戏剧文本视角实现与转换的认知文体学研究（英文版）
出版时间:
2010-11
版次:
1
ISBN:
9787563224883
定价:
19.00
装帧:
平装
开本:
32开
纸张:
胶版纸
页数:
280页
字数:
232千字
正文语种:
英语
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“视角”是叙述学研究中富有争议的一个概念，作者将视角引入戏剧学研究领域，这是《戏剧文本视角实现与转换的认知文体学研究（英文版）》作者在学术上的一个大胆尝试与探索。作者从传统戏剧人物、戏剧中的舞台指示、戏剧中人物使用具有独特价值观念的语言来表达自己的“观点”以及戏剧通过“真实作者”或“隐含作者”、舞台提示语、人物对话等方式传达的“观点”四个方面，论证了戏剧中叙述者的存在。在此基础上，他又运用叙事学、文体学、认知语言学等基本理念，较为详尽地讲解了自己对戏剧文本中独有的“视点”、语言层面上的戏剧文本“视点”、叙述学对戏剧文本“视点”等的理解。 Chapter1Introduction
1.1Studybackground
1.2Objectivesofthestudy
1.3Mimesisanddiegesis
1.4Furtherexplanationsofpointofviewindramatictexts
1.5Therelationbetweendramatictextandperformance
1.6Outlineofthedissertation
Chapter2LiteratureReview
2.1Introduction
2.2Workandproblemsaboutpointofviewindrama
2.2.1Groff'spointofviewindrama
2.2.2Richardson'stypologyofnarrationindrama
2.2.3Weingarten'sanalysisofLaFundacion
2.2.4McIntyre's"pointofviewindrama"
2.3Pointofviewinstagedirections
2.4Pointofviewinfilm
2.4.1Narrationinfilm
2.4.2Objectiveandsubjectiveshotsinfilm
2.5Conclusion
Chapter3Narration，NarrativeandPointofView
3.1Introduction
3.2"Narrative"and"narration"
3.2.1Fabulaandsjuzhet
3.2.2Storyanddiscourse
3.3Typesofnarration
3.3.1Uspensky'sinternalandexternalnarration
3.3.2Fowler'sclassificationofnarration
3.3.3Simpson'sdevelopmentofFowler'swork
3.4Pointofviewinprosefiction
3.4.1Genette'sfocalization
3.4.2Balandother'scritiqueofGenette'sfocalization
3.4.3Uspensky'sfourplanesofpointofview
3.4.3.1Pointofviewonthespatialandtemporalplane
3.4.3.2Pointofviewontheideologicalplane
3.4.3.3Pointofviewonthephraseologicalplane
3.4.3.4Pointofviewontheplaneofpsychology
3.4.4Fowler'smodificationsofUspensky'sclassification
3.4.5Chatman'sworkonpointofview
3.4.5.1Slantandfilter
3.4.5.2Centerandinterest-focus
3.4.5.3Perceptualandconceptualpointofview
3.5Checklistoflinguisticindicatorsofpointofview
3.5.1Schema-orientedlanguage
3.5.2Value-ladenlanguage
3.5.3Giveninformationvsnewinformation
3.5.4Deixis
3.5.5Representationsofthoughtandperception
3.5.6Psychologicalsequencing
3.5.7Graphology
3.5.8Presupposition
3.5.9Grice'scooperativeprinciple
3.6Conclusion
Chapter4Deieticshiftstheoryandpointofview
4.1Intrduction
4.2Deicticshifttheory
4.3Thedefinitionofthedeicticcenter
4.4Categoriesofdeixis
4.4.1Spatialdeixis
4.4.2Temporaldeixis
4.4.3Persondeixis
4.4.4Socialdeixis
4.4.5Empatheticdeixis
4.5Galbraith'sdeicticshifttheory
4.5.1Deicticfields
4.5.2PUSHesandPOPs
4.5.3Edgework
4.5.4Deicticdecay
4.5.5MoretheoriesofPUSHesandPOPs
4.6Emmott'scontextualframetheory
4.7Improvedversionofdeicticshifttheory
4.8Conclusion
Chapter5Possible-worldstheoryandpointofview
5.1Introduction
5.2Thepossible-worldstheory
5.2.1Possibleworldsandthesemanticsoffiction
5.2.2Possibleworldsandnarrativesemantics
5.2.3Inadequacyoftruthconditionalsemantics
5.2.4Ryan'stypologyofpossibleworlds
5.3Alternativepossibleworlds
5.3.1Fantasyuniverses
5.3.2ThePrincipleofminimaldeparture
5.4Deicticshiftsandpossibleworlds
5.4.1Recentering
5.4.2Increasinganddecreasingtheprominenceof
possibleworlds
5.4.3DeicticshiftandpossibleworldsinMissCooper
5.5Conclusion
Chapter6Mindstyleandpointofview
6.1Introduction
6.2Studiesofmindstyle
6.3LeechandShort'sdiscussionofmindstyle
6.3.1Linguisticchoicesandmindstyle
6.3.2Threeusual/unusualmindstyles
6.4Logicandmindstyle
6.5Paradigmsofrealityandmindstyle
6.6Conclusion
Chapter7Conclusion
7.1Summary
7.2Concludingremarks
Bibliography
