《意識流小說中的直接引語》是一篇探究哲學著重、話語表達方式普遍性質的論文。
基本介紹
- 中文名：意識流小說中的直接引語
- 類別：論文
- 關鍵字：直接引語、意識流
中文摘要,外文摘要,
中文摘要
長期以來，話語表達方式一直受到了不少領域學者的關注。哲學、敘事學、語言學和文體學等對此都有所研究，側重點各不相同。具體來說，哲學著重探究話語表達方式的普遍性質；敘事學重視話語表達方式在語境中的作用，包括敘述主體與人物主體之間的關係及由此體現出的敘述距離；語言學家關注話語表達方式的句法結構、語用功能以及語言表征背後的認知運作過程等。文體學家對話語表達方式的研究由來已久，運用語言學的理論和方法，注重話語表達方式的語言特徵，集中探討作者如何通過對話語表達方式的選擇來取得一定的文體效果。有關小說中直接引語的作用，研究大多僅限於個別例子，較缺乏通篇考察，較...>> 詳細
長期以來，話語表達方式一直受到了不少領域學者的關注。哲學、敘事學、語言學和文體學等對此都有所研究，側重點各不相同。具體來說，哲學著重探究話語表達方式的普遍性質；敘事學重視話語表達方式在語境中的作用，包括敘述主體與人物主體之間的關係及由此體現出的敘述距離；語言學家關注話語表達方式的句法結構、語用功能以及語言表征背後的認知運作過程等。文體學家對話語表達方式的研究由來已久，運用語言學的理論和方法，注重話語表達方式的語言特徵，集中探討作者如何通過對話語表達方式的選擇來取得一定的文體效果。有關小說中直接引語的作用，研究大多僅限於個別例子，較缺乏通篇考察，較少關注直接引語在人物塑造方面的作用。
通常，直接引語包括轉述話語和被轉述話語兩部分。本文主要依據被轉述話語來識別直接引語。直接引語需從以下三個方面再現真實場景中人物可能會說的話：(a)表述命題內容的語詞和結構；(b)命題內容；(c)言語行為價值。
本文嘗試對意識流小說中直接引語的作用進行研究，探討的主要問題包括： 1)意識流小說中直接引語的基本類型有哪些?2)不同類型的直接引語在小說中是如何分布的?分別出現在怎樣的語境中?3)直接引語以何種方式參與人物塑造?
研究主要基於認知語言學理論。一方面，認知語言學家與意識流小說家都十分重視主觀因素在再現現實中的作用。意識流小說家關注人物內心真實，不僅描寫現實生活的外在表現形式，更著力還原個體經歷的內在心理過程；認知語言學家強調概念化主體的認知能力和主觀識解在再現客觀世界中起的作用。另一方面，意識流小說家聲稱不著痕跡地描摹視角的隨意切換，形成看似不連貫和碎片化的語篇，給習慣直線型敘事結構和相對清晰的情節脈絡的讀者造成閱讀困難，但是，話語表達方式，作為作家主觀建構的語言結構的一部分，必然為讀者對語篇的解讀提供語言線索。在這個意義上，認知語言學理論在語篇的創作和理解之間搭建了橋樑。
具體來說，研究主要運用以話語場景為基礎的認知構建模式。場景(ground)主要包括言語事件、參與者(說者和聽者，包括他們的共享知識)、以及直接環境(尤其是時間和地點)。在敘事語篇中，通常敘事者構成默認場景的中心，人物的體驗情景構成替代場景(surrogate ground)。在直接引語中，轉述話語場景和被轉述話語場景分別對應默認場景和替代場景。話語場景中，人物、認知水平/情感因素、時間、地點等不同參數的組合，會形成兩種場景間不同的互動模式、形成不同的話語表達方式，取得不同的文體效果。
本文選取著名意識流小說家維吉尼亞·伍爾夫的代表作《到燈塔去》為例進行研究。這部小說體現出精妙高超的意識流手法，是伍爾夫最富盛譽的作品。除了大量思想、情感和感覺的描寫，直接引語在整部小說中占到相當高的比例，體現為多種表現形式，出現在多種語境中，為人物塑造起到不容忽視的作用。
在認知語言學理論基礎上，本文建構了直接引語的分析模式，包括小說中直接引語的性質、結構、功能以及分類。分析主要從以下幾方面展開。首先，區分直接引語的不同類型。按直接引語被轉述語的形式，即句法結構的完整程度來說，有完整直接引語(CDS)和部分直接引語(PDS)兩種；按被轉述語與人物意識的關係，即是否當前場景來說，有當前場景的直接引語(IDS)和置換場景的直接引語(DDS)兩類。置換場景的直接引語又出現在回憶和假想兩類場景。每種直接引語類型還可劃分出更多子類型。接下來，分析不同類型的直接引語在不同人物間的分布情況，比如不同人物的直接引語與其他話語表達方式的組合情況、被自己或他人回憶和假想的情況等，對他們的性格特徵和他們之間的關係獲得一個初步的認識。最後，對人物的全部直接引語在小說中出現的情況進行細緻分析，並分別歸納出他們的直接引語總體特徵，從而對直接引語對人物塑造和人物關係刻畫的作用獲得更為深入的認識。
值得指出的是，由於直接引語表現人物在文本世界中可能會說的話，其話題、語詞和句式以及語氣的選擇無一不是作者突顯人物個性的手段。人物直接引語與其餘引語表達方式的並置，不僅強調說者對直接引語傳達信息的真實性負責或直接引語在聽者的心理表征中占據突顯地位，還間接構成視角的語言表征。
本文的研究結果有助於讀者更好理解直接引語的形式和功能，尤其是對《到燈塔去》中直接引語在人物塑造方面的作用獲得較為全面和深入的認識。此外，本文對直接引語的研究模式可套用於同類研究中，為研究直接引語人物塑造的作用開拓新的思路，對文學教學也有指導意義，形成相應的閱讀策略，提高對意識流語篇或其他敘事語篇的賞析能力。
【關鍵字】直接引語；意識流；認知文體；《到燈塔去》
