本文關(guān)鍵詞：簡·奧斯丁小說中人際關(guān)系的語言解析，由筆耕文化傳播整理發(fā)布。

        英國十九世紀(jì)小說家簡·奧斯丁是一位舉世公認(rèn)的經(jīng)典作家，雖然她一生僅僅創(chuàng)作了六部小說，但她的聲望日益穩(wěn)固，被稱為“散文中的莎士比亞”。奧斯丁善于描寫平凡人物，以及他們之間復(fù)雜人際關(guān)系的變化和發(fā)展，她的小說不僅蘊含辯證藝術(shù)和對生活哲理及價值觀念的獨特闡釋，而且貫穿了她對人類平等和社會和諧的追求。不同時期的作品體現(xiàn)了她對不同人際關(guān)系的思考和判斷，從最初的男女之情到父母子女之愛，最后升華到更為廣泛的女性關(guān)系。她的小說算不上雄偉壯麗、激情澎湃，但卻那么的真實細(xì)膩、令人愉快，且能直接觸動讀者的心靈。然而她不僅是高度敏感的、自覺的文學(xué)大師，而且在語言藝術(shù)上也獨樹一幟。雖然很多學(xué)者對奧斯丁的語言和風(fēng)格進(jìn)行了一定的研究，但是對她小說中語言藝術(shù)的描寫還不夠深入和系統(tǒng)，而從語言學(xué)視角對其小說中體現(xiàn)人際關(guān)系的語言研究更是在很大程度上被忽略了，因此本文以語言學(xué)理論為指導(dǎo)，對奧斯丁的主要小說的文本進(jìn)行分析，旨在全面系統(tǒng)地研究揭示人物關(guān)系的語言藝術(shù)。本論文根據(jù)合作原則、人際功能和言語表達(dá)理論對簡·奧斯丁不同時期三部重要小說《傲慢與偏見》《愛瑪》和《勸導(dǎo)》中刻畫人際關(guān)系的語言進(jìn)行系統(tǒng)詳盡的研究。本論文采用定性研究的方法，旨在從合作原則的遵守和違背，語氣、情態(tài)，以及直接引語表達(dá)和間接引語表達(dá)角度就小說中的語言對實現(xiàn)不同人際關(guān)系的作用進(jìn)行研究，系統(tǒng)探討奧斯丁小說中的語言藝術(shù)。本文由五個部分組成，包括引言、主要的三個章節(jié)和結(jié)論。引言部分首先回顧了評論家在不同階段對奧斯丁語言藝術(shù)的相關(guān)研究，起初同時代的評論家忽略了奧斯丁的自覺努力和藝術(shù)匠心，直到二十世紀(jì)，新一代的評論家才開始關(guān)注奧斯丁作品的藝術(shù)構(gòu)思，并開始從多個角度研究作為語言藝術(shù)大師的奧斯丁，而現(xiàn)代批評家則結(jié)合語言學(xué)研究領(lǐng)域的發(fā)展，進(jìn)一步探討其作品中內(nèi)容與形式的統(tǒng)一。其次，引言部分解釋了相關(guān)的語言學(xué)理論及術(shù)語，最后，引言部分介紹了本文的論點、研究方法和結(jié)構(gòu)。本文旨在全面系統(tǒng)地研究奧斯丁的語言藝術(shù)。第一章以語言學(xué)中的合作原則理論來研究簡·奧斯丁的小說《傲慢與偏見》中的刻畫男女關(guān)系的語言藝術(shù)。在這部小說中奧斯丁關(guān)注男女關(guān)系的兩面性，既體現(xiàn)出雙方的合作，又展示了雙方的沖突。論文指出，對合作原則的遵守有助于男女之間的妥協(xié)和協(xié)作。男女雙方在行使言語行為時表現(xiàn)出合作的意向，反映了他們在溝通中的忍讓和尊重；他們在對話中遵守量、質(zhì)、關(guān)系和方式準(zhǔn)則，進(jìn)行了有效的交流，表達(dá)了相互理解和愛護(hù)。而對合作原則的違背則導(dǎo)致雙方的誤解，反映了人物的對立和等級。男女人物在行使言語行為時表現(xiàn)出不合作的意向，顯示了他們之間社會分工和地位的不和諧；在缺乏共識的條件下，他們對量、質(zhì)、關(guān)系和方式四個會話準(zhǔn)則的違背引起會話交流中的阻礙，并導(dǎo)致男女人物之間的矛盾和沖突。本章通過對小說中合作原則的遵守和違背的情況研究，全面展示了奧斯丁的語言藝術(shù)。第二章從人際功能的角度來解讀《愛瑪》中描寫父母與子女關(guān)系的語言。奧斯丁認(rèn)為，人物性格的形成與其家庭和社會環(huán)境密切相關(guān)，因此她逐漸關(guān)注愛與成長的主題。在全面闡釋小說是如何通過語氣和情態(tài)來表現(xiàn)父母子女的關(guān)系時，本章首先研究小說如何通過句子的語氣選擇和語氣結(jié)構(gòu)來反映父母對子女的愛護(hù)及其局限，小句的語氣能夠折射人物的心理、刻畫人物性格，從而展示父母對子女的溺愛；語氣結(jié)構(gòu)分析主要體現(xiàn)在主語和限定成分的選擇以及二者的位置關(guān)系，人物通過使用不同的語氣結(jié)構(gòu)，，反映態(tài)度表達(dá)情感，折射了父母愛的缺陷。然后，本章探討作者如何采用情態(tài)助動詞、情態(tài)附加語來揭示子女在逆境中的成長。情態(tài)助動詞通過不同的情態(tài)值傳達(dá)觀點和判斷，塑造人物的性格，從而反映了子女對父母的繼承和效仿；情態(tài)附加語蘊含人物的態(tài)度和情感，表現(xiàn)了子女對父母的感恩與回報。論文指出，對小說中語氣和情態(tài)使用情況的研究有助于體現(xiàn)奧斯丁的語言特色。第三章從言語表達(dá)理論的角度研討《勸導(dǎo)》中描繪女性關(guān)系的語言藝術(shù)。在這部小說中，奧斯丁不僅關(guān)注更廣泛的女性人物之間的關(guān)系，而且更強調(diào)女性的獨立和自覺。本章從人物言語表達(dá)的兩種主要方式，直接表達(dá)和間接表達(dá)角度對小說中的女性人際關(guān)系進(jìn)行解讀。論文指出，小說中直接引語和自由直接引語的使用體現(xiàn)了女性之間的不和諧，其表達(dá)方式的直接性和客觀性有助于讀者對人物性格和關(guān)系進(jìn)行直接觀察和客觀的判斷。而小說中的間接引語和自由間接引語的應(yīng)用則描繪了女性間的和諧與友誼，間接引語是塑造人物的重要手段，使讀者快速掌握人物性格及其關(guān)系，此外，過去時態(tài)的使用和相應(yīng)的人稱和指示詞的變化，能夠起到疏離效果，因而，間接引語能夠?qū)崿F(xiàn)作者的表達(dá)意圖并引起讀者的共鳴；自由間接引語被稱作敘述的獨白，有助于表達(dá)人物的心理，并通過大量使用人物自己的視角和語言，縮短人物和讀者的距離，實現(xiàn)二者的交流。本章認(rèn)為奧斯丁的語言藝術(shù)和描寫方式具有很深的造詣。通過對簡·奧斯丁三部主要小說的語言學(xué)解析，本論文得出以下主要研究結(jié)論：《傲慢與偏見》《愛瑪》和《勸導(dǎo)》反映了奧斯丁的高超語言技巧和藝術(shù)上的不斷完善。她是偉大的藝術(shù)家和語言大師，她能夠運用人物對話中的合作和不合作現(xiàn)象，刻畫人物性格、描繪男女人物之間的復(fù)雜關(guān)系；她以語言為媒介，通過選擇不同的語氣和情態(tài)，反映人物的心理和思維，表現(xiàn)父母與子女之間的辯證關(guān)系；她運用不同形式的言語表達(dá)方式，描寫人物形象，推動情節(jié)發(fā)展，并反映女性之間的動態(tài)關(guān)系�？偟膩碚f，奧斯丁善于靈活運用語言手段來達(dá)到她的寫作目的、進(jìn)行復(fù)雜的藝術(shù)構(gòu)思，最后顯現(xiàn)復(fù)雜的人際關(guān)系，她的小說深刻體現(xiàn)了形式與內(nèi)容統(tǒng)一這一深刻的道理。奧斯丁一生致力于描繪村鎮(zhèn)上的三、四家人，刻畫英國當(dāng)時的中產(chǎn)階級，反映他們的日常生活。她的這三部小說《傲慢與偏見》、《愛瑪》和《勸導(dǎo)》對不同性質(zhì)和不同層次的人際關(guān)系進(jìn)行了深入的探究。本文對奧斯丁的三個重要文本進(jìn)行了語言學(xué)解讀，綜合運用了合作原則、人際功能理論以及言語表達(dá)理論，多角度地研究奧斯丁小說的語言，探討其表達(dá)不同人際關(guān)系時的語言特色。本論文的創(chuàng)新點在于運用語言學(xué)的方法對奧斯丁的文本進(jìn)行逐一解讀，通過分析奧斯丁語言中最根本最重要的組成成分，驗證奧斯丁的語言藝術(shù)。本論文的意義在于運用語言學(xué)的理論，分別探討了奧斯丁主要作品中描繪男女、父母子女及女性之間人際關(guān)系的語言特色，本文是文學(xué)批評和語言學(xué)研究有機結(jié)合的產(chǎn)物，為文學(xué)和語言學(xué)研究的學(xué)術(shù)交叉和互融具有一定的實踐意義和理論價值。

