从关联理论语境观剖析《六人行》的幽默话语构建

从关联理论语境观剖析《六人行》的幽默话语构建一、引言1.1研究背景与意义在现代社会，电视剧已成为人们休闲娱乐的主要方式之一，而电视情景喜剧凭借其独特的魅力，深受观众喜爱。美国情景喜剧《六人行》（Friends），又名《老友记》，作为一部经典之作，自1994年开播以来，在全球范围内吸引了亿万观众。这部剧以生活细节和人物之间的人际关系为主线，剧情温馨且充满幽默元素，成为了情景喜剧的典范。然而，以往人们更多地关注其剧情发展和人物情感，对于其中幽默话语发生的原因和具体背景却鲜有关注和深入分析。关联理论的语境观为解读这一问题提供了新的视角和方法。关联理论认为，人类的语言交际是一个认知-推理的互明过程，语境在其中起着至关重要的作用。在语用层面，每一个词和句子的意义都依赖于上下文，人们在交流时常常运用暗示、影射等手段，以实现更准确、自然的沟通效果。电视情景喜剧作为一种语言艺术形式，自然也遵循这一规律。通过关联理论的语境观来剖析《六人行》中的幽默话语，不仅能够揭示其幽默产生的内在机制，还能让观众更好地理解剧中的幽默内涵，提升对情景喜剧语言艺术的欣赏水平。此外，从跨文化交际的角度来看，《六人行》蕴含着丰富的美国文化元素，其幽默话语是美国文化的一种体现。借助关联理论的语境观对其进行研究，有助于我们深入了解美国文化背景下的语言幽默特点，促进跨文化交流与理解，减少因文化差异导致的误解和沟通障碍。这对于推动不同文化之间的交流与融合具有积极的意义。1.2研究目的与问题本研究旨在通过对电视情景喜剧《六人行》中的幽默话语进行深入分析，探索该文本中幽默话语产生的原因和幽默效果的表现方式。具体而言，试图回答以下几个问题：《六人行》中幽默话语的类型和特征是什么？不同类型的幽默话语在语言表达、语义结构等方面呈现出怎样的特点。《六人行》中幽默话语的背景和原因是什么？是什么因素促使编剧创作出这些幽默话语，它们与剧情发展、人物性格塑造以及文化背景之间存在怎样的关联。《六人行》中幽默话语的幽默性是如何呈现的？通过何种语言技巧、表达方式以及语境设置来实现幽默效果，观众在理解这些幽默话语时经历了怎样的认知过程。结合关联理论的语境观，如何解读《六人行》中的幽默话语？关联理论的语境观在解释幽默话语的理解机制方面具有怎样的优势，如何运用这一理论来分析具体的幽默话语实例。1.3研究方法与创新点本研究主要采用文献资料法、观察法和分析法。首先，通过查阅大量国内外关于幽默理论、关联理论以及情景喜剧语言分析等方面的文献资料，了解相关领域的研究现状和前沿动态，为研究提供坚实的理论基础。其次，通过仔细观看《六人行》的剧集，收集其中的幽默话语素材，并对这些素材进行详细的观察和记录，包括幽默话语出现的场景、人物对话的具体内容以及角色的表情、动作等非语言因素。最后，运用关联理论的语境观对收集到的幽默话语素材进行深入分析，从语境的选择、语境效果的产生以及关联原则的作用等角度，探讨幽默话语的理解机制和幽默效果的实现方式。本研究的创新点在于从关联理论的语境观这一独特视角，对《六人行》中的幽默话语进行深入剖析。以往对《六人行》幽默话语的研究，多集中在合作原则、言语行为理论等方面，而从关联理论语境观出发的研究相对较少。本研究将填补这一研究空白，为情景喜剧幽默话语的分析提供新的研究思路和方法，丰富幽默语言研究的理论体系。同时，通过对大量具体实例的分析，能够更直观、准确地揭示《六人行》幽默话语的内在规律和特点，为观众更好地欣赏和理解这部经典情景喜剧提供有益的参考。二、理论基础与文献综述2.1关联理论的语境观概述2.1.1关联理论的核心概念关联理论是由斯珀伯（Sperber）和威尔逊（Wilson）在《关联性：交际与认知》中提出的一种认知语用学理论，其核心在于解释人类如何通过语境和认知推理来理解语言和交流，该理论以关联性概念与关联原则为基础分析言语交际中的话语。关联理论认为，语言交际是一个认知过程，是必须依靠推理思维来进行的新的语用学观念。在这个过程中，关联性是一个关键概念。