蕭伯納《賣(mài)花女》中不禮貌現(xiàn)象的語(yǔ)用文體研究
發(fā)布時(shí)間：2019-05-31 21:41
【摘要】：上世紀(jì)七、八十年代，不禮貌研究開(kāi)始在西方興起。與禮貌研究相比，不禮貌研究沒(méi)有得到足夠重視，研究成果也少之又少，國(guó)內(nèi)甚至存在“不禮貌研究根本沒(méi)有必要”的觀點(diǎn)，研究成果更是鳳毛麟角。當(dāng)學(xué)者們片面研究禮貌現(xiàn)象與人際和諧時(shí)，卻忽視了禮貌交際的另一面—不禮貌及其可能導(dǎo)致的人際沖突，從而造成了概念上的偏見(jiàn)。事實(shí)上，不禮貌現(xiàn)象不僅廣泛存在于日常交往，而且在政治辯論、軍隊(duì)訓(xùn)練、法庭質(zhì)證、工作場(chǎng)所等活動(dòng)中更是發(fā)揮著重要作用，不禮貌研究不僅不可漠然視之，而且需要更多的努力加以研究。 西方的不禮貌研究發(fā)展迅速，且形成了既互相聯(lián)系又有所區(qū)別的不禮貌框架。Jonathan Culpeper（1996,2005）更是將不禮貌理論應(yīng)用于戲劇對(duì)話(huà)分析。他還提出了對(duì)不禮貌進(jìn)行回應(yīng)的模式。Derek Bousfield (2008)將不禮貌策略用于分析不同的語(yǔ)篇，認(rèn)為不禮貌策略可以集結(jié)使用，不禮貌可以發(fā)生在單個(gè)話(huà)語(yǔ)層面，也可以發(fā)生在宏觀語(yǔ)篇層面，還可以跨越多個(gè)話(huà)輪，將不禮貌研究從單句言語(yǔ)層面拓展到了更為廣闊的語(yǔ)篇層面。不禮貌理論的應(yīng)用、豐富與發(fā)展為本研究提供了可行性及理論支撐。 本文旨在研究蕭伯納著名喜劇《賣(mài)花女》中的不禮貌現(xiàn)象及其語(yǔ)用文體功能。該研究既具有一定的理論意義又具有較強(qiáng)的實(shí)踐意義。從理論上看，該研究在總結(jié)歸納前人不禮貌研究成果的基礎(chǔ)上，不是對(duì)Bousfield（2008）不禮貌框架的簡(jiǎn)單應(yīng)用，而是進(jìn)一步澄清了“不禮貌”與“沖突”之間的關(guān)系，彌補(bǔ)了Bousfield不禮貌框架中似乎將“不禮貌”與“沖突”混為一談的不足；同時(shí)又將Bousfield不禮貌框架中的三個(gè)分析維度，即單句層面、超越單句的宏觀語(yǔ)篇層面和話(huà)輪轉(zhuǎn)換系統(tǒng)合并在一起，構(gòu)建了一個(gè)“三位一體”的分析模式，以便更好地適應(yīng)《賣(mài)花女》戲劇人物對(duì)話(huà)的分析需要。從實(shí)踐上看，本研究不僅有助于戲劇對(duì)話(huà)的分析與欣賞，為戲劇人物權(quán)勢(shì)關(guān)系的揭示、人物性格的刻畫(huà)、戲劇情節(jié)的發(fā)展、喜劇效果的凸顯提供了一個(gè)新視角，而且還有助于人們更好地理解交際中的各種不禮貌現(xiàn)象，有效解決交際沖突，促進(jìn)人際和諧和跨文化交際。 在Bousfield（2008）不禮貌框架之下，本文對(duì)《賣(mài)花女》中的人物對(duì)話(huà)進(jìn)行了嘗試性分析。首先對(duì)《賣(mài)花女》中的不禮貌現(xiàn)象進(jìn)行分類(lèi)。不禮貌現(xiàn)象在社會(huì)地位相同和社會(huì)地位不同的人物之間均有存在，且不禮貌現(xiàn)象可以分為以下四類(lèi)：說(shuō)話(huà)人有意且聽(tīng)話(huà)人感知的不禮貌；說(shuō)話(huà)人有意但未被聽(tīng)話(huà)人感知的不禮貌；說(shuō)話(huà)人無(wú)意但聽(tīng)話(huà)人認(rèn)為其有意的不禮貌及說(shuō)話(huà)人無(wú)意且聽(tīng)話(huà)人也認(rèn)為其無(wú)意的不禮貌。其次，本研究探討了《賣(mài)花女》中不禮貌現(xiàn)象及不禮貌策略在反映權(quán)勢(shì)關(guān)系、刻畫(huà)人物性格、揭示劇情發(fā)展及凸顯喜劇效果四個(gè)方面的語(yǔ)用文體功能。 本研究的主要發(fā)現(xiàn)有：（1）說(shuō)話(huà)人的權(quán)勢(shì)不同其不禮貌策略也有所不同，，但這并不意味著權(quán)勢(shì)較低的一方不實(shí)施不禮貌，相反，如果權(quán)勢(shì)較高的一方使用不禮貌是為了顯示自己權(quán)勢(shì)的話(huà)，那么權(quán)勢(shì)較低的一方則是通過(guò)使用不禮貌策略挑戰(zhàn)權(quán)勢(shì)較高一方的權(quán)勢(shì)；（2）在不禮貌策略的使用方面，并非直接不禮貌策略更具面子威脅性，在某些場(chǎng)合，間接不禮貌策略具有相同甚至更大的面子威脅性；（3）不禮貌現(xiàn)象及不禮貌策略的使用對(duì)于揭示戲劇人物的權(quán)勢(shì)關(guān)系及人物性格塑造發(fā)揮重要作用；不禮貌現(xiàn)象的觸發(fā)、發(fā)展及最終解決的動(dòng)態(tài)過(guò)程能很好地反映戲劇的情節(jié)發(fā)展，突出戲劇主題；（4）不禮貌現(xiàn)象可以產(chǎn)生語(yǔ)言形式的沖突，但未必產(chǎn)生人際關(guān)系的沖突，從而構(gòu)成消極人際關(guān)系。若發(fā)生在親屬或朋友之間，不禮貌現(xiàn)象還可以構(gòu)建和諧的人際關(guān)系，其語(yǔ)言形式上的沖突能起到凸顯滑稽、幽默、諷刺等喜劇效果的作用。
[Abstract]:In the 1970s and 1980s, the impolite study began to rise in the west. Compared with the polite research, the study of the impolite study is not paid enough attention, the research results are few, the domestic and even the "The impolite study doesn't have to be necessary." point of view, the research result is the phoenix-hair corner. When the scholars have one-sided study of the politeness phenomenon and the interpersonal harmony, the other side of the politeness communication is ignored and the interpersonal conflicts that can lead to them are ignored, thus resulting in a conceptual bias. In fact, the impolite phenomenon not only exists in the day-to-day communication, but also plays an important role in the activities such as political debate, army training, the quality of the court and the work place. The impolite study of the west is developing rapidly, and forms an impolite frame that is not only related to each other but also different from each other. Jonathan Culperer (1996,2005) also applies the impolite theory to the drama dialogue. In addition, he put forward a form of impolite response. The non-polite strategy of Derek Bousfield (2008) is used in the analysis of different texts. It is considered that the politeness strategy can be used for assembly and use. It can also take place at the level of a single discourse, and can also take place at the level of the macro-text and can span multiple