荒诞中的现实—《房间》的文体分析
发布时间：2018-10-04 19:23
【摘要】：戏剧作为一种重要的文学形式,具有鲜明的文体特征,但是语言学家对戏剧文体的研究较少,且目前大部分都围绕着会话分析、话轮转换进行,而从前景化的角度对戏剧文本进行的研究较为鲜见。本论文以语言学、文体学理论作为基础,以2005年诺贝尔文学奖获得者哈罗德·品特的首部荒诞戏剧《房间》为研究对象,运用前景化理论和言语行为理论从全新的视角探究戏剧文本的文体学特征。 前景化是形成戏剧文体风格的重要途径,因此被广泛应用于文体学研究,可分为两类：偏离(质量前景化)和超常规(数量前景化)。前者指偏离或违背常规语言的现象,主要通过变异来实现；后者指某个语言现象以很高的频率出现时,它就从背景中凸显出来构成超常规,从而吸引读者的注意力,重复和平行为其主要手段。在《房间》中,人物之间重复的台词和看似毫无意义的对话实现了前景化的效果,揭示了剧中人物隐秘的思想和行为动机,展现了现实迫使人们言语及行为荒诞的主题。言语行为理论为本研究提供了另一重要的理论依据和分析工具,可用于揭示戏剧中微妙、复杂的人际关系,充分展现了人物对话的荒诞性。基于上述两种理论,本研究揭示了《房间》这部作品独有的文体特征,揭示了荒诞戏剧是如何通过戏剧语言来表现人物性格、关系及戏剧冲突从而增强文体效果,揭示了隐藏在荒诞形式背后的现实主题。 本文分析表明,不同语言层面上的前景化特征可从多个维度展现戏剧人物的思想及性格特征。主人公萝丝的语言简单而直白,平均句长仅为5个词,极少使用超过三个音节的难词、大词,与现实生活中人物对话极为相似,但是内容重复、无意义且毫无逻辑,形式荒诞。而根据言语行为理论的分析,本论文作者发现说话人为了达到真实目的往往遵循言语行为原则,从而透露出其看法、态度及说话双方之间的关系与冲突。总而言之,《房间》突破了传统戏剧语言上逻辑性与连贯性的桎梏,而是将简单乏味的语言用到超出人们的忍耐限度,读者才体会出人物的异常及怪诞。戏剧中人物的异常与怪诞,又恰好表现出现实社会的荒诞。 通过作者研究表明,荒诞戏剧文本也存在许多前景化特征和言语行为理论研究的可行性：前景化理论和言语行为原则对于分析荒诞戏剧文本是有力的理论工具,亦是文体风格研究的重要线索,有助于文本研究趋于客观化,科学化,有助于读者更好的进行文学欣赏,有助于戏剧主题的阐释,它们所具有的解释力或许是其他文体思想所不能企及的。这些都值得学者们对其进行关注以及深入研究。
[Abstract]:Drama, as an important literary form, has distinctive stylistic features. However, linguists have done little research on drama style, and most of it is centered on conversational analysis and conversational transformation. However, the study of drama texts from the perspective of foregrounding is relatively rare. Based on the theories of linguistics and stylistics, this thesis focuses on Harold Pinter's first absurd play, "Room", by the Nobel Prize winner in literature in 2005. By using the theory of foregrounding and speech act, the stylistic features of drama texts are explored from a new perspective. Foregrounding is an important way to form the style of drama, so it is widely used in stylistic research. It can be divided into two categories: deviation (quality foregrounding) and abnormal (quantity foregrounding). The former refers to a phenomenon that deviates from or violates a conventional language, mainly through variation; the latter means that when a linguistic phenomenon occurs at a very high frequency, it highlights from the background and constitutes a supernormal, thus attracting the attention of the reader. Repetition and parallelism are its main means. In Room, the repeated lines and seemingly meaningless dialogues between the characters achieve the effect of foregrounding, reveal the hidden thoughts and motives of the characters in the play, and reveal the theme of the absurd speech and behavior forced by reality. Speech act theory provides another important theoretical basis and analytical tool for this study, which can be used to reveal the subtle and complex interpersonal relationships in drama and fully demonstrate the absurdity of the character dialogue. Based on the above two theories, this study reveals the unique stylistic features of the novel "Room", and reveals how absurd drama expresses character, relationships and dramatic conflicts through dramatic language, thus enhancing the stylistic effect. It reveals the realistic theme hidden behind the absurd form. The analysis shows that the characteristics of foregrounding in different language levels can show the characters' thoughts and characters from many dimensions. Rose's language is simple and straightforward, the average sentence length is only 5 words, seldom use more than three syllables of difficult words, big words, very similar to the characters in real life, but the content is repetitive, meaningless and logic, the form is absurd. Based on the analysis of speech act theory, the author finds that the speaker usually follows the principle of speech act in order to achieve the real purpose, thus revealing his opinion, attitude, and the relationship and conflict between the two sides. In a word, the room breaks through the shackles of logic and coherence in the traditional drama language, but uses the simple and boring language beyond the limit of people's patience, so that the reader can realize the abnormal and grotesque characters. The abnormal and grotesque characters in the drama just show the absurdity of the real society. Through the author's research, it is shown that there are many foregrounding features and feasibility of speech act theory research in absurd drama texts: foregrounding theory and speech act principle are powerful theoretical tools for analyzing absurd drama texts. It is also an important clue in the study of stylistic style, which is conducive to the objective and scientific study of the text, to the readers' better literary appreciation and to the interpretation of the drama theme. Their explanatory power may be beyond the reach of other literary ideas. These are worthy of scholars to pay attention to and in-depth study.