当输入内容值得人们加工处理时，它就具有关联性，而是否值得加工处理取决于认知效果与处理时付出的努力。关联原则是关联理论的重要组成部分，包括认知原则和交际原则。认知原则指人类的认知倾向于与最大程度的关联性相吻合，即人们在认知过程中，会自动地追求最大关联，以最小的认知努力获取最大的认知效果。例如，在日常生活中，当人们看到天空乌云密布时，会自动关联到可能要下雨，从而做出带伞等相应的行为，这就是人类认知倾向于追求最大关联的体现。交际原则是指每一个话语（或推理交际的其他行为）都应设想为话语或行为本身具备最佳的关联性。在交际中，说话者会通过明示行为向听话者传达信息，而听话者则会根据说话者提供的明示信息，结合自身的认知语境进行推理，以寻找最佳关联，从而理解说话者的意图。例如，在对话中，一方说“今天好热”，另一方可能会关联到对方可能想要开空调或者喝冷饮等意图，这就是听话者寻找最佳关联的过程。2.1.2关联理论对语境的独特见解关联理论将语境看作是在互动过程中为了正确理解话语而存在于人们大脑中的一系列假设，是一个心理建构体（psychologicalconstruct），由一系列假设构成。这一观点与传统语境观不同，传统语境观通常将语境视为预先给定的、静态的客观环境，包括语言上下文、时间、地点、场合等因素。而关联理论中的语境是动态变化的，理解每一个话语所需要的语境因素是不同的，听话人要在话语理解的过程中为每一个话语构建新的语境。例如，在《六人行》中，当钱德勒说：“I'mnotgreatattheadvice.CanIinterestyouinasarcasticcomment?”（我不太擅长提建议。来句讽刺的话怎么样？），如果仅从字面意思理解，可能会觉得这句话很普通，但结合当时的语境，比如对话发生的场景是莫妮卡遇到了感情问题向大家寻求建议，而钱德勒一贯以幽默讽刺的语言风格著称，此时观众就能构建出一个新的语境假设，理解到钱德勒这句话是用一种幽默的方式表达自己不太会提建议，同时也暗示接下来可能会说出一些讽刺性的话语来缓解紧张的气氛。这种语境的动态构建使得观众能够更好地理解剧中人物的幽默话语，体会其中的幽默内涵。此外，关联理论还认为，意义的推导离不开语境因素，但不一定要依赖具体语境，因为语言使用者经过经验或思维已把具体语境内在化、认知化了，这种语境内在化、认知化的结果就是大脑中的认知语境。人们在交际中所依赖的往往就是这种认知语境，它不仅包括交际时话语的上文、话语发生时的实时实地情景、听话人的知识因素，还包括听话人的认知能力以及听话人当时可及的任何信息。2.1.3语境假设与认知效果语境假设与认知效果密切相关。在关联理论中，新信息对原有假设的影响会产生不同的认知效果，主要包括三种类型：语境隐含、假设增强以及假设抵触。语境隐含是指新信息与现有语境假设相结合，产生了新的隐含意义。例如，在《六人行》中，瑞秋对罗斯说：“Youknow,whenitcomestoyou,I'mnotthatgoodwiththeboundaries.”（你知道，一碰到和你有关的事，我就不太能把握分寸。），结合之前两人复杂的感情线这一语境假设，观众可以推导出瑞秋这句话隐含的意思是她对罗斯还有特殊的感情，难以保持普通朋友的界限，这就是新信息产生的语境隐含。假设增强是指新信息加强了现时的语境假设。比如，当大家都知道乔伊喜欢吃披萨，有一次乔伊看到披萨时兴奋地说：“Icouldeatahorse,andthatpizzalooksamazing!”（我能吃下一匹马，那个披萨看起来太棒了！），这句话中的新信息“能吃下一匹马”以及对披萨的夸赞进一步增强了大家对乔伊喜爱披萨这一语境假设的认知。假设抵触则是新信息与现时的语境假设产生矛盾。例如，钱德勒一直给人的印象是比较胆小怕事，当他突然说：“I'mgoingtobungeejumpthisweekend.”（我这个周末要去蹦极。），这一信息与观众原有的关于钱德勒性格的语境假设产生了抵触，从而引发观众的好奇心和思考，也可能产生幽默效果，让观众想知道钱德勒为什么会有这样的决定。