《弗朗西斯·麦康伯短促的幸福生活》中人物对话分析-从关联理论视角

2010-08-15 00:46梁泽鸿全克林
黑龙江史志 2010年17期
关键词:威尔逊海明威关联

梁泽鸿全克林

(1.桂林理工大学外国语学院 硕士研究生2.桂林理工大学外国语学院 教授 硕士研究生导师 广西 桂林 541000)

1.引言

近年来,从语言学中分出一个新的学科-语用学。语用学是一门专门研究以语意为对象的从而对语言进行理解和使用的学科。交际是最普遍的人类社会活动,而交际活动的进行通常需要通过言语来表达。人们通过交际话语表达各自的思想、意图、情感、目的等等。

2.《弗朗西斯·麦康伯短促的幸福生活》简介

《弗朗西斯·麦康伯短促的幸福生活》是美国当代著名小说家海明威的一部作品。该故事描述的是一位美国小伙子带着自己的美貌的妻子到非洲打猎的事情。故事里的主人公麦康伯是一个懦弱的、怕妻子的男人。尽管他很有钱,日子也过得不错,但是在妻子的严压之下,好像不是那么幸福。麦康伯的妻子玛格丽特是一位出了名的美人,但却极爱出风头、炫耀自己。她看不起自己的丈夫,还经常给麦康伯带绿帽。对妻子的嚣张气焰,麦康伯显得无能为力,也显得无可奈何,只有忍气吞声,默默地承受妻子给他带来的无形的压力。俗话说人的忍耐力是有限的,物极必反。麦康伯在生活上、婚姻上是失败了,但在精神上却成了勇夫。他最终战胜了自己的怯懦,用顽强的意志的与现实进行抗争,在生命即将到尽头的刹那间,他把自己的形象改写成勇夫,并让在场的所有人无不为他感到敬佩。该小说中的人物对话,语言简洁,犀利,集聚讽刺意味。通过人物对话,作者把小说中的人物思想,性格刻画得淋漓尽致,栩栩如生,且对话内容极赋哲理,耐人寻味。并能让读者深刻体会到作者的写作风格。

3.关联理论的概述

Sperber和Wilson于1986年提出了关联理论的说法,他们认为对语义的表达和理解,必须与其他事物发生关联(Sperberand Wilson 1986:172-3)。并认为语言交际是一种认知活动,认知环境起着极其重要的作用。说话人和听话人对认知环境要有共识,这样交际才能成功。认知环境的因素包括客观情景因素也包括主观心里因素。他们还认为理解话语的标准就是认知假设,对事物的认知要遵循关联的原则-最佳关联性。他们还认为交际实际上也是一个明示-推理的过程。明示也就是说话人通过某种方式让听话人明确无误的理解说话人意图。推理是听话人根据说话人所提供的信息,再结合本身的认知语境(旧信息)和话语信息(新信息)对话语进行推理,从而达到对话语的理解。

4.小说人物对话分析

据Sperber和Wilson的关联论原理,交际活动就是认知活动。说话人要表达的话语的真正目的和意图如何能让听话人理解和明白这主要看双方对认知环境的共识。也就是说交际双方对所说话语的话题和内容都明了、清楚。交际话语实际上都包含着明说和暗含,那么听话人是怎样理解说话人的目的和意图还得取决于交际双方的互知信息的程度和推理。也就是交际双方根据交际内容,互相知道相关的语境信息-这种信息指的是说话当时的环境,说话人和听话人的意愿,想法,设想等等。并且通过推理,实现互明。也就是听话人把说话人的话语句意结合语境并加以推理,最终理解说话人的话语的本意。

1.IT was now lunch time and they were all sitting under thedouble green fly of the dining tent pretending that nothing hadhappened.

"Will you have lime juice or lemon squash?" Macomberasked.

"I'll have a gimlet," Robert Wilson told him.

"I'll have a gimlet too. I need something," Macomber's wifesaid.

"I suppose it's the thing to do," Macomber agreed. "Tell himto make three gimlets."

gimlet原意是手钻,在这是用来指饮料名,在英语文化中,该词有性暗示的意思。由于天气炎热,麦康伯建议喝饮料来解渴,威尔逊就趁此机会说要喝兑酸橙汁的杜松子酒,向马格暗示其不轨行为,而马格本身就不是一个安分守己的人,她从威尔逊明示的话语中听出了暗含的意思,于是也就迅速的做出了回应,与威尔逊达成默契。此时,两人一拍即合就开始勾搭上了,为接下来的发生的故事做了铺垫。然而,麦康伯还傻乎乎的蒙在鼓里,不知其所言,他只是听出了说话人话语中明示的部分还真的以为是大家都口渴了,需要杜松子酒之类的东西来解渴。从这,我们就可以看出麦康伯还是一个比较单纯的小伙子。马格是个放荡的女人。

"How is the beautiful red-faced Mr. Wilson? Are you feelingbetter, Francis, my pearl?"

"Oh, much," said Macomber.

"I've dropped the whole thing," she said, sitting down at thetable. "What importance is there to whether Francis is any good atkilling lions? That's not his trade. That's Mr. Wilson's trade. Mr.Wilson is really very impressive killing anything. You do kill anything,don't you?"

"Oh, anything," said Wilson. "Simply anything." They are, hethought, the hardest in the world; the hardest, the cruelest, themost predatory and the most attractive and their men have softenedor gone to pieces nervously as they have hardened. Or is it thatthey pick men they can handle? They can't know that much at theage they marry, he thought. He was grateful that he had gonethrough his education on American women before now becausethis was a very attractive one.

