【作者】 李显杰；

【导师】 张玉能；

【作者基本信息】 华中师范大学 ， 文艺学， 2004， 博士

【摘要】 电影影像作为一种“言说”，与任何人类“言说”一样，具有自己的表意目的、表述技巧和表达效果。同时，电影影像建立在机器和高科技手段基础上的“表意”元素和载体，又构成了电影自身独特的达意表情的“话语方式”和“措辞手段”，使其具有了自己的特殊“言说”系统和特定修辞手法。 本文立足于对影像“话语”实践的系统考察，重点是对影像的特殊表意方式——修辞模式及其手法的表意特征和表达效果的探讨。就电影修辞规律讲，笔者认为，影像修辞格是电影修辞的集中的和典型的代表。因此，梳理和归纳出电影修辞格的基本形态和主要功能，是分析、阐释电影修辞规律的中心内容和基础层面。 具体讲，全文分为上篇、中篇、下篇三个部分： 上篇——当代修辞理论与电影修辞，首先梳理、阐释了一般“辞格”研究的现状和基本特征，对现代修辞学中的“辞格”理论与后现代修辞理论中对“辞格”功能的重新阐释所体现出来的不同理论特色作出了描述。在廓清一般辞格理论的基础上，从电影修辞与一般(语言)修辞的联系与区别入手，着重提出和讨论了电影修辞研究的理论特征。并较为深入地论述和比较了电影叙事研究与电影修辞研究的不同的哲学蕴涵、理论取向和方法论特征。最后在与一般“语言”辞格的比较基础上，论述了影像辞格的含义，并尝试给影像辞格下了一个定义。 中篇——电影修辞格的基本形态与功能特征，是本文论述的重点部分，是建立在对大量的影片“文本”的读解，归纳，提炼和概括基础上的，对电影修辞格的形态建构和理论阐释。这里首先讨论了电影修辞的镜头元素符号及其编码特征，分析、论证了电影符码的“基本修辞元”和“组合修辞元”对电影修辞和影像辞格起到的重要奠基作用。其次，重点提出和论证了电影修辞中13种影像辞格(每一种类中又包含着若干具体样式)的基本形态风貌和主要功能特征：并结合具体影片实例，讨论了它们在具体“语境”中所具有的“表意”特征和“意义”指向，企图达到、能够达到和可能产生的修辞效果。 在论证方法上，本篇力求将理论阐释与形态建构熔为一炉，将功能分析与主体策略兼收并蓄，从而达到理论辩说与具体分析相互印证，规律性的学理概括与具体化的“文本”读解融会贯通的论述目的。同时在对影像辞格的具体论述中，突出影像辞格作为电影修辞“话语”的自身特质，并兼顾到各个辞格之间的既相互区别，又相互交叉的动态性、流动性特征。整体上，本文认为影像辞格是影片文本建构和深化叙事主题，营造和强化主体审美意向与情感，抒发和展现多样的人性面目、心理情怀、艺术理想的重要手段。同时它们也是吸引观众注目影片的思想情怀、意义指向、审美意象，促使观众与影片产生共鸣、展开对话、启发思考、反思人生的重要策略手段。多样的修辞组合的碰撞，多种修辞格的创新性运用，使影片具有了多层面的表@博士学位论文DOCTORAI DISSFRTATI()N意张力，使叙述具有了丰富的话语含义(寓意)，使影像包含了多样化的意义潜能，最终使影片—影像交流具有了意义的建构性和延展性，为“文本”的架构乃至影片风格的形成提供了推础和契机。 下篇—电影修辞格与“文本”修辞策略及其当代文化意义，是对影像辞格与“文本”关系乃至“文本”风格的研究，并进而从文化研究角度简要阐释了影像辞格的文化建构功能。本篇从两个层面展开论述。首先从影像辞格与文本风格的关系角度，描述和阐释了影像辞格的运用与影片文本修辞策略的关系，并对影像辞格在不同历史背景和审美潮流中呈现出的不同风格特征及其“话语”功能作出了简要描述。强调了影像辞格与“文本”叙事主题、主体审美取向的密切关系:一方面同样的辞格在不同的“主题”和“审美取向”的制约下，会呈现出不同的 “话语”功能:另一方面，不同风格的影片，或者说不同修辞策略的“文本”，对辞格的运用有不同的需求和选择。因此本文认为，当一部影片中的修辞“话语”、修辞方式、修辞手法凸显出来、形成个性之时，也就是一部影片的风格特色形成之日。其次，分别论述了影像辞格与电影市场、意识形态和审美文化的内在关联性及其强化与消解、建设与破坏并存的“双面”特征;并通过对具体影片“文本”的读解，分析和阐释了电影修辞—影像辞格的运作所具有的意识形态性和作为建构性“话语”所具有的审美文化意义。 本文对电影修辞格的系统分析，可以表明，“影像”修辞本身作为对“存在”的修辞，是对现实物象的“人化”复制，影像“文本”是“人类现实”的经过“修辞化”(物像化修辞)的延伸与扩展，因此电影是作为人化的“自然”的“隐喻”而显现的新的审美化了的“活的形象现实”和文化“居所”。同时它也是人类几千年文明发展、理性积淀的当代显现.影像修辞对当代高科技技术的艺术化运用，突出地表明了影像存在的双重身份，它是集感性与理性为一体，科技与人文为一处的新的人类“语言”。它包含了人类文明迄今为止的全部智慧、幻想，困惑与迷茫，某种程度上也预示着未来人类文化将走向新的综合的总体趋势。更多还原

