剧作家与读者间戏剧文本交际的顺应关联模式 ——以《等待戈多》为例

论文摘要

戏剧文本是连接剧作家和读者间的桥梁。一方面,剧作家意欲使读者接受并理解他的戏剧;另一方面,各类读者对同一戏剧文本有着不同的反应。在以前的戏剧研究者中,值得提及的有Short、封宗信和李华东等。Short提出了戏剧语篇的双层结构,封宗信则提出了剧作家和各类读者之间戏剧交际的多层结构,李华东从语用文体视角研究了戏剧文本的构件之一——舞台指令。基于对戏剧语用文体学的前人研究以及Verschueren, Sperber & Wilson和冉永平等人的认知语用学理论,本文旨在从认知语用学视角探讨剧作家和读者之间通过戏剧文本进行的交际。根据Verschueren的顺应论,言语交际是一个顺应过程,语言的使用在于不断地做出顺应交际者语境相关因素的语言和策略选择。根据Sperber & Wilson的关联论,交际是一个明示推理过程,交际者的关联假设决定他的语言选择。综合上述两种理论的主要观点,冉永平(2004)提出了顺应关联模式(ARM),用于诠释言语交际。鉴于戏剧交际和言语交际之间的区别,本研究对冉永平的顺应关联模式作了修改。该修改模式揭示出在剧作家的关联性的语言策略选择和读者的最佳关联的语境选择之间有一个相互顺应的过程。这一新模式可被用来诠释剧作家和读者的认知活动,并描述剧作家和读者之间通过戏剧文本进行交际的认知语用过程。为了验证该修改模式的适用性,本文对Samuel Beckett的《等待戈多》进行了个案分析。这部荒诞剧以其离奇的情节设计、怪异的人物塑造、荒诞的剧中人物言语和行为而闻名于世。研究发现,生活中的失败者、文学批评家和普通读者这三种类型的读者对这部荒诞剧的反应各异。剧作家和读者的认知语境越类似,戏剧交际的成功率就越大。在关联假设的引导下,Beckett使得自己的语言策略的选择顺应了语境相关因素,这部戏剧也因此被他的目标读者,即生活中的失败者所接受。处于接受端的读者应当把戏剧文本看作是关联性强的明示刺激,值得他们付出认知处理努力。他们能够让自己的最佳关联性的语境选择顺应戏剧文本中的语言和策略选择。本研究的意义在于提出了用于诠释戏剧交际的认知语用学新模式,并尝试运用该模式阐释剧作家和读者之间通过荒诞剧《等待戈多》进行的交际。然而它也存在着诸多不足,例如,分析案例的选择具有一定的主观性,用来支撑新模式的适用性的证据还不够充分,这些不足有待改善,须在该领域的后续研究予以关注。

论文目录

• Acknowledgements
• Abstract
• 摘要
• CHAPTER 1 INTRODUCTION
• 1.1 TYPES OF DRAMATIC COMMUNICATION
• 1.1.1 Playwright - Reader Communication via Dramatic Text
• 1.1.2 Character - Character Communication via Dramatic Plotting
• 1.1.3 Playwright-Theatrical Staff Communication via Stage Interpretation
• 1.1.4 Theatrical Staff-Audience Communication via Stage Performance
• 1.2 ARTISTIC FEATURES OF WAITING FOR GODOT
• 1.3 RESEARCH PURPOSE AND THESIS FRAMEWORK
• CHAPTER 2 PREVIOUS RESEARCHES ON DRAMA
• 2.1 TRADITIONAL PRAGMASTYLISTIC STUDIES OF DRAMA
• 2.2 SHORT’S DOUBLE-LEVEL STRUCTURE OF DRAMATIC DISCOURSE
• 2.3 FENG ZONGXIN’S PRAGMATIC STUDY OF DRAMATIC COMMUNICATION
• 2.3.1 Multi-Level Structure of Dramatic Discourse
• 2.3.2 Interpersonal Rhetoric in and of Drama
• 2.4 LI HUADONG’S PRAGMASTYLISTIC PERSPECTIVE ON STAGE DIRECTIONS
• CHAPTER 3 ADAPTATION-RELEVANCE THEORY MODEL
• 3.1 VERSCHUEREN’S ADAPTATION THEORY
• 3.1.1 Production and Interpretation of Language as Choice-Making Processes ..
• 3.1.2 Salience of Language Choice-Making Process
• 3.1.3 Contextual Correlates of Adaptation
• 3.1.4 Dynamics of Adaptation
• 3.2 SPERBER & WILSON’S RELEVANCE THEORY
• 3.2.1 Mutual Manifestness of Cognitive Environments
• 3.2.2 Ostensive-Inferential Communication
• 3.2.3 Principle of Relevance
• 3.2.4 Dynamics of Cognitive Contexts
• 3.3 RAN YONGPING’S ADAPTATION-RELEVANCE MODEL （ARM） ―AN INTEGRATED MODEL
• 3.3.1 The ARM Proper
• 3.3.2 Contextual Dynamics of Adaptation & Relevance
• 3.3.3 Ran Yongping’s Application of ARM to Verbal Communication
• 3.4 A REVISED ARM FOR PLAYWRIGHT-READER COMMUNICATION INTERPRETATION
• CHAPTER 4 A CASE STUDY OF WAITING FOR GODOT
• 4.1 DATA COLLECTION
• 4.2 AN ARM APPROACH TO DATA ANALYSIS
• CHAPTER 5 AN ARM INTERPRETATION OF THE PLAYWRIGHT-READER COMMUNICATION IN WAITING FOR GODOT
• 5.1 MUTUAL MANIFESTNESS OF THE PLAYWRIGHT AND TARGET READERS’COGNITIVE ENVIRONMENTS
• 5.2 PLAYWRIGHT’S CONTEXTUAL ADAPTATION IN DRAMA PRODUCTION
• 5.2.1 Presumption of Relevance: A Guide for the Playwright’s Linguistic and Strategic Choices
• 5.2.2 Linguistic and Strategic Adaption to the Contextual Correlates
• 5.2.2.1 Linguistic and Strategic Choices
• 5.2.2.2 Characterization
• 5.2.2.3 Plotting
• 5.2.3 Dynamics of Adaptation in the Drama Production
• 5.2.4 Playwright’s Awareness in the Contextual Adaptation
• 5.3 READERS’PURSUIT OF OPTIMAL RELEVANCE IN DRAMA INTERPRETATION
• 5.3.1 Optimal Relevance: A Target for Reader’s Cognition
• 5.3.2 Readers’Contextual Choices of Optimal Relevance
• 5.3.2.1 Linguistic Contextual Choices
• 5.3.2.2 Situational Contextual Choices
• 5.3.2.3 Cognitive Contextual Choices
• 5.3.3 Readers’Relevant Choices of Inferential Results
• 5.3.3.1 Losers’Relevant Choices
• 5.3.3.2 Literary Scholars’Relevant Choices
• 5.3.3.3 Common People’s Relevant Choices
• 5.4 A SUMMARY: A GENERAL ARM INTERPRETATION OF PLAYWRIGHT-READER COMMUNICATION OF WAITING FOR GODOT
• CHAPTER 6 CONCLUSION
• BIBLIOGRAPHY
• PAPERS PUBLISHED DURING M.A. STUDY