《傲慢与偏见》小说与电视剧的元话语运用比较(2)
本研究发现这两个文体中互动式元话语明显多于交互式元话语，原因在于人际交流在这两个文本中都是主导部分。本研究认为， 两个文本的元话语运用相类似可以归因于对话在小说占有很大比例；同时其类似性也说明电视剧的改编是忠于原著的。另一方面，两个文本中元话语运用机制的差异是由两种不同文体的特点所引起的。
关键词：元话语,对比研究,文体CONTENTS
Acknowledgments i
Abstract ii
摘要 iii
1 Introduction 1
2 Metadiscourse 3
2.1 Definition and Issues 3
2.2 Classification of Metadiscourse 4
2.3 Hyland and Tse’s Model 5
3. Metadiscourse and Style 8
3.1 Concept of Style 8
3.2 Relationship between Metadiscourse and Style 9
4. Introduction to the Corpus 10
5 Findings of Metadiscoursal Features in the Corpus 11
5.1 Metadiscourse in the TV Drama and Novel 11
5.2 Interactive Resources 13
5.3 Interactional Resources 15
6 Conclusion 18
Bibliography 19
1 Introduction
Metadiscourse, first coined by Zelling Harris in 1959, has been widely used in discourse analysis and language teaching. Though metadiscourse was a rarely touched area, it has aroused a strong and lasting interest among scholars at home and abroad in recent years. Many scholars have carried out the research on metadiscourse from different viewpoints: cognitive, functional, sociolinguistic, rhetorical, psycholinguistic. Due to various research perspectives, metadiscourse has been labeled differently, such as signaling (Meyer, 1975), non-topical linguistic material (Lautamatti, 1978), gambits (Keller, 1979), meta-talk (Schriffrin, 1980) and discourse about discourse (Williams, 1981).The concept collects a range of discoursal features. The definition of metadiscourse embodies different understandings of scholars. The commonest description of metadiscourse is linguistic material in texts, written or spoken, which does not add anything to the propositional content but is intended to help the listener or reader organize, interpret and evaluate the information given.
Metadiscourse helps readers relate the content matter to a larger framework of knowledge, makes discourse cohesive, operationalizes rhetorical strategies and evaluates the discourse, introduces level shifts within a discourse, prepares readers for the next rhetorical (Crismore, 1989). Metadiscoursal elements are combined in the text, and they express the content. Metadiscourse is a framework to understand communication as social engagement. It can convey information more clearly. It clarifies some aspects of how writers inject themselves into the discourse by expressing their attitude. A writer is able to transform what may be a difficult text into a coherent reader friendly text, and relate it to a context and convey his or her personality, credibility and relationship to the message. If metadiscourse items are omitted, it is hard to understand the writer’s intention.
Metadiscourse is an attractive concept as it collects the range of devices writers use to organize the texts clearly, showing their attitudes to material and display reader awareness. Metadiscourse has been a concern in a range of fields, such as casual conversations, school textbooks, science popularizations, undergraduate textbooks, postgraduate dissertations and company annual reports. But studies are rarely seen as to the research concerning the metadiscourse in the difference of TV drama and novel of the same work. The study chooses TV drama version and novel version of Pride and Prejudice as research material because TV drama and novel are different in language styles. It is safe to assume that the mechanism of metadiscourse in these two versions of the same work is quite different due to their different styles and different times. It was predicted before the study that the use of interactional metadiscourse predominates over interactive metadiscourse in the TV drama and the reverse should be in the TV drama. But this study reveals that the frequency of interactional metadiscourse is roughly same in both of the two styles. As to the interactive resources, transition marker is only category frequently used while the other categories are none.