【Abstract】 As a kind of speech, film image has its own ideographic purpose, expressive techniques and effect. Besides, as it is established on the basis of machinery and high-tech, it thus has formulated a distinctive expressive speech and wording of its own which eventually results in its unique speech system and rhetorical devices.This dissertation, based on the systematic scrutiny of the actual practice of the film image speech, probes into its distinctive ideographic measure-ideographic characteristics of its expressive of its rhetorical patterns and techniques and its expressive effect. In the light of film rhetorical principles, the author holds that image figures of speech are the most concrete and typical representative of film rhetoric. Therefore, to sort out the fundamental patterns and main functions of film figures of speech is the key issue of and of fundamental importance to the analysis and interpretation of the film’s rhetorical principles.The whole article is divided into three chapters.The first chapter, dealing with the contemporary rhetoric and film rhetoric, first gives a brief introduction to the research on the common figures of speech and their essential features. Then, it describes the different theoretical characteristics between the theory of figures of speech of the modern rhetoric and its functions re-interpreted by the post-modern rhetorical theorists. On the study of the common figures of speech, the paper proceeds to propose and discuss the rhetorical features of film rhetoric study on the basis of relative and contrastive study of the film rhetoric and the common linguistic rhetoric. It then discusses and compares the different philosophical implications, different theoretical approaches and different ideographic features in the study of film narration and film rhetoric. In the last place, based on the comparison with the common linguistic figures of speech, it expounds the meaning of image figures of speech, then tries to give it a definition.The second chapter, addressing the essential patterns and dominating features of the film figures of speech, is the main part of the article which is based on the inductive study of large quantity of film scripts. It constructs the patterns of film figures of speech and interprets the theory. In this chapter, the author first discusses the elements and symbols of cinema scenes and its encoding features and then analyzesthe fundamental importance of "basic rhetoric unit" and "combinational rhetoric unit" in film codes related to the film rhetoric and image figures of speech. After that, he puts forward 13 kinds of image figures of speech (each has several patterns of INJ own) and demonstrates their respective pattern and major functions. And with examples provided by some films, the author discusses their ideographic features and meaning representation in actual context and the rhetorical effect they intend to achieve.With the concern of demonstrative devices, the article strives to link theoretical interpretation with pattern construction, to combine functional analysis with main strategy, thus to achieve the corresponding confirmation between theoretical proof and concrete analysis thorough understanding of theoretical generalization of principles and actual text comprehending. In the detailed description of image figure of speech, stresses are laid on their uniqueness as a kind of film rhetoric language while some attention is devoted to the dynamic and motive features between different figures of speech. On the whole, the article argues that image figures of speech are the main method to construct film texts and to deepen their theme, to create and strengthen their major beauty and feelings and to demonstrate and express the various kinds of human nature, psychological feelings and artistic ideas. In addition, they are also an important strategy which are intended to attract the audience to the theme, the meaning they represent and the aesthetic image, and then to arouse their sympathy and give stimulus to dialogue and reflection on life. In更多还原