基于拟剧论视角的法庭冲突话语研究

论文摘要

冲突话语作为一种普遍而复杂的语言现象,在社会互动中既是不可避免的,又是不容忽视的。一方话语与另一方话语发生冲突,这种冲突表现为交际的一方反对另一方的言行、举止,或双方持有不同意见,继而产生冲突话语。由于语料难以获取等因素的制约,冲突话语研究长期以来并没有受到语言学界的足够重视。近年来国内外的冲突话语研究呈方兴未艾之势,其研究领域涉及到医患话语、法庭话语等机构话语。作为法律语言学的一个重要的分支学科,法庭话语研究近年来受到了越来越多的关注。冲突话语是法庭互动中普遍存在的现象,和社会互动理论紧密相关。以往大部分的冲突话语研究仅局限于语言学学科内部的纵向考察,从戈夫曼的拟剧论（Dramaturgical Theory）的角度探究法庭冲突话语的研究较为少见。本文通过定性分析,主要从社会学中拟剧论的视角出发来宏观分析法庭冲突话语的结构。拟剧论是以戏剧要素为样板来诠释日常生活中的社会互动行为,也就是将社会互动比拟成一系列的表演。在某一社会互动中,表演者被赋予各种不同的角色,其行为举止应符合他人的期望,个人也会随着情境与观众的要求而调整形象。在法庭互动中,如何利用拟剧论的理论框架来分析法庭冲突话语的结构和特点是本文的目的所在。本文以拟剧论为基础,从前台区域（front region）、后台区域（back region）、戏剧理想化（dramatic realization）、角色（performance roles）和印象管理（impression management）等方面阐释了法庭冲突话语的特点。研究显示,法庭冲突话语的结构多为“冲突发起-冲突应对”模式（initiation-response, I-R）,不同于日常冲突话语的“起始-发展-结束”模式（initiating move—maintaining move—terminating move, I-M-T）。根据法庭话语内容的不同,法庭冲突话语有“程序性冲突话语”和“实体性冲突话语”之分;根据有无冲突话语标记语,可将法庭冲突话语分为“表层冲突话语”和“深层冲突话语”;从印象管理层次上来说,话语一方在话语互动中给对方投射出某种印象,同时对方的话语也投射出某种印象给说话人,两种印象如果相一致,话语则是合作的;如果不一致,就构成了冲突话语,这种冲突话语被标记为“非共鸣性冲突话语”,并由此勾勒出印象管理视域下的冲突话语的两个步骤:投射（projection）和归属（attribution）。与日常会话中的冲突话语相比,法庭冲突话语除了具有拟剧性（dramaturgical feature）和目的性（goal-directed feature）之外,还有其独特之处,即双层性（duality）、权力支配性（power-manipulation）、和非反馈性（non-feedback）。法庭冲突话语的双层性展示了一些语义对立的概念,包括冲突话语的积极性（positivity）和消极性（negtivity） ,严肃性（seriousness）和嬉戏性（playfulness） ,基于内容的冲突（content-based conflict talk）和基于评价的冲突（evaluation-based conflict talk）等特点。本研究首次将社会学理论和语言学现象结合起来,主要从宏观方面反映法庭冲突话语的特征,以期本文在一定程度上补充和丰富了现有的冲突话语分析理论。不容回避的是,语料的限制、拟剧论用于语言层面研究表现的局限性等因素,法庭冲突话语仍需进一步的探讨。

论文目录

Acknowledgements

Abstract

摘要

List of Tables and Figures

Chapter One Introduction

1.1 The rationale of the study

1.2 The significance and objectives of the study

1.3 Data collection and transcription

1.4 The structure of the thesis

Chapter Two Literature Review

2.1 Institutional dicourse

2.2 Nature of conflict talk

2.2.1 The multiplicity of the terminology

2.2.2 Conflict talk as the pervasive linguistic phenomenon

2.2.3 Conflict talk as a speech act

2.2.4 Conflict talk as the adversarial interactive exchange

2.2.5 Conflict talk as the manifestation of divergence orientation

2.3 Investigation on conflict talk abroad

2.3.1 Children’s conflict talk

2.3.2 Grimshaw’s contribution to the study of conflict talk

2.3.3 Confict talk study from cross-cultural perspective

2.4 Advancement of conflict talk study in China

2.5 Chapter summary

Chapter Three Theoretical Framework

3.1 Origins of Dramaturgical Theory

3.2 Burke and Dramatism

3.3 Goffman and Dramaturgical Theory

3.3.1 A brief introduction to Goffman

3.3.2 Elements of Dramaturgical Theory

3.4 Chapter summary

Chapter Four Analysis and Discussion of Courtroom Conflict Talk

4.1 Courtroom interaction as a dramaturgical environment

4.2 Courtroom conflict talk from the perspective of performance

4.2.1 Front region

4.2.2 Back region

4.2.3 A cynical performance

4.2.4 Dramatic realization

4.3 Courtroom conflict talk from the perspective of roles

4.3.1 Procedural conflict talk and substantive conflict talk

4.3.2 Surface conflict talk and deep conflict talk

4.3.3 Role conflict in courtroom setting

4.4 Courtroom conflict talk from the perspective of impression management

4.4.1 Resonant impression management-oriented courtroom discourse

4.4.2 Discordant impression management-oriented conflict talk

4.4.3 Process of impression management-oriented conflict talk

4.5 Discussion on the features of courtroom conflict talk

4.5.1 Positivity and negativity

4.5.2 Seriousness and playfulness

4.5.3 Content-based feature and evaluation-based feature

4.5.4 Power-manipulation

4.5.5 Non-feedback

Chapter Five Conclusion

5.1 Summary of findings

5.2 Limitations of the study

5.3 Suggestions for further research

Bibliography

Appendix Ⅰ Publications

Appendix Ⅱ Samples of the Corpus

基于拟剧论视角的法庭冲突话语研究

论文摘要

论文目录

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