戲劇舞臺(tái)指令的語用文體研究

內(nèi)容概要

　　戲劇文體學(xué)是一門正在發(fā)展的學(xué)科，目前面臨兩個(gè)問題。第一個(gè)問題與研究方法有關(guān)：已有的文體分析框架往往混淆語用學(xué)與話語分析的區(qū)別，把兩者都看作分析工具。第二個(gè)問題與研究對象有關(guān)：多數(shù)文體分析者對于舞臺(tái)指令，要么視而不見，要么排斥在外，認(rèn)為不值得研究（見第二章）。　　本文嘗試從三個(gè)方面解決上述兩個(gè)問題。首先，本文通過理論思辨和例證表明，語用學(xué)和脫離語境的語言學(xué)（context-free linguistics，如音位學(xué)、形態(tài)學(xué)、句法學(xué)、語義學(xué)和話語分析）對于戲劇文體學(xué)的貢獻(xiàn)是不同的，應(yīng)該把前者看作閱讀和分析戲劇文本的視角，而把后者（不考慮語境因素） 看作分析工具（見第三章）。其次，通過理論思辨和實(shí)驗(yàn)方法，本文表明，舞臺(tái)指令是戲?。ㄓ绕涫乾F(xiàn)代戲?。┎豢煞指畹囊粋€(gè)部分，也應(yīng)該是戲劇文體分析的重要對象之一（見第四章）。最后，本文嘗試構(gòu)建一套完整的戲劇語用文體理論，并在此基礎(chǔ)上提出一套舞臺(tái)指令分析程序。戲劇語用文體理論以語用學(xué)為研究視角，以語言學(xué)（尤其是話語分析）為技巧，以戲劇文本（既包含對白，又包含舞臺(tái)指令）為研究對象，提倡戲劇話語形象化分析，把隱含意義推理作為中心任務(wù)，從而揭示體現(xiàn)戲劇文本關(guān)學(xué)價(jià)值的語言特點(diǎn)或風(fēng)格?！　∥枧_(tái)指令分析程序以舞臺(tái)指令單位為核心，分為單位建立、單位分類、意義分析（既包含字面意義，或稱符號，又包含推論）、確認(rèn)美學(xué)性質(zhì)、統(tǒng)計(jì)分析與討論五個(gè)步驟（見第五章）。本文應(yīng)用該程序，從易卜生的《玩偶之家》中選取三段樣本進(jìn)行實(shí)例分析。結(jié)果表明，對于舞臺(tái)指令進(jìn)行戲劇語用文體分析，可以揭示劇作家如何用舞臺(tái)指令來刻畫人物性格。該實(shí)例分析同時(shí)表明，本文提出的戲劇語用文體理論和舞臺(tái)指令分析程序具有一定的描述力和解釋力（見第六章）。

書籍目錄

序AcknowledgementsAbstract內(nèi)容提要Chapter 1 Introduction1.1 The rationale of the study1.2 Objectives of the study1.3 Methodology of the study1.4 Outline of the bookChapter 2 Stylistics of drama: The state of the art2.1 The pre-stylistic period2.1.1 The traditional literary critical approach2.1.2 The rhetorical-poetic approach2.2 The early stylistic period: The poetic-fictional approach2.3 The pragmatic and discourse analysis period: The study of the dialogue2.4 The pragmastylistic period: The study of stage directions2.5 A comparison and contrast of the different approaches2.6 SummaryChapter 3 Pragmatics as a perspective on dramatic texts3.1 The view of pragmatics as a tool kit3.2 The view of pragmatics as a perspective on language3.3 Different contributions of discourse analysis and pragmatics to stylistics of drama3.4 A pragmatic perspective on dramatic texts3.4.1 The phonological level3.4.2 The semantic level3.5 SummaryChapter 4 Stage direction as an important object for stylistic analysis4.1 Some theoretical preliminaries4.1.1 Which is the object of stylistics of drama, text or performance?4.1.2 The double-level structure of the dramatic discourse4.1.3 The production and comprehension of dramatic message4.1.4 Speech, act, and semiotics4.1.5 "Video discourse analysis" and "visualized discourse analysis"4.2 Stage directions as an important object for stylistic analysis4.2.1 Deletion and substitution: A way to elicit the importance of stage directions for stylistics of drama4.2.2 Stage directions in classical plays4.3 SummaryChapter 5 From page to stage: A pragmastyistic perspective on stage directions5.1 Pragmastylistics of drama: An integrated theory5.1.1 Defining pragmastylistics of drama5.1.2 Research questions drama pragmastylisticians attempt to answer5.1.3 The procedure for pragmastylistic analysis of dramatic texts5.2 A pragmastylistic perspective on stage directions of drama5,2.1 A pragmastylistic perspective on stage directions5.2.2 An analytical procedure of stage directions5.2.3 Analyzing and tagging the stage direction unit: An example5.3 SummaryChapter 6 Characterization revealed in stage directions6.1 Introduction6.1.1 Yu's stylistic study of the play6.1.2 My research questions6.2 Methodology6.2.1 Samples for analysis6.2.2 Process of analysis6.3 Results and discussion6.3.1 General statistics6.3.2 Characterization revealed by stage directions6.4 SummaryChapter 7 Conclusion7.1 Summary of the study7.2 Significance of the study7.3 Implications of the study7.4 Limitations of the study and suggestions for further explorationReferenceAppendix

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