【摘要】：早期問(wèn)題劇在蕭伯納戲劇創(chuàng)作中占有非常重要的地位。目前研究的不足主要表現(xiàn)在兩個(gè)方面:缺少系統(tǒng)分析蕭伯納戲劇語(yǔ)言技巧的現(xiàn)代文體學(xué)研究,以及缺少?gòu)恼Z(yǔ)言學(xué)視角探討蕭伯納早期問(wèn)題劇創(chuàng)作特點(diǎn)的研究。為彌補(bǔ)上述不足,本研究嘗試在語(yǔ)用文體的框架內(nèi)探討蕭伯納早期問(wèn)題劇的主要?jiǎng)?chuàng)作特點(diǎn)。本文首先在人際關(guān)系管理理論和戲劇人物塑造理論的基礎(chǔ)上構(gòu)建一個(gè)詞匯、句法和話(huà)語(yǔ)三層面的會(huì)話(huà)分析框架。其次,將所建立的框架用于分析蕭伯納的兩部早期劇作(即《鰥夫的房產(chǎn)》和《華倫夫人的職業(yè)》),并以人際沖突為語(yǔ)境,在解讀話(huà)語(yǔ)意義,尤其是人際意義的基礎(chǔ)上對(duì)人物塑造和情節(jié)發(fā)展做出解釋,并以此為基礎(chǔ)對(duì)兩部劇作的主題以及主要?jiǎng)?chuàng)作特點(diǎn)進(jìn)行歸納。通過(guò)定量和定性分析,主要發(fā)現(xiàn)簡(jiǎn)述如下。在家庭關(guān)系中,父母都較為直接地實(shí)施面子威脅行為意欲控制子女的言行,但在遭遇子女的言語(yǔ)反抗后轉(zhuǎn)而使用情感策略以表達(dá)不同的情感態(tài)度從而試圖勸說(shuō)對(duì)方。父母與子女的沖突表現(xiàn)為控制與對(duì)抗的形式,并隨著話(huà)語(yǔ)的面子威脅程度的增加而加劇。但是,沖突在父母采用情感策略后得到了不同程度的緩和。比較而言,父母的話(huà)語(yǔ)策略比較豐富,其形象從蠻橫強(qiáng)勢(shì)轉(zhuǎn)向虛假的情感示弱,而子女則從簡(jiǎn)單對(duì)抗轉(zhuǎn)向妥協(xié)或繼續(xù)對(duì)抗。在婚戀關(guān)系中,男性試圖控制會(huì)話(huà)的發(fā)展,且話(huà)語(yǔ)的含義具有較大的面子威脅性,女性則較為禮貌、策略地回應(yīng)或回絕男性的話(huà)語(yǔ),看似處于弱勢(shì)的地位。由于男性疏于考慮話(huà)語(yǔ)中的面子威脅信息,從而導(dǎo)致了沖突的產(chǎn)生。女性在沖突產(chǎn)生后反敗為勝控制了話(huà)語(yǔ)。相比而言,兩部劇中的男性都顯得頭腦簡(jiǎn)單,而女性則冷靜而機(jī)智。這種獨(dú)特的女性形象使她們成為蕭伯納戲劇“新女性”的代表。在生意伙伴關(guān)系中,沖突源自社會(huì)權(quán)勢(shì)不同者對(duì)利益的追求。社會(huì)權(quán)勢(shì)較高的一方赤裸裸地實(shí)施面子威脅行為,而權(quán)勢(shì)較弱的一方則消極對(duì)抗。最終,處于自身利益的考慮,沖突雙方都不顧道德廉恥地實(shí)現(xiàn)了和解或妥協(xié)。就人物塑造而言,兩部劇本都生動(dòng)地刻畫(huà)了三類(lèi)人物,即理想主義者、現(xiàn)實(shí)主義者和世俗者。主要人物在人際沖突中都充分地展現(xiàn)了自己的性格特征,徹底顛覆了典型的社會(huì)角色形象。兩部劇本的情節(jié)發(fā)展動(dòng)力都源自于觀念差異造成的人際沖突,而試圖實(shí)現(xiàn)個(gè)人交際目標(biāo)而改變?cè)捳Z(yǔ)策略卻在不同程度上緩和或加劇了人際沖突,從而導(dǎo)致情節(jié)發(fā)生顛覆性變化。兩部劇作的人際沖突結(jié)果從本質(zhì)上看都是令人不愉快的,顛覆了傳統(tǒng)的社會(huì)道德理念。基于兩部劇作的人物塑造、情節(jié)發(fā)展特征以及人際沖突結(jié)果,可以發(fā)現(xiàn)兩部劇作的主題都是以不愉快人際關(guān)系為背景的社會(huì)現(xiàn)實(shí)寫(xiě)照,而創(chuàng)作技巧都呈現(xiàn)了顛覆的特點(diǎn)。因此,運(yùn)用“顛覆”技巧諷刺丑惡社會(huì)現(xiàn)實(shí)是蕭伯納早期問(wèn)題劇的主要特征。本研究具有如下意義:(1)將人際語(yǔ)用學(xué)的相關(guān)理論用于分析戲劇會(huì)話(huà),拓展了人際語(yǔ)用理論的應(yīng)用范圍;(2)建立了包含詞匯、句式和話(huà)語(yǔ)三個(gè)層面的人際意義分析框架,對(duì)充分描寫(xiě)和闡釋?xiě)騽?huì)話(huà)意義具有一定的借鑒作用;(3)在文體學(xué)框架下較為系統(tǒng)地分析了蕭伯納早期問(wèn)題劇的語(yǔ)言特征,提出“顛覆”是蕭伯納早期問(wèn)題劇的主要?jiǎng)?chuàng)作技巧,為進(jìn)一步探討蕭伯納問(wèn)題劇的審美特征和獨(dú)特的語(yǔ)言藝術(shù)特色提供了新的視角。
[Abstract]:In order to make up for the shortcomings mentioned above, the present study mainly focuses on two aspects: the lack of systematic analysis of the modern stylistic study of Shaw's dramatic language skills, and the lack of linguistic study on the characteristics of Shaw's early problem plays. This paper attempts to explore the main creative features of Bernard Shaw's early problem plays within the framework of pragmatic stylistics. Firstly, based on the theories of interpersonal relationship management and dramatic characterization, a conversational analysis framework with three levels of vocabulary, syntax and discourse is constructed. Secondly, the framework is applied to analyze Bernard Shaw's two early plays. In the context of interpersonal conflict, the author interprets the meaning of discourse, especially interpersonal meaning, and explains the characterization and plot development. On this basis, the author summarizes the themes and main creative features of the two plays. In family relations, parents are more