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从语体的观点来说,称谓语透过各式各样的语体反映言谈事件中言谈者(包括说话者、听话者、第三者)之间的人际关系。人际间的亲疏远近、尊卑高低都会随着情境而变,形成制约称谓语语言形式选取的重要因素。本文关切的焦点是称谓语的称代用法,即在语境中用来指称说者、听者或第三者采用称谓语而不直接用人称代词,其用意是表达交谈者错综复杂的人际关系。本文将省视闽南戏文明嘉靖《荔镜记》中各种角色(生、旦、贴、外、丑、末、净)如何在情节推移中活用称谓语,来表达对话者之间各种人际间的主观语义,特别引人入胜之处是因语境的变迁所带动称谓语语体的变化,其变化方式有规律可循。
From a linguistic point of view, appellations reflect the interpersonal relationships among the speakers (including the speaker, the hearer, and the third party) in the speech events through a variety of genres. Interpersonal affinity, supremacy and elevation will change with the situation, the formation of the control appellation language form an important factor in the selection. The focus of this article is the nominal substitution of address terms, which is used in the context to refer to the speaker, listener, or third party as an appellation instead of using personal pronouns to convey the intricacies of the interlocutor. This article will disregard how various characters (students, deniers, stickers, outsiders, ugliest ones, and nets) in the “Mirror of the Assassin” in Jiajing of the Southern Fujian Civilization applied the appellation in plot changes to express interpersonal relationships among interlocutors The subjective semantics are especially fascinating because of the change of the style of appellation which is driven by the change of context. The way of change is regular.