通常，直接引語包括轉述話語和被轉述話語兩部分。本文主要依據被轉述話語來識別直接引語。直接引語需從以下三個方面再現真實場景中人物可能會說的話：(a)表述命題內容的語詞和結構；(b)命題內容；(c)言語行為價值。
本文嘗試對意識流小說中直接引語的作用進行研究，探討的主要問題包括： 1)意識流小說中直接引語的基本類型有哪些?2)不同類型的直接引語在小說中是如何分布的?分別出現在怎樣的語境中?3)直接引語以何種方式參與人物塑造?
研究主要基於認知語言學理論。一方面，認知語言學家與意識流小說家都十分重視主觀因素在再現現實中的作用。意識流小說家關注人物內心真實，不僅描寫現實生活的外在表現形式，更著力還原個體經歷的內在心理過程；認知語言學家強調概念化主體的認知能力和主觀識解在再現客觀世界中起的作用。另一方面，意識流小說家聲稱不著痕跡地描摹視角的隨意切換，形成看似不連貫和碎片化的語篇，給習慣直線型敘事結構和相對清晰的情節脈絡的讀者造成閱讀困難，但是，話語表達方式，作為作家主觀建構的語言結構的一部分，必然為讀者對語篇的解讀提供語言線索。在這個意義上，認知語言學理論在語篇的創作和理解之間搭建了橋樑。
具體來說，研究主要運用以話語場景為基礎的認知構建模式。場景(ground)主要包括言語事件、參與者(說者和聽者，包括他們的共享知識)、以及直接環境(尤其是時間和地點)。在敘事語篇中，通常敘事者構成默認場景的中心，人物的體驗情景構成替代場景(surrogate ground)。在直接引語中，轉述話語場景和被轉述話語場景分別對應默認場景和替代場景。話語場景中，人物、認知水平/情感因素、時間、地點等不同參數的組合，會形成兩種場景間不同的互動模式、形成不同的話語表達方式，取得不同的文體效果。
本文選取著名意識流小說家維吉尼亞·伍爾夫的代表作《到燈塔去》為例進行研究。這部小說體現出精妙高超的意識流手法，是伍爾夫最富盛譽的作品。除了大量思想、情感和感覺的描寫，直接引語在整部小說中占到相當高的比例，體現為多種表現形式，出現在多種語境中，為人物塑造起到不容忽視的作用。
在認知語言學理論基礎上，本文建構了直接引語的分析模式，包括小說中直接引語的性質、結構、功能以及分類。分析主要從以下幾方面展開。首先，區分直接引語的不同類型。按直接引語被轉述語的形式，即句法結構的完整程度來說，有完整直接引語(CDS)和部分直接引語(PDS)兩種；按被轉述語與人物意識的關係，即是否當前場景來說，有當前場景的直接引語(IDS)和置換場景的直接引語(DDS)兩類。置換場景的直接引語又出現在回憶和假想兩類場景。每種直接引語類型還可劃分出更多子類型。接下來，分析不同類型的直接引語在不同人物間的分布情況，比如不同人物的直接引語與其他話語表達方式的組合情況、被自己或他人回憶和假想的情況等，對他們的性格特徵和他們之間的關係獲得一個初步的認識。最後，對人物的全部直接引語在小說中出現的情況進行細緻分析，並分別歸納出他們的直接引語總體特徵，從而對直接引語對人物塑造和人物關係刻畫的作用獲得更為深入的認識。
值得指出的是，由於直接引語表現人物在文本世界中可能會說的話，其話題、語詞和句式以及語氣的選擇無一不是作者突顯人物個性的手段。人物直接引語與其餘引語表達方式的並置，不僅強調說者對直接引語傳達信息的真實性負責或直接引語在聽者的心理表征中占據突顯地位，還間接構成視角的語言表征。
本文的研究結果有助於讀者更好理解直接引語的形式和功能，尤其是對《到燈塔去》中直接引語在人物塑造方面的作用獲得較為全面和深入的認識。此外，本文對直接引語的研究模式可套用於同類研究中，為研究直接引語人物塑造的作用開拓新的思路，對文學教學也有指導意義，形成相應的閱讀策略，提高對意識流語篇或其他敘事語篇的賞析能力。
【關鍵字】直接引語；意識流；認知文體；《到燈塔去》
外文摘要
Speech presentation is an important discursive phenomenon that attracts scholars'' attention from various fields. Studies have mainly been done in philosophy, narrative theory, linguistics and stylistics. While philosophy is concerned with the nature of speech presentation in general, narrative theory is devoted to studies on language in fiction and treats speech presentation in close relation with author''s distance from the narrative and intervention in the original utterance. Linguists are ...>> 詳細
