扎迪·史密斯小说中文化杂糅的文体学分析
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摘要
文学文体学是将语言学的理论和方法运用到对文学作品的分析中的学科，旨在更好地理解、欣赏作品的美学价值，加强对主题意义的阐释。扎迪·史密斯是牙买加裔英国年轻女作家，被视为21世纪后殖民主义代表性人物，其作品以移民的生活和处境为主要内容，探讨了种族和文化杂糅等社会问题，以其敏锐的观察、深刻的主题、精妙的语言和灵活的写作技巧建立了她在文学界的地位。她的小说获得较高赞誉并多次获奖，在内容上和形式上都体现了文化杂糅的主题，通过对其在文体学方面进行分析能够更好地体现并理解这一主题意义。文体学并不限于采用某种特定的语言学模式，而是根据分析的实际需要选用一种或数种适用的语言学方法。本论文除了选取突出的语言特征进行分析外，还就对主题的理解起到重要作用的小说叙述方式和语境因素进行了探讨。随着语言学各个分支的出现和发展，各种不同理论和方法也逐渐应用到小说文体分析中，如语用学和社会语言学等，成为对传统文体学分析的补充。
论文的第一、二章对文体学、扎迪·史密斯及其小说进行概述。第一章总结了文体和文体学的定义及文体学研究层面，包括语音/语相、词汇、句法、语义、语篇等层面；除语言层面外，与叙述方式密切相关的视角和话语表达也是对小说主题进行文体分析的重要方面。本章解释了语境对主题的影响，指出文体学和文学欣赏之间、语言学和文学批评之间互为补充的关系，提出了本论文的研究目的和框架结构。第二章介绍了出生在伦敦的混血作家扎迪·史密斯及其代表小说《白牙》、《签名收藏家》和《关于美》，总结了读者的反应和评论家对其所体现的社会、主题和美学价值的评价，论述了作品反映的多元文化主义、身份和文化杂糅等主题，并将文化杂糅作为本论文的研究对象。
论文的第三至五章从三个不同方面对文化杂糅主题进行文体学分析。第三章通过研究具有突出文体意义的语相层面上表现的语音特征、词汇特征和语法特征，分析了小说中混杂使用的伦敦方言、牙买加克里奥语和年轻人语言，不仅在社会上存在各种语言变体的混杂使用，小说中的人物在不同场合下出现语言变体的转换，都反映了语言使用上所体现的文化杂糅。第四章从视角、话语表达和叙述语气等方面探讨了史密斯小说的叙述方式和幽默讽刺的语言，其现实主义、现代主义和后现代主义特点的混杂加强了对文化杂糅主题的表现。小说的结构和写作手法体现了现实主义和现代主义的特点，而作品的主题更多地反映了后现代主义的特点。第五章将小说置于后殖民主义社会背景下，分析了社会现实、历史和作家等因素在小说主题意义上影响。尽管作者在小说中未明确指出当前多元文化社会中存在的种族主义，但读者能在作品中感受到这一社会现象，但作者也展示出同一性的前景。同时作者还探讨了过去对现在和将来的影响，指出过去无法注定现在和将来，但任何人都无法逃避其过去。同时作品中使用具有象征意义的事物和概念加强对文化杂糅主题的呈现。本论文将小说词汇、句型、修辞等语言使用特点及其语用学、社会语言学等方面的分析融入到故事情节发展和细节、人物等描述中，阐述了文化杂糅表现在社会生活的各个方面的论点。
论文的结论部分对文体学分析如何更好地表现和加强作品文化杂糅的主题意义进行了总结，再次阐明其与文学批评领域研究的区别，讨论了该研究在拓宽文体学研究范畴和语言学习方面的作用，并指出了研究中存在的问题和今后的研究方向。
Literary stylistics, or stylistics in the restricted sense, focuses on the applicationof the theories and methodology of linguistics in the study of style of literary works. Itaims at the reinforcement of thematic significance and appreciation of aesthetic valueof the writings. Zadie Smith, a young Jamaican-British female writer, is representativeof postcolonial writing about immigrants in the society of the new millennium. Sheexplores questions of race and cultural hybridity in her novels and has established herposition in literary world with her keen observation, profound theme, smart languageand adroit writing technique. Her novels are generally highly praised and havereceived many awards. They manifest the theme of cultural hybridity not only incontent but also in form, which can be better illustrated and enhanced through stylisticanalysis. Stylistic analysis is not limited to a particular model, but makes the choiceaccording to the practical need of analysis. In addition to the conventionalforegrounded linguistic features, style of narration and contextual factors are ofparticular importance to the understanding of the theme. With the emergence of newtheories in linguistics, stylistic analysis of the novels can be made from perspectivessuch as pragmatics and sociolinguistics that supplement the traditional ones.
