戏剧文本的文学文体分析模式探讨
发布时间：2024-06-29 14:04
自从二十世纪六十年代文体学作为一门独立的现代学科建立之后,它一直是许多学者讨论的焦点之一。大部分学者比如奈西,斯皮泽,刘世生,王佐良,秦秀白等很关注与文学文本相关的文学文体学,而与戏剧文本相关的戏剧文体学则受到了不公正的待遇。尽管作为文学文体学一分支的戏剧文体学和文学文体学有许多共同之处,但两者差异很大,这使得戏剧文本的文学文体分析和一般文学文本的文体分析既有相同性也有不同性。一些学者比如俞东明,李华东,杨雪燕等虽然采用语用学和话语分析的方法来探索与戏剧文本相关的戏剧文体学,但是还没建立一个真正的分析模式。以文体理论,语用和话语分析理论,戏剧理论基础,本文力图探索并建立‘戏剧文本的文学文体分析模式’(为术语使用之便,别处称之为模式)以便提供一个针对此问题的比较满意的解决办法。 本文共分四章。第一章为本文的概述。第二章陈述理论基础。第三章为本文的核心章节,本章节首先探索文体学的一般内容,然后归纳出文学文体学和戏剧文体学的一般内容,最后提出模式的三个组成部分:一是把戏剧文本当作一般的文学文本探讨它的一般性,即进行戏剧文本的一般文学文体分析,二是还原戏剧文本的本来面目来探究它的特殊性...
【文章页数】：140 页
【学位级别】：硕士
【文章目录】：
1 Introduction
2 Theoretical bases
2.1 The stylistic theory concerning the stylistic deviation
2.2 The pragmatic theory and the conversational analysis theory
2.2.1 The pragmatic theory
2.2.2 The conversational analysis theory
2.3 The drama theory
2.3.1 The meaning of drama
2.3.2 The conventions of drama
2.3.3 The principles of three unities
2.3.4 The unity of the dramatic impression
3 Deduction Process of the Model
3.1 Exploring the general concerns of stylistics
3.2 Exploring the general concerns of literary stylistics
3.2.1 The bi-planar models in formal stylistics
3.2.2 The overlapping tri-planar model of functional stylistics
3.2.3 Jakobson's theory of structural equivalence
3.2.4 The socio-historical and socio-cultural stylistics
3.2.5 The major models of discourse stylistics
3.2.6 Rough summary of 3.2.1-5
3.2.7 Exploring some other famous scholars' literary stylistic models
3.2.8 The general concerns of literary stylistics
3.3 Exploring the general concerns of dramatic stylistics
3.3.1 The difference between drama and poetry, drama and fiction
3.3.2 Why should the dramatic stylistic analysis first concern itself with the dramatic text?
3.3.3 The general concerns of dramatic stylistics
3.4 The establishment of the Model
3.4.1 The first component part of the Model: The general literary stylistic analysis of the dramatic text (generality: treating the dramatic text as the general literary text)
3.4.1.1 Participant of the general literary text
3.4.1.2 The analysis of the general literary stylistic language features
3.4.1.3 The literary psychological effect from the LTIIR
3.4.1.4 The literary aesthetic effect from the LTIIR
3.4.1.5 The understanding of the author from the LTIIR
3.4.1.6 The understanding of the social factor from the LTIIR
3.4.1.7 The literary theme from the LTIIR and the author
3.4.2 The second part of the Model: The dramatic stylistic analysis of the dramatic text (particularity: restoring the dramatic text as what it is)
3.4.2.1 The stylistic analysis of the dramatic text itself．
3.4.2.1.1 The participant of the dramatic text
3.4.2.1.2 The analysis of the dramatic stylistic language features of the dramatic text through the pragmatic and conversational approach
3.4.2.1.3 The dramatic psychological effect from the IAPIAIRDTI
3.4.2.1.4 The dramatic aesthetic effect from the IAPIAIRDTI
3.4.2.1.5 The understanding of the playwright from the APIAIRDTI
3.4.2.1.6 The understanding of the social factor from the IAPIAIRDTI
3.4.2.1.7 The dramatic theme from the IAPIAIRDTI and the playwright
3.4.2.2 The stylistic analysis of the dramatic performance of the dramatic text
3.4.2.2.1 The artistic configuration of the dramatic conflict
3.4.2.2.2 The artistic configuration of the dramatic principle of 3 unities
3.4.2.2.3 The artistic configuration of the unity of the dramatic impression
3.4.2.2.4 The artistic configuration of the dramatic conventions
3.4.2.2.5 The artistic configuration of the dramatic skills
3.4.2.2.6 The consideration of the reader, audience and the theatre