Speech presentation is an important discursive phenomenon that attracts scholars'' attention from various fields. Studies have mainly been done in philosophy, narrative theory, linguistics and stylistics. While philosophy is concerned with the nature of speech presentation in general, narrative theory is devoted to studies on language in fiction and treats speech presentation in close relation with author''s distance from the narrative and intervention in the original utterance. Linguists are preoccupied with language per se, and approach speech presentation from different perspectives, ranging from categorical classification of presentation structures to theoretical exploration in the nature and function of presentation. Stylistics has a long tradition in studies on speech presentation and is distinguished by its recognition of the compositional and communicative process involved in narrative and its examination of linguistic devices by which the narrator orients the reader and creates a text''s style.
There are studies that adopt a linguistic approach to speech presentation in fiction, but they mainly draw a selection of examples as textual support of their theories and do not pay close attention to direct speech presentation''s role in fiction. It turns out that not much systematic and complete study has been done on direct speech presentation in one particular novel, stream-of-consciousness novel in particular. Direct speech presentation usually consists of two parts, the reporting part and the reported part, and our identification is primarily based on the reported part, the utterance by some character. Direct speech presentation is defined as the speech presentation type where the speech is reported in the way that conforms to what will actually be uttered in three aspects: (a) the words and structures used to encode the propositional content, (b) the propositional content and (c) the speech act value.
The present paper constitutes a tentative attempt at exploring the role of direct speech presentation in stream-of-consciousness fiction and our objective is to find out in what way direct speech presentation can participate in and contribute to the fiction''s characterization. To resolve this research question, we need to address the following questions. 1) What are the basic types of direct speech presentation in the stream-of-consciousness novel? 2) How are different types of direct speech presentation distributed throughout the novel? In what specific contexts do they occur? 3) In what way does direct speech presentation contribute to characterization?
