Introducing constructed dialogue in Greek and American conversational and literary narrative
Introducing constructed dialogue in Greek and American conversational and literary narrative
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引入希腊和美国对话和文学叙事中的建构对话
DOI：
10.1515/9783110871968.311
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发表时间：
1986
影响因子：
1.9
通讯作者：
D. Tannen
中科院分区：
文献类型：
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作者：
D. Tannen
“报告言论”一词用词不当。对讲故事或对话中所呈现的对话台词的检查，以及对人类记忆力的考虑，表明这些台词中的大多数可能实际上并没有被说出。通常所说的谈话中的转述或直接引用都是建构性对话，就像小说作家和剧作家创造的对话一样。不同之处在于，在小说和戏剧中，人物和动作也是构建的，而在个人叙事中，它们是基于真实的人物和事件。但即使这种差异也不是绝对的。许多小说和戏剧作品也是取材于真实的人物和事件，许多对话式的故事讲述者让他们的孩子和配偶感到惊愕，但他们的听众却高兴地修饰和调整人物和事件。许多研究人员（例如，Labov 1972、Chafe 1982、Ochs 1979、Tannen 1982、Schiffrin 1981）观察到，当言语以第一人称对话（“直接引语”）而不是第三人称报告（“间接引语”）呈现时，叙述更加生动，并且在会话叙述（有时通常称为口语话语）中比书面说明性话语更常见（但当然不是在书面文学话语中，正是因为小说和诗歌在运作和效果上类似于对话）。但还有更多的事情要做。声音的创造，而不是动作的描绘，引发了对另类和遥远世界的想象，这是梦想和艺术的素材。弗里德里希（Friedrich，1979：473）认为，“无论如何定义，语言的更具诗意的层次和过程，大规模地模型，
The term "reported speech" is a misnomer. Examination of the lines of dialogue represented in storytelling or conversation, and consideration of the powers of human memory, indicate that most of those lines were probably not actually spoken. What is commonly referred to as reported speech or direct quotation in conversation is constructed dialogue, just as surely as is the dialogue created by fiction writers and playwrights. A difference is that in fiction and plays, the characters and actions are also constructed, whereas in personal narrative, they are based on actual characters and events. But even this difference is not absolute. Many works of fiction and drama are also based on real people and events, and many conversational storytellers to the consternation of their children and spouses but the delight of their hearers embellish and adjust characters and events. Many researchers (for example, Labov 1972, Chafe 1982, Ochs 1979, Tannen 1982, Schiffrin 1981) have observed that narration is more vivid when speech is presented as first-person dialogue ("direct quotation") rather than third-person report ("indirect quotation") and is more commonly found in conversational narrative (sometimes generally re ferred to as spoken discourse) than written expository discourse (but not of course in written literary discourse, precisely because fiction and poetry are akin to conversation in workings and effect). But there is more to it than that. The creation of voices, more than the depiction of actions, occasions the imagination of alternative and distant worlds that is the stuff of dreams and art. Friedrich (1979: 473) suggests that "it is the more poetic levels and processes of language, however defined, that massively model, con