从马格与威尔逊的调情的对话中,读者完全可以看出马格是一个彻底的“最冷酷、最狠心、最掠夺成性和最迷人人的”人。马格问威尔逊:“你什么都打吧,对不?”从字面上看,这个什么指的是猎物还是人,这还得让读者好好推敲才行。如果是一个品行端正的人说出这句话,那么威尔逊所说的“什么都打”指的就是猎物一类的东西了。但是马格说此番话是别有目的,她是醉翁之意不在酒,话里有话呀。当然,威尔逊也不是个等闲之辈,于是两人为接下来发生的事实做了进一步的铺垫,达成共识。

会话过程中的后一话语与前一话语,以及会话赖以存在的语境在语义和语用上都有一定的联系(何兆熊2000:191-2)。关联论认为任何的话语都是有关联的,话语的理解过程就是寻找关联的过程。如果在较小的语境中找不到关联,就得在较大的语境中寻找,直到找到话语的关联为止,使话语在这个语境中具有语境效果。我们来看一下的对话:

3.he realized that his wife was not in the other cot in the tent.He lay awake with that knowledge for two hours. At the end of thattime his wife came into the tent, lifted her mosquito bar andcrawled cozily into bed.

"Where have you been?”Macomber asked in the darkness.

"Hello," she said. " Are you awake?”

"Where have you been?”

"I just went out to get a breath of air."

"You did, like hell."

"What do you want me to say, darling?"

"Where have you been?”

"Out to get a breath of air."

"That's a new name for it. You are a bitch."

"Well, you're a coward."

"All right," he said. "What of it?”

......

"There wasn't going to be any of that. You promised therewouldn't be."

"Well, there is now," she said sweetly.

随着故事的进一步发展,这天麦康伯发现马格没有在自己的帐篷里,他猜想马格肯定是与威尔逊干好事去了。见到马格,麦康伯连问了三次"Where have youbeen?”,马格的回答好像都与该问题没有直接的关联。她没有直接回答麦康伯她去了哪儿,而是问东答西,僻而不回答。按照常理来说这应当是交际失败,但结合当时的语境,我们不难从中找到关联:现在是深夜,马格能去哪?虽然我们从他们的对话中没有直接找到答案,但马格对麦康伯说:"Well, there is now,",我们很快就能找到该问题的答案了。从她跟麦康伯谈话的语气和内容,我们可以看出,她不在乎也不理会麦康伯此刻的心情和感受。面对马格的一次又一次出轨,麦康伯显得太懦弱了。这种懦弱不仅体现在打猎上,在与马格的婚姻上也是如此。让大家都感到麦康伯软弱到了极点,而马格嚣张也到了极点。马格当着麦康伯的面说"Well, you're a coward."但麦康伯还得祈求她以后不要再干这事。这样的夫妻关系无不让人同情麦康伯的遭遇。也让人觉得马格这样对待自己的丈夫太不厚道了。

"That was a pretty thing to do," he said in a toneless voice.

"He would have left you too."

"Stop it," she said.

"Of course it's an accident," he said. "I know that."

"Stop it," she said.

"Don't worry," he said. "There will be a certain amount ofunpleasantness but I will have some photographs taken that will bevery useful at the inquest. There's the testimony of the gun-bearersand the driver too. You're perfectly all right."

"Stop it," she said.

"There's a hell of a lot to be done," he said. " And I'll have tosend a truck off to the lake to wireless for a plane to take the threeof us into Nairobi. Why didn't you poison him? That's what they doin England."

"Stop it. Stop it. Stop it," the woman cried.

Wilson looked at her with his flat blue eyes.

"I'm through now," he said. "I was a little angry. I'd begun tolike your husband."

"Oh, please stop it," she said. "Please, please stop it."

"That's better," Wilson said. "Please is much better. Now I'llstop."

从以上的对话中我们看出,不管威尔逊怎么说,马格都是用"Stopit,"此时的威尔逊对麦康伯的转变是肯定的、赞扬的。从对话中我们也很容易的看出他对马格的蔑视。他用极其犀利的话语来羞辱马格,并说了这么一句话"That was apretty thing to do," "He would have left you too."。大家从此话中很容易就能体会出其含义-马格这是蓄意谋杀。呼应前文,正如作者在之前所描写的那样,马格的的确确是“the hardestin the world; the hardest, the cruelest, the most predatory and themost attractive”来体现只是最合适不过了-说什么也没办法挽回是事实了。

5 结语

Sperber和Wilson的关联论原理从认知学的角度为我们提供了一种新的理解和欣赏文学小说的理论框架。用关联理论来分析海明威此部小说《弗朗西斯·麦康伯短促的幸福生活》,更能从中领会小说中人物的性格特征以及作者的写作风格:海明威作中的主人公多数是勇敢、威猛、面对困难、曲折都临危不惧的硬汉,虽然遭受命运的戏弄,但依然风度犹存。

[1]Haimingway.The Short Happy Life of Francis Macomber [M]//TheCompleteShortStories ofErnestHemingway.CharlesScribner'sSons,1987.

[2]SperberD and WilsonD. Relevance: Communication and Cognition[M].北京:外语教学与研究出版社,2001.

[3]海明威评传[M].董衡僎,译.杭州:浙江文艺出版社,1999:166.

[4]张薇.海明威小说的叙事艺术[M].上海:上海社会科学出版社,2005.

[5]何自然.语用学与英语学习.上海.上海外语教育出版社.1999:122-133.

[6]何兆熊.新编语用学概要.上海.上海外语教育出版社.2001:180-193.

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