1、 對(duì)比分析論文：中美達(dá)人秀節(jié)目評(píng)委批評(píng)策略對(duì)比分析【中文摘要】言語(yǔ)行為是人們最常用的交流方式之一。言語(yǔ)交流在人們的生活中起著舉足輕重的作用。對(duì)言語(yǔ)行為的研究,也深受研究者們關(guān)注,但目前主要集中在對(duì)請(qǐng)求,道歉,恭維,拒絕等方面的研究,對(duì)批評(píng)策略的研究還不夠充分。批評(píng)作為一種威脅面子的行為,使用得恰當(dāng)就很可能達(dá)到目標(biāo)效果,使用不當(dāng),不僅很難達(dá)到目標(biāo)效果,甚至可能會(huì)惡化說(shuō)話者和聽(tīng)話者的關(guān)系。由此可見(jiàn),對(duì)批評(píng)策略的研究有著深遠(yuǎn)的意義。本文以言語(yǔ)行為理論,禮貌理論以及霍夫斯泰德的國(guó)家文化維度理論為基礎(chǔ),對(duì)中國(guó)達(dá)人秀與美國(guó)達(dá)人秀節(jié)目評(píng)委的批評(píng)策略進(jìn)行了對(duì)比研究。前人對(duì)批評(píng)策略的研究基本上采取調(diào)查問(wèn)卷的方法

2、收集語(yǔ)料。這種方法能在短時(shí)間獲取大量的語(yǔ)料,但是這種語(yǔ)料的語(yǔ)境都是假設(shè)的,缺少真實(shí)的語(yǔ)境,因而語(yǔ)料的說(shuō)服力不夠強(qiáng)。本文以中國(guó)達(dá)大秀第一季前六集和美國(guó)達(dá)人秀第三季中的七集批評(píng)性語(yǔ)料建立封閉語(yǔ)料庫(kù),并對(duì)語(yǔ)料庫(kù)當(dāng)中的中國(guó)達(dá)人秀評(píng)委與美國(guó)達(dá)人秀評(píng)委的批評(píng)策略進(jìn)行了對(duì)比分析。通過(guò)語(yǔ)料分析共得出17種批評(píng)策略,其中9種為公開(kāi)策略,8種為非公開(kāi)策略。中國(guó)達(dá)人秀評(píng)委共用到了其中的14種批評(píng)策略,美國(guó)達(dá)人秀評(píng)委用到16種批評(píng)策略。通過(guò)批評(píng)策略對(duì)比研究,發(fā)現(xiàn)中美達(dá)人秀節(jié)目評(píng)委均偏愛(ài)使用公開(kāi)策略,但美國(guó)達(dá)人秀評(píng)委的公開(kāi)策略的使用比率明顯大于中國(guó)達(dá)人秀評(píng)委(中國(guó)達(dá)人秀節(jié)目評(píng)委的公開(kāi)策略比率為52.1%,而美國(guó)達(dá)人秀評(píng)

3、委使用的公開(kāi)策略比率為80.6%)。根據(jù)研究結(jié)果,論文進(jìn)一步討論了中美達(dá)人秀節(jié)目評(píng)委批評(píng)策略使用異同的原因。研究發(fā)現(xiàn),文化維度在中美達(dá)人秀評(píng)委批評(píng)策略的不同點(diǎn)方面起著相當(dāng)重要的作用。中美達(dá)人秀節(jié)目評(píng)委的批評(píng)策略使用情況一定程度的反應(yīng)了兩國(guó)的文化異同,在達(dá)人秀節(jié)目越來(lái)越受歡迎的今天,節(jié)目評(píng)委的批評(píng)策略很可能影響甚至引導(dǎo)觀眾的批評(píng)策略。因此,本文作者希望通過(guò)對(duì)中美達(dá)人秀節(jié)目評(píng)委的批評(píng)策略使用情況的對(duì)比分析,在一定程度上揭開(kāi)批評(píng)策略的神秘面紗。同時(shí)本研究為批評(píng)策略研究,跨文化研究,以及跨文化交流,做出了一定的貢獻(xiàn)。當(dāng)然,本文僅涉及了批評(píng)策略的對(duì)比研究,對(duì)批評(píng)其他方面的研究還需要進(jìn)一步探討,如對(duì)批評(píng)應(yīng)

4、答語(yǔ)的研究等?！居⑽恼縎peech act is one of the most common used ways of communication, which plays an important role in peoples life. It is also one of the study focuses for researchers. The previous speech act studies mainly focus on request, apology, compliment and reject, etc. However, the researches on c