    The nineteenth-century British novelist Jane Austen is recognized as a significantclassic writer. Though she has published only six novels, Austen is noted as“Shakespeare in Prose” and her reputation has been increasingly stable and enduring.With the adeptness at describing the life of ordinary people and the development oftheir complex relationship, Austen’s fiction embodies the dialectical art and theunique interpretation of the philosophy and value of life, and represents her relentlesspursuit of human equality and harmony. Her works of different periods represent herthinking and judgment of different interpersonal relationships from initialmale-female relationship to parent-child relationship, and finally to femalerelationship in general. Her fiction is far from being magnificent or passionate, but itis considered delicate and delightful and its truthfulness may touch the soul of thereader immediately. However, she is not only a highly sensitive and self-consciousliterary master, but also innovative in the art of language. Many scholars haveinvestigated her language and style, but the study of her language in the representationof interpersonal relationship from the linguistic perspective has been generallyneglected. Therefore, this dissertation applies the linguistic theory to Austen’sfictional texts, aiming at a comprehensive and systematic study of her linguisticachievements in the representation of human relationship.This dissertation applies the cooperative principle, interpersonal metafunction,and speech representation to the examination of the integrated interpersonalrelationship in Austen’s three important novels, namely Pride and Prejudice, Emmaand Persuasion. This dissertation is primarily qualitative based and it aims to exploreAusten’s art of language by means of the application of cooperative principle, mood,modality, direct speech representation and indirect speech representation in thedemonstration of interpersonal relationship. In addition to the Introduction and theConclusion, this dissertation consists of three chapters. In the introduction, this dissertation first reviews the relevant language study ofJane Austen’s fiction of different stages. Previously her contemporary critics haveignored her conscious effort and artistic ingenuity, regarding her as beingspontaneously and instinctively charming. Not until the twentieth century, did a newgeneration of experts and scholars emerge to pay attention to Austen’s artisticachievements and explore her art of language from diverse perspectives. Furthermorethe modern critics take advantage of the development of stylistics and linguistics tofurther explore the unity of content and form in her fiction. And then the introductionilluminates relevant linguistic theories and terms. Finally, it clarifies the argument,research methods and structure of this dissertation.The first chapter applies the cooperative principle to the exploration of therealization of male-female relationship in Pride and Prejudice. Austen is concernedwith double sides of male-female relationship, not only depicting the cooperation butalso the conflict between men and women in the novel. This dissertation points outthat the compliance with the cooperative principle demonstrates the compromise andcoordination between men and women. The cooperation in speech acts reflects theirtolerance and respect, and the observation of the maxims of quantity, quality,relevance and manner facilitates