萧伯纳早期问题剧的语用文体研究

发布时间：2018-08-16 14:57

【摘要】：早期问题剧在萧伯纳戏剧创作中占有非常重要的地位。目前研究的不足主要表现在两个方面:缺少系统分析萧伯纳戏剧语言技巧的现代文体学研究,以及缺少从语言学视角探讨萧伯纳早期问题剧创作特点的研究。为弥补上述不足,本研究尝试在语用文体的框架内探讨萧伯纳早期问题剧的主要创作特点。本文首先在人际关系管理理论和戏剧人物塑造理论的基础上构建一个词汇、句法和话语三层面的会话分析框架。其次,将所建立的框架用于分析萧伯纳的两部早期剧作(即《鳏夫的房产》和《华伦夫人的职业》),并以人际冲突为语境,在解读话语意义,尤其是人际意义的基础上对人物塑造和情节发展做出解释,并以此为基础对两部剧作的主题以及主要创作特点进行归纳。通过定量和定性分析,主要发现简述如下。在家庭关系中,父母都较为直接地实施面子威胁行为意欲控制子女的言行,但在遭遇子女的言语反抗后转而使用情感策略以表达不同的情感态度从而试图劝说对方。父母与子女的冲突表现为控制与对抗的形式,并随着话语的面子威胁程度的增加而加剧。但是,冲突在父母采用情感策略后得到了不同程度的缓和。比较而言,父母的话语策略比较丰富,其形象从蛮横强势转向虚假的情感示弱,而子女则从简单对抗转向妥协或继续对抗。在婚恋关系中,男性试图控制会话的发展,且话语的含义具有较大的面子威胁性,女性则较为礼貌、策略地回应或回绝男性的话语,看似处于弱势的地位。由于男性疏于考虑话语中的面子威胁信息,从而导致了冲突的产生。女性在冲突产生后反败为胜控制了话语。相比而言,两部剧中的男性都显得头脑简单,而女性则冷静而机智。这种独特的女性形象使她们成为萧伯纳戏剧“新女性”的代表。在生意伙伴关系中,冲突源自社会权势不同者对利益的追求。社会权势较高的一方赤裸裸地实施面子威胁行为,而权势较弱的一方则消极对抗。最终,处于自身利益的考虑,冲突双方都不顾道德廉耻地实现了和解或妥协。就人物塑造而言,两部剧本都生动地刻画了三类人物,即理想主义者、现实主义者和世俗者。主要人物在人际冲突中都充分地展现了自己的性格特征,彻底颠覆了典型的社会角色形象。两部剧本的情节发展动力都源自于观念差异造成的人际冲突,而试图实现个人交际目标而改变话语策略却在不同程度上缓和或加剧了人际冲突,从而导致情节发生颠覆性变化。两部剧作的人际冲突结果从本质上看都是令人不愉快的,颠覆了传统的社会道德理念。基于两部剧作的人物塑造、情节发展特征以及人际冲突结果,可以发现两部剧作的主题都是以不愉快人际关系为背景的社会现实写照,而创作技巧都呈现了颠覆的特点。因此,运用“颠覆”技巧讽刺丑恶社会现实是萧伯纳早期问题剧的主要特征。本研究具有如下意义:(1)将人际语用学的相关理论用于分析戏剧会话,拓展了人际语用理论的应用范围;(2)建立了包含词汇、句式和话语三个层面的人际意义分析框架,对充分描写和阐释戏剧会话意义具有一定的借鉴作用;(3)在文体学框架下较为系统地分析了萧伯纳早期问题剧的语言特征,提出“颠覆”是萧伯纳早期问题剧的主要创作技巧,为进一步探讨萧伯纳问题剧的审美特征和独特的语言艺术特色提供了新的视角。
[Abstract]:In order to make up for the shortcomings mentioned above, the present study mainly focuses on two aspects: the lack of systematic analysis of the modern stylistic study of Shaw's dramatic language skills, and the lack of linguistic study on the characteristics of Shaw's early problem plays. This paper attempts to explore the main creative features of Bernard Shaw's early problem plays within the framework of pragmatic stylistics. Firstly, based on the theories of interpersonal relationship management and dramatic characterization, a conversational analysis framework with three levels of vocabulary, syntax and discourse is constructed. Secondly, the framework is applied to analyze Bernard Shaw's two early plays. In the context of interpersonal conflict, the author interprets the meaning of discourse, especially interpersonal meaning, and explains the characterization and plot development. On this basis, the author summarizes the themes and main creative features of the two plays. In family relations, parents are more directly involved in face-threatening behavior to control their children's words and deeds, but after encountering their children's speech resistance, they turn to emotional strategies to express different emotional attitudes and try to persuade each other. However, the conflict has been mitigated to varying degrees by the use of affective strategies. Comparatively speaking, parents'discourse strategies are more abundant, and their images change from overbearing to false emotional weakness, while their children change from simple confrontation to compromise or continued confrontation. It seems that men are in a disadvantaged position to respond to or reject men's discourse strategically. Men neglect to consider the face-threatening information in the discourse, which leads to the occurrence of conflicts. By contrast, the men in both plays are simple-minded, while the women are calm and witty. This unique female image makes them the representatives of the "new women" in Bernard Shaw's plays. In business partnerships, conflicts arise from the pursuit of interests by people with different social powers. The more powerful side of society implements naked face threats. As far as characterization is concerned, the two plays vividly depict three types of characters: idealists, realists and secularists. The main characters are full in interpersonal conflicts. The plot development of the two plays is motivated by interpersonal conflicts caused by differences in ideas, while the change of discourse strategies to achieve personal communicative goals alleviates or aggravates interpersonal conflicts to varying degrees, resulting in subversive plots. The interpersonal conflicts between the two plays are unpleasant in nature and subvert traditional social ethics. Based on the characterization, plot development and interpersonal conflicts of the two plays, it can be found that the themes of the two plays are portrayals of social realities in the context of unpleasant interpersonal relations, while the creative techniques are based on the creation of characters, plot development and interpersonal conflicts. Therefore, the use of subversive techniques to satirize ugly social realities is the main feature of Bernard Shaw's early problem plays. This study has the following significance: (1) applying the relevant theories of interpersonal pragmatics to the analysis of dramatic conversations, expanding the scope of application of interpersonal pragmatics; (2) establishing a system of words, sentences and words. The framework of interpersonal meaning analysis at three levels of language can be used for reference in fully describing and explaining the conversational meaning of drama; (3) The linguistic features of Shaw's early problem plays are systematically analyzed within the framework of stylistics, and it is pointed out that subversion is the main creative skill of Shaw's early problem plays, so as to further explore the Question of Shaw. The aesthetic characteristics of the drama and its unique language and artistic features provide a new perspective.
【学位授予单位】：上海外国语大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：I562.073

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