本文選題：多模態(tài)語篇分析 + 系統(tǒng)功能語法�。� 參考：《湖北工業(yè)大學》2013年碩士論文

【摘要】：多模態(tài)話語指運用聽覺，視覺，觸覺等多種感覺模式，通過語言，圖像，聲音，動作等多種手段和符號資源進行交際的現(xiàn)象。國外學者Kress和Van Leeuwen以Halliday的系統(tǒng)功能語法為基礎(chǔ)，比照系統(tǒng)功能語法中的三大純理功能，提出了第一個系統(tǒng)而全面的視覺語法分析框架，，全面建立了社會符號學的多模態(tài)話語分析框架。雖然關(guān)于多模態(tài)的分析研究一直在發(fā)展，但電影語篇由于包含多種符號系統(tǒng)及其相互作用，一直被視為一個復雜而又困難的課題。 本文共分為四個章節(jié)，本文第一章節(jié)對本文的研究背景以及國內(nèi)外研究情況進行了簡要的介紹。本文第二章節(jié)介紹了本研究的理論基礎(chǔ)，本文的理論支撐主要來自于Halliday的系統(tǒng)功能語法,由系統(tǒng)功能語法發(fā)展而來的Kress和VanLeeuwen的視覺語法，以及O’Halloran和Baldry以及Thibault在視覺語法基礎(chǔ)上關(guān)于多模態(tài)語篇分析理論進一步的研究與探索。第三章節(jié)是本文的主體部分，根據(jù)第二章節(jié)的理論基礎(chǔ)構(gòu)建了一個分析框架，并用其對電影肖申克的救贖進行了多模態(tài)話語分析，以畫格（Frame）為單位，采用定性研究為主的分析方法，構(gòu)建電影語篇的多模態(tài)分析框架作為話語分析工具，首先選取電影《肖申克的救贖》的十個畫格為語料，分別以電影三要素人物，環(huán)境，情節(jié)為著腳點，從人物的情緒表達，環(huán)境的氛圍營造，以及情節(jié)發(fā)展的信息傳達三個角度對電影進行視覺模態(tài)分析，再從音量，音調(diào)，節(jié)奏等角度分析與十個畫格相對應(yīng)的聽覺模態(tài)與視覺模態(tài)的共同作用，視覺模態(tài)與聽覺模態(tài)共同構(gòu)建電影語篇的整體意義，為電影這樣的多模態(tài)動態(tài)語篇賞析提供一個新的角度。第四章節(jié)總結(jié)了文章的成果與創(chuàng)新之處以及不足和局限。 首先，在當前的多模態(tài)話語分析領(lǐng)域，電影語篇是一個具有挑戰(zhàn)性的課題，本文試圖對電影語篇進行多模態(tài)話語分析，力圖在課題研究的選擇上有所創(chuàng)新，對多模態(tài)話語分析的語料進行探索與拓展；其次，本文在Kress和Van Leeuwen的視覺語法，以及O’Halloran和Baldry以及Thibault的動態(tài)語篇分析理論的基礎(chǔ)上構(gòu)建了一個新的視覺模態(tài)分析框架，并將其運用到電影《肖申克的救贖》的視覺分析中對其進行驗證，力圖在研究方法上有所創(chuàng)新；第三，雖然當前的多模態(tài)研究越來越多將目光投向動態(tài)語篇，但多只集中于視覺模態(tài)的分析，而本文在電影語篇的視覺模態(tài)分析的基礎(chǔ)上加入了聽覺模態(tài)的分析，將兩種模態(tài)相結(jié)合，力求在研究內(nèi)容上也有所創(chuàng)新。但由于多模態(tài)話語分析文獻資料十分龐大且較為艱深，作者限于能力，對于聽覺模態(tài)的分析還不夠深入；另一方面本文在語篇分析時選取了電影分析的最小水平單位畫格作為分析單位在一定程度上仍受限于靜態(tài)的視覺影像，以后的研究有待在更宏觀的水平上對動態(tài)語篇進行分析。
[Abstract]:Multimodal discourse refers to the phenomenon of communication through language, image, sound, action and other means and symbol resources, using auditory, visual, tactile and other sensory patterns. Foreign scholars Kress and Van Leeuwen put forward the first systematic and comprehensive analysis framework of visual grammar based on the systematic functional grammar of Halliday. The multimodal discourse analysis framework of social semiotics is established. Although the research on multimodal analysis has been developing, film discourse has been regarded as a complex and difficult subject because it contains a variety of symbolic systems and their interactions. This paper is divided into four chapters. The first chapter briefly introduces the research background and research situation at home and abroad. The second chapter of this paper introduces the theoretical basis of this study. The theoretical support of this paper is mainly from the system functional grammar of Halliday, the visual grammar of Kress and VanLeeuwen developed from the system functional grammar. On the basis of visual grammar, O'Halloran, Baldry and Thibault further study and explore the theory of multimodal discourse analysis. The third chapter is the main part of this paper. According to the theoretical basis of the second chapter, it constructs an analytical framework, and uses it to carry out multi-modal discourse analysis of Shawshank's salvation, taking frame as the unit. Using qualitative research as the main analytical method, this paper constructs a multi-modal analysis framework of film discourse as a discourse analysis tool. Firstly, ten figures of the film "Shawshank's Redemption" are selected as the corpus, respectively, with the characters and environment of the three elements of the film. Plot for the foot, from the character's emotional expression, the atmosphere of the environment, as well as the development of the information transmission of the film from three angles of visual modal analysis, and from the volume, tone, From the angle of rhythm and so on, this paper analyzes the interaction between auditory mode and visual mode corresponding to ten pictorial frames, and constructs the whole meaning of film discourse by visual mode and auditory mode. It provides a new perspective for multi-modal dynamic discourse appreciation such as movies. The fourth chapter summarizes the achievements and innovations of the article, as well as shortcomings and limitations. First of all, in the field of multi-modal discourse analysis, film discourse is a challenging topic. Secondly, this paper constructs a new visual modal analysis framework based on the visual grammar of Kress and Van Leeuwen, and the dynamic discourse analysis theory of O'Halloran and Baldry and Thibault. And it is applied to the visual analysis of Shawshank's Redemption in order to make some innovations in the research methods. Thirdly, although the current multi-modal studies are more and more focused on dynamic discourse, However, most of them are focused on visual modal analysis, and this paper adds auditory modal analysis to the visual modal analysis of film discourse, and combines the two modes in order to make innovations in the research content. But because the literature of multimodal discourse analysis is very large and difficult, the author is limited to ability, and the analysis of auditory mode is not deep enough; On the other hand, this thesis chooses the smallest horizontal unit of film analysis as the analysis unit to some extent is still limited by the static visual image, and the later research needs to analyze the dynamic text at a more macro level.
【學位授予單位】：湖北工業(yè)大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：H315;J905

