An investigation of the adequacy of the integrated stylistic analysis of drama and film

戏剧与电影综合文体分析的充分性考察

• 批准号: AH/E503306/1
• 负责人: Mick Short
• 金额: $ 3.43万
• 依托单位: Lancaster University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2006
• 资助国家: 英国
• 起止时间: 2006 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE503306%2F1
• 关键词: investigation; adequacy; integrated; stylistic; analysis

"Stylistic explores the detailed relationship between the linguistic structure of texts and how readers interpret them and are affected by them. Most stylistic analysis has been performed on poetry and prose but a few stylisticians, including myself, have extended their work to drama. Most such work has been on the analysis of turn-taking patterns in drama, although some work has used other analytical appreciates, e.g. politeness theory, and pragmatic theories of how we infer what is meant from what is said. But most analysts have only used one or two forms of analysis in their work and we need to understand how the various forms can be properly integrated in a full analysis. To some degree the different analytical approaches overlap with one another. For example interruptions are part of turn-taking, but have clear politeness consequences, some speech acts [e.g. requests vs. commands] seem to be inherently polite or impolite and some of the felicity conditions specified for particular speech acts are pragmatic presuppositions. This research will explore the overlaps between the various forms of linguistic stylistic analysis in order to arrive at a model for successfully integrating them, and to turn to integrate the stylistic analysis with scene, action, characterisation and viewpoint. Two new approaches which have so far hardly been used on drama will be included: corpus-based lexical analysis and cognitive stylistics (which helps to account for how readers infer fictional worlds, characterisation and viewpoint from texts). Many drama critics have argued that the analysis of play texts is inadequate for drama, and that performances should be examined instead. After all, plays are usually written to be performed. But this view, which seems to marginalise stylistic analysis, does not take properly into account the difficulties in relation to the instability of productions and performances as 'objects of criticism' or how the non-linguistic aspects of performance are to be transcribed and described accurately (although there has been some relevant work in drama and film semiotics). I will explore the ontological status of ' drama, arguing that the play text is the most realistic object of criticism and so the stylistic analysis of drama text is reasonable. However, this view entails being able to make detailed predictions about the performance of a dramatic text from a combination of that text's linguistic form, and shared procedures of inference and schematic knowledge of the world (including the theatre). Finally, I will investigate how an integrated stylistic analysis can be extended from drama to film, with detailed analysis of examples. I will make the case that the object of criticism for film should not be the film script but the film screening, which, unlike productions and performances of plays, does not vary significantly from one instance to another. This means that the stylistic analysis of film dialogue will have to be integrated in a detailed and principled way with an analytical account of camera work and with an analysis of what can be seen on screen (scene visuals, actions etc.). This interpretation of linguistic and non-linguistic analysis for film will in tum have consequences for predicting performance parameters from play texts.

文体学探讨文本的语言结构与读者如何理解和受其影响之间的详细关系。大多数文体分析都是在诗歌和散文上进行的，但包括我在内的一些文体学家已经将他们的工作扩展到戏剧上。大多数这类研究都是对戏剧中轮换模式的分析，尽管有些研究使用了其他分析方法，例如礼貌理论，以及我们如何从话语中推断出意思的语用学理论。但是大多数分析人员在他们的工作中只使用了一种或两种形式的分析，我们需要了解如何将各种形式适当地集成到一个完整的分析中。在某种程度上，不同的分析方法相互重叠。例如，打断是轮流的一部分，但有明显的礼貌后果，一些言语行为（如请求与命令）似乎天生是礼貌或不礼貌的，一些为特定言语行为规定的幸福条件是语用预设。本研究将探讨不同形式的语言风格分析之间的重叠，以期找到一个成功整合它们的模式，并将语言风格分析与场景、动作、人物塑造和观点结合起来。两种迄今为止很少用于戏剧的新方法将被包括在内：基于语料库的词汇分析和认知文体学（这有助于解释读者如何从文本中推断虚构的世界、人物塑造和观点）。许多戏剧评论家认为，对戏剧文本的分析是不够的，而应该检查表演。毕竟，剧本通常是为了表演而写的。但是，这种观点似乎将风格分析边缘化，没有适当考虑到与制作和表演作为“批评对象”的不稳定性有关的困难，或者如何准确地转录和描述表演的非语言方面（尽管在戏剧和电影符号学方面已经有一些相关的工作）。本文将探讨戏剧的本体论地位，认为戏剧文本是最现实的批评对象，因此对戏剧文本进行文体分析是合理的。然而，这种观点需要能够通过结合文本的语言形式、共同的推理过程和对世界（包括剧院）的概要知识，对戏剧文本的表演做出详细的预测。最后，我将探讨如何将一个完整的风格分析从戏剧扩展到电影，并详细分析实例。我要说明的是，电影的批评对象不应该是电影剧本，而应该是电影放映。与戏剧的制作和表演不同，电影放映在不同的情况下并没有明显的差异。这意味着对电影对白的风格分析必须以一种详细而有原则的方式与对摄影机工作的分析和对屏幕上所能看到的内容（场景视觉效果、动作等）的分析相结合。这种对电影的语言和非语言分析的解释反过来又会对从戏剧文本中预测表演参数产生影响。