本文以合作原则为理论基础,对电影《心灵奇旅》中的会话进行了深入分析。合作原则由美国语言学家Grice (1967)提出,包括数量准则、质量准则、方式准则和关系准则。然而电影中人物的对话并非总是严格遵循这些准则。通过选取具有代表性的...本文以合作原则为理论基础,对电影《心灵奇旅》中的会话进行了深入分析。合作原则由美国语言学家Grice (1967)提出,包括数量准则、质量准则、方式准则和关系准则。然而电影中人物的对话并非总是严格遵循这些准则。通过选取具有代表性的会话实例,本文分别从四个准则探讨了违背准则后所产生的会话含义及其作用。研究发现,电影主角Joe和22对合作原则的有意或无意违背,对于塑造他们的人物形象、推动故事情节的发展以及揭示电影关于生命意义的主题具有重要意义。本研究为理解电影的主题与内涵提供了新的视角,同时也验证了合作原则在语言交际分析中的有效性。Drawing upon the framework of the Cooperative Principle, this paper conducts a comprehensive analysis of the conversations in the movie Soul. The Cooperative Principle, introduced by Grice in 1967, encompasses four maxims: the maxim of quantity, the maxim of quality, the maxim of relation, and the maxim of manner. Nonetheless, the interactions among the characters in the film do not consistently adhere to these maxims. By selecting representative instances of dialogue, this study examines the meanings and functions of conversational implicature that arise when these four maxims are flouted. The findings indicate that both intentional and unintentional violations of the Cooperative Principle by the film’s protagonists, Joe and 22, play a crucial role in developing their identities, advancing the narrative, and elucidating the film’s exploration of life’s meaning. This research offers a new perspective for interpreting the theme and connotation within the film, while also affirming the utility of the Cooperative Principle in the analysis of language communication.展开更多
文摘本文以合作原则为理论基础,对电影《心灵奇旅》中的会话进行了深入分析。合作原则由美国语言学家Grice (1967)提出,包括数量准则、质量准则、方式准则和关系准则。然而电影中人物的对话并非总是严格遵循这些准则。通过选取具有代表性的会话实例,本文分别从四个准则探讨了违背准则后所产生的会话含义及其作用。研究发现,电影主角Joe和22对合作原则的有意或无意违背,对于塑造他们的人物形象、推动故事情节的发展以及揭示电影关于生命意义的主题具有重要意义。本研究为理解电影的主题与内涵提供了新的视角,同时也验证了合作原则在语言交际分析中的有效性。Drawing upon the framework of the Cooperative Principle, this paper conducts a comprehensive analysis of the conversations in the movie Soul. The Cooperative Principle, introduced by Grice in 1967, encompasses four maxims: the maxim of quantity, the maxim of quality, the maxim of relation, and the maxim of manner. Nonetheless, the interactions among the characters in the film do not consistently adhere to these maxims. By selecting representative instances of dialogue, this study examines the meanings and functions of conversational implicature that arise when these four maxims are flouted. The findings indicate that both intentional and unintentional violations of the Cooperative Principle by the film’s protagonists, Joe and 22, play a crucial role in developing their identities, advancing the narrative, and elucidating the film’s exploration of life’s meaning. This research offers a new perspective for interpreting the theme and connotation within the film, while also affirming the utility of the Cooperative Principle in the analysis of language communication.
