【作者】 陈丽霞；

【导师】 王德春；

【作者基本信息】 上海外国语大学 ， 外国语言学及应用语言学， 2011， 博士

【摘要】 修辞学是一门古老的学问,语用学是一门年轻的学问。语用学和修辞学研究的对象都涉及使用中的语言(language in use),理论和方法有很多不谋而合之处。将古老的修辞学和年轻的语用学结合起来,从语言学的视角对戏剧话语进行深入的研究,探究戏剧话语的语言特征,具有理论意义和实践意义。戏剧是语言的艺术。从文艺学角度看,戏剧话语是塑造艺术形象的一种手段,而从语言学角度讲,它又是一种传递话语信息和审美感受的一种艺术语言。戏剧是创造舞台艺术形象的综合艺术。作为文学体裁主要指剧本。受舞台和演出时间的限制,剧本写作要求集中主题,突出主要线索和事件。戏剧语言要求高度个性化、艺术化、抽象化,要求充分的表现力。戏剧话语的语言特征是:(1)富有韵律和节奏;(2)艺术辞藻丰富;(3)句式丰富而多变;(4)辞格运用广泛。戏剧话语是一种特殊的话语类型,是最具典型特征的艺术语体之一。戏剧话语除了其本身的表意功能外,还具有形象描绘功能、感情描绘功能和美学功能。戏剧话语中的时间、地点、场合、对象等客观因素以及人物的身份、职业、思想、修养、处境、心情等主观因素构成了特定的戏剧语言的言语环境。它们是剧作家建构戏剧话语,读者、观众理解戏剧话语意义的基石。在特定的言语环境中,戏剧语言展现出来的张力和丰富的话语意义是戏剧话语的独特魅力所在。在戏剧话语的建构中,修辞方法的运用受戏剧话语中的言语环境约束,戏剧话语中言语环境诸因素都对修辞方法的运用提出要求,而修辞方法的运用也只有十分适应其中语境的要求,才能达到完满的效果。在具体的言语环境中,剧作家用人物的话语勾勒出人物的内心情感、细微变化的心理活动与思想状态,使人物具有个性化典型特征。戏剧语言贵在含蓄,剧作家总是力求使简洁的人物语言具有巨大的思想内容。这就要求作品中语言的使用要紧紧依赖言语环境,借助言语环境来充分再现言语的内涵。戏剧话语中的言语环境再现得愈充分、愈典型,人物语言虽简洁而信息却愈丰富。戏剧话语中的预设和言外之意对戏剧话语意义的形成有重要的作用。传统的预设研究是在句子的层面上进行的。在话语的层面上对预设进行研究不但可以揭示预设在超句结构中的运作机制,而且可以阐释话语信息组织的来龙去脉。作为言语交际过程中的前提和背景信息,预设构成了交际双方共有场(common ground)的一部分。从动态的角度看,剧作家与读者/观众之间的信息交流是双方为建构和理解戏剧话语而磋商共有场的互动过程。在戏剧话语的信息组织过程中,预设在某种程度上制约着信息展开的方式。在戏剧话语建构中,剧作家需要对各种信息作出合理恰当的安排,确定哪些信息应彰显,哪些信息应隐含。语用学中的合作原则、面子理论、礼貌原则及关联理论对戏剧话语中言外之意的研究有重要参考价值。戏剧话语是剧作家将活生生的、丰富多彩的社会生活,艺术地加以提炼,并通过剧中人物之口再现出来。为了更好地展示人物的性格以塑造人物形象,剧作家要使人物的话语绘声绘色、声情并茂。剧作家在建构戏剧中人物的话语时,有必要对剧中人物,尤其是对话语中人物角色关系有充分透彻的认知,才能提高戏剧话语的适切性和准确性。戏剧话语建构要与戏剧中的角色及角色之间的关系相适应。剧中所有人物的言语都假定处于一定的社会角色关系之中。戏剧话语角色关系不同,人物语言的使用情况也不一样。当整个戏剧话语的基调依角色关系而调节适当,才能达到其语用修辞效果,才能让作为旁听者的观众有身临其境的感觉,并为剧中的人物关系所牵动,为人物个性化语言所吸引。称呼语最能反映戏剧话语中人物的身份、社会地位和相互的亲疏程度,表现剧中复杂而微妙的人物关系。极具张力的称呼语的使用在戏剧话语意义的建构中具有重要的作用。以称呼语为切入点,以“权势等同”理论和顺应论为视角,可以从微观上进一步阐释戏剧话语中使用语言的的特点。更多还原