【学位授予单位】：河北科技大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I562.073
本文编号：2251573
[Abstract]:Drama, as an important literary form, has distinctive stylistic features. However, linguists have done little research on drama style, and most of it is centered on conversational analysis and conversational transformation. However, the study of drama texts from the perspective of foregrounding is relatively rare. Based on the theories of linguistics and stylistics, this thesis focuses on Harold Pinter's first absurd play, "Room", by the Nobel Prize winner in literature in 2005. By using the theory of foregrounding and speech act, the stylistic features of drama texts are explored from a new perspective. Foregrounding is an important way to form the style of drama, so it is widely used in stylistic research. It can be divided into two categories: deviation (quality foregrounding) and abnormal (quantity foregrounding). The former refers to a phenomenon that deviates from or violates a conventional language, mainly through variation; the latter means that when a linguistic phenomenon occurs at a very high frequency, it highlights from the background and constitutes a supernormal, thus attracting the attention of the reader. Repetition and parallelism are its main means. In Room, the repeated lines and seemingly meaningless dialogues between the characters achieve the effect of foregrounding, reveal the hidden thoughts and motives of the characters in the play, and reveal the theme of the absurd speech and behavior forced by reality. Speech act theory provides another important theoretical basis and analytical tool for this study, which can be used to reveal the subtle and complex interpersonal relationships in drama and fully demonstrate the absurdity of the character dialogue. Based on the above two theories, this study reveals the unique stylistic features of the novel "Room", and reveals how absurd drama expresses character, relationships and dramatic conflicts through dramatic language, thus enhancing the stylistic effect. It reveals the realistic theme hidden behind the absurd form. The analysis shows that the characteristics of foregrounding in different language levels can show the characters' thoughts and characters from many dimensions. Rose's language is simple and straightforward, the average sentence length is only 5 words, seldom use more than three syllables of difficult words, big words, very similar to the characters in real life, but the content is repetitive, meaningless and logic, the form is absurd. Based on the analysis of speech act theory, the author finds that the speaker usually follows the principle of speech act in order to achieve the real purpose, thus revealing his opinion, attitude, and the relationship and conflict between the two sides. In a word, the room breaks through the shackles of logic and coherence in the traditional drama language, but uses the simple and boring language beyond the limit of people's patience, so that the reader can realize the abnormal and grotesque characters. The abnormal and grotesque characters in the drama just show the absurdity of the real society. Through the author's research, it is shown that there are many foregrounding features and feasibility of speech act theory research in absurd drama texts: foregrounding theory and speech act principle are powerful theoretical tools for analyzing absurd drama texts. It is also an important clue in the study of stylistic style, which is conducive to the objective and scientific study of the text, to the readers' better literary appreciation and to the interpretation of the drama theme. Their explanatory power may be beyond the reach of other literary ideas. These are worthy of scholars to pay attention to and in-depth study.
【学位授予单位】：河北科技大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I562.073
【参考文献】
相关期刊论文 前8条
1 左岩;英语会话中沉默的研究[J];国外语言学;1996年02期
2 吴秀华;;略谈关汉卿戏剧的荒诞性[J];河北师范大学学报(哲学社会科学版);2006年01期
3 司建国;;话语结构学说视角下《沉默侍者》中的人物权势关系——H.Pinter戏剧文本的文体分析[J];天津外国语学院学报;2006年03期
4 王燕;;品特《背叛》内外的背叛[J];国外文学;2010年02期
5 杨雪燕;试论戏剧在语言文体学中的地位[J];外国语(上海外国语学院学报);1989年01期
6 施旭;戏剧对话的话语分析——试析阿尔比《动物园故事》的开场对话[J];现代外语;1988年04期
7 李华;;从《房间》看品特风格[J];云南艺术学院学报;2010年03期
8 俞东明;戏剧文体与戏剧文体学[J];浙江大学学报(社会科学版);1996年01期
相关硕士学位论文 前2条
1 刘娟;对哈罗·品特《回家》的话语文体分析[D];首都师范大学;2008年
2 张晶;医务电视剧对白的话语分析[D];山东大学;2009年
，本文编号：2251573
本文链接：https://www.wllwen.com/wenyilunwen/wxchuangz/2251573.html