Chapter One and Chapter Two give the general introductions to stylistics, ZadieSmith and her novels. Chapter One summarizes the definitions of style and stylistics,and the scope of stylistic analysis, including levels on phonology/graphology, lexis,syntax, semantics and discourse. Except for the traditional linguistic levels, point ofview and discourse presentation, which are relevant to the style of narration, are ofgreat significance in stylistic analysis of the themes in fiction. It briefly explains therelation between context and fiction, stylistics and literary appreciation, emphasizingthe complementary relationship between linguistics and literary criticism. It finally raises the purpose of the study and organization of the dissertation. Chapter Twointroduces the London-born mixed-race writer Zadie Smith and her representativenovels, White Teeth, The Autograph Man, and On Beauty. It summarizes the readers’responses to the three novels and the critics’ commentary and remarks on the social,thematic and aesthetic values revealed in them, and explains the major themes ofmulticulturalism, identity and cultural hybridity with the last being the focus of studyin this dissertation.
Chapter Three to Chapter Five are stylistic analysis of cultural hybridity fromthree particular aspects. Chapter Three expounds on the theme of cultural hybridityfrom the perspective of language use by studying the strikingly deviant features insound patterns, vocabulary and grammar, which are a mixture of Cockney, JamaicanCreole and youth language. There is not only a mixture of different varieties existingin the society, but also a blend within the speech of a particular character, showing ahybridized application of linguistic features. Chapter Four makes the analysis fromthe style of narration in Zadie Smith’s novels by examining the point of view,discourse presentation, and tone of narration. Her novels should be regarded as amixture of realism, modernism, and postmodernism. It illustrates the features of acombination of realism and modernism in structure and writing style, while thethemes represent more of postmodernism, by which the author does not entailcertainty in the outlook of the future. In a humorous and satirical tone, the hybridnarrative style further strengthens the theme of hybridity in the novels. Chapter Fiveputs the novels in the context of postcolonialism. It explores how social reality,history, and the background of the author exert influence on the thematic meaning ofthe novels. Although racialism is not explicitly stated, the reader can perceive it in thenovels; however, the author provides the reader with a prospect of sameness in themulticultural society. The author centers on the impact of the past on the present andfuture, pointing out that the past cannot predetermine the present and future, nor can itbe avoided or neglected. The author also makes use of some symbols to enhance theappreciation of the theme of hybridity. By integrating the linguistic features ofvocabulary, sentence patterns, rhetorical devices, as well as the pragmatic and sociolinguistic analysis into the analysis of the development of the plot and thedepiction of the characters and details, the writer of this dissertation advances theargument that cultural hybridity exists in every aspect of social life.
The Conclusion summarizes how the theme of cultural hybridity is conveyed andreinforced from the perspective of stylistic analysis. It restates how it is different fromthe previous studies done in literary criticism and emphasizes the function of thestudy in helping to expand the scope of stylistic research and provide methodologyand material in language study. It finally points out the limitations of the present study,the directions and the fields of further research.
