中国摇滚乐话语的再情景化_批评性语篇分析视角_张穆瑶.docx

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1、 独创性声明及使用授权声明 -、 T 位论文独创性声明 木人所撰 W的学位论文足在指导教师的指导下独立 2 成的研究成果。除已明确鈿 注3 义扮到许可外，所撰写的学位论文屮不包禽他人已中消学位或拉他用途所使用 H的 成果，不包含 U:他个人成集体已经发衣成撰 4 过的研究成火，木人的指导教帅对此进 行了审定。对本文的研究做出重要贡献的个人或集休，本人已在文中做出明确的说明 并表示谢意。如有不实，本人承枳相应击任。 二、学位论文及研究成果使用授权声明 木人 N 意授权天津商业大学以非 M 利方式保存、使 Ri 本人的学位论文的 itiT 版及 纸质版。授权大津商、丨 k 人学将本论文的全邰内容成

2、部分内 W 提供给有关方曲编入数椐 库进行检索、出版及提供信息服务。 R 意学校向 国家釘叉部门或机构送交论文的复印 件和磁盘。本人在校期 N 取得的研究数据、相关成果等知识产权归天津商业大学所有。 fi:涉及保密的学位论文解密后适叫木授权 . 学位论义作 :片签字： I#旅 指导教师签字 : n 期： t JI 3 M 分类号 密级： 学校代码 ： 10069 研宄生学号： Y20120129 Chinese Rock and Roll as Recontextualized Discourse： A Critical Discourse Analysis Perspective 中国摇滚乐

3、话语的再情景化 批评性语篇分析视角 研究生姓名：张穆瑶 专业名称：外国语言学及应用语言学 指导教师姓名：赵芄副教授 论文提交日期： 2015 年 5 月 学位授予单位：天津商业大学 Abstract Based on the Transtextuality Theory proposed by Pennycook and corpus and systemic functional grammar, this paper aims to analyze the process of the recontextualization of Chinese rock and roll from th

4、e perspective of critical discourse analysis. By corpus analysis, the birds-eye view linguistic features of Chinese rock and roll and its differences and similarities in each phase are described. By systemic functional grammar analysis, the cluster of high frequent lexical word “爱/love” and the clau

5、ses with the keyword “ 梦 /dream” and lyrics present the different styles between western and Chinese rock and roll. These analyses both in the macro level and in the micro level point to the discursive features of Chinese rock and roll in the process of recontextualization with the influence of Chin

6、ese social discourses. Data are the Chinese rock and roll lyrics ranging from the year 1986 to 2013. In this research, the development of Chinese rock and roll is firstly divided into three phases, involving the prosperity time, the transformation time and the developing time. Then 100 lyrics writte

7、n by at least 12 songwriters in each phase will be chosen. In order to keep the authentitcity and accuracy of the linguistic materials, most of these lyrics source from the singers personal albums, works and webpages. It is found that on the one hand Chinese rock and roll performs the rebelling cons

8、ciousness in terms of lexical choice, but on the other accompanying with social change, the essence of lyrics reflects the individuals helplessness and confusion spiritual emptiness and the pursuit of self-development. The songwriters, by hybriding the music discourse and political discourse, aim to

9、 express their ideas and appraise the politics. The intertextual analysis reveals the songwriters concession. The significance of the study is that the Chinese rock and roll songwriters do not have i chances to participate in the social activities and the development of Chinese rock and roll doesnt

10、undergo the turbulent time or warfare. Then the Chinese rock and roll singers and the songwriters may not have the strong rebelling spirit. They just inherit the western rock and roll form. Besides, the hybridity of political discourse and music discourse presents the songwriters9 attitude towards t

11、he politics, which hardly takes effects on social change and political development. Key words: rock and roll; corpus; recontextualization; transtextuality 论文从批评话语分析的视角出发，以超文本理论为理论研宄框架，以语料库和 系统功能语法为研宄工具，试图阐释摇滚乐被再情景化进入中国后的发展过程。论 文首先运用语料库对所收集的中国摇滚乐歌词按其发展的三个不同阶段对它们的 语言特征进行了描述，以三个阶段均出现的高频字 “爱 ”及其搭配和关键字 “

12、梦 ” 及其所处小句为研宄对象，通过系统功能语法对歌词小句进行研宄，对比中国摇滚 乐与西方摇滚乐的差异，寻找出现差异原因。 论文的数据来自于 1986 年到 2013 年的歌词，在研宄过程中，中国摇滚乐发展 的过程首先被分为三个阶段，即繁荣期，转变期和发展期。每个阶段选取 100 首歌 曲的歌词，这些歌词的创作者数量在三个阶段均超过 12 位歌手。为保证语料的准 确性与真实性，语料来源大多为歌手专辑，个人书籍和个人网站。 研宄发现，相比于西方的反叛精神，中国摇滚乐虽在语言选择的形式上体现了 反叛的意识，但内容反映的是民众的无奈，迷 茫与孤独情绪。三个阶段的不同点在 于随着社会的发展，民众的无奈

13、与迷茫由不能适应社会转而成为精神空虚继而更关 注自身的发展。其次，通过对同一歌手崔健在三个时期分别创作的三首歌曲的歌词 进行文本分析可以发现摇滚乐歌手和词曲作者在创作音乐话语中融入同时代或者 过去出现的政治话语以表达自身的观点，试图参与对政治的评价。 本研宄的意义在于，中国摇滚乐歌手没有如西方歌手那样，有更多参与政治活 动的机会，且摇滚乐引入中国时正是关注经济发展时期，不存在国家初创或战争事 件，因而内心反叛精神并不深刻，因此，摇滚乐被再情景化进 入中国时，仅保留了 具有反叛意义的语言形式。政治话语与摇滚乐话语的混杂体现出歌手通过摇滚乐参 与政治的态度，但是却没有如西方音乐一样反作用于政治的发

14、展。 关键词 ： 摇滚乐；语料库；再情景化；超文本理论 Contents Abstract . I . m Chapter One Introduction . 1 1.1 Research Background . 1 1.2 Significance of the Research . 3 1.3 Research Questions . 3 1.4 Structure of the Thesis . 3 Chapter Two Literature Review . 4 2.1 Basic Concepts . 5 2.1.1 Critical Discourse Analysis .

