AcasestudyofConversationAnalysisbasedonLabov

1752019年01期总第441期语言文化研究ENGLISH ON CAMPUSA case study of Conversation Analysis based on Labov’s Narrative Structure Theory文/林汉钊【摘要】作为社会语言学代表人物，拉波夫把语篇分析从修辞学的角度带到了新的高度，提出叙事结构理论，从而影响叙事学研究的发展。

本文以其理论为指导，通过实际生活中的案例来加深对叙事结构理论的理解，从而启发故事在校园英语教学的独特作用。

【关键词】语篇分析；拉波夫叙事结构模式【作者简介】林汉钊，广东外语外贸大学。

1.2 B: And something I deem very important to myselfis loyalty. I think that my family taught me that, because myparents would do anything for their kids, even that meant hurting themselves. It’s something touching, I guess, andit’s stuck with me. I started to adapt those traits to myself.1.3 B: Also, I may be affected by X which is a soccer teamand they have a loyal player. X is not the best team, but not a1. Transcription Case Interviewer: How did you become the person you are now?1.1 Interviewee: To make this as brief as possible, I’mgoing to start (0.2) with my family. You see, my family has always been very very important to me. We love each other and I feel super super attached to them.中，表示状态和样貌的有15种，表示声音和响声的有46种。

如：5.車蝦は、お岩の店から買ったお酒を引っ抱えて、一散にヒョッコンゴロゴロ　ヒョッコンゴロゴロと駆け戻って参りました。

(アルプス登り)6.…今まで、ぴかーりぴかーりと威張って居たお日様は、忽ちその光を隠されてしまひました。

(子供の楽園)“AッBンCDCD”型的“ヒョッコンゴロゴロヒョッコンゴロゴロ”指多次小步跳跃的样子。

“AB－リAB－リ”型的“ぴかーりぴかーり”指阳光持续照射的样子。

7.みんみんみんみんみ－せみはなきました。

(木馬のゆめ)8.パリパリバンバンと花火をあげているような音をさして、…(龍宮の犬)“AンAンAンAンA－”型的“みんみんみんみんみ－”指蝉的叫声。

“AリAリBンBン”型的“パリパリバンバン”指烟花绽放时的响声。

除此外，还有既能用于表示状态和样貌的也能表示声音和响声的。

如：9.沢山の豆どもが、ぽんぽんぱちぱちと跳ねて居ましたが、…(子供の楽園)10.とてもきれいな水が、モッコンモッコン、いくらでも湧き出してるんだ。

(トテ馬車)“AンAンBCBC”型的“”表示很多豆子掉在地上的样子，或者掉到地上的声音。

“AッBンAッBン”型的“モッコンモッコン”表示泉水源源不断涌出的样子，或者涌出时发出的响声。

四、结语本文采取通时研究的方法，在日本近代这一时间跨度内研究拟声拟态词的变化过程。

以铃木雅子(1984)对日语拟声拟态词进行的分类方法为基准，将日本近代分为明治(1868年-1912年)、大正(1912年-1926年)、昭和(1926年-1945年)三个历史时期，以明治、大正、昭和三个时期的文学作品为调查对象，将其中出现的拟声拟态词进行分类和归纳，考察近代拟声拟态词。