words. To extend the impolite study from the single-sentence speech level to a broader speech layer The application, enrichment and development of the impolite theory provide the feasibility and the theoretical support for this study. The purpose of this paper is to study the impolite phenomenon in the famous comedy of Bernard Shaw and its pragmatic text. The study has both theoretical and practical significance. On the basis of summarizing the previous impolite research results, it is not a simple application to the politeness framework of the Bousfield (2008), but further clarified the relationship between the "impolite" and the "conflict". The relationship between the "impolite" and the "conflict" in the Bousfield impolite framework is made up. At the same time, the three analysis dimensions of the Bousfield impolite framework, namely the single sentence level, the macro-text level of the transcendental single sentence, and the session-wheel conversion system are combined. Together, a "trinity" 's analysis model is built to better adapt to the score of the "flower girl> drama figure" conversation In practice, this study not only contributes to the analysis and appreciation of the drama dialogue, but also provides a way to reveal the relationship between the characters of the drama, the characterization of the characters, the development of the drama and the effect of the comedy. The new angle of view, but also helps people to better understand the various manners in the communication, effectively solve the communication conflict, promote the interpersonal harmony and the cross-text Under the politeness framework of the Bousfield (2008), this paper makes a dialogue on the dialogue among the characters in the "flower of the flower". Try to make a tentative analysis. First of all, the impolite present in the "flower girl" An impolite phenomenon exists between characters with the same social status and social status, and the impolite phenomenon can be divided into the following four categories: the speaker's intention and the impolite perception of the listener; the speaker's intention but not to be felt impolite; a speaker is not intended, but the listener is of the opinion that his intention is not polite and that the speaker is not intended and the listener does not consider it to be Second, this study discusses the four aspects of the relationship between the relationship of power, the character of the characters, the development of the plot and the effect of the comedy. The main findings of this study are as follows: (1) The power of the speaker is different from its impolite strategy, but this does not mean that one of the less powerful is not in an impolite way, but in contrast, if one of the more powerful one uses the impolite to show it If the power is shown, then the less powerful one is the power of the higher party through the use of the impolite strategy; and (2) in the use of the impolite strategy, it is not a direct impolite strategy to be more face-threatening. In some cases, the indirect impolite strategy has the same or even greater face threat; (3) the use of impolite and impolite tactics plays an important role in revealing the power relations and the character of the characters of the drama; The dynamic process of the trigger, development and final settlement of the politeness phenomenon can reflect the plot development of the drama well, highlight the theme of the drama, and (4) the impolite phenomenon can produce a conflict in the form of a language, but it does not necessarily generate a conflict of human relations, so that the structure To form a negative interpersonal relationship. If it occurs between a relative or a friend, the impolite phenomenon can also build a harmonious interpersonal relationship, and the conflict in the form of the language can play a role in highlighting the funny, the humor, the irony, and so on.