15、5 2.1.2 Corpus Linguistics . 5 2.1.3 Recontextualization . 6 2.1.4 Transtextuality . 7 2.2 Previous Studies on Corpus-based Discourse Analysis . 8 2.3 Previous Studies on Rock and Roll . 10 2.4 Reflection . 12 Chapter Three Theoretical Framework and Methodologies . 12 3.1 Theoretical Framework. 13 3

16、.2 Methodologies . 15 3.2.1 Corpus Analytic Tool . 16 3.2.2 Systemic Functional Grammar . 18 3.3 Data Collection . 19 3.3.1 Phase Division . 19 3.3.2 Data Resources . 20 3.3.3 Type Token Ratio . 21 3.4 Summary . 22 Chapter Four Corpora Analysis . 22 4.1 Corpus Analyzing Tools Employed in This Study

17、. 22 4.1.1 Conversion and Segmentation . 23 4.2 Corpus Analysis . 25 4.2.1 Wordlist Analysis . 25 4. 2.2 The Clusters of the Lexical Word . 28 4.2.3 Keyword Analysis . 32 4.3 Summary . 34 v Chapter Five Lyric Texts Analysis . 35 5.1 The Analysis of Three Phases . 36 5.1.1 The Cluster of the Lexical

18、Word “爱 /love” Analysis . 36 5.1.2 Thee Keyword “梦 /dream” Analysis . 37 5.2 The Analysis of the Lyrics . 41 5.3 Discussion . 47 5.3.1 Western Rock and Roll . 47 5.3.2 Chineses Rock and Roll . 48 5.4 Summary . 49 Chapter Six Conclusion . 50 6.1 Findings and Contribution . 51 6.2 Limitation and Furth

19、er Research . 53 Bibliography . 53 发表论文及参加科研情况说明 . 59 Appendix 1 . 60 Appendix II . 69 Acknowledgements . 77 VI Chapter One Introduction This chapter is a brief introduction of this paper involving the research background, significance of the research, research questions and structure of the thesis.

20、 The research background introduces the meaning of discourse, critical discourse analysis and the origin and broadcast of western rock and roll. From this part, it can be found that the research on rock and roll recontextualization is needed. The research questions are listed to show the core resear

21、ch content which is about the feature of Chinese rock and roll and the differences between Chinese rock and roll and the western one. The last part shows the structure and the contents of each chapter. 1.1 Research Background With different social statuses, communicative objectives, settings and ins

22、titutions, people choose different lexicons, genres and linguistic patterns to convey information, participate in activities or represent the affairs, which can be viewed as the social practice. This sort of practice is named as discourse filled with critical awareness in contemporary social life (T

23、ian, 2009). Critical discourse analysis (short for CDA) is an interdisciplinary approach to the study of discourse which focuses on these social issues and problems and the ways social and political domination are reproduced by text and talk. It analyses texts and any type of semiotic materials. For

24、 instance, the written texts, conversations, television programmes and even popular musical lyrics. Several classic versions of CDA methodologies have been frequently employed, including Fairloughs dialectical-relational approach Wodaks discourse-historical approach van Dijks critical context model

25、and so on. Regardless of the different research approaches, there is a common ground in CDA that discursive social change often accompanies with a phenomenon called recontextualization that new meanings are produced when discourse is removed from the old context and embedded into a new one. Van Leeu

26、wen (2008) even regarded recontextualization as a new analytic tool in the field of critical discourse analysis arguing that the analysis of recontextualization explains the causes of social change. In sum, the process of recontextualization reflects the social change in diverse context. The widespr

27、ead rock and roll is of great importance research meaning in the perspective of recontextualization. Western rock and roll was born under the strong influence of African-American music in the aspect of genre. It was the consequence of black colonial culture interacting with white bourgeois culture.

28、While on social background, it was originated from the postwar baby boom and the rise of the middle class. But no matter which background it was, they both prompted the emergence of the core of rock and roll the rebellious spirit From one aspect, the long-term depression and discrimination given by

29、white people make the black people feel painful and were eager to struggle for their fete. Whats more, the new generation born after world war was not satisfied with stable living surroundings and enough food. They wanted to pursuit freedom and a lifestyle which differed from their elder generation.

30、 Combining these two reasons, rock and roll was created for representing the liberty, dream and against traditional opinion and ancient rule. When Chinese first got to know rock and roll, they felt the discontented and rebel sentiments expressed by the singers from both lyrics and rhythm. A large nu

31、mber of singers, lyricists and even workers who are not familiar with songs composition before turned to op t for rock and roll to vent their emotion. At the same time, politics, culture and economy of China were developing rapidly, which had a great effect on rock and roll. In almost thirty years,

32、Chinese rock and roll has shaped its own style and generally becomes more and more popular around the world. Therefore, Chinese rock and roll is a specific hybridized discourse recontextualized 2 from the west. How has this recontextualization undergone in China? Perhaps a pilot study is needed. 12 Significance of the Research Chinese rock and roll becomes popular these years and enriches individuals cultural life. Rock and roll, starting from western countries, is viewed as a social activity with strong social cognitive and rebellin