3.4.3 The third component part of the Model: The relationship between the first and the second component part of the Mode
4 Practical Analysis
Conclusion
Acknowledgement
Notes
Bibliography
Articles Published During MA Course
本文编号：3997664
【文章页数】：140 页
【学位级别】：硕士
【文章目录】：
1 Introduction
2 Theoretical bases
2.1 The stylistic theory concerning the stylistic deviation
2.2 The pragmatic theory and the conversational analysis theory
2.2.1 The pragmatic theory
2.2.2 The conversational analysis theory
2.3 The drama theory
2.3.1 The meaning of drama
2.3.2 The conventions of drama
2.3.3 The principles of three unities
2.3.4 The unity of the dramatic impression
3 Deduction Process of the Model
3.1 Exploring the general concerns of stylistics
3.2 Exploring the general concerns of literary stylistics
3.2.1 The bi-planar models in formal stylistics
3.2.2 The overlapping tri-planar model of functional stylistics
3.2.3 Jakobson's theory of structural equivalence
3.2.4 The socio-historical and socio-cultural stylistics
3.2.5 The major models of discourse stylistics
3.2.6 Rough summary of 3.2.1-5
3.2.7 Exploring some other famous scholars' literary stylistic models
3.2.8 The general concerns of literary stylistics
3.3 Exploring the general concerns of dramatic stylistics
3.3.1 The difference between drama and poetry, drama and fiction
3.3.2 Why should the dramatic stylistic analysis first concern itself with the dramatic text?
3.3.3 The general concerns of dramatic stylistics
3.4 The establishment of the Model
3.4.1 The first component part of the Model: The general literary stylistic analysis of the dramatic text (generality: treating the dramatic text as the general literary text)
3.4.1.1 Participant of the general literary text
3.4.1.2 The analysis of the general literary stylistic language features
3.4.1.3 The literary psychological effect from the LTIIR
3.4.1.4 The literary aesthetic effect from the LTIIR
3.4.1.5 The understanding of the author from the LTIIR
3.4.1.6 The understanding of the social factor from the LTIIR
3.4.1.7 The literary theme from the LTIIR and the author
3.4.2 The second part of the Model: The dramatic stylistic analysis of the dramatic text (particularity: restoring the dramatic text as what it is)
3.4.2.1 The stylistic analysis of the dramatic text itself．
3.4.2.1.1 The participant of the dramatic text
3.4.2.1.2 The analysis of the dramatic stylistic language features of the dramatic text through the pragmatic and conversational approach
3.4.2.1.3 The dramatic psychological effect from the IAPIAIRDTI
3.4.2.1.4 The dramatic aesthetic effect from the IAPIAIRDTI
3.4.2.1.5 The understanding of the playwright from the APIAIRDTI
3.4.2.1.6 The understanding of the social factor from the IAPIAIRDTI
3.4.2.1.7 The dramatic theme from the IAPIAIRDTI and the playwright
3.4.2.2 The stylistic analysis of the dramatic performance of the dramatic text
3.4.2.2.1 The artistic configuration of the dramatic conflict
3.4.2.2.2 The artistic configuration of the dramatic principle of 3 unities
3.4.2.2.3 The artistic configuration of the unity of the dramatic impression
3.4.2.2.4 The artistic configuration of the dramatic conventions
3.4.2.2.5 The artistic configuration of the dramatic skills
3.4.2.2.6 The consideration of the reader, audience and the theatre
3.4.3 The third component part of the Model: The relationship between the first and the second component part of the Mode
4 Practical Analysis
Conclusion
Acknowledgement
Notes
Bibliography
Articles Published During MA Course
本文编号：3997664
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