当新信息在旧信息中的语境化产生语境效果时，就会使话语具有关联性。在其他条件相同的情况下，处理某一输入内容所取得的认知效果越大，其关联性就越强，反之越弱；为进行加工处理而付出的努力越少，其关联性就越强，反之越弱。这意味着，在理解幽默话语时，如果观众能够快速地找到语境假设与新信息之间的关联，以较小的认知努力获得较大的认知效果，就能更好地理解幽默话语，感受到其中的幽默之处。例如，对于一些熟悉美国文化和《六人行》剧情的观众来说，剧中很多幽默话语不需要过多的思考就能理解，因为他们能够迅速调动相关的语境假设，找到与新信息的最佳关联，从而获得强烈的幽默体验。2.2幽默话语研究综述2.2.1幽默的定义与分类幽默是一个复杂而多面的概念，学术界对于幽默的定义尚未达成明确一致的解释。从广义上讲，幽默可以定义为一种心理状态，涉及认知、情感和行为三个方面，它是一种能激发起人类心理某种情感的智慧，是在对逻辑性进行适当调控后对现实进行某种形式的加工或者破坏，常给人带来欢乐，其特点主要表现为机智、自嘲、调侃、风趣等。林语堂先生认为，幽默是与郁剔、讥讽、揶揄区别的，各种风调之中，幽默最富于感情，最上乘的幽默表示“心灵的光辉与智慧的丰富”。幽默可以表现为多种形式，根据表现形式的不同，可大致分为语言幽默、行为幽默和情境幽默等类型。语言幽默是通过巧妙的言语表达来达到引人发笑的效果，常见的手法包括谐音幽默、双关语、夸张、反语等。例如，“Whyisthedoctorsoangry?Becausehehasnopatience(patients).”利用了“patience”（耐心）和“patients”（病人）的谐音，创造出幽默的效果。行为幽默则是通过有趣的行为或动作来激发观众的笑声，比如喜剧演员的滑稽表演、搞笑的舞蹈动作等。情境幽默是在特定的情境下，通过巧妙的设计和安排，使幽默元素得以显现，像情景喜剧、脱口秀等就常常运用情境幽默来逗乐观众。例如在《六人行》中，六位主角在日常生活中遇到的各种尴尬、意外的情境，都能产生丰富的情境幽默。此外，还有黑色幽默，它以悲剧或严肃话题为背景，用幽默来处理或评论，如电影《美丽人生》就运用黑色幽默展现了在残酷战争背景下的人性光辉；讽刺幽默则通过夸张或嘲讽的方式对社会现象或人物进行批评，如动画《辛普森一家》中就充满了对各种社会现象的讽刺幽默。2.2.2幽默话语的语言学研究视角从语言学角度对幽默话语的研究涵盖了多个方面，包括语义学、语用学、修辞学等。语义学主要研究词语和句子的意义，从语义学角度分析幽默话语，关注的是词汇的多义性、语义的模糊性以及语义的冲突等因素如何产生幽默效果。例如，双关语就是利用词语的多义性，使一个词语在特定语境中同时表达两种不同的意义，从而产生幽默。像“Heisnotagravemanuntilheisagraveman.”前一个“grave”表示“严肃的”，后一个“grave”表示“坟墓的”，这种一词多义在同一语境中的巧妙运用，形成了语义冲突，产生了幽默的效果。语用学研究语言在实际使用中的意义和功能，强调语言交际中的语境因素和交际意图。语用学视角下的幽默话语研究关注合作原则、礼貌原则、关联原则等语用原则的违反或巧妙运用如何引发幽默。例如，格莱斯的合作原则包括数量准则、质量准则、关联准则和方式准则，当人们在交际中故意违反这些准则时，就可能产生幽默。在《六人行》中，角色之间的对话常常违反合作原则来制造幽默。如罗斯因为吃了奇异果而过敏，需要去医院打针，莫妮卡问他：“He’sgoingtogetashot.”罗斯并没有直接回答去还是不去，而是说：“Youknow,actually,itisgettingbetter.It...WhataboutBen?Wecannotbringababytothehospital.”罗斯违反了关联准则，没有直接回应莫妮卡的问题，而是把话题扯开找各种借口，观众通过推理他这样做的原因（害怕打针），从而理解其中的幽默意味。修辞学则注重研究语言的修饰和表达技巧，从修辞学角度研究幽默话语，主要分析夸张、比喻、拟人、反讽等修辞手法在幽默创作中的运用。