Our study is largely based on cognitive linguistic theories. For one thing, whereas stream-of-consciousness writers are concerned with portrayal of characters'' inner reality, conveying life not only in its external aspects but also as it is experienced, cognitive linguists does not deny the reality existing out there in the world but also emphasize the importance of men''s cognition and interpretation in the representation of the world. That''s to say, they both highly value men''s subjective construction in the representation of reality. For another, non-intrusively as stream-of-consciousness writers purport to represent character''s subjectivity in constant switches of perspectives and apparently disjointed and fragmented narration, which poses formidable obstacles for readers more accustomed to writings with a linear structure and clear plot, direct speech presentation in fictions constitutes part of the authorial narrator''s subjective construction and it is possible to trace out the linguistic hints the writer drops for mental representation. In this regard, cognitive linguistic theories may be of avail and thread these hints and formulate a cognitive base that bridges the gap between the writer''s production and reader''s comprehension.
To be specific, our study is based on the cognitive linguistic notion of "ground". By "ground", we refer to the speech event, its participants (speaker and hearer, including their shared knowledge) and the immediate circumstances (notably, the time and place of speaking). Usually the actual speech participants constitute the center of the ground and serves as the conceptualizer for the grounded predications. In the case of direct speech presentation, the actual speech participants yield their floor to a third party. The temporally adopted conceptualizer is called surrogate speaker, center of surrogate ground. Speech presentation is thus interpreted in terms of the interaction between "ground" (G) and "surrogate ground" (G''), corresponding to the reporting situation and reported situation respectively.
We choose as our case study Virginia Woolfs To the Lighthouse, which is arguably her most famous and notable work for its sophisticated use of stream-of-consciousness technique. In spite of the fact that the major part of the narrative is comprised of representation of characters'' thoughts, emotions and senses, direct speech presentation constitutes a significant part throughout the novel. With its variegated forms and occurrences in varying contexts, it performs a range of functions in the portrayal of characters.
On the basis of cognitive linguistic theories we develop a direct speech presentation model, including the nature, structure, function, classification of direct speech presentation in fiction, and carry out the study in the following ways. Firstly, we classify direct speech presentation types according to two criteria, the form of the reported speech and the way the reported speech is related to the character''s consciousness. In line with the first criterion where the completeness of the direct speech presentation is compared to the form in which it is supposed to occur in actuality, we have complete and partial direct speech (CDS and PDS). With regard to the second criterion whether it is used for actual or non-actual situations, we have immediate and displaced direct speech presentation (IDS and DDS), and we further divide DDS into DDSr and DDSh for remembered and hypothetical situations respectively. Since the actual manifestations of each type are far more complicated, we also introduce their subtypes. Next we investigate the overall distribution of direct speech presentation types among major characters in the novel and have a rough idea about their personality and their relationships with other characters. Finally we explore major characters'' direct speech presentation patterns, and achieve an understanding about the specific way direct speech presentation contributes to the portrayal of each character''s distinctive personality and development of the subtle relationships between characters.
Since direct speech represents characters'' words in the way that they will actually utter in the text world, the choice of speech topic, diction, syntactic structure, and tone of voice all facilitate our interpretation of authorial effort in characterization. The juxtaposition of one character''s direct speech presentation with other types of speech presentation not only emphasizes the character''s responsibility for the validity of the reported speech or the conspicuous status direct speech achieves in the listener''s mental representation, but also sheds light upon issues like perspective representation.
The findings evolved out of the present paper can provide us with a better understanding of the forms and functions of direct speech presentation in fiction and the way direct speech presentation contributes to characterization in To the Lighthouse. Besides, our analytic model for direct speech presentation can be applied to other similar studies and open up new perspectives in this area. Furthermore, our approach is pedagogically significant in that reading strategies can be developed accordingly to tackle direct speech presentation in fiction.
Key Words: direct speech representation, stream of consciousness, cognitive stylistics, To the Lighthouse
There are studies that adopt a linguistic approach to speech presentation in fiction, but they mainly draw a selection of examples as textual support of their theories and do not pay close attention to direct speech presentation''s role in fiction. It turns out that not much systematic and complete study has been done on direct speech presentation in one particular novel, stream-of-consciousness novel in particular. Direct speech presentation usually consists of two parts, the reporting part and the reported part, and our identification is primarily based on the reported part, the utterance by some character. Direct speech presentation is defined as the speech presentation type where the speech is reported in the way that conforms to what will actually be uttered in three aspects: (a) the words and structures used to encode the propositional content, (b) the propositional content and (c) the speech act value.
