“天涯共此時(shí)—臺(tái)海記憶”敘事藝術(shù)研究
發(fā)布時(shí)間：2018-09-14 18:21
【摘要】：本文以電視敘事學(xué)等理論對(duì)中央電視臺(tái)中文國(guó)際頻道播出的訪談?lì)愲娨暪?jié)目《天涯共此時(shí)》臺(tái)海記憶系列節(jié)目(以下簡(jiǎn)稱“臺(tái)海記憶”)的藝術(shù)特色進(jìn)行研究。區(qū)別于已有研究中把訪談節(jié)目與其他電視節(jié)目類型一概而論的敘事研究方法,本文在充分把握訪談?lì)愲娨暪?jié)目自身的特質(zhì)以及其所具有的電視敘事藝術(shù)的基礎(chǔ)上,分析“臺(tái)海記憶”的故事建構(gòu)、電視對(duì)話以及電視策略三大敘事藝術(shù)特色,以期深化訪談節(jié)目的研究。本文以“臺(tái)海記憶”自2013年7月30日首播、至2016年9月30日播出終止共177期節(jié)目為總樣本,重點(diǎn)研究其中的30期節(jié)目。圍繞節(jié)目“對(duì)話者——傳者和受者”、“對(duì)話內(nèi)容——信息及效果”、“對(duì)話方式——媒介”三大敘事主體,對(duì)該系列節(jié)目的敘事建構(gòu)、對(duì)話分析、敘事時(shí)空三部分進(jìn)行具體論述。本文的研究主要包括以下三個(gè)部分:第一部分研究臺(tái)海記憶系列節(jié)目的故事性敘事特征,以及作為電視訪談節(jié)目的故事建構(gòu)特色。對(duì)以人物為中心建構(gòu)的故事中的“中心話語(yǔ)”作用、以事件為中心建構(gòu)的故事中事件的情節(jié)擴(kuò)展手段進(jìn)行區(qū)分研究。區(qū)分人物“中心話語(yǔ)”中“親歷者”與“知情人”在敘事話語(yǔ)中的不同特點(diǎn);分析“臺(tái)海記憶”注重對(duì)事件情節(jié)擴(kuò)展的三種建構(gòu)手段,即順序性要素“統(tǒng)首尾”;聯(lián)結(jié)性要素“設(shè)懸念”;對(duì)比性要素“定節(jié)奏”的結(jié)構(gòu)要素特征。第二部分將電視傳播學(xué)的基本理論與巴赫金的對(duì)話理論結(jié)合起來(lái)進(jìn)行研究,論述臺(tái)海記憶系列節(jié)目由故事性向?qū)υ捫赞D(zhuǎn)變的敘事藝術(shù)特征,分析對(duì)話關(guān)系與“傳——受”關(guān)系的對(duì)等因素,從電視敘事學(xué)研究新的視閾確定“臺(tái)海記憶”的敘事主體,并把對(duì)各個(gè)敘事主體之間關(guān)系的探討集中于“對(duì)話視角”來(lái)進(jìn)行分析。第三部分是對(duì)“臺(tái)海記憶”的時(shí)空敘事特色進(jìn)行論述,突出分析了四個(gè)主要特征:第一,以開頭為重的敘事時(shí)間:提出了“故事的話語(yǔ)時(shí)間短于故事時(shí)間”的觀點(diǎn);第二,“內(nèi)外共構(gòu)”的敘事空間:對(duì)“臺(tái)海記憶”“內(nèi)外共構(gòu)”的空間敘事及特征進(jìn)行研究;第三,分析了“臺(tái)海記憶”重構(gòu)歷史話語(yǔ)的特色;第四,從“對(duì)話觀眾”的角度研究“臺(tái)海記憶”的敘事策略,即個(gè)性命題到他人話語(yǔ)。分析了“臺(tái)海記憶”的對(duì)話立場(chǎng)、欄目定位對(duì)成功實(shí)現(xiàn)對(duì)話歷史、對(duì)話觀眾的策略。
[Abstract]:Based on the theory of television narratology, this paper studies the artistic characteristics of the interview TV program "I > Taiwan Sea memory Series" (hereinafter referred to as "Taiwan Sea memory"), which is broadcast by CCTV's Chinese International Channel. Different from the narrative research methods which generalize the types of interview programs and other TV programs in previous studies, this paper fully grasps the characteristics of interview TV programs and their TV narrative art. This paper analyzes the story construction, TV dialogue and TV strategy of "memory of the Taiwan Strait", in order to deepen the research of the talk program. In this paper, a total of 177 episodes of Taiwan Strait memory were selected as the total sample from the first broadcast on July 30, 2013 to the end of the broadcast on September 30, 2016. The study focuses on 30 of the programs. Focusing on the three main narrative subjects of the program "Dialog-communicator and receiver", "Dialogue Content-Information and effect" and "Dialogue Mode-Media", the narrative construction and dialogue analysis of the series are made. Three parts of narrative time and space are discussed in detail. The research of this paper mainly includes the following three parts: the first part studies the narrative characteristics of the Taiwan Strait memory series and the characteristics of story construction as a TV interview program. This paper distinguishes between the role of "central discourse" in the story centered on characters and the plot expansion means of events in the story with event as the center. This paper distinguishes the different characteristics of "experienced person" and "insider" in the narrative discourse of the characters in "central discourse", analyzes the three constructive means of "Taiwan Strait memory" focusing on the expansion of the event plot, that is, the sequential element "unifying the first and the last"; The connective element is suspense, the contrastive element is fixed rhythm. The second part combines the basic theory of television communication with Bakhtin's dialogue theory, and discusses the narrative art characteristics of the Taiwan Strait memory series changing from story to dialogue. This paper analyzes the equivalent factors between the relationship of dialogue and the relationship between "transmission and receiving", and determines the narrative subject of "Taiwan Strait memory" from the new perspective of television narratology. The relationship between the narrative subjects is analyzed from the perspective of dialogue. In the third part, the author discusses the space-time narrative characteristics of the memory of the Taiwan Strait, and analyzes four main characteristics: first, the narrative time with the beginning as the main point of view: the viewpoint that "the discourse time of the story is shorter than the story time"; the second part, the conclusion that the discourse time of the story is shorter than the time of the story is put forward. The narrative space of "internal and external co-construction": a study of the spatial narration and characteristics of "memory of the Taiwan Strait" and "internal and external co-construction"; third, the analysis of the characteristics of the reconstruction of historical discourse in "memory of the Taiwan Strait"; fourth, From the perspective of dialogue audience, this paper studies the narrative strategy of memory in the Taiwan Strait, that is, personality proposition to other people's discourse. This paper analyzes the dialogue stand of "Taiwan Strait memory", and the strategy of column orientation to the successful realization of dialogue history and dialogue audience.