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1、中南民族大学 硕士学位论文 剧作家与读者间戏剧文本交际的顺应关联模式以等待戈 多为例 姓名：赵一君 申请学位级别：硕士 专业：外国语言学及应用语言学 指导教师：许菊 20090601 An AdaptationRelevance Model of the Playwright-Reader Communication via Dramatic Text iv 摘 要 戏剧文本是连接剧作家和读者间的桥梁。一方面，剧作家意欲使读者接受并 理解他的戏剧；另一方面，各类读者对同一戏剧文本有着不同的反应。在以前的 戏剧研究者中，值得提及的有 Short、封宗信和李华东等。Short 提出了戏剧语篇 的双
2、层结构，封宗信则提出了剧作家和各类读者之间戏剧交际的多层结构，李华 东从语用文体视角研究了戏剧文本的构件之一 舞台指令。 基于对戏剧语用文体学的前人研究以及 Verschueren, Sperber playwright-reader communication; dramatic text; Waiting for Godot 中南民族大学中南民族大学 学位论文原创性声明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
3、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。本人授权中南民族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
4、中南民族大学硕士学位论文 i Acknowledgements First and foremost, Im especially grateful to Professor Xu Ju, my faculty advisor, for the enlightening instruction she has given me in planning and preparing for this thesis, for her enthusiastic and unfailing encouragement when I came across various difficulties in
5、my academic study and thesis writing, and for the pains she has taken to read and revise the previous drafts of the thesis time and again. Without her help, this thesis would have been impossible. Thanks also go to all other professors of the College of Foreign Languages, South-Central University fo
6、r Nationalities, whose inspiring lectures have greatly benefited my intellectual growth. My final thanks go to all of my classmates, with whom I have shared my gains and pains during my postgraduate study. 中南民族大学硕士学位论文 1 Chapter 1 Introduction According to the traditional dramatic critics, the signi
7、ficance of drama lies in the stage performance and the most proper way to approach it is to be in the theatre (Herman, 1995). However, this viewpoint is not reasonable when it comes to the study of contemporary drama, the Theatre of the Absurd, for example, which is characterized by bizarre stage pe
8、rformance and requires audiences exertion of imagination greater than that required by other types of dramas. Some scholars have taken discourse analysis and pragmatic approaches to the dramatic text and found that these approaches are good for interpreting the Theatre of the Absurd, in which there
9、is an obvious conflict between grammaticality and interpretability: on the one hand, the Theatre of the Absurd is ungrammatical; on the other hand, it is also interpretable and meaning-conveying. Hence, the absurd dramatic text can be studied not only as a literary discourse, but also as a carrier o
10、f communication. 1.1 Types of Dramatic Communication Feng (2002: 114) points out that dramatic communication takes place both inside and outside the play. Dramatic communication can be divided into four types according to different media: playwright-reader communication via dramatic text; character-
11、character communication via dramatic plotting; playwright-theatrical staff communication via stage interpretation; theatrical staff-audience communication via stage performance. 1.1.1 Playwright - Reader Communication via Dramatic Text The traditional dramatic critics believe that the dramatic text
12、is written for performance, but reading itself is a kind of intellectual activity of the reader, the first interpreter of the dramatic text. The readership includes the editor, publisher, director, stage producer, setting designer and actors/actresses as well as the dresser. People An AdaptationRele
13、vance Model of the Playwright-Reader Communication via Dramatic Text 2 may change their readership according to their different pragmatic purposes, including editing, publishing, stage directing, stage producing, setting designing, literary appreciation, acting or dressing. It is these different pra
14、gmatic roles and purposes that lead the readers to respond to the dramatic text in quite different ways. Dramatic text, which includes dramatic dialogues and stage directions, connects playwright and his reader. Dramatic dialogue can be approached by all kinds of readers. Stage directions can be cla
15、ssified into the production information and actor direction, (Li, 2007: 114-115) the former including dramatis personae, scene introduction, stage descriptions, act or scene division, music, sound or lighting instructions, costume, cosmetics or properties instructions, characteristics, the latter in
16、cluding action, voice, emotion, entrance and exit, and inaction. They are originally intended to be read by the stage producer, setting designer, dresser, director and actors or actresses, not to be heard by the audience in the theatre, who can never find the communication between the playwright and his readers. Al
