相声言语幽默的认知语言学探悉_赵芝磊.doc

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1、! c Interpretation of Verbal Humor in Chinese Cross Talk with Cognitive Linguistics A Thesis Submitted to Foreign Languages College Ocean University of China In Partial Fulfillment of the Requirements For the Degree of Master of Arts By Zhao Zhilei Under the Supervision of Professor Chang Zongiin Ju

2、ne, 2009 Interpretation of Verbal Humor in Chinese Cross Talk with Cognitive Linguistics 相声言语幽默的认知语言学探悉 学位论文完成日期： 域 i 指导教师签字： 答辩 委员诚難字 ： 許鱗 独创声明 本人声明所呈交的学位论文是本人在导师指导下进行的研究工作及取得的研究 成果。据我所知，除了文中特别加以标注和致谢的地方外，论文中不包含其他 人已经发表或撰写过的研究成果，也不包含未获得 （注：如没有其他需 要特别声明的，本栏可空） 或其他教育机构的学位或证书使用过的材料。与我 一同工作的同志对本研究所做的任何

3、贡献均已在论文中作了明确的说明并表示 谢意。 学位论文作者签名： Uls 签字日期：如叫年 6 月日 学位论文版权使用授权书 本学位论文作者完全了解学校有关保留、使用学位论文的规定，有权保留 并向国家有关荀 5 门或机构送交论文的复印件和磁盘，允许论文被查阅和借阅。 本人授权学校可以将学位论文的全部或部分内容编入有关数据库进行检索，可 以采用影印、缩印或扫描等复制手段保存、汇编学位论文。（保密的学位论文在 解密后适用本授权书 ） 学位论文作者签名： 签字曰期： iTOI 年 6 月今曰 学位论文作者毕业后去向： 工作单位： 通讯地址： 导师签字： 签 字 曰 期 ： 年 6 月 1曰 电话：

4、邮编 相声言语幽默的认知语言学探悉 摘要 相声作为一种传统艺术形式，是中国艺术宝库中的精华。它以其幽默的表 现方式和犀利生动的语言，受到大众的广泛欢迎。幽默是相声的生命，没有了 笑声，相声也就无从谈起。毋庸置疑，相声带给了我们无尽的乐趣，但遗憾的 是我们却很少去思考为什么我们会捧腹大笑，什么使相声如此妙趣横生，又如 何能使相声魅力不减。这正是文章将要集中探讨的问题。本文旨在运用认知语 言学框架转换理论和概念合成理论来寻找笑声 背后的语言规律和人类的认知机 制，以更好地理解相声并运用认知技巧创作出更好的相声作品。在研究中，文 章也充分考虑了相声所涉及的具体背景知识和语境信息及相声解读所必需的交

5、际目的。 通过框架转换和概念合成视角对相声进行深入广泛的研究，本文得出了如 下结论：框架转换和概念合成在再现相声的意义构建过程中各有重要的作用。 框架转换理论对相声的语义重新建构的触发因素有充分的阐释力，而概念合成 理论更适用于分析涉及不同认知域概念的相声。 上述认知语言学理论应用于相声分析包含三方面的意义：第一，把这些认 知语言学理论应用 于相声分析可以更好地解析相声的意义建构过程，从而对相 声的机制形成有更深刻的了解，以促进相声的理解和赏析。第二，把这些认知 语言学理论应用于自然语言话语分析可以从总体上检验这些理论的阐释力，以 图发现它们在分析自然话语时表现出的优点和不足，并强化优点，改进

6、不足， 以提高这些认知语言学理论的阐释力。第三，该研究也希望为那些对中国相声 感兴趣的外国朋友搭建一座文化的桥梁。 关键词：相声，言语幽默，框架转换，触发器，概念合成 ABSTRACT Cross talk is a traditional Chinese bantering-style dialogue and verbal art which typically involves two performers who make comical speeches, employing various performance techniques. Verbal humor is the pr