例如，夸张手法通过夸大事物的特点，创造出超乎寻常的形象，使人们在强烈的反差中感受到幽默。“I'msohungryIcouldeatahorse.”用夸张的方式表达饥饿的程度，引发人们的笑声。反讽则是表面上说的与实际想表达的意思相反，通过这种反差来达到幽默和讽刺的效果。2.2.3前人对《六人行》幽默话语的研究前人对《六人行》幽默话语的研究主要从语用学的角度出发，运用合作原则、礼貌原则等理论进行分析。基于合作原则的研究发现，《六人行》中角色之间的对话常常通过违反合作原则来产生幽默效果。除了前面提到的违反关联准则的例子，违反质量准则也很常见。例如，钱德勒不小心说漏嘴告诉瑞秋，罗斯暗恋她很久了，当瑞秋去机场迎接从中国回来的罗斯时，发现罗斯身边偎依着一个女孩，而罗斯做这个决定还取决于离开时钱德告诉他瑞秋只把他当朋友。钱德勒为了逃避责任说：“They’rehavingagreattime.I’msorry.ButtheSilverlining,ifyouwanttoseeit...isthathemadethisdecisionallbyhimself...withoutanyoutsidehelpwhatsoever.”很明显，钱德违反了说真话的质量原则，他在这里给自己做“此地无银三百两”的辩护，观众理解他的意图后，会为他的小计谋会心一笑。从礼貌原则的角度分析，《六人行》中的角色在对话中也会巧妙地运用礼貌原则来制造幽默。角色之间会通过夸张的赞美来建立和谐的交际氛围，同时增加笑点。如瑞秋称赞莫妮卡的料理手艺“简直是米其林三星的水平”，这种夸张的赞美既让莫妮卡感到高兴，又让观众觉得幽默有趣。此外，角色们还会采用幽默、诙谐的方式表达自己的观点，避免过于直白或讽刺，从而遵循礼貌原则。比如钱德勒误以为莫妮卡邀请他参加一个性爱派对，他以幽默的方式表达自己的尴尬和误解，避免了尴尬的气氛。然而，以往从这些角度的研究虽然取得了一定的成果，但也存在一些局限性。合作原则和礼貌原则主要关注的是语言交际中的规则和准则，对于幽默话语产生的认知过程和心理机制的解释相对不足。而关联理论的语境观可以从认知和语境的角度，更深入地探讨幽默话语的理解机制，弥补以往研究的不足，为《六人行》幽默话语的研究提供新的思路和方法。三、《六人行》中幽默话语的类型与特征3.1基于语言层面的幽默话语3.1.1语音幽默语音幽默是通过对语音元素的巧妙运用来实现的，在《六人行》中，这类幽默常常利用谐音、重音和语调的变化，引发误解或制造新奇的语言效果，从而让观众忍俊不禁。谐音是一种常见的语音幽默手段，利用同音词或近音词替换，使话语产生双重意义，在特定语境下形成幽默反差。例如，乔伊去参加一个面试，面试官问他有没有表演经验，乔伊自信满满地回答：“Oh,yeah!I'vebeeninlotsofplays.Like,uh,'ThePharaohandtheShowgirl'...whichIwastoldwasbasedonatruestory,'causetheguywhowroteitsaidheknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguywhoknewaguy四、关联理论语境观下《六人行》幽默话语的解读4.1语境在幽默话语理解中的关键作用4.1.1语言上下文语境与幽默理解语言上下文语境是指话语本身的前后文信息，它为幽默话语的理解提供了直接的线索。在《六人行》中，许多幽默话语的理解都依赖于对语言上下文的准确把握。例如，在某一集中，乔伊在咖啡馆里看到一个美女，他想引起美女的注意，于是对旁边的钱德勒说：“Checkoutthelegsonthatgirl.Theygoallthewayuptoherbody.”从字面意思看，这句话似乎只是在描述女孩的腿很长，但结合前面乔伊看到美女时那种夸张的表情和急切想引起美女注意的行为这一上下文语境，观众就能理解到乔伊这句话是故意用一种夸张、诙谐的方式来表达对女孩的赞美，从而产生幽默效果。如果脱离了这个上下文语境，单独看这句话，就很难体会到其中的幽默意味。