話輪轉(zhuǎn)換框架下賣花女中主人公人物刻畫分析

1、 學(xué)校代碼 學(xué)校代碼 ： 10172 研究類型： 研究類型： 基礎(chǔ)研究 基礎(chǔ)研究 學(xué) 號(hào) ： 136110255 中圖分類號(hào)： 中圖分類號(hào)： 大 連 外 國(guó) 語 大 學(xué) 大 連 外 國(guó) 語 大 學(xué) 碩 士 學(xué) 位 論 文 碩 士 學(xué) 位 論 文題 目: 話輪轉(zhuǎn)換框架下《賣花女》中 主人公人物刻畫分析 培養(yǎng)學(xué)院（系、所） ： 培養(yǎng)學(xué)院（系、所）

2、： 英語學(xué)院 學(xué) 科 專 業(yè): : 外國(guó)語言學(xué)及應(yīng)用語言學(xué)（英語）研 究 生 姓 名: : 史紅艷 指導(dǎo)教師姓名及職稱 指導(dǎo)教師姓名及職稱: 劉風(fēng)光 教授 論 文 答 辯 時(shí) 間: : 2016 年 5 月 14 日 ii ABSTRACT Utterances can

3、 fully reflect the characterization in the drama, so the dialogue is the soul of drama. In recent years, scholars at home and abroad are engaged in combining pragmatic theories with dramatic discourse, among which turn-t

4、aking is an important theory. Turn-taking analytic model was applied to the studies of the daily conversations and classroom teaching at the beginning. With the development of turn-taking analytic model, more scholars re

5、late it to the studies of literary discourse to elaborate on the characterization of the protagonists in dramatic discourse. The quantitative study of the relevant features of turn-taking as the theoretical framework is

6、becoming a hot area in recent studies. Therefore, aiming to the drama of Bernard Shaw’s Pygmalion Act Ⅱ, Act Ⅳ and Act Ⅴ,this study adopting both qualitative and quantitative methodology is based on turn-taking analytic

7、model construed by scholars Dongming Yu and Huadong Li (2001) and enriches it to analyze the characterization of the protagonists. The main findings are as follows: according to the five aspects of the control of topic,

8、average turn length, turn types, interruption and monologue, and turn-control strategies, this study aims at studying the turn-taking features and analyzing the characterization of the protagonists. At the level of the c

9、ontrol of topics, the hero’s control of topics is changing gradually. Moreover, the heroine gets higher powerful status. Through quantifying the average turn length, it is found that the average turn length of heroine in

10、creases gradually, while the hero’s remain the same during the development of the plots. This unfolds that the heroine finds her true self step by step. In terms of the turn types, interruption and monologue, the number

11、of turns of all the turn types, interruption and monologue is changing from extremely unbalanced to be almost same, which shows that the hero loses the control of topics little by little. His domineering power weakens. F

12、rom the aspect of turn-control strategies, the hero employs much more turn-taking strategies in Act Ⅱ, and fewer in Act Ⅳ and Act Ⅴ. The result highlights the heroine’s self-confidence and independence. To sum up, the he