戲劇舞臺(tái)指令的語(yǔ)用文體研究（戲劇舞臺(tái)指令的語(yǔ)用文體研究）

內(nèi)容提要

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(wèn)題。第一個(gè)問(wèn)題與研究方法有關(guān)：已有的文體分析框架往往混淆語(yǔ)用學(xué)與話語(yǔ)分析的區(qū)別，把兩者都看作分析工具。第二個(gè)問(wèn)題與研究對(duì)象有關(guān)：多數(shù)文體分析者對(duì)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(wèn)題。首先，本文通過(guò)理論思辨和例證表明，語(yǔ)用學(xué)和脫離語(yǔ)境的語(yǔ)言學(xué)(context-free linguistics，如音位學(xué)、形態(tài)學(xué)、句法學(xué)、語(yǔ)義學(xué)和話語(yǔ)分析)對(duì)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(yǔ)境因素) 看作分析工具(見第三章)。其次，通過(guò)理論思辨和實(shí)驗(yàn)方法，本文表明，舞臺(tái)指令是戲劇(尤其是現(xiàn)代戲劇)不可分割的一個(gè)部分，也應(yīng)該是戲劇文體分析的重要對(duì)象之一(見第四章)。最后，本文嘗試構(gòu)建一套完整的戲劇語(yǔ)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(yǔ)用文體理論以語(yǔ)用學(xué)為研究視角，以語(yǔ)言學(xué)(尤其是話語(yǔ)分析)為技巧，以戲劇文本(既包含對(duì)白，又包含舞臺(tái)指令)為研究對(duì)象，提倡戲劇話語(yǔ)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(yǔ)言特點(diǎn)或風(fēng)格。

舞臺(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(hào)，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(duì)于舞臺(tái)指令進(jìn)行戲劇語(yǔ)用文體分析，可以揭示劇作家如何用舞臺(tái)指令來(lái)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(yǔ)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)。

目錄

序

Acknowledgements

Abstract

內(nèi)容提要

Chapter 1 Introduction

1.1 Therationaleof the study

1.2 Objectives of the study

1.3 Methodology of the study

1.4 Outline of the book

Chapter 2 Stylistics of drama: The state of the art

2.1 The pre-stylistic period

2.1.1 The traditional literary critical approach

2.1.2 The rhetorical-poetic approach

2.2 The early stylistic period: The poetic-fictional approach

2.3 The pragmatic and discourse analysis period: The study of the dialogue

2.4 The pragmastylistic period: The study of stage directions

2.5 A comparison and contrast of the different approaches

2.6 Summary

Chapter 3 Pragmatics as a perspective on dramatic texts

3.1 The view of pragmatics as a tool kit

3.2 The view of pragmatics as a perspective on language

3.3 Different contributions of discourse analysis and pragmatics to stylistics of drama

3.4 A pragmatic perspective on dramatic texts

3.4.1 The phonological level

3.4.2 The semantic level

3.5 Summary

Chapter 4 Stage direction as an important object for stylistic analysis

4.1 Some theoretical preliminaries

4.1.1 Which is the object of stylistics of drama, text or performance?

4.1.2 The double-level structure of the dramatic discourse

4.1.3 The production and comprehension of dramatic message

4.1.4 Speech, act, andsemiotics

4.1.5 "Video discourse analysis" and "visualized discourse analysis"

4.2 Stage directions as an important object for stylistic analysis

4.2.1 Deletion and substitution: A way to elicit the importance of stage directions for stylistics of drama

4.2.2 Stage directions in classical plays

4.3 Summary

Chapter 5 From page to stage: A pragmastyistic perspective on stage directions

5.1 Pragmastylistics of drama: An integrated theory

5.1.1 Defining pragmastylistics of drama

5.1.2 Research questions drama pragmastylisticians attempt to answer

5.1.3 The procedure for pragmastylistic analysis of dramatic texts

5.2 A pragmastylistic perspective on stage directions of drama

5,2.1 A pragmastylistic perspective on stage directions

5.2.2 An analytical procedure of stage directions

5.2.3 Analyzing and tagging the stage direction unit: An example

5.3 Summary

Chapter 6 Characterization revealed in stage directions

6.1 Introduction

6.1.1 Yu's stylistic study of the play

6.1.2 My research questions

6.2 Methodology

6.2.1 Samples for analysis

6.2.2 Process of analysis

6.3 Results and discussion

6.3.1 General statistics

6.3.2 Characterization revealed by stage directions

6.4 Summary

Chapter 7 Conclusion

7.1 Summary of the study

7.2 Significance of the study

7.3 Implications of the study

7.4 Limitations of the study and suggestions for further exploration

Reference

Appendix

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