后记
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内容简介:
“视角”是叙述学研究中富有争议的一个概念，作者将视角引入戏剧学研究领域，这是《戏剧文本视角实现与转换的认知文体学研究（英文版）》作者在学术上的一个大胆尝试与探索。作者从传统戏剧人物、戏剧中的舞台指示、戏剧中人物使用具有独特价值观念的语言来表达自己的“观点”以及戏剧通过“真实作者”或“隐含作者”、舞台提示语、人物对话等方式传达的“观点”四个方面，论证了戏剧中叙述者的存在。在此基础上，他又运用叙事学、文体学、认知语言学等基本理念，较为详尽地讲解了自己对戏剧文本中独有的“视点”、语言层面上的戏剧文本“视点”、叙述学对戏剧文本“视点”等的理解。
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目录:
Chapter1Introduction
1.1Studybackground
1.2Objectivesofthestudy
1.3Mimesisanddiegesis
1.4Furtherexplanationsofpointofviewindramatictexts
1.5Therelationbetweendramatictextandperformance
1.6Outlineofthedissertation
Chapter2LiteratureReview
2.1Introduction
2.2Workandproblemsaboutpointofviewindrama
2.2.1Groff'spointofviewindrama
2.2.2Richardson'stypologyofnarrationindrama
2.2.3Weingarten'sanalysisofLaFundacion
2.2.4McIntyre's"pointofviewindrama"
2.3Pointofviewinstagedirections
2.4Pointofviewinfilm
2.4.1Narrationinfilm
2.4.2Objectiveandsubjectiveshotsinfilm
2.5Conclusion
Chapter3Narration，NarrativeandPointofView
3.1Introduction
3.2"Narrative"and"narration"
3.2.1Fabulaandsjuzhet
3.2.2Storyanddiscourse
3.3Typesofnarration
3.3.1Uspensky'sinternalandexternalnarration
3.3.2Fowler'sclassificationofnarration
3.3.3Simpson'sdevelopmentofFowler'swork
3.4Pointofviewinprosefiction
3.4.1Genette'sfocalization
3.4.2Balandother'scritiqueofGenette'sfocalization
3.4.3Uspensky'sfourplanesofpointofview
3.4.3.1Pointofviewonthespatialandtemporalplane
3.4.3.2Pointofviewontheideologicalplane
3.4.3.3Pointofviewonthephraseologicalplane
3.4.3.4Pointofviewontheplaneofpsychology
3.4.4Fowler'smodificationsofUspensky'sclassification
3.4.5Chatman'sworkonpointofview
3.4.5.1Slantandfilter
3.4.5.2Centerandinterest-focus
3.4.5.3Perceptualandconceptualpointofview
3.5Checklistoflinguisticindicatorsofpointofview
3.5.1Schema-orientedlanguage
3.5.2Value-ladenlanguage
3.5.3Giveninformationvsnewinformation
3.5.4Deixis
3.5.5Representationsofthoughtandperception
3.5.6Psychologicalsequencing
3.5.7Graphology
3.5.8Presupposition
3.5.9Grice'scooperativeprinciple
3.6Conclusion
Chapter4Deieticshiftstheoryandpointofview
4.1Intrduction
4.2Deicticshifttheory
4.3Thedefinitionofthedeicticcenter
4.4Categoriesofdeixis
4.4.1Spatialdeixis
4.4.2Temporaldeixis
4.4.3Persondeixis
4.4.4Socialdeixis
4.4.5Empatheticdeixis
4.5Galbraith'sdeicticshifttheory
4.5.1Deicticfields
4.5.2PUSHesandPOPs
4.5.3Edgework
4.5.4Deicticdecay
4.5.5MoretheoriesofPUSHesandPOPs
4.6Emmott'scontextualframetheory
4.7Improvedversionofdeicticshifttheory
4.8Conclusion
Chapter5Possible-worldstheoryandpointofview
5.1Introduction
5.2Thepossible-worldstheory
5.2.1Possibleworldsandthesemanticsoffiction
5.2.2Possibleworldsandnarrativesemantics
5.2.3Inadequacyoftruthconditionalsemantics
5.2.4Ryan'stypologyofpossibleworlds
5.3Alternativepossibleworlds
5.3.1Fantasyuniverses
5.3.2ThePrincipleofminimaldeparture
5.4Deicticshiftsandpossibleworlds
5.4.1Recentering
5.4.2Increasinganddecreasingtheprominenceof
possibleworlds
5.4.3DeicticshiftandpossibleworldsinMissCooper
5.5Conclusion
Chapter6Mindstyleandpointofview
6.1Introduction
6.2Studiesofmindstyle
6.3LeechandShort'sdiscussionofmindstyle
6.3.1Linguisticchoicesandmindstyle
6.3.2Threeusual/unusualmindstyles
6.4Logicandmindstyle
6.5Paradigmsofrealityandmindstyle
6.6Conclusion
Chapter7Conclusion
7.1Summary
7.2Concludingremarks
Bibliography
后记
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