再比如，瑞秋和莫妮卡在讨论减肥的事情，瑞秋说：“I'monanewdiet.It'scalledthe'Idon'teatanything'diet.”这句话中的“Idon'teatanything”diet显然是一种夸张的说法，结合前文关于减肥的讨论这一上下文语境，观众可以明白瑞秋是在以幽默的方式表达自己为了减肥决心节食的态度，这种夸张的表述与正常的节食概念形成反差，从而引发笑声。如果没有前面关于减肥的话题作为铺垫，观众就可能无法理解瑞秋这句话的幽默之处，甚至会误解她的意思。语言上下文语境还可以通过前后话语之间的逻辑关系来增强幽默效果。例如，钱德勒在工作中遇到了一些麻烦，他回到公寓后向朋友们抱怨：“I'mnotevensurewhatIdoanymore.Imean,Igotowork,Isitatmydesk,Imovesomepapersaround...andthenIgohome.It'slikeI'mapaper-movingrobot.”这里，钱德勒先是描述了自己日常工作的平淡和无聊，最后将自己比作“paper-movingrobot”，这种形象的比喻在前面描述工作状态的上下文语境的烘托下，更加生动地展现了他对工作的无奈和调侃，使观众更容易理解其中的幽默含义，也增强了幽默的感染力。4.1.2情景语境与幽默感知情景语境包括话语发生的时间、地点、场合以及参与者的身份、关系和当时的行为动作等因素，它对幽默效果的感知起着重要的作用。在特定的情景语境下，角色的言语和行为会产生独特的幽默效果。在《六人行》中，有一集大家在莫妮卡的公寓里举办派对。派对上，乔伊喝了很多酒，变得醉醺醺的。他看到一个女孩在弹钢琴，于是摇摇晃晃地走过去，非要和女孩一起弹。他完全不懂钢琴，却胡乱地在琴键上按来按去，还一边大声唱歌，歌词也是乱七八糟的。此时，周围的人都露出惊讶又好笑的表情。在这个情景语境下，乔伊的醉酒状态、他对钢琴的胡乱弹奏以及不合时宜的大声唱歌，与派对原本轻松愉快但相对有序的氛围形成了强烈的反差，从而产生了幽默效果。观众能够感受到乔伊的滑稽和可爱，同时也被这种意外的情景所逗乐。如果脱离了这个派对的情景语境，比如乔伊是在自己家里独自这样做，就很难产生同样强烈的幽默效果。又如，罗斯和瑞秋之间一直有着复杂的感情纠葛。有一次，罗斯在博物馆举办讲座，瑞秋作为听众坐在下面。罗斯在讲座中讲到一些关于爱情和婚姻的观点时，不自觉地看向瑞秋，眼神中充满了深情和回忆。而瑞秋则被罗斯的眼神弄得有些不好意思，微微低下头，脸上露出羞涩的笑容。周围的听众并不知道他们之间的感情故事，但观众作为知情者，在这个讲座的情景语境下，看到罗斯和瑞秋的互动，能够理解其中蕴含的微妙情感，这种观众与剧中角色之间的信息差以及特定情景下的情感互动，产生了一种幽默又温馨的效果。如果没有这个讲座的情景作为背景，只是单纯地表现罗斯和瑞秋的感情互动，就不会有这种因情景而产生的独特幽默体验。情景语境还可以通过角色之间的身份和关系来增强幽默效果。例如，莫妮卡是一个非常爱干净、有条理的人，而乔伊则比较邋遢、随意。有一次，乔伊把莫妮卡的公寓弄得一团糟，莫妮卡看到后非常生气，开始对乔伊大发雷霆。乔伊则一脸无辜地看着莫妮卡，试图为自己辩解，但他的解释却漏洞百出，反而让莫妮卡更加生气。在这个情景中，莫妮卡和乔伊截然不同的性格以及他们之间朋友的关系，使得莫妮卡的愤怒和乔伊的无辜形成了有趣的对比，观众能够从他们的互动中感受到幽默。如果他们不是朋友关系，或者性格没有如此鲜明的反差，这种幽默效果就会大打折扣。4.1.3百科知识语境与幽默领悟百科知识语境涵盖了观众所拥有的关于文化、历史、社会习俗、科学知识等方面的信息，它能够帮助观众更好地理解幽默话语中涉及的背景信息，从而领悟其中的幽默。在《六人行》中，有很多幽默话语都与美国的文化和社会习俗相关。例如，感恩节是美国的重要节日，在一集中，大家聚在一起准备感恩节晚餐。莫妮卡为了准备这顿晚餐花费了很多心思，但在烹饪过程中却状况百出。她做的火鸡烤焦了，南瓜派也做得不太成功。