【Abstract】 Rhetoric is an ancient branch of language study, while pragmatics is one of modern times. The subjects of pragmatics and rhetoric both deal with the language in use, and the theories and methods in them coincide with each other in many aspects. Basically speaking, it is of theoretical and practical significance to combine the ancient rhetoric and the newly-emergent learning—pragmatics in the intensive researching of the dramatic language from the linguistic perspective and in the exploration of their language features.Drama is the art of language. In terms of the theory of Literature and Art, dramatic discourse is a method to portray the characters, while from linguistic perspective, it is a language of artistic quality which conveys messages and aesthetic feeling. Drama is a comprehensive artistic form of creating the artistic images on the stage. Drama writing should focus on the theme and highlight the main clues and events because of the limitation of stage and restriction of performance time. As the literature genre, it mainly refers to scripts of the plays. Dramatic language has the features of individualization, artistry, abstraction and sufficient expressive power.The following are the linguistic features of dramatic discourse: (a) abundance of melody and rhythm; (b) richness of artistic words; (c) variety of sentence patterns; (d) frequently-used figures of speech. Dramatic discourse is a special discourse type, and a typical artistic type of writing. Apart from its meaning expressive function, dramatic discourse has the functions of image portrayal, emotion expression, and aesthetic value as well.The subjective elements such as time, place, occasion, the corresponding participants and objective elements such as character’s identity, occupation, thought, accomplishment, circumstance, mood in dramatic discourse constitute the specific speech context. They are the foundation of the construction of dramatic discourse and the basis for readers and audience to understand the meanings in dramatic discourse.In the specific context, the tension and rich meanings that dramatic language demonstrates are the unique charms of dramatic discourse. In the construction of dramatic discourse, the use of rhetorical devices and methods is restricted by the context. All the elements in the context of the dramatic discourse require the use of rhetoric devices. And only when rhetorical devices perfectly suit the context, will they have the rhetorical effects.In the concrete context, dramatists create utterances to outline the emotions, mental activity of subtle change and state of mind, in order to help the characters have their respective unique features of individuality. Dramatic language emphasizes implication, dramatists always exaggerate their efforts to employ the simple language to create enormous contents of thinking. This requires the use of language should closely rely on context and make use of context to adequately represent the implied meanings of the utterances. The more sufficiently and uniquely the context is represented in the dramatic discourse, the richer the information becomes although the language of the characters is simple and obvious.Presupposition and implication in dramatic discourse plays an important role in the generation of dramatic discourse. The traditional study of presupposition is conducted at the sentential level.The study at the discourse level can not only reveal the operating mechanisms in the super-sentence structures but also illustrate the process of the information organization.As the precondition and background information, presupposition composes the common ground of the two parts of the communication. From the dynamic perspective, the text communication between dramatists and readers is an interactive process that the two parties consulting the common ground to construct and comprehend the dramatic discourse. In the process of information organization, presupposition restricts the way of information development. In the constructing of dramatic discourse, dramatists need to make reasonable and appropriate arrangements for all kinds of information, and determine what should be manifested and what should be implicated. The Cooperative Principle, Face-saving Theory, Politeness Principle and Relevance Theory in pragmatics are of reference value in the study of implication in the dramatic discourse.Dramatic discourse is the artistic refinement of the real and colorful social life, which is represented through the characters’utterances. In order to better portrait images by demonstrating their characters, dramatists need to make the utterances vivid and descriptive in tone and affection. In constructing the dramatic discourse, it is necessary for dramatists have a sufficient and thorough cognition about the role relationship. Only in this way, the pertinency and precision of dramatic discourse can be promoted. All of the characters’utterances are supposed to take place among social roles. The use of language is different as role relationships are diverse. When the tenor of the whole dramatic discourse is set appropriately according to a role relationship, and has the function of making everything is just happening on the audience themselves, then rhetoric effects can be achieved. And the audience will be influenced by character relationships and attracted by the characterized language.Addressing terms can well reflect the characters’identities, social statuses and degrees of affinity, and display the complex and delicate relationships among the characters. The use of addressing terms of intensive force play an important role in the construction of the implied meanings in dramatic discourse. Take the addressing terms as the penetrating point, from the perspective of Power and Solidarity Theory, and we can make a micro-study of characteristics of language used in dramatic discourse.更多还原