论文的第一、二章对文体学、扎迪·史密斯及其小说进行概述。第一章总结了文体和文体学的定义及文体学研究层面，包括语音/语相、词汇、句法、语义、语篇等层面；除语言层面外，与叙述方式密切相关的视角和话语表达也是对小说主题进行文体分析的重要方面。本章解释了语境对主题的影响，指出文体学和文学欣赏之间、语言学和文学批评之间互为补充的关系，提出了本论文的研究目的和框架结构。第二章介绍了出生在伦敦的混血作家扎迪·史密斯及其代表小说《白牙》、《签名收藏家》和《关于美》，总结了读者的反应和评论家对其所体现的社会、主题和美学价值的评价，论述了作品反映的多元文化主义、身份和文化杂糅等主题，并将文化杂糅作为本论文的研究对象。
论文的第三至五章从三个不同方面对文化杂糅主题进行文体学分析。第三章通过研究具有突出文体意义的语相层面上表现的语音特征、词汇特征和语法特征，分析了小说中混杂使用的伦敦方言、牙买加克里奥语和年轻人语言，不仅在社会上存在各种语言变体的混杂使用，小说中的人物在不同场合下出现语言变体的转换，都反映了语言使用上所体现的文化杂糅。第四章从视角、话语表达和叙述语气等方面探讨了史密斯小说的叙述方式和幽默讽刺的语言，其现实主义、现代主义和后现代主义特点的混杂加强了对文化杂糅主题的表现。小说的结构和写作手法体现了现实主义和现代主义的特点，而作品的主题更多地反映了后现代主义的特点。第五章将小说置于后殖民主义社会背景下，分析了社会现实、历史和作家等因素在小说主题意义上影响。尽管作者在小说中未明确指出当前多元文化社会中存在的种族主义，但读者能在作品中感受到这一社会现象，但作者也展示出同一性的前景。同时作者还探讨了过去对现在和将来的影响，指出过去无法注定现在和将来，但任何人都无法逃避其过去。同时作品中使用具有象征意义的事物和概念加强对文化杂糅主题的呈现。本论文将小说词汇、句型、修辞等语言使用特点及其语用学、社会语言学等方面的分析融入到故事情节发展和细节、人物等描述中，阐述了文化杂糅表现在社会生活的各个方面的论点。
论文的结论部分对文体学分析如何更好地表现和加强作品文化杂糅的主题意义进行了总结，再次阐明其与文学批评领域研究的区别，讨论了该研究在拓宽文体学研究范畴和语言学习方面的作用，并指出了研究中存在的问题和今后的研究方向。
Literary stylistics, or stylistics in the restricted sense, focuses on the applicationof the theories and methodology of linguistics in the study of style of literary works. Itaims at the reinforcement of thematic significance and appreciation of aesthetic valueof the writings. Zadie Smith, a young Jamaican-British female writer, is representativeof postcolonial writing about immigrants in the society of the new millennium. Sheexplores questions of race and cultural hybridity in her novels and has established herposition in literary world with her keen observation, profound theme, smart languageand adroit writing technique. Her novels are generally highly praised and havereceived many awards. They manifest the theme of cultural hybridity not only incontent but also in form, which can be better illustrated and enhanced through stylisticanalysis. Stylistic analysis is not limited to a particular model, but makes the choiceaccording to the practical need of analysis. In addition to the conventionalforegrounded linguistic features, style of narration and contextual factors are ofparticular importance to the understanding of the theme. With the emergence of newtheories in linguistics, stylistic analysis of the novels can be made from perspectivessuch as pragmatics and sociolinguistics that supplement the traditional ones.
Chapter One and Chapter Two give the general introductions to stylistics, ZadieSmith and her novels. Chapter One summarizes the definitions of style and stylistics,and the scope of stylistic analysis, including levels on phonology/graphology, lexis,syntax, semantics and discourse. Except for the traditional linguistic levels, point ofview and discourse presentation, which are relevant to the style of narration, are ofgreat significance in stylistic analysis of the themes in fiction. It briefly explains therelation between context and fiction, stylistics and literary appreciation, emphasizingthe complementary relationship between linguistics and literary criticism. It finally raises the purpose of the study and organization of the dissertation. Chapter Twointroduces the London-born mixed-race writer Zadie Smith and her representativenovels, White Teeth, The Autograph Man, and On Beauty. It summarizes the readers’responses to the three novels and the critics’ commentary and remarks on the social,thematic and aesthetic values revealed in them, and explains the major themes ofmulticulturalism, identity and cultural hybridity with the last being the focus of studyin this dissertation.
Chapter Three to Chapter Five are stylistic analysis of cultural hybridity fromthree particular aspects. Chapter Three expounds on the theme of cultural hybridityfrom the perspective of language use by studying the strikingly deviant features insound patterns, vocabulary and grammar, which are a mixture of Cockney, JamaicanCreole and youth language. There is not only a mixture of different varieties existingin the society, but also a blend within the speech of a particular character, showing ahybridized application of linguistic features. Chapter Four makes the analysis fromthe style of narration in Zadie Smith’s novels by examining the point of view,discourse presentation, and tone of narration. Her novels should be regarded as amixture of realism, modernism, and postmodernism. It illustrates the features of acombination of realism and modernism in structure and writing style, while thethemes represent more of postmodernism, by which the author does not entailcertainty in the outlook of the future. In a humorous and satirical tone, the hybridnarrative style further strengthens the theme of hybridity in the novels. Chapter Fiveputs the novels in the context of postcolonialism. It explores how social reality,history, and the background of the author exert influence on the thematic meaning ofthe novels. Although racialism is not explicitly stated, the reader can perceive it in thenovels; however, the author provides the reader with a prospect of sameness in themulticultural society. The author centers on the impact of the past on the present andfuture, pointing out that the past cannot predetermine the present and future, nor can itbe avoided or neglected. The author also makes use of some symbols to enhance theappreciation of the theme of hybridity. By integrating the linguistic features ofvocabulary, sentence patterns, rhetorical devices, as well as the pragmatic and sociolinguistic analysis into the analysis of the development of the plot and thedepiction of the characters and details, the writer of this dissertation advances theargument that cultural hybridity exists in every aspect of social life.