【學(xué)位授予單位】：上海外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：I562.073;H315
本文編號(hào)：2490032
[Abstract]:In the 1970s and 1980s, the impolite study began to rise in the west. Compared with the polite research, the study of the impolite study is not paid enough attention, the research results are few, the domestic and even the "The impolite study doesn't have to be necessary." point of view, the research result is the phoenix-hair corner. When the scholars have one-sided study of the politeness phenomenon and the interpersonal harmony, the other side of the politeness communication is ignored and the interpersonal conflicts that can lead to them are ignored, thus resulting in a conceptual bias. In fact, the impolite phenomenon not only exists in the day-to-day communication, but also plays an important role in the activities such as political debate, army training, the quality of the court and the work place. The impolite study of the west is developing rapidly, and forms an impolite frame that is not only related to each other but also different from each other. Jonathan Culperer (1996,2005) also applies the impolite theory to the drama dialogue. In addition, he put forward a form of impolite response. The non-polite strategy of Derek Bousfield (2008) is used in the analysis of different texts. It is considered that the politeness strategy can be used for assembly and use. It can also take place at the level of a single discourse, and can also take place at the level of the macro-text and can span multiple words. To extend the impolite study from the single-sentence speech level to a broader speech layer The application, enrichment and development of the impolite theory provide the feasibility and the theoretical support for this study. The purpose of this paper is to study the impolite phenomenon in the famous comedy of Bernard Shaw and its pragmatic text. The study has both theoretical and practical significance. On the basis of summarizing the previous impolite research results, it is not a simple application to the politeness framework of the Bousfield (2008), but further clarified the relationship between the "impolite" and the "conflict". The relationship between the "impolite" and the "conflict" in the Bousfield impolite framework is made up. At the same time, the three analysis dimensions of the Bousfield impolite framework, namely the single sentence level, the macro-text level of the transcendental single sentence, and the session-wheel conversion system are combined. Together, a "trinity" 's analysis model is built to better adapt to the score of the "flower girl> drama figure" conversation In practice, this study not only contributes to the analysis and appreciation of the drama dialogue, but also provides a way to reveal the relationship between the characters of the drama, the characterization of the characters, the development of the drama and the effect of the comedy. The new angle of view, but also helps people to better understand the various manners in the communication, effectively solve the communication conflict, promote the interpersonal harmony and the cross-text Under the politeness framework of the Bousfield (2008), this paper makes a dialogue on the dialogue among the characters in the "flower of the flower". Try to make a tentative analysis. First of all, the impolite present in the "flower girl" An impolite phenomenon exists between characters with the same social status and social status, and the impolite phenomenon can be divided into the following four categories: the speaker's intention and the impolite perception of the listener; the speaker's intention but not to be felt impolite; a speaker is not intended, but the listener is of the opinion that his intention is not polite and that the speaker is not intended and the listener does not consider it to be Second, this study discusses the four aspects of the relationship between the relationship of power, the character of the characters, the development of the plot and the effect of the comedy. The main findings of this study are as follows: (1) The power of the speaker is different from its impolite strategy, but this does not mean that one of the less powerful is not in an impolite way, but in contrast, if one of the more powerful one uses the impolite to show it If the power is shown, then the less powerful one is the power of the higher party through the use of the impolite strategy; and (2) in the use of the impolite strategy, it is not a direct impolite strategy to be more face-threatening. In some cases, the indirect impolite strategy has the same or even greater face threat; (3) the use of impolite and impolite tactics plays an important role in revealing the power relations and the character of the characters of the drama; The dynamic process of the trigger, development and final settlement of the politeness phenomenon can reflect the plot development of the drama well, highlight the theme of the drama, and (4) the impolite phenomenon can produce a conflict in the form of a language, but it does not necessarily generate a conflict of human relations, so that the structure To form a negative interpersonal relationship. If it occurs between a relative or a friend, the impolite phenomenon can also build a harmonious interpersonal relationship, and the conflict in the form of the language can play a role in highlighting the funny, the humor, the irony, and so on.
【學(xué)位授予單位】：上海外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：I562.073;H315
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