7、ominent characteristics of cross talk, and it is prevalent on TV, over the radio and even on Internet. It is loved by people from all walks of lives for its highly exaggerating and refined humorous language. It is a pity that we seldom think about what makes cross talk so interesting and how its cha

8、rm can be kept. In this sense, the thesis aims to find out the linguistic rules and human beings5 cognitive mechanism lying behind the laughter by the application of frame-shifting theory and conceptual blending theory so as to have a better understanding of cross talk and effectively utilize the co

9、gnitive techniques to produce more and better works of cross talk. This research also takes into account the particular background knowledge and contextual information that cross talk involves, together with the interactive goals necessary in the interpretation of them. Through an extensive study in

10、to cross talk from the perspectives of frame-shifting and conceptual blending, the current research reaches a conclusion that frame-shifting and conceptual blending play an essential role in representing the meaning construction process of cross talks. Frame-shifting theory appears to explain adequa

11、tely the triggers of semantic reinterpretation of Chinese cross talks, while conceptual blending theory seems to apply neatly to cross talks involving concepts from different domains. The application of the above cognitive linguistic theories to cross talk analysis entails three meanings: firstly, a

12、pplying the cognitive linguistic theories to cross talk analysis can achieve a better representation of the meaning construction processes of cross talk, hence achieving at a more in-depth understanding of the mechanism of cross talk and facilitating the comprehension and appreciation of cross talks

13、. Secondly, applying the cognitive linguistic theories to analyze natural-language discourse can provide a general examination of the explanatory power of these theories, with an effort to find their strengths and weaknesses in analyzing real-world discourse and further to reinforce the strengths an

14、d improve weaknesses for better explanatory adequacy. At last, the research also hopes to establish a cultural bridge for foreigners interested in Chinese cross talk. Key words: Cross talk, Verbal Humor, Frame-shifting, Trigger, Conceptual Blending in Contents Chapter One Introduction . 1 1.1 Ration

15、ale of the Present Study . 1 1.2 Research Purpose and Significance . 2 1.3 Research Methodology and Data Collection . 3 1.4 The Structure of the Thesis . 3 Chapter Two Literature Review . 5 2.1 Introduction . 5 2.2 Humor and Related Studies . 5 2.2.1 Psychological Researches into Humor 2.2.1.1 The S

16、uperiority Theory . 2.2.1.2 The Incongruity Theory . 6 2.2.1.3 The Release Theory . 7 2.2.2 Linguistic Researches into Humor . 8 2.3 An Overview of Study on Verbal Humor in Chinese Cross talk . 10 2.4 A General Introduction to Chinese Cross talk . 11 2.4.1 Special Features of Cross talk Dialogue . 1

17、2 2.4.2 Realization Process of Verbal Humor in Cross talk . 14 2.5 Cognitive Approach to the Interpretation of Verbal Humor in Chinese Cross talk . 15 Chapter Three Theoretical Foundations . 17 3.1 Introduction. 17 3.2 Frame-shifting Theory . 17 3.2.1 The Evolvement of “Frame” . 17 3.2.2 Coulson Fra

18、me-shifting Theory . 19 3.3 Conceptual Blending Theory . 21 3.3.1 The Framework and Foundations of Conceptual Blending Theory . 21 3.3.2 Table Tennis and Conceptual Blending Theory . 23 3.3.3 Classifications of Conceptual Integration Networks . 27 3.3.4 The Process of Conceptual Blending . 29 iv 3.4

19、 Summary . 30 Chapter Four Cross talk Analysis Based on Frame-shifting Theory . 31 4.1 Introduction . 31 4.2 Frame-shifting and Cross talk Analysis . 32 4.3 Frame-shifting Triggers in Chinese Cross talk . 34 4.3.1 Phonological Triggers . 34 4.3.1.1 Homonym . 34 4.3.1.2 Pause . 36 4.3.2 Lexical Trigg