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：G222
本文編號(hào)：2243504
[Abstract]:Based on the theory of television narratology, this paper studies the artistic characteristics of the interview TV program "I > Taiwan Sea memory Series" (hereinafter referred to as "Taiwan Sea memory"), which is broadcast by CCTV's Chinese International Channel. Different from the narrative research methods which generalize the types of interview programs and other TV programs in previous studies, this paper fully grasps the characteristics of interview TV programs and their TV narrative art. This paper analyzes the story construction, TV dialogue and TV strategy of "memory of the Taiwan Strait", in order to deepen the research of the talk program. In this paper, a total of 177 episodes of Taiwan Strait memory were selected as the total sample from the first broadcast on July 30, 2013 to the end of the broadcast on September 30, 2016. The study focuses on 30 of the programs. Focusing on the three main narrative subjects of the program "Dialog-communicator and receiver", "Dialogue Content-Information and effect" and "Dialogue Mode-Media", the narrative construction and dialogue analysis of the series are made. Three parts of narrative time and space are discussed in detail. The research of this paper mainly includes the following three parts: the first part studies the narrative characteristics of the Taiwan Strait memory series and the characteristics of story construction as a TV interview program. This paper distinguishes between the role of "central discourse" in the story centered on characters and the plot expansion means of events in the story with event as the center. This paper distinguishes the different characteristics of "experienced person" and "insider" in the narrative discourse of the characters in "central discourse", analyzes the three constructive means of "Taiwan Strait memory" focusing on the expansion of the event plot, that is, the sequential element "unifying the first and the last"; The connective element is suspense, the contrastive element is fixed rhythm. The second part combines the basic theory of television communication with Bakhtin's dialogue theory, and discusses the narrative art characteristics of the Taiwan Strait memory series changing from story to dialogue. This paper analyzes the equivalent factors between the relationship of dialogue and the relationship between "transmission and receiving", and determines the narrative subject of "Taiwan Strait memory" from the new perspective of television narratology. The relationship between the narrative subjects is analyzed from the perspective of dialogue. In the third part, the author discusses the space-time narrative characteristics of the memory of the Taiwan Strait, and analyzes four main characteristics: first, the narrative time with the beginning as the main point of view: the viewpoint that "the discourse time of the story is shorter than the story time"; the second part, the conclusion that the discourse time of the story is shorter than the time of the story is put forward. The narrative space of "internal and external co-construction": a study of the spatial narration and characteristics of "memory of the Taiwan Strait" and "internal and external co-construction"; third, the analysis of the characteristics of the reconstruction of historical discourse in "memory of the Taiwan Strait"; fourth, From the perspective of dialogue audience, this paper studies the narrative strategy of memory in the Taiwan Strait, that is, personality proposition to other people's discourse. This paper analyzes the dialogue stand of "Taiwan Strait memory", and the strategy of column orientation to the successful realization of dialogue history and dialogue audience.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：G222
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，本文編號(hào)：2243504
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