（外国语言学及应用语言学专业论文）话轮转换在剧本中的功用分析.pdf

硕士学位论文 i 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，打断和独白，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。 关键词：话轮转换；人物性格；剧本；框架 话轮转换在剧本中的功用分析 ii abstract this thesis attempts to prove that the turn- taking framework, a tool in drama analysis, can be applied to analyze the conversations in plays after being revised. because of its efficiency to reveal the personalities of the main characters in plays, the readers can obtain wild imagination and appreciate the characters in the plays from a new angle. this thesis also demonstrates that the revised framework of turn- taking can be a supplement of literature appreciation. the framework of turn- taking in drama analysis can be divided into five aspects: initiation and control of topics, turn- length, turn- type, interruption and monologue, and turn- control strategies. turn- type involves three categories: initiation after response, interruption and monologue. however, a play is different from a drama. the readers can only appreciate the play through the play writer s description of characters and the readers imagination about the characters. therefore, the success of a play relies on how the play writer depicts the personalities of the characters, such as the description of contents, styles between character conversations, etc. the conversations in a play are static, while they are dynamic in a drama. however, there also exist some connections and similarities, i.e. both of their contents figure the characters vividly. as a result, the widely used turn- taking framework in drama can be applied to analyze the conversations in plays with some revisions. the major difference between the framework of turn- taking in a drama and the revised one in a play lies in the second aspect of the framework, turn- length. in a drama, the turn- length is recorded by counting the time that a turn lasts, and the players have a lot of flexibilities. since it is very hard to regulate the time in plays, the turn- length depends on calculating the number of words instead of recording a turn s time. in this thesis, the data are collected from the conversations of the play gone with the wind, which is regarded as good evidence to demonstrate that the revised framework of turn- taking is a powerful tool to reveal the personalities of the characters in a play. there are a large amount of conversations in this play. the analysis focused on the conversations among the main characters is very typical, and there are also important clues of the plot development. this thesis shows that the distinct personalities of the main characters such as scarlett, rhett, ashley, and melanie can be 硕士学位论文 iii appreciated, within the revised framework of turn- taking. key words: turn- taking; character personality; play; framework 湖 南 大 学 学位论文原创性声明 本人郑重声明：所呈交的论文是本人在导师的指导下独立进行研究所取 得的研究成果。除了文中特别加以标注引用的内容外，本论文不包含任何其 他个人或集体已经发表或撰写的成果作品。 对本文的研究做出重要贡献的个 人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律后果 由本人承担。 作者签名： 日期： 年 月 日 学位论文版权使用授权书 本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学 校保留并向国家有关部门或机构送交论文的复印件和电子版， 允许论文被查 阅和借阅。 本人授权湖南大学可以将本学位论文的全部或部分内容编入有关 数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位 论文。 本学位论文属于 1、保密，在_年解密后适用本授权书。 2、不保密。 （请在以上相应方框内打“” ） 作者签名： 日期： 年 月 日 导师签名： 日期： 年 月 日 硕士学位论文 1 chapter 1 introduction turn is an utterance unit in spoken dialogue 1. there is a rule to be observed in conversations that the speaker and the listener constantly change their roles; that is, the speaker becomes the listener and the listener becomes the speaker. in other words, the participants in a conversation take turns in speaking 2. the organization of taking turns to talk is fundamental to conversations. in the study of turn- taking organization, the major concern of sacks, schegloff, and jefferson 3 is how to account for the complex system by which parties engaged in talk manage to take turns in speaking. sacks makes great improvement on this theory. he creates the “ turn- taking model” , which is composed of the turn- constructional component and the turn- allocation component. in any conversation, these facts can be observed: the role of a “ speaker” as a “ listener” changes; overwhelmingly, one party talks at a time; occurrences of more than one speaker at a time are common, but brief; transitions (from one turn to the next) with no gap and overlap are common; together with transitions characterized by slight gap or slight overlap, they make up the vast majority of transitions; turn order is not fixed, but varies; turn size is not fixed, but varies; length of conversation is not specified in advance; what parties say is not specified in advance; number of parties can vary; talk can be continuous or discontinuous; turn- allocation techniques are obviously used; a current speaker may select a next speaker, or parties may self- select in starting to talk; various “ turn- constructional units” are employed; repair mechanisms exist for dealing with turn- taking errors and violations. the previous research applies turn- taking to conversations, especially to everyday conversations; what s more, it also works in the field of literature. most of the previous research is based on the conversation itself, collecting data in a descriptive way. with the development of the drama style since late 1980s, turn- taking analysis has been utilized in the field of literature. in china, many scholars are engaged in this field, such as wang hong, yu dongming, wang dexing, etc. yu dongming 4 sets up a turn- taking framework to analyze the conversations in a drama, which includes five aspects: initiation and control of the topics, turn length, interruption and monologue, turn type, and turn- control strategies. this kind of conversational analysis reveals different personalities of characters and gives us a new tool to appreciate dramas, plays, 话轮转换在剧本中的功用分析 2 etc. this thesis attempts to collect data from conversations in the play gone with the wind, to prove that turn- taking analysis can achieve not only descriptive adequacy, but to some extent, explanatory adequacy as well. this thesis also intends to explore how turn- taking works to depict the characters in plays. through the dialogues between scarlett and rhett, scarlett and ashley, scarlett and melanie, it s capable of revealing the different personalities they have, combined with the story plots and the content of the conversations. 