发现明治、大正、昭和时期的拟声拟态词的不同单词数和形式都在逐渐增多，但汉字表记却大幅减少，逐渐被假名代替。

而且拟声拟态词在大正和昭和时期发生了巨大变化，且在昭和时期得到了广泛的使用。

此外，三个时期相同的形式有32种，且相同的形式有很长的历史，如A型，AA型，AB型，ABAB型在上古就已经出现。

另外，关于各个时期的特殊形式有，明治时期14种，大正时期34种，昭和时期38种。

且特殊形式的变化主要发生在拟声词上。

关于产生这些变化的原因及各种形式之间的相互关联性等课题，待笔者今后探讨。

参考文献：[1]山口仲美.暮らしのことば擬音·擬態語辞典[M].講談社,2003.[2]鈴木雅子.研究資料日本文法④[D].擬声語·擬音語·擬態語.明治書院,1984.1762019年01期总第441期语言文化研究ENGLISH ON CAMPUSbad team, usually at Top20 in the world. But there are better teams out there and there is one player during 1996-2017, who was often considered the best player. He could have gone to Y, definitely better than X, could have won more and it’s richer, so he could have made more money, but he never left. Hestayed with his team forever and he was my favorite player. 1.4 B: I cherish what my family taught me and watchinghim play, one of my dreams was to become a professional soccer player. I want to represent and stay with that team, no matter what.1.5 B: So, I guess that can show you why I deem loyalty soimportant. I’m a person who would do anything for friendsand families. I attribute that to my loyalty. I was asked about a week ago would you rather save a city from being exploded by a bomb or saving loved ones. As you can imagine, pretty much the question is a zero-sum game. I chose the latter. I can’t dothat, it’s betrayal for me.1.6 B: Well, I know that I have an addicted personality thatmakes me think about one thing for a while. One of my dreams is to find one person and always be with that person, right? I’m just trying to find the right person right now. I think that goes to show my loyalty. All of sudden I feel like I’m betraying my future wife, if I have one some day. That’s it!2. Discourse AnalysisI selected this short but rich period, because it centersaround one core: loyalty, a notable virtue. If we view this narrative as a movie, the title would be The Importance of Loyalty. The plots can be divided into five parts as the discourse structure in macro level: ① and ② is about family’s influence on personality; ③ describes his favorite soccerplayer’s loyalty; ④ summarizes two important aspects andbuilds the connection unitedly; ⑤ steps out of the narrative to evaluate prior information; ⑥ shows narrator’s own loyalty and its impact.Labov and Waletzky (1967) identified six structural modelsas Abstract, Orientation, Complication action, Evaluation, Resolution, and Coda. Labov suggests that a complete narrative begin with an abstract, followed by an orientation, proceeding to the complicating action, evaluation andresolution before ending with the coda.Abstract summarizes not only what the narrative is about,but why it is told. This is fulfilled by the question from the interviewer, which guides responses and presents the topic, journey of growth. The “this” in the start implies that the speaker recognizes the presence of abstract and incorporate it as the beginning of his narrative. The first sentence in ② is the first summary sentence in the narrative, so it is abstract too. According to Labov and Waletzky (1967) the Orientation introduces the reader to significant background details in a story such as characters, time, setting or mood of characters etc. In this sense, orientation clauses have a semantic function. Both part 1 and 2 contain scene-setting actions. In the narrative of family, “parents” are the main characters in performance and the mood is highlighted by “love” todepict a warm family environment and convey positive mood. In part 2, orientation is more obvious in the first few lines.Since he cannot expect the listener to know all the background knowledge, he makes extra efforts to tell the listener what the situation is. For example, he offers the rank to pinpointthe level of the team, which is critical for the audience to understand the player’s loyalty: if the team is good and rich enough, there is no reason to leave. When introducing the character, speaker adds his career time to show his persistence. Complication actions would be the main body of the narrative describing events that occurred. However, since the speaker is not telling full-developed narratives, it is hard tofind real CA.L a b o v a n d Wa l et z k y (1967) d e f i n e n a r rat i v e a s‘consisting of a sequence of two or more narrative clauses’.In Johnstone’s words, “If two narrative clauses are reversed, they represent a different chronology”(Pp.123). Considering part 1 and 2 as two large narrative clauses, the current order is “family/soccer idol”, because family is the original environment from speaker’s birth that has a lasting impact on his outlook on life; he got to know the soccer player later in adolescence, which is a recent and external factor. Both of them advance the storyline, but in speaker’s