directly involved in face-threatening behavior to control their children's words and deeds, but after encountering their children's speech resistance, they turn to emotional strategies to express different emotional attitudes and try to persuade each other. However, the conflict has been mitigated to varying degrees by the use of affective strategies. Comparatively speaking, parents'discourse strategies are more abundant, and their images change from overbearing to false emotional weakness, while their children change from simple confrontation to compromise or continued confrontation. It seems that men are in a disadvantaged position to respond to or reject men's discourse strategically. Men neglect to consider the face-threatening information in the discourse, which leads to the occurrence of conflicts. By contrast, the men in both plays are simple-minded, while the women are calm and witty. This unique female image makes them the representatives of the "new women" in Bernard Shaw's plays. In business partnerships, conflicts arise from the pursuit of interests by people with different social powers. The more powerful side of society implements naked face threats. As far as characterization is concerned, the two plays vividly depict three types of characters: idealists, realists and secularists. The main characters are full in interpersonal conflicts. The plot development of the two plays is motivated by interpersonal conflicts caused by differences in ideas, while the change of discourse strategies to achieve personal communicative goals alleviates or aggravates interpersonal conflicts to varying degrees, resulting in subversive plots. The interpersonal conflicts between the two plays are unpleasant in nature and subvert traditional social ethics. Based on the characterization, plot development and interpersonal conflicts of the two plays, it can be found that the themes of the two plays are portrayals of social realities in the context of unpleasant interpersonal relations, while the creative techniques are based on the creation of characters, plot development and interpersonal conflicts. Therefore, the use of subversive techniques to satirize ugly social realities is the main feature of Bernard Shaw's early problem plays. This study has the following significance: (1) applying the relevant theories of interpersonal pragmatics to the analysis of dramatic conversations, expanding the scope of application of interpersonal pragmatics; (2) establishing a system of words, sentences and words. The framework of interpersonal meaning analysis at three levels of language can be used for reference in fully describing and explaining the conversational meaning of drama; (3) The linguistic features of Shaw's early problem plays are systematically analyzed within the framework of stylistics, and it is pointed out that subversion is the main creative skill of Shaw's early problem plays, so as to further explore the Question of Shaw. The aesthetic characteristics of the drama and its unique language and artistic features provide a new perspective.
【學(xué)位授予單位】：上海外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：I562.073

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