硕士学位论文 3 chapter 2 literature review 2.1 discourse analysis discourse is defined as the continuous pieces of spoken or written language (oxford advanced learner s english- chinese dictionary). but this definition may be too simple. a sentence cannot be fully analyzed without referring to the physical, social, and psychological world in which it takes place. so discourse refers to the totality of all these interacting elements 5. discourse is different from text. discourse means the interactive discourse, which involves discourse coherence between sentences. “ a discourse is a coherent stretch of language” 6, 25, while “ text is the verbal record of a communicative event” 7, 190, which deals with non- interactive monologue. van dijk 8 compares the relationship between discourse and text as the relationship between sentence and utterance. brown and yule think discourse is a process. widdowson 9 defines it as the use of sentences in combination, who emphasizes the function and analytic units of discourse. steiner and veltmen 10 explain discourse as a language of process. all the definitions share the similarity, that is, all of them focus on the essence of discourse. zellig harris 11 (1952) writes a paper entitled “ discourse analysis” , which is accepted by people. it is he who first uses the term “ discourse analysis” . in 1960s, discourse analysis is gradually arising. some scholars, such as barthes, greimas and metz apply semiotics in analyzing narrative discourse. in 1970s, more and more pursuers are engaged in this field, analyzing the function of discourse analysis. among them sacks, schegloff that is, the speaker who selects the next speaker has priority over the next speaker s self- selection 20. turn- taking systems can provide strong motivations for non- speakers to listen closely to the current- speaker. there always exists the possibility for a non- current speaker taking turns at trp. according to stenstrom 21, a turn- taking process can be divided into three steps: taking the turn, holding the turn and yielding the turn. the parties who participate in a conversation can be divided into two categories: producers of talk and receivers of talk 22. they change their roles during the process of conversations. turn- taking is considered to play an essential role in structuring people s social interactions. it plays social roles the same way as it maintains social relationships. therefore, the system of turn- taking has become an object of analysis both for linguists and for sociologists. 2.3 relationship between discourse analysis written discourse includes letters, novels, text- books, paper, etc. based on the number of the participants, discourse can be sub- categorized as monologue, dialogue, multi- personal interchange, etc. turn- taking analysis only deals with the conversations between at least two participants, while discourse analysis focuses on language organization other than sentence organization in conversations. different research methods the main task of discourse analysis is to reveal the social communication construction and reveal the process of meaning understanding on the part of conversational parties. many methods as speech- act theory, conversation analysis, pragmatics theory, and sociolinguistics theory are employed for discourse analysis; and turn- taking analysis is one of the categories of conversation analysis. discourse analysis covers an extremely wide range of activities, from the words used in casual talk to the study of the abstract ideology. discourse analysis is not restricted to a single discipline, which involves linguistics, sociology, anthropology, psychology and philosophy. 硕士学位论文 9 chapter 3 turn- taking analysis in daily conversations 3.1 development of turn- taking analysis current conversational analysis is based on the earlier works of the american sociological movement of the 1970s. most significant contributions are derived from the works of harvey sacks, in collaborations with emmanuel schegloff and gail jefferson in their works on ethnomethodology. after that, a group of linguists introduce this theory, such as malcolm coulthard 19, levinson 16, gillian brown and george yule 7. though they propose different ideas and revise the theory, at the same time, they prove the importance of turn- taking analysis used in daily conversations. in the late 1970s and early 1980s, some scholars put their interests in classroom teaching. gaies, henzl, long, and sato 24, investigate how teachers talks influence students language reception. however, sinclair and coulthard 25, montgomery, brazil state that turn- taking analysis is based on sentence structure, and they demonstrate that dialogues between students and teachers push the teaching process forward. in 1980s, with the development of drama- stylistics, turn- taking analysis is found to be very useful in analyzing conversations in literature. yu dongming 26 points out that turn- taking, as one of the important categories of discourse analysis, is often utilized to explain the power relationships and depict the personalities of characters. 