chinese occupies the main component and the English code is embedded. Its structural features are as follows: first, in the type of the subject language, the English code is mainly embodied as morpheme; In the lexical level, nouns and interjections have the highest frequency of code-switching, which are 40.7% and 37.13, respectively. Second, in the type of embedded language island, the number of nouns and interjections is the highest, the proportion of which is 44.17, and the least of the morpheme is 0.1, at the lexical level, the frequency of code-switching of nouns and interjections is the highest, which is 40.7% and 37.13, respectively. English codes mainly occur at the three levels of phrase, sentence and paragraph. In terms of frequency of occurrence, they are the highest at the sentence level, up to 70.25and the lowest at the paragraph, with only 6aspects. At the phrase level, the code-switching frequency between noun phrases and verb phrases is the highest. In terms of syntactic structure, the English code of the embedded language is restricted by the syntactic structure of the Chinese subject language. When the subject language is embedded into the Chinese language, the English phrase will lose its inflection and follow the syntactic structure and sentence order of the Chinese language. Among the types of add-on, intra-sentence and inter-sentence conversions, the frequency of intra-sentence and inter-sentence conversions is 40.42% and 44.03, respectively, and the add-on conversion is the lowest, only 15.555.52) within the framework of Sorren's adaptation theory. There are two types of pragmatic functions in Chinese-English code conversion in popular Chinese lyrics: first, under the adaptation of code-switching to language reality, it can fill the gap of vocabulary, facilitate singing, construct prosody, and have three pragmatic functions; Secondly, the author of Chinese pop song has the pragmatic function of avoiding taboos and intentionally highlighting social background under the adaptation to social conventions.) the author of Chinese pop song words shows the initiative of pandering to the audience's humor when embedding English in Chinese lyrics. There are four kinds of psychological motives: the psychological demand of exotic sentiment, the conscious emotional resonance of the audience and the active promotion of the consciousness of globalization of the audience. In general, code-switching in lyrics is not an arbitrary act, but a speech act following certain rules in order to achieve a certain communicative purpose.
【學(xué)位授予單位】：西南交通大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：H313;H136

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本文編號：1590918