当大家看到这些失败的菜品时，纷纷发表自己的看法，其中乔伊说：“ThisistheworstThanksgivingsincethepilgrimsmettheIndians.”这句话如果不了解美国的历史，可能会觉得难以理解其中的幽默。实际上，“thepilgrimsmettheIndians”指的是美国历史上清教徒（pilgrims）与印第安人相遇的时期，虽然这一事件对于美国历史有着重要意义，但从幽默的角度看，乔伊将莫妮卡搞砸的感恩节晚餐与这个具有重大历史意义的事件相提并论，用一种夸张的方式表达了晚餐的糟糕程度，从而产生幽默效果。对于了解美国历史的观众来说，听到这句话会更容易领悟其中的幽默内涵。再比如，剧中经常出现一些关于流行文化的梗。有一次，钱德勒和乔伊在讨论电影，钱德勒说：“IfeellikeI'minaQuentinTarantinomovie.Everyone'stalkingaboutrandomthings,andthensuddenly,there'sviolence.”这里提到的“QuentinTarantino”是著名的好莱坞导演，他的电影以独特的叙事风格、黑色幽默和暴力场景而闻名。观众如果对昆汀・塔伦蒂诺的电影风格有所了解，就能明白钱德勒这句话是在调侃他们当时的对话看似毫无逻辑、随意，就像昆汀电影中的情节一样，随时可能出现意想不到的转折（比如突然出现暴力），从而感受到其中的幽默。如果观众不熟悉这位导演及其电影风格，就很难理解这句话的幽默之处。百科知识语境还可以涉及一些日常生活中的常识。例如，在某一集中，菲比在公园里看到一只松鼠，她非常兴奋地对朋友们说：“Lookatthatsquirrel!It'slikealittlefurrymissile.”这里将松鼠比作“littlefurrymissile”（毛茸茸的小导弹），利用了观众对松鼠敏捷的行动和导弹快速飞行的常识认知，通过这种新奇的比喻产生幽默效果。观众凭借自己对松鼠和导弹的了解，能够想象出松鼠快速奔跑的样子像导弹一样，从而体会到菲比描述的幽默之处。4.2关联理论在幽默话语解读中的应用4.2.1寻找最佳关联与幽默效果的实现在观看《六人行》时，观众需要在语境假设与新信息间寻找最佳关联，从而实现幽默效果。例如，在一集中，钱德勒和乔伊住在一起，乔伊买了一台超大的电视，把客厅占得满满的。钱德勒对此很不满，他说：“IfeellikeI'mlivinginaIMAXtheater,exceptthere'snogoodmoviesplaying.”观众在理解这句话时，首先会根据之前看到的剧情，构建出乔伊买了大电视以及钱德勒不满这一语境假设。然后，将钱德勒所说的“livinginaIMAXtheater”（住在IMAX影院）这一新信息与已有的语境假设进行关联。观众会意识到，钱德勒是在通过将自己的居住环境比作IMAX影院，来夸张地表达电视之大对他生活空间的影响，而“exceptthere'snogoodmoviesplaying”（除了没有好电影播放）则进一步强化了这种对比，形成一种幽默的反差。观众通过找到这种最佳关联，理解了钱德勒的幽默意图，从而感受到其中的幽默效果。再比如，瑞秋在工作中遇到了一个很挑剔的客户，她向朋友们抱怨说：“Ithinkthisclientissecretlyafoodcritic,becauseeverythingIdoiswronginhiseyes.”观众在理解这句话时，会结合瑞秋工作中遇到麻烦这一语境假设，将“clientissecretlyafoodcritic”（客户是个秘密的美食评论家）这一新信息与之关联。观众知道美食评论家通常对食物的要求非常高，很挑剔，通过这种关联，观众能够理解瑞秋是在以一种幽默的方式表达客户像美食评论家一样对她的工作百般挑剔，从而产生幽默效果。如果观众不能找到这种关联，就无法理解瑞秋话语中的幽默含义。4.2.2认知努力与幽默解读的难易程度理解幽默话语所需的认知努力与幽默解读的难易程度密切相关，也与幽默效果存在一定的关系。