The Conclusion summarizes how the theme of cultural hybridity is conveyed andreinforced from the perspective of stylistic analysis. It restates how it is different fromthe previous studies done in literary criticism and emphasizes the function of thestudy in helping to expand the scope of stylistic research and provide methodologyand material in language study. It finally points out the limitations of the present study,the directions and the fields of further research.
引文
6From http://www.fantasticfiction.co.uk/r/salman-rushdie
7Philips, Caryl, Mixed and Matched. The Observer. Sunday,9January2000. http://www.guardian.co.uk/books/2000/jan/09/fiction.zadiesmith
9The “third space” will be explained in Section2.5.1.
12The quotation is cited from http://en.wikipedia.org/wiki/Cockney
13By “discourse” in this context, it refers to the sets or types of sentences or utterances. According to MacCabe,texts contain a “hierarchy” of levels of discourse: the discourse of the narrator and the discourse of the characters.
(in Thornborrow&Wareing,2000:150)
14It can be pointed out that Smith’s take on fundamentalism is deeply satirical as exemplified by the acronymKEVIN. This succeeds in making the deeply worrisome concept of foundamentalism humorous and consequentlyless menacing.(Katisko,2011:65)
15Fastening on to Howard’s End, Smith’s novel On Beauty takes over and makes over its characters, plot patterns,themes, situations and phrases.
16Book views from Sunday Telegraph. http://www.bookbrouse.com/reviews/index.cfm?book_number=463
17Book reviews from the Independent. http://www.bookbrouse.com/reviews/index.cfm?book_number=463
18“Willesden Fast-Forward”. London Review of Books.21September2000.
19Uriah Heep is a character in Dicken’s novel David Copperfield.
20Wohlsein, Barbara. Englishmen Born and Bred? Cultural Hybridity and Concepts of Englishness in HanifKureishi’s The Buddha of Suburbia and Zadie Smith’s White Teeth [M]. Germany, VDM Verlag Dr. MullerAktiengesellschaft&Co. KG,2008:33
21The statistics is from Mail Online, http://www.dailymail.co.uk/news/article-2246288/Census-2011-UK-immigrant-population-jumps-THREE-MILLION-10-years.html
22Ian Taylor. Law and Order, moral order: The changing rhetoric of the Thatcher government. Accessed6October2006, via “Racism in the United Kingdom”, http://en.wikipedia.org/wiki/Racism_in_the_United_Kingdom
23“PM: Britain still has racism problem” By STAFF REPORTER, The Sun, Published:09th January2012,http://www.thesun.co.uk/sol/homepage/news/4048851/PM-Britain-still-has-racism-problem.html
24The above events and statistic figures are reported in “Racism in the United Kindom”, http://en.wikipedia.org/wiki/Racism_in_the_United_Kingdom
25Interview with Stephanie Merritt. Observer16Jan.2000: Review12.
26Woodrow Wyatt, The Journals of Woodrow Wyatt. Volume Two (Pan,2000), p.530.
27The information is from Brian Finney’s Zadie Smith’s White Teeth, California State University, Long Beach,http://www.csulb.edu/~bhfinney/smith.html
28Shakespeare, Sebastian.“Showbiz News: The Secrit Life of Zadie Smith”. Evening Standard London Lite (5September2002): n.p. http://www.thisislondon.co.uk/showbiz/article-1257109-details/The+secret+life+of+Zadie+Smith/article.do.
29In Zadie Smith. Interview. Brent Magazine, May–June2000.
30Anon.“An interview with Zadie Smith”. Masterpiece Theatre, PBS website n.p. http://www.pbs.org/wgbh/masterpiece/teeth/ei_smith_int.html.20093
31Smith, Zadie.“On the Beginning”. The Guardian (15July2006): n.p. http://www.guardian.co.uk/books/2006/jul/15/zadiesmith.