5、riticism strategies are still inadequate. Criticism is a face threatening speech act. If it is used appropriately, the expected criticism effect can be achieved; if it is misused, the relationship between the speaker and the hearer might be hurt. Therefore, the research on criticism strategy has far

6、-reaching significance.Based on Speech Act Theory, Politeness Theory and Hofstedes Theory of National Cultural Dimension, the paper conducts a contrastive analysis of judgescriticism strategies in Chinese and American talent shows. The data of previous researches on criticism strategies were almost

7、collected through the way of questionnaires. The researchers can obtain a large number of data in a short time by such a way. However, the context of this data is assumed. For lacking of real context, the corpus is not persuasive enough. Based on the self-built closed corpus, which is composed by si

8、x episodes in Season 1 of Chinas Got Talent and seven episodes in Season 3 of Americas Got Talent, the paper conducts a contrastive study of judgescriticism strategies in Chinese and American talent shows.17 criticism strategies have been obtained from the self-built corpus, which includes 9 On-reco

9、rd Strategies,8 Off-record Strategies. The judges of Chinas Got Talent employed 14 criticism strategies among the 17 strategies, and the judges of Americas Got Talent adopted 16 criticism strategies. By criticism strategies contrast, it seems that both the Chinese and American talent showsjudges pre

10、fer On-record Strategies. But there are big frequency differences between the two parties (the frequency of On-record Strategies adopted by Americas Got Talent judges is as high as 80.6%, while the Chinese is 52.1%). After Discussing the similarities and differences of criticism strategies employed

11、in the two shows, the paper presents the interpretation of the similarities and differences of criticism strategies in the following. The study finds that National Cultural Dimension plays a very important role in the interpretation. Nowadays, talent show becomes more and more popular, and the judge

12、s criticism strategies are likely to influence and even to guide the audience how to use criticism strategies. Therefore, the writer hopes to reveal the mystery of criticism strategies to some extent. This paper may contribute to criticism strategies study, cross-cultural study and communication in

13、a certain degree. Of course, this study only touches on contrastive research of criticism strategies, and more aspects about criticism are still waiting for further studies and discussions, such as the response of criticism strategies, etc.【關(guān)鍵詞】對(duì)比分析 言語(yǔ)行為 批評(píng)策略 達(dá)人秀【英文關(guān)鍵詞】contrastive analysis speech ac

14、t criticism strategy talent show【目錄】中美達(dá)人秀節(jié)目評(píng)委批評(píng)策略對(duì)比分析 摘要 3-4 Abstract 4-5 List of Tables and Figures 6-9 Chapter 1 Introduction 9-11 1.1 Background of the Study 9-10 1.2 Objectives of the Study 10 1.3 Structure of the Thesis 10-11 Chapter 2 Literature Review and Theoretical Framework 11-23 2.1 Liter

15、ature Review 11-16 2.1.1 Definition of Culture 11-13 2.1.2 Definition of Criticism 13-15 2.1.3 Previous Studies on Criticism Abroad 15-16 2.1.4 Previous Studies on Criticism at Home 16 2.2 Theoretical Framework 16-23 2.2.1 Speech Act Theory 17-19 2.2.2 Politeness Theory 19-20 2.2.3 Hofstedes Nationa

16、l Cultural Dimension Theory 20-23 Chapter 3 Research Methodology and Data Description 23-26 3.1 Methodology of the Study 23 3.2 Data Description 23-26 3.2.1 Data Resource 23-25 3.2.2 Reasons for Choosing the Two Talent Shows 25-26 Chapter 4 Judges Criticism Strategies Analysis and Discussion 26-49 4

17、.1 Overall Criticism Strategies Contrast 26-28 4.2 On-record Strategies 28-36 4.2.1 Bald Statement 28-29 4.2.2 Questioning 29-30 4.2.3 Sarcasm 30-31 4.2.4 Consequence 31-32 4.2.5 Order/Command 32-33 4.2.6 Comparison 33-34 4.2.7 Insult 34-35 4.2.8 Expression of Negative Feeling 35 4.2.9 Hedging 35-36

18、 4.3 Off-record Strategies 36-44 4.3.1 Instruction/Suggestion 36-37 4.3.2 Enquiry 37-38 4.3.3 Empathy 38-39 4.3.4 Figuration 39-40 4.3.5 Stroking 40-41 4.3.6 Hope/Encouraging 41-42 4.3.7 Humor 42-44 4.3.8 Hesitation 44 4.4 Similarities of the Two Shows 44-46 4.4.1 Analysis of the Similarities 44-45 4.4.2 Interpretation of the Similarities 45-46 4.5 Differences of the Two Shows 46-49 4.5.1 Analysis of the Differen