在《六人行》中，有些幽默话语需要观众付出较少的认知努力就能理解，这类幽默往往比较直接、浅显。例如，乔伊的英语水平不是很好，有一次他看到一个单词“pragmatism”，他读错了发音，还一本正经地对朋友们说：“Idon'tknowwhatthis'pragma-tiz-um'means,butitsoundsimportant.”观众听到乔伊错误的发音和他自以为是的态度，很容易就能理解其中的幽默，不需要太多的思考和推理，这种幽默能够快速引发观众的笑声。然而，有些幽默话语则需要观众付出较多的认知努力。比如，罗斯在一次讲座中提到了一个非常生僻的学术概念，然后他开玩笑地说：“Ifyoudon'tunderstandthis,don'tworry.EvenIdon'tunderstandithalfthetime,andI'mtheonewho'ssupposedtoknowit.”对于不熟悉这个学术概念的观众来说，理解这句话就需要付出更多的认知努力。他们需要先尝试理解罗斯提到的学术概念的大致含义，然后再结合罗斯后面的自我调侃，才能明白他是在以一种幽默的方式表达这个概念的难懂，即使是作为专业人士的自己也不完全理解。这种需要较多认知努力的幽默，虽然理解起来相对困难，但一旦观众理解了，往往会获得更强烈的幽默体验，因为他们在认知过程中付出的努力得到了回报，对幽默的感受也更加深刻。当观众付出的认知努力与获得的认知效果达到一种平衡时，幽默效果最佳。如果认知努力过小，幽默可能会显得过于平淡；而如果认知努力过大，观众可能会因为难以理解而无法感受到幽默。例如，在剧中，有时候角色之间会进行一些文字游戏式的幽默对话，如果观众能够快速理解其中的语言技巧和隐含意义，付出的认知努力适中，就能很好地体会到幽默；但如果对话中涉及到一些非常生僻的词汇或复杂的文化背景知识，观众可能会因为难以理解而觉得无趣，幽默效果也就无法实现。4.2.3语境效果与幽默的强度语境效果的大小直接影响幽默的强度。在《六人行》中，当新信息在语境中产生较大的语境效果时，幽默往往更加明显和强烈。例如，在一集中，大家在玩猜谜游戏，规则是一个人描述，其他人猜。莫妮卡描述一个物品时说：“It'ssomethingyouuseinthekitchen.It'sround,andithasalotofholes.”乔伊想了半天，突然兴奋地喊道：“Iknow!It'sacolander!No,wait...it'smyheadafteranightofheavydrinking!”在这里，乔伊一开始猜出“colander”（漏勺）是符合正常思维的，但他突然话锋一转，将其与自己宿醉后的脑袋联系起来，这种意外的关联在之前描述厨房物品的语境下产生了很大的语境效果。观众原本的思维被突然打破，产生了强烈的反差感，从而感受到强烈的幽默。相反，如果语境效果较小，幽默的强度就会相对较弱。比如，钱德勒在日常对话中开了一个比较普通的玩笑：“I'mnotlazy.I'mjustonenergy-savingmode.”这句话虽然也有一定的幽默成分，但由于它所产生的语境效果相对较小，没有像前面例子那样带来强烈的思维冲击和反差，所以幽默的强度就比较弱，可能只会让观众微微一笑，而不会引发哄堂大笑。不同的语境效果还会使幽默呈现出不同的表现形式。例如，有些幽默通过语境效果产生一种温馨、轻松的氛围，如罗斯和瑞秋回忆他们年轻时的趣事，罗斯说：“Rememberthattimewetriedtomakeapizzafromscratchandendedupwithsomethingthatlookedmorelikeascienceexperimentgonewrong?”这种幽默在回忆过去的语境下，让观众感受到他们之间的深厚感情和美好的回忆，幽默表现为一种温馨的调侃。而有些幽默则通过语境效果产生讽刺、诙谐的效果，比如钱德勒对职场的一些现象进行讽刺时说：“Theonlythingfasterthanthespeedoflightinthisofficeisthespeedatwhich