The present paper constitutes a tentative attempt at exploring the role of direct speech presentation in stream-of-consciousness fiction and our objective is to find out in what way direct speech presentation can participate in and contribute to the fiction''s characterization. To resolve this research question, we need to address the following questions. 1) What are the basic types of direct speech presentation in the stream-of-consciousness novel? 2) How are different types of direct speech presentation distributed throughout the novel? In what specific contexts do they occur? 3) In what way does direct speech presentation contribute to characterization?
Our study is largely based on cognitive linguistic theories. For one thing, whereas stream-of-consciousness writers are concerned with portrayal of characters'' inner reality, conveying life not only in its external aspects but also as it is experienced, cognitive linguists does not deny the reality existing out there in the world but also emphasize the importance of men''s cognition and interpretation in the representation of the world. That''s to say, they both highly value men''s subjective construction in the representation of reality. For another, non-intrusively as stream-of-consciousness writers purport to represent character''s subjectivity in constant switches of perspectives and apparently disjointed and fragmented narration, which poses formidable obstacles for readers more accustomed to writings with a linear structure and clear plot, direct speech presentation in fictions constitutes part of the authorial narrator''s subjective construction and it is possible to trace out the linguistic hints the writer drops for mental representation. In this regard, cognitive linguistic theories may be of avail and thread these hints and formulate a cognitive base that bridges the gap between the writer''s production and reader''s comprehension.
To be specific, our study is based on the cognitive linguistic notion of "ground". By "ground", we refer to the speech event, its participants (speaker and hearer, including their shared knowledge) and the immediate circumstances (notably, the time and place of speaking). Usually the actual speech participants constitute the center of the ground and serves as the conceptualizer for the grounded predications. In the case of direct speech presentation, the actual speech participants yield their floor to a third party. The temporally adopted conceptualizer is called surrogate speaker, center of surrogate ground. Speech presentation is thus interpreted in terms of the interaction between "ground" (G) and "surrogate ground" (G''), corresponding to the reporting situation and reported situation respectively.
We choose as our case study Virginia Woolfs To the Lighthouse, which is arguably her most famous and notable work for its sophisticated use of stream-of-consciousness technique. In spite of the fact that the major part of the narrative is comprised of representation of characters'' thoughts, emotions and senses, direct speech presentation constitutes a significant part throughout the novel. With its variegated forms and occurrences in varying contexts, it performs a range of functions in the portrayal of characters.
On the basis of cognitive linguistic theories we develop a direct speech presentation model, including the nature, structure, function, classification of direct speech presentation in fiction, and carry out the study in the following ways. Firstly, we classify direct speech presentation types according to two criteria, the form of the reported speech and the way the reported speech is related to the character''s consciousness. In line with the first criterion where the completeness of the direct speech presentation is compared to the form in which it is supposed to occur in actuality, we have complete and partial direct speech (CDS and PDS). With regard to the second criterion whether it is used for actual or non-actual situations, we have immediate and displaced direct speech presentation (IDS and DDS), and we further divide DDS into DDSr and DDSh for remembered and hypothetical situations respectively. Since the actual manifestations of each type are far more complicated, we also introduce their subtypes. Next we investigate the overall distribution of direct speech presentation types among major characters in the novel and have a rough idea about their personality and their relationships with other characters. Finally we explore major characters'' direct speech presentation patterns, and achieve an understanding about the specific way direct speech presentation contributes to the portrayal of each character''s distinctive personality and development of the subtle relationships between characters.
Since direct speech represents characters'' words in the way that they will actually utter in the text world, the choice of speech topic, diction, syntactic structure, and tone of voice all facilitate our interpretation of authorial effort in characterization. The juxtaposition of one character''s direct speech presentation with other types of speech presentation not only emphasizes the character''s responsibility for the validity of the reported speech or the conspicuous status direct speech achieves in the listener''s mental representation, but also sheds light upon issues like perspective representation.
The findings evolved out of the present paper can provide us with a better understanding of the forms and functions of direct speech presentation in fiction and the way direct speech presentation contributes to characterization in To the Lighthouse. Besides, our analytic model for direct speech presentation can be applied to other similar studies and open up new perspectives in this area. Furthermore, our approach is pedagogically significant in that reading strategies can be developed accordingly to tackle direct speech presentation in fiction.
Key Words: direct speech representation, stream of consciousness, cognitive stylistics, To the Lighthouse
