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语言学教程[第九章语言与文学]山东大学期末考试知识点复习题

语言学教程[第九章语言与文学]山东大学期末考试知识点复习题
语言学教程[第九章语言与文学]山东大学期末考试知识点复习题

第九章语言与文学

复习笔记

I.文体学

1.定义

文体学作为语言学的分支,主要研究特殊语境中语言的特征(即语言的多样性),并试图建立一些规则,以解释个体和社团在语言使用过程中的特殊选择。

2.文学文体学

文学文体学是研究语言与文学关系的学科,其研究焦点是与文学文体相关联的语言特征。

(1)前景化

前景化的概念来源于视觉艺术,与“背景”一词相对应,已经成为文体学的常用术语。俄国形式主义语言学家、布拉格学派学者和现代文体学家都曾在文体研究中使用这一术语。它被定义为“以艺术手法为动机的偏离”。这种偏离,或非常规用法,覆盖了语言的所有层面;词汇、语音、句法、语义,笔迹等。

(2)字面语言和比喻语言

词典定义中所提供的一个词的第一个意义通常是它的字面意义。比喻语言是为了达到对比、强调、明确或标新的目的而使用的不同于日常常规语言的词句。

语言中表示比喻用法的另一个词是Trope (修辞、比喻)。它是指为了修辞目的而通过比喻途径来使用的语言。比喻在语言运用中频繁出现,并且采用许多不同形式。

明喻:明喻是把一种事物和另一种事物作比较,并通过展现一种事物如何

与另一事物相似来解释这种事物是什么样子的方法。它用as或like等词在文本中作为明确标志。

暗喻:像明喻一样,暗喻也是对两个并不相像的要素作出对比,这种对比是隐含的而不是直接表达的。

转喻:一种一个词或词组被另一个与之有紧密联系的词或词组替换的修辞方法。

提喻:提喻是用事物的一部分名称来指代整个事物,反之亦然。

II.诗歌语言

1.语音模式

押韵

尾韵:每行结尾的押韵。

2.不同形式的语音模式

头韵:在头韵里,句首的辅音是一致的。

准押韵:准押韵通过一个共同的元音来描述音节。

辅音韵:以相同辅音结尾的音节

反韵:指音节拥有共同的元音和首辅音,而不是元音和末辅音押韵。

押副韵:当两个音节具有相同的首辅音和尾辅音。

反复:音节的重复。

3.韵律模式

当重读被组织成有规律的节奏时,就形成了韵律。抑扬格是韵律单位的一种。韵律单位叫做音步。pentameter (五音步诗行)是指诗句里有五个音步。4.传统的韵律模式与语音模式

(1)对句:对句为两行诗句,一般由押韵联系在一起。

(2)四行诗:即四行为一节的诗,是英语诗歌中很常见的形式。

(3)无韵诗:无韵诗是由不押韵的抑扬格五音步诗组成的。

(4)十四行诗、自由体诗、打油诗等。

5.语音和韵律在诗歌中的功能

(1)追求审美趣味;

(2)适应传统/风格/诗歌形式;

(3)表情达意或者革新一种形式;

(4)展示专业技巧,寻求精神满足感;

(5)突出强调或对照;

(6)拟声现象。

6.如何分析诗歌

(1)有关诗歌的信息:诗的题目,诗人姓名,诗歌创作时期,诗歌所属类型,例如抒情诗、戏剧诗、叙事性十四行诗、讽刺诗等。

(2)诗歌构建的方式:布局、诗的行数、诗行的长度、规则的韵律、尾韵、语音模式的其他形式。

Ⅲ.小说中的语言

1.小说与视角

(1)第一人称叙述者

讲故事的人也可能成为故事虚构世界中的一个角色,在事件发生后讲述故事。在这种情形下,评论家们称叙述者为“第一人称叙述者”或“I叙述者”,因为叙述者在故事里提到他或她自己的时候,总是用第一人称代词“我(I)”。