effective communication indicating their mutual careand understanding. However the violation of the cooperative principle leads tohierarchy and disagreement between men and women. Non-cooperation in theirspeech acts implies the discord between different genders and social positions. Andthe violation of the four conversational maxims creates discrepancy andmisinterpretation between men and women who share no common backgroundknowledge. This chapter adopts a linguistic approach to study Austen’s linguistic artin the representation of male-female relationship by means of the observance andviolation of the cooperative principle.The second chapter employs interpersonal metafunction to illustrate therepresentation of parent-child relationship in Emma. Austen believes that the characterformation is closely related to the family and social environment, and she shows anincreasing concern for the influence of parents’ love on children’s growth. This chapter examines how mood and modality function in the exhibition of parent-childrelationship. First, it applies mood analysis to the reflection of parents’ restricted lovein terms of mood choice and mood construction. Different types of mood clauses mayexhibit psychological changes and different personalities, which show the parents’indulgence of their children. Mood construction, which is represented by the choice ofsubject and finite elements, expresses feelings and attitudes to display theirresponsibility in parents’ love. Then this chapter studies the application of modaloperators and modal adjuncts to the exploration of children’s growth in adversity.Modal operators, namely modal auxiliaries, possess different levels of modal value toconvey opinions and judgments, which expose personalities and illustrate thechildren’s unconscious inheritance from their parents. Modal adjuncts contain thecharacter’s attitudes and emotions, which exhibit children’s reward and gratitude fortheir parents. In conclusion, this dissertation figures out that the interpersonalmetafunction is meaningful in disclosing Austen’s linguistic contribution.The third chapter examines the speech representation in the representation offemale friendship in Persuasion in which Austen not only attaches importance tofemale relationship but also female independence and consciousness. This chapterstudies two different ways of speech representation in female relations, namely directspeech representation and indirect speech representation. On one hand, this chapterholds that direct speech representation, which consists of direct speech and free directspeech, operates effectively in the realization of female disharmony. Its directness andobjectivity enable the reader to make direct observation and fair evaluation of femalecharacters and their relations. Then indirect speech representation, which is composedof indirect speech and free indirect speech, functions in the depiction of harmoniousfemale friendship. Indirect speech is an important means of shaping the character, andhelps the reader gain a quick grasp of female relationship. In addition, it may arousethe reader’s sympathy with the distancing effect of the past tense and thetransformation of pronouns and other deictics. While free indirect speech, also callednarrated monologue, reveals psychological activities and promotes the interactionbetween the character and the reader by adopting the character’s perspective and language. This dissertation argues that as a great writer Austen has demonstrated herexquisite craftsmanship in the use of language.Through the linguistic analyses of