20、ers . 39 4.3.2.1 Ambiguity as Trigger . 40 4.3.2.2 Parody as Trigger . 43 4.3.3 Logical Triggers . 45 4.3.3.1 Conception Mixing-up . 46 4.3.3.2 Judgment Incorrectness. 48 4.3.3.3 Inference Irregularity . 49 Chapter Five Cross Talks Interpretation Based on Conceptual Blending Theory . 52 5.1 Introduc

21、tion . 52 5.2 The Explanatory Power of Conceptual Blending Theory for Chinese Cross Talk . 52 5.3 Cross-Domain Mapping in Frame Networks and Cross Talk Analysis . 59 5.3.1 Cross-Domain Mapping in One-sided Frame Networks . 61 5.3.2 Cross-Domain Mapping in Two-sided Frame Networks . 67 5.4 Summary .

22、70 Chapter Six Conclusion . 71 6.1 The Summary of the Thesis . 71 6.2 Findings of the Thesis and Implications for Future Research into Verbal Humor of Cross talk . 72 6.3 Limitations of the Present Study and Suggestions for Future Study . 73 References . 75 Acknowledgement . 80 v Chapter One Introdu

23、ction 1.1 Rationale of the Present Study As known, humor permeates every aspect of human life, perceptible in various human communications. It is both a linguistic and cultural phenomena, which is universal in books, newspapers, on radio or in our daily conversations. Therefore, throughout the centu

24、ries, humor has been attracting extensively the attention of more and more people from different fields and there has already been fruitful achievements attained. However, the real nature and function of humor remain a tough problem to explore. Classification of humor is equally controversial and ev

25、en a generally recognized definition of humor appears impossible. Koestier (1993) classified humor into two types: verbal and situational humor. Verbal humor plays on sounds, words and ideas and covers jokes, anecdotes, comic verse, etc. Situational humor involves such comic devices as imitation, im

26、personation and disguise, where the source of humor comes from the “bisociation” of man and machine, man-animal hybrid, deforming, and the changed roles between the part and the whole (Xu, 2003). Actually, humor was primarily the concern of philosophers and literary critics, and theories put forward

27、 to the study of the nature of humorous behavior include: philosophical point of view (the Incongruity-based theory); psychological point of view (the Release theory and Superiority theory); linguistic point of view (SSTH/Semantic Script Theory of Humor); pragmatic point of view (GTVH/General Theory

28、 of Verbal Humor) and still some others studied humor from sociolinguistic aspect, rhetoric and stylistics. All those theories contribute a lot to the study of the nature and functions, definitions and classifications of humor, the textual features and the operating mechanism of humor, which are pre

29、cious cultural legacy to us. As a traditional popular artistic form on TV or radio broadcast, cross talk, characterized as verbal humor, has drawn the attention of many scholars in the field of art and linguistics. For most of the twentieth century, this performance form was virtually synonymous wit

30、h humor in China, and it has been loved by audiences from all walks of life. “Cross talk is both a verbal art and humorous art”， Hou Baolin (1980) thus commented, who was one of the most famous artists of cross talk performance. It was developed from folk joke and is noted for its humorous language

31、and lively performance. There is a repertoire of hundreds of traditional cross talk pieces, as well as new pieces being written all the time, like those of Guo Degang 9s. Since cross talk is mainly put on in theatres, tea houses, on TV or broadcasted over the radios, some scholars tend to study the

32、performance techniques employed by the actors and its artistic features or language styles; and its history, development, its creation, existing problems and future development, etc. In addition, the other domestic researchers studied cross talk from the perspective of linguistics, including some li

33、nguistic and pragmatic theories such as Grices Cooperative Principle (1989) and Sperber and Wilsons Relevance Theory (1995). On the whole, the research of verbal humor in cross talk is far from being adequate and comprehensive either in quality or quantity. 1.2 Research Purpose and Significance This

34、 thesis is a tentative exploration of the interpretational model of verbal humor of cross talk within two frameworks of cognitive linguistic theories (in specific, namely, Coulsons Frame-shifting Theory and Fauconniers Conceptual Blending Theory), taking into account of the linguistic and contextual interactions, particular background knowledge together with the interactive goals necessary in the interpretation of cross talks. Afte