运用概念整合理论分析赵本山喜剧小品中的幽默语言
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摘要
作为一种幽默形式,喜剧小品是当代中国人民喜闻乐见的艺术形式,具有独特的艺术表现手法,有着其它艺术形式所不具有的特殊魅力。作为从东北崛起的具有地方特色的喜剧小品,赵本山的小品是最具有代表性的,被称为中国喜剧小品的王牌,自1997 年连续七年获中央电视台春节晚会的一等奖。赵氏小品的语言有着其鲜明的特色,对当今人们语言的使用也产生了一定的影响。
本论文将运用概念整合理论,以认知语言学的视角对赵本山小品的语言进行分析。本文选取赵本山具有代表性的四个小品为样本,从跨空间映射(cross-space mapping)和以组织性框架投射(projection of organizing frame)为依据进行分类的五种概念整合网络两方面进行分析,即简式网络(simplex networks),镜象网络(mirror networks),单域网络(single-scope networks),双域网络(double-scope networks)和多边网络(multiple blend)。概念整合依赖于跨空间映射,映射与概念整合在意义的构建过程中起着关键的作用。
通过对样本的分析可以看出,赵氏小品的幽默语言涉及四种跨空间映射类型,分别是隐藏一个输入空间的映射(mapping with one hidden input), 类比映射(analogical mapping), 对比映射(mapping in sharp contrast)和隐喻映射(metaphorical mapping),以及五种概念整合网络类型,即简式网络,镜象网络,单域网络,双域网络和多边网络。
As a kind of humor, the comic sketch is favored by most Chinese people, and it has its own characteristics. As the representative of the comic sketch in China, Zhao’s sketches are very popular and have been awarded the first prize for seven years in CCTV’s spring festival gala. His sketches have their own unique style.
The dissertation will use the theory of conceptual integration to interpret the humorous language of Zhao Benshan’s comic sketches. Four sketches are selected, among which five pieces of humorous language are interpreted from the perspective of cross-space mapping and conceptual integration networks. There are altogether five types of integration networks--simplex networks, mirror networks, single-scope networks, double-scope networks and multiple blend, and four types of cross-space mappings--mapping with one hidden input, analogical mapping, mapping in sharp contrast and metaphorical mapping. Cross-space mappings and conception integration play important roles in the meaning construction.
本论文将运用概念整合理论,以认知语言学的视角对赵本山小品的语言进行分析。本文选取赵本山具有代表性的四个小品为样本,从跨空间映射(cross-space mapping)和以组织性框架投射(projection of organizing frame)为依据进行分类的五种概念整合网络两方面进行分析,即简式网络(simplex networks),镜象网络(mirror networks),单域网络(single-scope networks),双域网络(double-scope networks)和多边网络(multiple blend)。概念整合依赖于跨空间映射,映射与概念整合在意义的构建过程中起着关键的作用。
通过对样本的分析可以看出,赵氏小品的幽默语言涉及四种跨空间映射类型,分别是隐藏一个输入空间的映射(mapping with one hidden input), 类比映射(analogical mapping), 对比映射(mapping in sharp contrast)和隐喻映射(metaphorical mapping),以及五种概念整合网络类型,即简式网络,镜象网络,单域网络,双域网络和多边网络。
As a kind of humor, the comic sketch is favored by most Chinese people, and it has its own characteristics. As the representative of the comic sketch in China, Zhao’s sketches are very popular and have been awarded the first prize for seven years in CCTV’s spring festival gala. His sketches have their own unique style.
The dissertation will use the theory of conceptual integration to interpret the humorous language of Zhao Benshan’s comic sketches. Four sketches are selected, among which five pieces of humorous language are interpreted from the perspective of cross-space mapping and conceptual integration networks. There are altogether five types of integration networks--simplex networks, mirror networks, single-scope networks, double-scope networks and multiple blend, and four types of cross-space mappings--mapping with one hidden input, analogical mapping, mapping in sharp contrast and metaphorical mapping. Cross-space mappings and conception integration play important roles in the meaning construction.
引文
[1] Bergson, H. (1911.1917). Laughter-an Essay on the Meaing of the Comic[M]. New York: Macmillan.
[2] Coulson, Seana. 2001. Semantic Leaps: Frame Shifting and Conceptual Blending in Meaning Construction. New York and Cambridge: Cambridge University Press.
[3] Fauconnier, G. 1994. Mental Spaces. Cambridge/London: MIT Press.
[4] Fauconnier, G. 1994. Mental Spaces: Aspects of Meaning Construction in Natural Language. Cambridge and New York: Cambridge University Press.
[5] Fauconnier, G., & Mark Turner. 1995. Conceptual Integration and Formal Expression. In Mark Johnson (Ed.), Journal of Metaphor and Symbolic Activity, Vol. 10, No. 3.
[6] Fauconnier, G., & Mark Turner. 1996. Blending As A Central Process of Grammar. In Adele Goldberg (Ed), Conceptual structure, Discourse, and Language. Stanford: center for the study of language and information (CSLI) Publications. PP. 113-129.
