【作者】 吴显友；

【导师】 徐有志；

【作者基本信息】 河南大学 ， 英语语言文学， 2005， 博士

【副题名】文体学解读

【摘要】 本论文通过对《尤利西斯》的前景化语言特征进行描述、阐释和评价,揭示其在具体语境里的文体效果,以期对乔伊斯小说语言创新艺术有更深入的认识和了解。通过这样的文体学阐释,我们希望能逐步培养读者对乔伊斯作品的学习和研究兴趣,为推动《尤利西斯》在中国的接受和传播尽自己的绵薄之力。就我有限的阅读而言,这样的探讨还未曾见到。 有人说乔伊斯的风格是“无影无形”,也有人说是“集风格之大成”。乔伊斯不是一位多产作家,但他的任何一部小说都足以使他成为一位伟大的作家。《尤利西斯》便是其意识流作品的最高成就之一,但有一种有趣的现象:买书者多于读者,文学批评多于语言/文体研究。对读者和批评家而言,其最大的障碍之一就是其标新立异的语言文体风格,他的这种不知疲倦的语言文体创新精神一直贯穿于他的所有作品中,从《都柏林人》经《尤利西斯》到《芬尼根守灵夜》。有鉴于此,前景化语言特征便成为本论文的研究对象。各章的要点如下: 第 1 章对论文的背景知识和研究思路作简要介绍,包括三个主要问题:作品简介,《尤利西斯》批评和研究思路。作品简介涉及“邂逅”乔伊斯、《尤利西斯》梗概、荷马史诗结构与“太阳轨迹”和文体创新。《尤利西斯》批评从文学批评及语言学/文体学批评两个方面展开。相对于文学批评,语言学/文体学批评明显不足,其研究成果以论文形式居多,专著形式偏少。《尤利西斯》批评在中国刚刚起步,与世界乔学研究还有一定的距离。研究思路包括论文的理论基础及其研究目的、范围、方法和布局等。语言前景化是指在语言的语音、词汇、句法、语义、语篇等各个层面上,因违背常规(偏离)或强化常规(平行、重复)而出现的语言现象。 第 2 章讨论了某些声音、语音修辞和音乐体裁的文体效果。阅读《尤利西斯》仿佛进入了一个声音的世界。教堂里不时敲起的钟声暗示小说的死亡基调;布卢姆家那张铜制旧床发出的“吱嘎”声与马车的“铃铛”声此起彼伏,则隐含性爱的主题。普利特的语音修辞模式虽说不够完善,但亦为我们提供了一个有益的参照框架。在 15 种语音修辞格里,半谐韵、头韵、押韵等,对小说的语言诗化起到了直接的作用。音乐对乔伊斯来说富有特别的含义:它既是人物情感的自然流露,也是丰富小说体裁的重要话语形式。分析的四首歌曲反映了布卢姆在奥蒙德酒吧复杂的情感经历,那首“推平头的小伙子”揭示了“背叛”的主题。读者可以通过布卢姆和其他人物对音乐风格的体味逐渐认识他们。 第 3 章对转类词、合成词和词汇游戏进行分类,并探讨它们在不同语境里的特殊功能。动词和非动词转类被称之为“动态”转类,它们占用空间小,语义密度更多还原

【Abstract】 By way of description, interpretation and evaluation, my dissertation aims at a preliminary study of the stylistic values of the foregrounded linguistic features in Ulysses so as to get a better understanding and appreciation of Joyce’s linguistic inventiveness in fiction. In so doing, I hope to foster readers’ interest in reading and studying Ulysses, and thus to do my bit to the acceptance and popularity of Ulysses in China. This is quite an adventure because, to my knowledge, such an attempt has not yet been made. James Joyce is said to be a man of “no style” or “all styles”. His work is not big in quantitative output, but any one of his four novels would suffice to make him the reputation of a great writer. Ulysses is one of Joyce’s most remarkable achievements in the world stream-of-consciousness literature, but there is a funny phenomenon: more bought than read, more literary criticisms than linguistic/stylistic studies. For both readers and critics, one of the biggest obstacles lies in Joyce’s fresh and new linguistic innovations which he carries so pervasively, so persistently through all his works from Dubliners via Ulysses to Finnegans Wake. In view of this situation, the thesis is to explore the linguistic obstacle: foregrounded linguistic features. The highlights are as follows: Chapter 1 gives a brief introduction to the background of the study and the dissertation proper, which consists of three major problems: Ulysses--the work, Ulysses’ criticism and the composition of the thesis. The first problem includes my “encounter” with James Joyce, Ulysses’ synopsis, Homeric parallels, its “sun’s path” and its stylistic innovations. The second covers literary criticism and linguistic/stylistic criticism, the former of which is discussed according to three periods: the first period (1920s—1950s), the second period (1960s—1980s) and the third period (since 1990s). Compared with the former, linguistic/stylistic criticism is relatively inadequate and its findings are declared more in articles than book-length studies. Ulysses’ criticism in China is just a first step out and there is a long way to go to catch up with world Joycean studies. The third problem takes into account such matters as defining “style” and “stream-of-consciousness style”, the theory of foregrounding, the research aim, scope, method and layout of the dissertation. A linguistic foregrounding or deviation means a certain linguistic feature which breaks the accepted linguistic rule or enforces the rule by repetition or parallelism at various linguistic levels. Chapter 2 “Sound Effects” illustrates the special functions of some symbolic sounds, phonological figures and musical genres. Ulysses brings us into a world of sounds. The chimings of the church bells suggest a gloomy horrible overtone of death while the jingling sounds of both Bloom’s old brass bed and the hackney imply one major theme of the novel--sexuality. Plett’s model, though not yet perfect, provides a useful reference frame for a brief survey of the phonological figures in Ulysses. In the 15 phonological figures, assonance, alliteration, rhyme and others, are directly responsible for its poetical tendency. Music for Joyce carries special implications: music is not only a natural revelation of one’s true feelings, but also an effective way to enrich the novel genre. The four songs at the Ormond bar have aroused Bloom’s emotional communion and “The Croppy Boy” in particular reveals the betrayal theme. We come to know Bloom and the other characters particularly by their individual tastes in music. Chapter 3 is devoted to a detailed analysis of Ulysses’ lexical deviations such as conversion, compound and word-play. For Joyce, words are the basic testing ground to try out his linguistic innovations. Verb and nonverb conversions, known as “dynamic” transfers, are short in form, but compact in meaning. Compounds such as “babemary” and “Besteglinton” are invested with rich cultural connotations, while neologisms like “throwaway” and “theirhisnothis更多还原