3.2 sack s and other co- researchers contributions between 1960s and 1980s, a series of papers are written by sacks, schegloff and a number of co- researchers who establish the basic mechanisms underlying talk- in- interaction 27. one of their papers entitled “ a simplest systematics for the organization of turn- taking for conversation” reveals that turns are allocated in everyday conversations, and they have summarized a set of features as follows: speaker- change recurs, or at least occurs 3. the possibility of speaker- change is built on turn s construction. that s to say, speaker- change is not automatic because it always happens at each transition- relevance place (trp). 话轮转换在剧本中的功用分析 10 overwhelmingly, one party talks at a time. a turn system allocates a single turn to a single speaker 3. in two- character conversations, the initiation- response system makes the turn work. one party speaks, and the other one waits for trp. in multi- character conversations, this rule still works. the relationship between the current- speaker and possible next- speaker becomes a performance that other participants in the conversation observe. but in natural conversations, it s very common that more than one speaker speaks simultaneously, and then overlap occurs. occurrences of more than one speaker at a time are common, but brief 3. more than one speaker speaking simultaneously is called overlap, which shows that each party is independent of occupying a current turn. but that will not last long. one party gives up when next trp appears. transitions with no gap and no overlap are common 3. this rule provides the possibility of transitions with no gap and no overlap. in daily conversations, trp can be symbolized by a slight silence, the end of a meaning, etc. people have this kind of sense to distinguish where the transition- relevance place can be. however, for two speakers who are having difficulty getting into a shared conversational rhythm, the stop- start- overlap- stop pattern may be repeated 28. a gap is conversational silence at the end of a turn in a situation in which no next speaker has been selected by the previous one, no participant has selected himself or herself as the next speaker, and the silence is too short to constitute a lapse 29, while overlap is a simultaneous talk by two or more conversational participants, irrespective of its status in participants minds as an interruption 30. turn order is not fixed, but varies 3. in two- character conversations, it s easier to allocate turn order. when one party speaks, the other one will be the selector of next turn. in multi- character conversations, single turns are allocated at a time, but the ordering of speakers can vary. turn size is not fixed, but varies 3. turn size can vary because of sentential constructions. that s to say, speakers are not restricted to use how many sentences. so turn size may be only one word, or may be a set of turns, which is determined by speakers themselves. length of conversation is not specified in advance 3. length of conversation is generated in a manner internal to its developing course 31. turn- length is not predetermined during conversations. what parties say is not specified in advance 3. generally speaking, in daily conversations, the content of conversations is free- selected. but this doesn t mean 硕士学位论文 11 there are no constraints in any turn. for instance, one party starts the conversation, which is called “ first turns” , then, “ next turns” will be constrained by prior turns. scholars have found and summarized different models in two- character conversations, which can be seen from “ adjacency pairs” 3, such as greeting greeting, offer accept/reject, invitation acceptance/refusal, thank accept, instruct receipt, question answer, and compliment justification/apology/denial, etc. relative distribution of turns is not specified in advance 3. in conversations, a current speaker is allowed to select a next speaker, and any other speakers other than the current speaker can be selected as the next speaker. if no other speakers take next turns at trp, then the current speaker can continue the turns. number of parties can vary 3. turn- taking system doesn t constrain the number of parties. but the fewer participants, the more chances of taking turns. if a conversation only involves two people, according to the rule- set, one party starts the first turn, then more chances for the other one taking the next turn are available. comparing with multi- character conversations, “ next turn” is no longer guaranteed to any current non- speaker because of the number of participants. if a current non- speaker tends to speak next, there also exist chances for other non- speakers to self- select. but “ a single speaker, a single turn.” 17 and only one of them can take “ next turn” at trp. so, even if the number of parties can vary, turn- taking system still favors smaller numbers of participants. talk can be continuous or discontinuous 3. according to set- rules, at each trp, “ next turn” should be selected by another speaker or the same current speaker, and then the talk can be continuous. but if the current speaker stops for more than a gap not a gap, but a lapse, and the next speaker doesn t start, then talk is discontinuous. turn- allocation techniques are us