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本文在言语行为理论的基础上讨论了志怪小说中的言语行为，主要考察了两个方面的内容：一是对志怪小说言语行为的发展进行了简略的梳理，二是以《聊斋志异》为例，详细对志怪小说的言语行为进行了分类整理。志怪小说的主角不仅仅是人类，也可以是狐仙、鬼怪、神仙、异人，甚至是野兽、花草虫鱼等等，因此志怪小说的言语行为具有独特的表现力。志怪小说最早可追溯于被誉为古今语怪之祖的《山海经》，但《山海经》中没有言语行为的直接表述。诸子百家中的寓言故事开创了虚拟故事情节的艺术手法，将人类以外的动植物拟人化，多使用对话形式和转喻的手法来影射现实。汉朝时期的志怪小说对言语行为的运用更加熟练，与前朝简单的言语行为的使用情况不同，开始利用对话来丰富人物的形象。魏晋南北朝时期的志怪小说，更加注重对人物对话的运用，开始利用言语行为来推动故事情节的发展。唐传奇在六朝志怪小说的基础上更加注重内容的丰富，采取通过人物间的语言来表达作品中人物的内心情感与思想的描写方式，言语行为对人物形象的塑造更加具体与深刻。明清时期的神魔小说，大多使用白话，语言更加浅显通俗，富有生活气息。志怪小说的言语行为从无到有，从简单对话发展到表达人物的性格与意图，并推动情节的发展，在志怪小说的叙事中具有不可或缺的重要作用。言语行为的使用与叙事内容密切相关，可分爲阐述类，指令类，疑问类，表达类，承诺类，宣告类等。
In this article, the following aspectswere mainly discussed: First, a summary and analysis was made onthe development course of Chinese mystery novels and speech act use of mysterynovels in various periods from the source The Classic of Mountains and Seasand myths of remote antiquity to god-evil novels in the period of Ming and QingDynasty. Second, all conversational speech acts in the mystery novelscollection Strange Stories from A Chinese Studio were summarized, andthe speech acts in Strange Stories from A Chinese Studio werereclassified according to the unique characteristics of speech acts in mysterynovels in classical style of writing via Searle’s speech act classification. Finally, a classification analysis was made on the effects of representative,directive, questioning, expressive, commissive and declarative speech acts onthe narration of Strange Stories from A Chinese Studio. Besides, therelation between the use of different speech acts and plot development wasobserved, and examples were taken for verification.
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Mythical Stories, Speech Act, narration, Liao Zhai Zhi Yi, dialogue
