【作者】 杨娟；

【导师】 王佳丽；

【作者基本信息】 湖南师范大学 ， 英语语言文学， 2013， 硕士

【摘要】 幽默广泛存在于人们的日常交际生活中。它能带给人们欢乐与笑声,同时指引人们思考。因此,它已成为了各学科领域争先研究的对象,涉及美学、哲学、心理学、精神分析学、语言学等,其研究成果也非常丰富。近期以来,从语用学、语义学、社会语言学、修辞学或认知语言学出发对幽默进行的研究也日益兴盛。本文在已有研究的基础之上,从认知框架角度出发,结合Fillmore的框架语义学与Coulson的框架转移理论,分析了《爱情公寓》这部情景喜剧中的言语幽默的动态生成与理解过程。本文选取《爱情公寓》第一季与第二季中的典型幽默对白为研究语料,首先,参照张喆从图式理论出发把幽默分成四类,即语言图式、形式图式、文化图式及语用图式,本文把言语幽默分为三类,即,语言框架型幽默,形式框架型幽默和文化框架型幽默。语言框架型幽默是充分利用汉语各层次上的特点,如语音、形态、句法、词法、语用等层次产生幽默效果。形式框架型幽默则体现了汉语在组织语言表达的多样性,特别是修辞手法在其中的运用,如夸张、双关、仿拟、拟人等,对幽默的产生与理解有至关重要的作用。而文化框架型幽默指幽默中含有物质或观念文化因素,且这些文化因素影响对幽默的理解。文化能力的缺失会使得信息的不理解,从而产生冲突,幽默得以产生。框架类型的不同必然造成幽默不同的生成与理解过程。在第一类幽默中,说话者利用汉语语言特点,有意或无意提供信息并构建一个相关框架。框架槽值也由相关语言信息激活,形成初始值。随着信息内容扩展,先前构建的框架被证实不符合现实情况,这时,听者不得不重新解读并舍弃第一个框架构建相关的新框架以适应新信息,人们期待落空,导致幽默效果的产生。在第二类幽默中,说话者利用汉语言语组织方式上的特点,按常规思路构建一个框架,但随后人们期待落空,此框架被另一框架给取代,为达成交际目标,听者重新分析并转移至新框架。形式上语言表达引起框架转移,从而产生幽默。而在第三类幽默中,文化理解能力足解读此类幽默的关键。如果听者所构建的框架与说话者所指代的框架存在冲突,为成功达成交际目的,听者将重新构建框架以适应新信息。幽默由此产生于文化上的冲突印发的框架转移。然而仅仅理解幽默是不够的,德国著名哲学家尼采曾说：幽默是人类不可或缺的一部分,人们应该尽情享用。从《爱情公寓》剧中人物对白可以看出,幽默总是建立在一个良好的心态,丰富的百科知识网和创新性的看问题之上。这些规律可以启发人们在日常生活中更好地欣赏幽默,学会幽默并享受幽默。更多还原

【Abstract】 Widespread in people’s communication and daily life, humor arouses much laughter and meanwhile guides people into deep reflection. For this reason, it has always been a hot topic for scholars from various fields, such as, aesthetic, philosophy, psychology, linguistics, sociology, anthropology and so on. Findings are abundant as a result in those fields. Most recently, the study of humor is flourishing from the perspectives of pragmatics, semantics, scio-linguistics, rhetoric as well as cognitive linguistics.This thesis, based on the previous studies, tries to make a reasonable explanation for generation and interpretation of the verbal humor in Ipartment from the perspective of cognitive frames mainly based on Fillmore’s frame semantics and Coulson’s frame-shifting theory. Linguistic data are collected from the first season and the second season of this situation comedy. By referring to Zhang Zhe’s classification of humor from schema theory into four types, namely, humor of linguistic schema, humor of formal schema, humor of cultural schema and humor of pragmatic schema, this thesis makes an attempt in classifying verbal humor in Ipartment into three categories of humor, that is verbal humor of linguistic frame, verbal humor of formal frame, and verbal humor of cultural frame. The first category of humor makes full use of Chinese characteristics at different levels, for instance, phonology, phonetics, morphology, syntax, lexicology and pragmatics and etc, as to produce humor. The second category shows Chinese variety in organizing ideas especially its rhetoric skills, such as hyperbole, pun, parody, personification and etc. Such skills play an important role in generation and interpretation of humor. But the last category concerns cultural elements, including material culture and conceptual culture, which influence the understanding of humor. Failure in cultural competence may lead to misunderstanding of some information, resulting in incongruity and humor.Different categories of verbal humor result in different process of generation and interpretation. In verbal humor of linguistic frame, the speaker relies on the characteristics of Chinese to intentionally or unintentionally construct a relative frame. Frame slots are activated by the provided information, resulting in default values. But when the information expands, the former constructed frame violates the actual situation so that the hearer has to re-organize the information and shift to a new frame to replace the first one. Expectancy falls, bringing about humorous effect. In verbal humor of formal frame, the speaker takes advantage of the variety of Chinese in expressing ideas to activate a frame from routine thinking. But later it turns out that people’s expectancy about the first frame crushes. In order to achieve successful communication, the hearer needs to re-analyze and shift to a new frame. In this way, forms of expressions give rise to an operation of frame-shifting and humor. However, in verbal humor of cultural frame, cultural competence is the key to interpret humor. If the constructed frame of culture by the hearer crashes with the one constructed by the speaker, it is necessary for the hearer to re-construct a frame to fulfill the goal of communication. Humor is consequence from frame-shifting of cultural incongruity.However, it isn’t enough only to understand humor. Nietzsche, a German philosopher, once said that humor as part of human should be fully enjoyed. From the verbal humor, it is easy to see that humor is based on a good state of mind, a rich encyclopedic knowledge network and a creative way of observing things. Such information may inspire people to better enjoy humor in daily life and learn to be humorous.更多还原