Austen’s three important novels, thisdissertation draws the following conclusion: Austen’s superb language skills andcontinuous artistic improvement demonstrate themselves in Pride and Prejudice,Emma and Persuasion. As a master of language, she is capable of making good use ofthe cooperation and noncooperation in characters’ conversation to portray thecharacters and depict complicated relationship between men and women. Withlanguage as the medium, she explores mood and modality in her fiction to reflect thecharacter’s psychology and thinking, and to display the dialectical relationshipbetween parents and children. Meanwhile she adopts different modes of speechrepresentation to present female characters and exhibit the dynamic relationshipbetween them. In general, Austen’s flexible and efficient employment of languagecontributes to the achievement of her writing goal, artistic conception and therepresentation of different human relationship. Her fiction embodies the unity of formand content.Jane Austen is committed to depicting three or four families in a small town, theEnglish middle class and its daily life. Her three novels, namely Pride and Prejudice,Emma and Persuasion, make in-depth inquiry into interpersonal relationship ofdifferent nature and levels. The present dissertation explores the linguistic features inher major fiction, and studies the cooperative principle, interpersonal metafuncitonand speech representation in the exhibition of different human relationship. Theoriginality of this dissertation lies in the new linguistic approach to the analysis ofmale-female, parent-child, and female relationships in Austen’s fiction. It endeavorsto present a fresh means of access to Austen’s fictional texts and it analyzes the mostbasic and important components of Austen’s language in the representation ofinterpersonal relations, which proves to be effective in her writing. Thus it brings thereader directly in touch with the authorial purpose conveyed by her language. Thesignificance of this dissertation consists in the point that it explores Austen’s expertisein the use of language, which is illustrated through the employment of linguistic theories to the analysis of the human relationship in her major fiction. It not onlyenriches the literary study of the texts, but also enhances the integration of linguisticsand literature. To some extent, it is a creative attempt at the study of Austen’s fictionand provides an alternative for both literary and linguistic studies.

簡·奧斯丁小說中人際關(guān)系的語言解析

Acknowledgements4-5摘要5-8Abstract8-12Introduction14-27    1 A Critical Survey of Linguistic Studies on Jane Austen’s Major Fiction14-22    2 The Explanation of Linguistic Theories Concerned22-24    3 The Argument and the Methodology of the Dissertation24    4 The Organization of the Dissertation24-27Chapter One Cooperative Principle in Male-female Relationship in Pride and Prejudice27-58    1 Application of CP in the Realization of Diverse Collaboration29-42    2 Violation of CP in the Demonstration of Mild Conflict42-58Chapter Two Interpersonal Metafunction in Parent-child Relationship in Emma58-101    1 Mood in the Reflection of Fettered Love59-79    2 Modality in the Manifestation of Devious Growth79-101Chapter Three Speech Representation in Female Relationship in Persuasion101-141    1 Direct Speech Representation in the Display of Disharmonious Relationship103-123    2 Indirect Speech Representation in the Exhibition of Compatible Friendship123-141Conclusion141-146Bibliography146-152

  本文關(guān)鍵詞：簡·奧斯丁小說中人際關(guān)系的語言解析，由筆耕文化傳播整理發(fā)布。