《课堂》的文学语用学分析

发布时间：2018-08-30 20:58

【摘要】：文学语用学是一门将语用学与文学研究相结合的新兴的交叉学科。该学科将文学文本视作是交际的动态的话语而不是静止的抽象的文本，认为文本解读是一项丰富的多变活动，涉及读者、作者、文本、语境等多项变元。在文学作品的研究中，文学语用学有很强的解释性。本文试图从文学语用学的角度来解读尤金·尤涅斯柯的荒诞戏剧《课堂》，以揭示该剧的荒诞本质。本文首先对文学语用学的发展以及戏剧和荒诞剧的特点做了简要的回顾和总结，探讨了从文学语用学的角度研究戏剧文本的可行性而和有效性，然后指出了研究所需的理论框架。本文的研究采用了Short的戏剧交际的双层模式理论，认为戏剧交际包含微观和宏观两个层面。从微观层面来看，戏剧人物之间通过对话进行交际；在宏观层面上，剧作者则通过舞台指令与读者们进行交流。本文使用的语用学理论和原理包括Brown和Levinson的礼貌理论和Leech的礼貌原则，以及指示语。这些理论从宏观和微观两个层面上对作者和读者以及戏剧角色和角色之间的人物关系进行了全面的阐释。通过分析得出，从宏观层面来看，怎样使读者们认同自己的作品是剧作者需要完成的一项重要任务。通过对人称代词和模糊限制语的恰当选择，以及对Leech的礼貌原则的遵守，剧作者拉近了他与读者之间的距离，从而赢得的读者们对该剧的青睐。从微观层面来看，剧作者通过运用违背常理的人称代词和称呼语构建了一个荒诞的三角人物关系，这一关系从很大程度上体现了该剧的荒诞性。本文的分析一方面验证了语用学理论对戏剧文本的可适用性，，另一方面从文学语用学的角度证实了荒诞剧是如何通过语用策略来构建人物关系以及戏剧冲突，进而揭示戏剧的荒诞本质的。通过从文学语用学的角度对尤金·尤涅斯柯的荒诞剧《课堂》进行宏观和微观研究，本文希望能够为更好的解读、欣赏这部经典戏剧有所贡献，并对戏剧评论理论和戏剧教学有一定的启示。
[Abstract]:Literary pragmatics is a new interdisciplinary subject which combines pragmatics with literary research. The subject regards literary text as a dynamic discourse of communication rather than a static abstract text, and holds that text interpretation is a rich and varied activity involving readers, authors, text, context and other variables. In the study of literary works, literary pragmatics has a strong explanation. This paper attempts to interpret Eugene Yunesco's absurd drama "classroom" from the perspective of literary pragmatics in order to reveal the absurd nature of the play. This paper first reviews and summarizes the development of literary pragmatics and the characteristics of drama and absurd drama, and probes into the feasibility and validity of studying drama texts from the perspective of literary pragmatics. Then the theoretical framework of the research is pointed out. This paper adopts Short's theory of double-level model of drama communication, and holds that drama communication consists of two levels: micro and macro. At the micro level, the characters communicate with each other through dialogue; at the macro level, the writers communicate with the readers through stage instructions. The pragmatic theories and principles used in this paper include Brown and Levinson's politeness theory and Leech's politeness principle as well as deixis. These theories comprehensively explain the relationship between the author and the reader, as well as between the role and the character. It is concluded from the analysis that how to make readers agree with their works is an important task for the playwright. Through the proper choice of personal pronouns and hedges, and the observance of Leech's politeness principle, the author draws closer the distance between him and the readers, thus winning the readers' favor for the play. From the micro level, the playwright constructs a grotesque triangular character relationship by using perverse personal pronouns and address terms, which to a great extent reflects the absurdity of the play. On the one hand, this paper verifies the applicability of pragmatic theory to drama texts, on the other hand, from the perspective of literary pragmatics, it verifies how absurd drama constructs character relationships and dramatic conflicts through pragmatic strategies. And then reveal the absurd nature of drama. From the perspective of literary pragmatics, this paper makes a macro and micro study of Eugene Yunesco's absurd drama classroom, hoping to contribute to a better interpretation and appreciation of this classic drama. And the theory of drama criticism and drama teaching have certain enlightenment.
【学位授予单位】：西华大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I565.073

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