【參考文獻】

相關(guān)期刊論文 前10條

1 葉起昌;;論后印刷時代話語中圖像與文字的關(guān)系[J];北京交通大學學報(社會科學版);2005年04期

2 李妙晴;;改編電影的多模態(tài)話語分析——以《大紅燈籠高高掛》為例[J];電影文學;2007年15期

3 胡丹;;多模式話語的社會符號學分析——則香水廣告賞析[J];華東交通大學學報;2007年03期

4 李戰(zhàn)子;多模式話語的社會符號學分析[J];外語研究;2003年05期

5 朱永生;;多模態(tài)話語分析的理論基礎(chǔ)與研究方法[J];外語學刊;2007年05期

6 曾方本;;技術(shù)多模態(tài)語境中表意系統(tǒng)的消解與重構(gòu)[J];外語學刊;2008年01期

7 王紅陽;;多模態(tài)廣告語篇的互動意義的構(gòu)建[J];四川外語學院學報;2007年06期

8 葉起昌;;超文本多語式的社會符號學分析[J];外語教學與研究;2006年06期

9 胡壯麟;董佳;;意義的多模態(tài)構(gòu)建——對一次PPT演示競賽的語篇分析[J];外語電化教學;2006年03期

10 顧曰國;;多媒體、多模態(tài)學習剖析[J];外語電化教學;2007年02期

相關(guān)碩士學位論文 前4條

1 萬傳軍;中美愛情電影海報的多模態(tài)話語對比分析[D];寧波大學;2011年

2 孔亞楠;多模態(tài)環(huán)保公益廣告語篇的社會符號學分析[D];曲阜師范大學;2009年

3 羅瑩瑩;電影《達芬奇密碼》的多模態(tài)話語分析[D];黑龍江大學;2010年

4 苑林琳;電影語篇《亂世佳人》的多模態(tài)分析[D];河北大學;2010年

本文編號：1934149