(2)第三人称叙述者

如果叙述者不是虚拟世界中的角色,他或她常常被称为“第三人称叙述者”,因为故事虚构世界中的所有人物被提及时,用的都是第三人称代词“他,她,它或他们”。

(3)图示语言

叙述视角也受图式的影响。处于相同情形中的不同参与者会有不同的图式,这和他们的不同视角有关系。

(4)旧信息与新信息

旧信息是说话人认为听话人已经知道的信息,而新信息则是说话人认为听话人所不知道的信息。

(5)指称

指称与说话者相关,所以很容易用于表明特定的变化中的视角。指称用来指语言中这样一些特征,它们直接指示一个话段说出时的情景在人称、时间或处所方面的特点,其意义因而相对那个情景而言。

2.言语和思维表达

(1)言语表达

直接引语:在直接引语中,人物所说的话是以最全面的形式出现的并且带有引号。

间接引语:我们能够知道说话者表达的命题含意,但并不是说话者的原话。

叙述者对言语行为的表达:我们不知道说话者说话的内容,我们只知道他用言语行为来做事。这种叙述可以被看作是对较长语篇的概括,比起间接言语,它提供了更多的背景信息。

叙述者对言语的表达:仅仅是—个告诉我们某人说话了的句子,甚至连具体是什么言语行为都没说。

(2)思维表达

小说家们在表达人物思维时所采用的区分类别,与用来表达言语时采用的类别完全相同。

直接思维:直接思维倾向于被用来表达有意识的、缜密的思维。

自由间接思维:这种思维方式介于直接思维和间接思维之间,有一些思维的特征。

(3)意识流写作

意识流写作被用来描述思维中印象和观念的自由联系。句子结构高度省略。

3.散文风格

(1)作者风格

人们谈及风格时,通常是指作者的风格,即“世界观”式的作者风格。换言之,是指一种写作方式:属于特定作者,可以识别。这种写作方式使一个作者的作品区别于其他作者的作品。

(2)文本风格

文本风格紧密关注的是,语言选择如何帮助建构文本意义。

4.如何分析小说的语言

(1)词汇模式(词汇量);

(2)语法组织模式;

(3)文本组织模式;

(4)前景化特征,包括修辞手法;

(5)是否能观察到任何风格变化的模式;

(6)各种类型的话语模式,如话轮模式和推论模式;

(7)视角处理的模式,包括言语和思维的表达。

Ⅳ.戏剧语言

I.如何分析戏剧

(1)像分析诗歌一样分析戏剧:既然语音和韵律在剧本里与在诗歌里一样,都具有价值,那么所有处理韵律、语音模式、句法和比喻性语言的方法都同样适用于戏剧分析。

(2)像分析小说一样分析戏剧:可以分析戏剧中的角色和情节,把戏剧大体上看作小说。

(3)像分析会话一样分析戏剧:戏剧不同于诗歌和小说的一个关键方面在于:它强调语言的交流,以及通过会话来建立和发展人们之间相互关系的方式。2.分析戏剧性语言

(1)话轮数量和长度。

在戏剧中,一个角色讲话内容的多少,能够体现出该角色的相对重要性,或体现角色对自身重要性的理解。一般来说,中心角色比次要角色的言语更长,出现频率更高。

(2)交际序列:戏剧对话的交流方式。

(3)产生性错误:故意使用一些形式,比如犹豫的状态。

(4)合作原则。

(5)通过语言标记地位:上面讨论的许多语言的特性,都可以用来标记人物的相对地位,以及人物地位的变化。尤其是,语言也可以用来标记说话者和受话人

之间的关系在多大程度上基于社会地位的差异,以及在多大程度上基于社会地位的一致性。

(6)语域:语域是语言学里用来描述一种特定的语言风格及语境之间关系的术语。

(7)言语和沉默:剧中女性人物的语言特征。有证据表明,在男女混合的交谈中,男人比女人往往谈得更多。

V.从认知角度分析文学

1.图形和背景

前景化的文学成分,如图形,在认知语言学中被成为“关注点”或者“抢眼点”。与图形相反的特征,即“背景”,则被称为“忽略”。

2.意象图式

意向图式大致可描述为我们日常的感知交往和身体经验的反复呈现模式。3.认知隐喻

把源域的特征投射到目标域上。

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