cognitive process of 0.2s, he not only arranges them in importance but also in sequence. Part 1 and 2 cannot be switched withoutswitching the “story world” order of events. Part 3 merges2019年01期总第441期语言文化研究ENGLISH ON CAMPUSthem into one powerful unity by making an analogy between family and team, where members are close and don’t want to leave. He is combining the internal and external factors to make sense of his core value in this part. Evaluation is to indicate why the narrative is told, and what the narrator arrives at. Part 4 makes external evaluation towards prior contents and shows his own understanding of loyalty, apart from parents’ and player’s performance. “That can show you” “that” is not just an anaphor for cohesion, but it is a metacommunicative device as “contextualization cue”. It shows the narrator overtly steps out of the narration to evaluate how his talk should be interpreted. He points out the intended interpretation is loyalty, rather than love for family or interests in soccer. Besides, Evaluation can be found throughout the narrative in embedded form. One typical example is “It is something touching, I guess”. Descriptive adjective and “guess” imply that the speaker is assessing the quality of his parents’ caring practices in the narrative. Evaluation makes use of intensifiers such as degree adverbs. The interviewee includes “very”, “super” and “forever” to show his attitudes, which matches with the contents to strengthen the emotional appeal as internal evaluation. Lastly, one unique evaluation is infused in part 2 and that is “elements that compare what did happen with what did not, could have or might happen”(Johnstone, Pp.124). The listener conducts comparative evaluation between lost opportunities and player’s gain. It is noteworthy that the start of part 2 is Orientation and it serves a double purpose as Evaluation, indicating “narrative may include clauses with one or more of six functions” (Johnstone, Pp.123).Part 5 works as Result. It is his loyalty that makes him look for the one. Given that wife is a part of the family, or a member of the ‘soccer team’, it shows how his addicted personality continues into future. Finally, Coda signals the end of a narrative after solving problems. It has the potential to bridge the gap between end moment in narrative and the present. “That’s it” is a Coda, marking the end and drawing both sides back to the reality from future. One thing about the Coda and “as brief as possible” is that they show speaker’s attention to Grice’s Cooperative Principle, especially the Maxim of Quantity.Essentially, the purpose of the talk is to persuade audience to believe the image central to one’s identity, whether consciously or subconsciously. One persuasive strategy is using “presentational” tools (Johnstone, 1989). The goal of presentational persuasion is to make the claim maximally present in the audience’s consciousness, by repeating, paraphrasing and calling attention to it (Pp.91) such as the frequent appearance of “loyalty”. In this process the interviewee was deconstructing his life and figuring out what mattered, so he went back to the word as he tried to find examples to support his claim. “I think/deem loyalty important” repeats itself to reinforce presentational effects. Another technique is visual metaphors by making the claim seem to be present in audience’s field of vision. Words are used to arouse imagination like “show”, “you see” which guides the listener to view family interactions as vivid scenes, and “As you can imagine” which asks listeners to look into the set-up. And stories are easy to grasp. In section⑤ there is a story about the speaker being asked to make choices. With it, listeners can understand the abstract concept more handily. In conclusion, telling a life story is like decoding the making of one’s personal identity and social position, “shaping a coherent life story in the telling of it” (Johnstone, Pp.173). The oral narrative falls neatly into the discourse structure devised by Labov in which the interviewee constantly stresses the theme. Such reflection not only helps the audience learn about him, but also allows the speaker to have a better understanding of himself. In this way, he represents his life experiences as a meaningful and consistent whole. References：[1]Labov,W.&Waletzky,J.Narrative analysis:Oral versions of personal experience[M].In J.Helm,Essays on the Verbal and Visual Arts, Seattle:University of Washington Press,1967:12-44.[2]Labov,W.The transformation of experience in narrative syntax. In Language in the Inner City[M].Philadelphia:University of Pennsylva-nia Press,1972:354-96.[3]Johnstone,Barbara.Discourse Analysis (3rd edition)[J].Blackwell Publisher Ltd,2018.177。