內容提要
戲劇文體學是一門正在發展的學科，目前面臨兩個問題。第一個問題與研究方法有關：已有的文體分析框架往往混淆語用學與話語分析的區別，把兩者都看作分析工具。第二個問題與研究對象有關：多數文體分析者對於舞台指令，要么視而不見，要么排斥在外，認為不值得研究(見第二章)。
本文嘗試從三個方面解決上述兩個問題。首先，本文通過理論思辨和例證表明，語用學和脫離語境的語言學(context-free linguistics，如音位學、形態學、句法學、語義學和話語分析)對於戲劇文體學的貢獻是不同的，應該把前者看作閱讀和分析戲劇文本的視角，而把後者(不考慮語境因素) 看作分析工具(見第三章)。其次，通過理論思辨和實驗方法，本文表明，舞台指令是戲劇(尤其是現代戲劇)不可分割的一個部分，也應該是戲劇文體分析的重要對象之一(見第四章)。最後，本文嘗試構建一套完整的戲劇語用文體理論，並在此基礎上提出一套舞台指令分析程式。戲劇語用文體理論以語用學為研究視角，以語言學(尤其是話語分析)為技巧，以戲劇文本(既包含對白，又包含舞台指令)為研究對象，提倡戲劇話語形象化分析，把隱含意義推理作為中心任務，從而揭示體現戲劇文本關學價值的語言特點或風格。
舞台指令分析程式以舞台指令單位為核心，分為單位建立、單位分類、意義分析(既包含字面意義，或稱符號，又包含推論)、確認美學性質、統計分析與討論五個步驟(見第五章)。本文套用該程式，從易卜生的《玩偶之家》中選取三段樣本進行實例分析。結果表明，對於舞台指令進行戲劇語用文體分析，可以揭示劇作家如何用舞台指令來刻畫人物性格。該實例分析同時表明，本文提出的戲劇語用文體理論和舞台指令分析程式具有一定的描述力和解釋力(見第六章)。
目錄
序
Acknowledgements
Abstract
內容提要
Chapter 1 Introduction
1.1 Therationaleof the study
1.2 Objectives of the study
1.3 Methodology of the study
1.4 Outline of the book
Chapter 2 Stylistics of drama: The state of the art
2.1 The pre-stylistic period
2.1.1 The traditional literary critical approach
2.1.2 The rhetorical-poetic approach
2.2 The early stylistic period: The poetic-fictional approach
2.3 The pragmatic and discourse analysis period: The study of the dialogue
2.4 The pragmastylistic period: The study of stage directions
2.5 A comparison and contrast of the different approaches
2.6 Summary
Chapter 3 Pragmatics as a perspective on dramatic texts
3.1 The view of pragmatics as a tool kit
3.2 The view of pragmatics as a perspective on language
3.3 Different contributions of discourse analysis and pragmatics to stylistics of drama
3.4 A pragmatic perspective on dramatic texts
3.4.1 The phonological level
3.4.2 The semantic level
3.5 Summary
Chapter 4 Stage direction as an important object for stylistic analysis
4.1 Some theoretical preliminaries
4.1.1 Which is the object of stylistics of drama, text or performance?
4.1.2 The double-level structure of the dramatic discourse
4.1.3 The production and comprehension of dramatic message
4.1.4 Speech, act, andsemiotics
4.1.5 "Video discourse analysis" and "visualized discourse analysis"
4.2 Stage directions as an important object for stylistic analysis
4.2.1 Deletion and substitution: A way to elicit the importance of stage directions for stylistics of drama
4.2.2 Stage directions in classical plays
4.3 Summary
Chapter 5 From page to stage: A pragmastyistic perspective on stage directions
5.1 Pragmastylistics of drama: An integrated theory
5.1.1 Defining pragmastylistics of drama
5.1.2 Research questions drama pragmastylisticians attempt to answer
5.1.3 The procedure for pragmastylistic analysis of dramatic texts
5.2 A pragmastylistic perspective on stage directions of drama
5,2.1 A pragmastylistic perspective on stage directions
5.2.2 An analytical procedure of stage directions
5.2.3 Analyzing and tagging the stage direction unit: An example
5.3 Summary
Chapter 6 Characterization revealed in stage directions
6.1 Introduction
6.1.1 Yu's stylistic study of the play
6.1.2 My research questions
6.2 Methodology
6.2.1 Samples for analysis
6.2.2 Process of analysis
6.3 Results and discussion
6.3.1 General statistics
6.3.2 Characterization revealed by stage directions
6.4 Summary
Chapter 7 Conclusion
7.1 Summary of the study
7.2 Significance of the study
7.3 Implications of the study
7.4 Limitations of the study and suggestions for further exploration
Reference
Appendix
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