【作者】 李疆彤；

【导师】 罗耀光；

【作者基本信息】 广西师范大学 ， 外国语言学及应用语言学， 2009， 硕士

【摘要】 自二十世纪七十年代以来,国内外语言学界的研究者对语码转换的研究表现出极大的关注。研究的视角主要包括语法学、社会语言学、心理语言学、会话分析及语用学等,其中语用学研究角度最具说服力,它在动态的语境下研究语言现象所涉及的语言、社会、文化、认知等各方面的因素,通过具体描述和解释,对语码转换这一语言现象进行全面、科学的解释。语码转换的研究领域包括会话语码转换和书面语码转换,前者一直是语言学家们的关注焦点,而书面语码转换的研究相对较少,主要集中在文学作品、报纸、杂志、广告、歌曲等书面语篇中的语码转换。本研究以Myers-Scotton的主体语言框架理论(1993),Verschueren的顺应理论(1999)及于国栋的语码转换顺应模式(2001)为理论基础,以华裔小说家谭恩美的四部小说《喜福会》(1989)、《灶神之妻》(1992)、《百感知觉女孩》(1995)和《接骨师之女》(2003)中的语码转换为语料,采用定量和定性研究方法作为本研究的研究方法。运用定量研究方法,描述小说中英汉语码转换的类型和语言结构特征;运用定性研究方法从顺应的角度探讨语码转换的动机。研究内容主要包括:(1)嵌入语言的选择、嵌入语言成分的分布、嵌入单词的词性和英汉语码转换的类型等;(2)从语用学的角度,探讨作者和小说中的角色运用语码转换的动机。通过对这四部小说中的语码转换进行综合、归纳和分类,作者发现:(1)小说主体语言是英语,嵌入语言是汉语,以拼音的形式分布在单词、短语、句子、语篇等不同的语言层面。其中在单词层面上的语码转换最多,句子层面上的语码转换其次,而词组层面上的语码转换最少。语码转换词的词性主要集中在名词、动词、形容词、副词、叹词、数词、拟声词等七类,其中名词语码转换出现最多。汉英语码转换的类型有句内转换、句间转换和附加转换,其中句内转换最多,附加转换最少;(2)为了让读者更好地理解汉语拼音的意思以及所要传达的文化内涵和意义,作者给作为嵌入语的汉语拼音附加了英语解释,这些英语解释的放置是无序的。有的英语解释放置在拼音之前或拼音之后;有的与拼音或出现于同一个句子中,或出现于句际,即在拼音出现之后的下一句子中,有的甚至出现在几个句子之后。小说中大部分拼音没有附加英文解释,这些词有称呼语、叹词、麻将用语,还有再次出现的语码。无英文解释并不影响读者对小说的阅读和理解,借助语境能猜测出语码的含义。(3)小说的作者和小说中的角色进行语码转换的动机是为了顺应英语和汉语的语言现实和心理,同时也是对中国社会规约的顺应。语码转换不但从一个侧面反映了作者对汉语这门语言掌握的熟练程度,还体现了作者娴熟的写作技巧,更是小说作者的交际策略,它用以传达作者的写作意图,从而实现作者和读者之间的有效交流。本研究对谭恩美的华裔小说中语码转换的研究意义在于:有助于读者了解英文小说中英汉语码转换这一语言现象的本质,了解小说作者如何运用语码转换策略,实现与读者有效交流的目的。同时,本研究还有助于对当前语言现实的认识:在中国大陆,当代汉语和英语等其它语言相互接触并交融,语码转换成为语言现实的一种普遍现象,外国文化伴随外语的到来而得到传播;而在大洋彼岸,通过媒体,如报刊杂志、文学作品等,中国文化实现了对西方国家的渗透,在这个过程中,汉语(拼音)对中国文化的传播和发展起到了推动的作用。更多还原

【Abstract】 Increasing attention has been paid at home and abroad to the study of code-switching since 1970s. Angles of researches include grammar, sociolinguistics, psycholinguistics, conversation analysis and pragmatics, among which the pragmatic approach is believed to be the most convincing. It can be employed to study simultaneously the linguistic, social, cultural and cognitive factors involved in linguistic phenomena in the dynamic context. This approach is also used to explore the complexity of code-switching fully and scientifically through thorough description and explanation. Researches of code-switching cover two fields: spoken discourse and written discourse. The former has always been linguists’research focus while few studies are carried out in the latter, with the focus on some written discourses, such as literary works, newspapers, magazines, advertisement and songs, etc.The present study is carried out in the light of The Matrix Language Frame Model, proposed by Myers-Scotton (1993), and Jef Verschueren’s Adaptation Theory(1999) and Yu Guodong’s Adaptation Model (2001). The present study takes the instances of code-switching in Amy Tan’s four novels as the sample of analysis, including The Joy Luck Club(1989), The Kitchen God’s Wife(1992), The Hundred Secret Senses(1995) and The Bonesetter’s Daughter(2003). Quantitative and qualitative research methods are integrated and serve as the research methodology. Quantitative study describes the structural features of code-switching while qualitative study attempts to explain its motivations under the guidance of Adaptation Model. The contents of the study cover the following aspects: (1) the embedded language, the grammatical levels of switched elements, parts of speech of switched words and the switch types; (2) Motivations of the application of code-switching by the writer and the characters in the novels are discussed from the pragmatic perspective.Based on the synthesis, induction and classification of the code-switching phenomena in these four novels, it is found that: (1) English is the matrix language while Chinese is the embedded language. Code-switching, in the form of pinyin, happens at every level of language, ranging from word, phrase, sentence to discourse, among which words appear the most frequently, with sentences the next-most, phrases the least. The switched codes are grammatically classified into seven groups, namely, noun, verb, adjective, adverb, interjection, quantifier and onomatopoeia, among which nouns are predominant. The switched codes are categorized into three types: intra-sentential switching, inter-sentential switching and tag switching, with the first type the most and the third type the least. (2) In order to help readers understand the cultural connotation and its significance conveyed in the codes of pinyin, the writer explains the codes in English. The positions of the English translation are random. The English translation is put either in front or after the code. It may appear either in the same sentence with pinyin, or in the discourse, i.e., in the following sentence, sometimes even after several sentences. It is found that most of codes are not provided with English explanation in the novels, which are found to be appellations, interjections, mahjong terms and the codes which appear once again. But the lack of English translation does not prevent readers from understanding the novels and the meaning of the codes can be conjectured in the concrete context. (3) The writer and the characters in the novels switch between languages so as to realize adaptation to linguistic and psychological motivations and to Chinese social conventions as well. The application of code-switching to literary works displays the writer’s mastery of the language and his/her exquisite writing techniques. Code-switching is adopted as a communicative strategy to express the writer’s writing intention and thus the writer and the readers can efficiently communicate with each other.The significance of the study on code-switching in Amy Tan’s Chinese-American literary works lies in the following aspects. It can enhance the readers’understanding of the essence of Chinese pinyin switched in English novels. Code-switching, applied by the writer in the novels as a communicative strategy, can help strengthen the communication between the writer and his/her readers. Additionally, the present study helps us in understanding the linguistic reality: code-switching has become a universal phenomenon in the frequent contact and interaction between Chinese and other foreign languages, along with which foreign cultures invade China mainland. On the other bank of the Atlantic Ocean, media, such as newspapers, magazines and literary works,enables Chinese culture to spread and enter into the western countries. Chinese (pinyin) acts as a direct stimulus to the spread and development of Chinese culture in the process.更多还原