基于顺应—关联模式的相声言语幽默研究

发布时间：2018-07-20 17:01

【摘要】：相声是我国特有的民族艺术,它用诙谐幽默的手段反映不同的社会背景,以其特殊的表现形式反映生活及再现生活,欢笑之余留给人们更多的思考。相声既是“语言”的艺术,“说”的艺术,同时它又是“笑”的艺术、“幽默”的艺术。相声之所以使人发笑,是通过“包袱”这一艺术手段达到的,这里所指的包袱是语言艺术的包袱。近年来许多学者从语言学的多个角度研究幽默,但我国语言学界对幽默的研究尚处于初级阶段,对我国具有民族文化特色的相声艺术表现形式更是缺乏完整系统的研究与分析。有学者用语用学中顺应理论与关联理论对相声进行了初探,但用顺应一关联模式研究中国相声中的言语幽默还寥寥无几,它比已经广泛用于各种语言现象分析的顺应理论和关联理论更完善。本文在借鉴前人成果的基础上将运用顺应-关联模式,从认知语用学视角对相声中的言语幽默进行分析。以文本相声为语料,通过对相声艺术两大类包袱“肉中噱”和“外插花”生成与理解的解读,推断出相声言语幽默的产生与理解是一个动态的顺应与关联的过程。该研究先回顾了国内外对言语幽默的语言学研究以及对相声言语幽默的语用学研究,再对相声做概述,最后详细分析“肉中噱”和“外插花”两大类包袱的言语幽默在顺应-关联模式下的生成与解读,得出只有在演员与听众双方不断的推理互动才能实现相声的言语幽默效果,以揭示顺应—关联模式对相声中言语幽默的解释力和适用性,进一步验证顺应-关联模式研究言语幽默在理论上是站得住脚,在实际中也是可行的,从而扩大此理论的应用广度。通过对相声语料的具体分析得出相声表演不仅是表演者之间的互动,也是相声作者与听众之间的动态交际过程。同时对不同类型包袱的分析可以帮助听众更好地理解包袱的组织与抖开机制,从而理解相声语言的幽默本质。
[Abstract]:Crosstalk is a unique national art of our country. It reflects different social background by humorous means, reflects life and reappearance life with its special form of expression, and leaves people more thinking when they laugh. Crosstalk is not only the art of language, the art of saying, but also the art of laughter and humor. Crosstalk makes people laugh by means of "baggage", which refers to the burden of language art. In recent years, many scholars have studied humor from various angles of linguistics. However, the study of humor in Chinese linguists is still in its infancy, and there is a lack of complete and systematic research and analysis on the expression forms of crosstalk art with national cultural characteristics in China. Some scholars have used adaptation theory and relevance theory in pragmatics to probe into crosstalk, but there are few researches on verbal humor in Chinese crosstalk using adaptation relevance model. It is more perfect than the adaptation theory and relevance theory, which have been widely used in the analysis of various linguistic phenomena. Based on the previous achievements, this paper analyzes the verbal humor in crosstalk from the perspective of cognitive pragmatics, using the adaptation-relevance model. Based on the analysis of the generation and understanding of the two kinds of baggage of crosstalk art, the author concludes that the generation and understanding of crosstalk verbal humor is a dynamic process of adaptation and relevance. This study first reviews the linguistic studies of verbal humor at home and abroad and the pragmatic studies of verbal humor in crosstalk, and then gives an overview of crosstalk. Finally, this paper analyzes in detail the generation and interpretation of verbal humor in adaptation and relevance mode of the two kinds of burden of "amusement in meat" and "floral arrangement". It is concluded that only when the actors and listeners interact with each other continuously, can the verbal humor effect of crosstalk be realized. In order to reveal the explanatory power and applicability of adaptation-relevance model to verbal humor in crosstalk, it is further proved that the study of adaptation-relevance pattern is theoretically sound and feasible in practice. In order to expand the scope of application of this theory. Through the concrete analysis of crosstalk corpus, it is concluded that crosstalk performance is not only the interaction between performers, but also the dynamic communication process between crosstalk writers and listeners. At the same time, the analysis of different types of baggage can help the audience to better understand the organization of the baggage and the mechanism of shaking, thus understand the humorous nature of crosstalk language.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：H13

【参考文献】