话轮转换在剧本中的功用分析

发布时间：2018-02-06 00:19

本文关键词： 话轮转换人物性格剧本框架　出处：《湖南大学》2005年硕士论文　论文类型：学位论文

【摘要】：本论文通过运用在戏剧中分析人物对话的话轮转换框架,来论证这一框架稍改后同样适合剧本中人物的对话分析,并且证明这一稍改后的框架能很好地从话轮的角度分析人物的对话语言,揭示剧本中主要人物的性格特征,给读者以强烈的人物想象空间,从一个全新的角度来欣赏剧本,这也是文学欣赏方法的补充。用于舞台戏剧中的话轮转换框架分为五部分:发话和控制话题,话轮长度,话轮类型,打断和独自,以及话轮控制策略。其中,话轮长度是通过记录完成一个话轮所需要的时间来实现的。话轮类型分成三部分:反应后发话、打断、独白。但是剧本不同于舞台戏剧,读者欣赏剧本完全依赖于作者的描写以及建立在这个基础上的对剧中人物的想象。因此,剧本的成功与否取决于作者如何塑造鲜明的人物性格,包括人物之间谈话的内容,方式等的描写。剧本中的人物谈话是静态的,而舞台戏剧中的人物语言是动态的,但从内容上说,它们都有着共同的地方,那就是成功地塑造人物形象。因此,如果对这一分析框架稍加修改,便能将它运用到剧本中分析人物之间的对话。用于分析戏剧人物语言的话轮框架和这一稍做修改的框架中最大的不同就在于第二部分,即话轮长度。在戏剧中它是通过记录完成一个话轮所需要的时间实现的,演员在诠释的过程中有较灵活的自主性,但在剧本中,很难对这个加以规定,因此便以完成一个话轮所需要的字数来实现。本论文选取了剧本《乱世佳人》中的人物对话来论证这一框架从话轮的角度来分析人物的性格是如何通过话语展现的。在这一剧本中有大量的人物对话,对话分析围绕剧本中的主人公,选取斯佳丽和白瑞特,斯佳丽和阿希礼,斯佳丽和媚兰妮这三对典型的人物之间的对话,分析这四个人物不同的性格特征,尤其是女主人公斯佳丽。即从话轮转换的会话角度欣赏他们迥异的性格特征。
[Abstract]:In this paper, we use the framework of the dialogue analysis in the drama to prove that this framework is suitable for the dialogue analysis of the characters in the script after a slight change. It also proves that this slightly modified framework can well analyze the dialogue language of the characters from the perspective of the turn, reveal the character characteristics of the main characters in the script, and give readers a strong imagination space of characters. To appreciate the script from a new perspective is also a supplement to the literary appreciation method. The turn-switching framework used in stage plays is divided into five parts: speech and control topics, turn-length, turn types, interruptions and solitude, and turn control strategies. The turn-length is achieved by recording the time needed to complete a chakra. The type of chakra is divided into three parts: post-reaction speaking, interrupting, and monologue. But the script is different from the stage play. Readers' appreciation of the script depends entirely on the author's description and the imagination of the characters on this basis. Therefore, the success of the script depends on how the author shapes the distinctive character. The characters talk in the script is static, while the character language in the stage play is dynamic, but in content, they all have the same place. Therefore, if the framework is slightly modified, it can be applied to analyze the dialogue between characters in the script. The biggest difference between the frame used to analyze the language of the characters and the slightly modified framework lies in the second part. In drama, it is realized by recording the time required to complete a turn. The actor has more flexible autonomy in the process of interpretation, but in the script, it is difficult to specify this. Therefore, it is realized by the number of words needed to complete a chakra. This paper selects the characters dialogue in the script "gone with the Wind" to prove that this framework analyzes the character of the characters through discourse from the perspective of the turn of discourse. There are a large number of dialogues in this script. The dialogue analysis revolves around the protagonist in the script, selects Scarlett and Barrett, Scarlett and Ashley, Scarlett and Melanie these three typical characters dialogue, analyzes the four characters' different character characteristic. In particular, the heroine Scarlett appreciates their very different personality characteristics from the perspective of conversation.
【学位授予单位】：湖南大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：I053;J804

【引证文献】