32Merritt, Stephanie.“She’s Young, Black, British–and the Frist Publishing Sensation of the Millennium”.Observer.16January2000.
33Smith has incorporated an actual historical figure in the novel, as Mangal Pande (or Pandey) was, in fact, asepoy in the English East India Company. His act of rebellion and subsequent publishment are said to have beenthe starting point for the Indian Rebellion of1857, although it is worth noting that the Uprising was for the mostpart brought on by various social, political and religious tensions.(Katisko,2011:34)
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7Philips, Caryl, Mixed and Matched. The Observer. Sunday,9January2000. http://www.guardian.co.uk/books/2000/jan/09/fiction.zadiesmith
9The “third space” will be explained in Section2.5.1.
12The quotation is cited from http://en.wikipedia.org/wiki/Cockney
13By “discourse” in this context, it refers to the sets or types of sentences or utterances. According to MacCabe,texts contain a “hierarchy” of levels of discourse: the discourse of the narrator and the discourse of the characters.
(in Thornborrow&Wareing,2000:150)
14It can be pointed out that Smith’s take on fundamentalism is deeply satirical as exemplified by the acronymKEVIN. This succeeds in making the deeply worrisome concept of foundamentalism humorous and consequentlyless menacing.(Katisko,2011:65)
15Fastening on to Howard’s End, Smith’s novel On Beauty takes over and makes over its characters, plot patterns,themes, situations and phrases.
16Book views from Sunday Telegraph. http://www.bookbrouse.com/reviews/index.cfm?book_number=463
17Book reviews from the Independent. http://www.bookbrouse.com/reviews/index.cfm?book_number=463
18“Willesden Fast-Forward”. London Review of Books.21September2000.
19Uriah Heep is a character in Dicken’s novel David Copperfield.
20Wohlsein, Barbara. Englishmen Born and Bred? Cultural Hybridity and Concepts of Englishness in HanifKureishi’s The Buddha of Suburbia and Zadie Smith’s White Teeth [M]. Germany, VDM Verlag Dr. MullerAktiengesellschaft&Co. KG,2008:33
21The statistics is from Mail Online, http://www.dailymail.co.uk/news/article-2246288/Census-2011-UK-immigrant-population-jumps-THREE-MILLION-10-years.html
22Ian Taylor. Law and Order, moral order: The changing rhetoric of the Thatcher government. Accessed6October2006, via “Racism in the United Kingdom”, http://en.wikipedia.org/wiki/Racism_in_the_United_Kingdom
23“PM: Britain still has racism problem” By STAFF REPORTER, The Sun, Published:09th January2012,http://www.thesun.co.uk/sol/homepage/news/4048851/PM-Britain-still-has-racism-problem.html
24The above events and statistic figures are reported in “Racism in the United Kindom”, http://en.wikipedia.org/wiki/Racism_in_the_United_Kingdom
25Interview with Stephanie Merritt. Observer16Jan.2000: Review12.
26Woodrow Wyatt, The Journals of Woodrow Wyatt. Volume Two (Pan,2000), p.530.
27The information is from Brian Finney’s Zadie Smith’s White Teeth, California State University, Long Beach,http://www.csulb.edu/~bhfinney/smith.html
28Shakespeare, Sebastian.“Showbiz News: The Secrit Life of Zadie Smith”. Evening Standard London Lite (5September2002): n.p. http://www.thisislondon.co.uk/showbiz/article-1257109-details/The+secret+life+of+Zadie+Smith/article.do.
29In Zadie Smith. Interview. Brent Magazine, May–June2000.
30Anon.“An interview with Zadie Smith”. Masterpiece Theatre, PBS website n.p. http://www.pbs.org/wgbh/masterpiece/teeth/ei_smith_int.html.20093
31Smith, Zadie.“On the Beginning”. The Guardian (15July2006): n.p. http://www.guardian.co.uk/books/2006/jul/15/zadiesmith.
32Merritt, Stephanie.“She’s Young, Black, British–and the Frist Publishing Sensation of the Millennium”.Observer.16January2000.
33Smith has incorporated an actual historical figure in the novel, as Mangal Pande (or Pandey) was, in fact, asepoy in the English East India Company. His act of rebellion and subsequent publishment are said to have beenthe starting point for the Indian Rebellion of1857, although it is worth noting that the Uprising was for the mostpart brought on by various social, political and religious tensions.(Katisko,2011:34)
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