[7] Fauconnier, G. 1997. Mappings in Thought and Language. Cambridge and New York: Cambridge University Press.
[8] Fauconnier, G., & Mark Turner. 1998. Conceptual Integration Networks. Cognitive Science 22:2. 133-187.
[9] Fauconnier, G., & Mark Turner. 1998. Principles of Conceptual Integration. In Jean Pierre Koening (Ed.). Discourse and Cognition. Stanford; CSLI Publications, pp. 269-283.
[10] Fauconnier, G., & Mark Turner. 2002. The Way We Think. Basic Books.
[11] Grice, H.P. 1989. Studies in the Way of Words [M]. Cambridge. MA: Harvard University Press.
[12] Koestler, Arthur. 1964. The Act of Creation[M]. London: Hutchinson.
[13] Leech, Geoffery N. 1983. Principles of Pragmatics[M]. London: Longman.
[14] Lewis, P. 1989. Comic Effects: Interdisciplinary Approaches to Humor in Literature. Albany, MY: State University of New York Press.
[15] Sperber D., & D. Wilson. 1995. Relevance: Communication and Cognition[M]. Blackwell and Oxford.
[16] Sweester, Eve. 2000. Blended Spaces and Performativity. Cognitive Linguistics 11, pp. 305.333.
[17] 董平荣, 2003, 合成空间理论对“绝句”文本意义构建的认知解读, 重庆大学,未公开发表硕士论文。
[18] 《汉英辞典》,1997, 北京:外语教学与研究出版社。
[19] 卢伟,2002, 幽默的语义和语用探析,山东师范大学,未公开发表硕士论文。
[20] 刘智勇,1997, 喜剧小品艺术探微,《湖北三峡学院学报》第19 卷第四期。
[21] 谢旭慧,2004,论喜剧小品语言的幽默特质,《现代传播》2002 年第一期。
[22] 谢旭慧,程肇基,2003,试析喜剧小品语言的幽默技巧设置,《当代电视》第六期。
[23] 张长颉, 2002, 幽默语言的认知分析,湖南大学,未公开发表硕士论文。
[2] Coulson, Seana. 2001. Semantic Leaps: Frame Shifting and Conceptual Blending in Meaning Construction. New York and Cambridge: Cambridge University Press.
[3] Fauconnier, G. 1994. Mental Spaces. Cambridge/London: MIT Press.
[4] Fauconnier, G. 1994. Mental Spaces: Aspects of Meaning Construction in Natural Language. Cambridge and New York: Cambridge University Press.
[5] Fauconnier, G., & Mark Turner. 1995. Conceptual Integration and Formal Expression. In Mark Johnson (Ed.), Journal of Metaphor and Symbolic Activity, Vol. 10, No. 3.
[6] Fauconnier, G., & Mark Turner. 1996. Blending As A Central Process of Grammar. In Adele Goldberg (Ed), Conceptual structure, Discourse, and Language. Stanford: center for the study of language and information (CSLI) Publications. PP. 113-129.
[7] Fauconnier, G. 1997. Mappings in Thought and Language. Cambridge and New York: Cambridge University Press.
[8] Fauconnier, G., & Mark Turner. 1998. Conceptual Integration Networks. Cognitive Science 22:2. 133-187.
[9] Fauconnier, G., & Mark Turner. 1998. Principles of Conceptual Integration. In Jean Pierre Koening (Ed.). Discourse and Cognition. Stanford; CSLI Publications, pp. 269-283.
[10] Fauconnier, G., & Mark Turner. 2002. The Way We Think. Basic Books.
[11] Grice, H.P. 1989. Studies in the Way of Words [M]. Cambridge. MA: Harvard University Press.
[12] Koestler, Arthur. 1964. The Act of Creation[M]. London: Hutchinson.
[13] Leech, Geoffery N. 1983. Principles of Pragmatics[M]. London: Longman.
[14] Lewis, P. 1989. Comic Effects: Interdisciplinary Approaches to Humor in Literature. Albany, MY: State University of New York Press.
[15] Sperber D., & D. Wilson. 1995. Relevance: Communication and Cognition[M]. Blackwell and Oxford.
[16] Sweester, Eve. 2000. Blended Spaces and Performativity. Cognitive Linguistics 11, pp. 305.333.
[17] 董平荣, 2003, 合成空间理论对“绝句”文本意义构建的认知解读, 重庆大学,未公开发表硕士论文。
[18] 《汉英辞典》,1997, 北京:外语教学与研究出版社。
[19] 卢伟,2002, 幽默的语义和语用探析,山东师范大学,未公开发表硕士论文。
[20] 刘智勇,1997, 喜剧小品艺术探微,《湖北三峡学院学报》第19 卷第四期。
[21] 谢旭慧,2004,论喜剧小品语言的幽默特质,《现代传播》2002 年第一期。
[22] 谢旭慧,程肇基,2003,试析喜剧小品语言的幽默技巧设置,《当代电视》第六期。
[23] 张长颉, 2002, 幽默语言的认知分析,湖南大学,未公开发表硕士论文。