D. Wood Daga Drama Corpus Analysis And Stylistic Research

This present article is a doctoral dissertation conducted for special study on dramatic works by D.Namdag from Mongolia.Donrovyn Namdag (1911-1984), one of the founders of Mongolian theatre arts, twice won the state awards and one the award of Writers' Association and was honored with state exploit for his play writings and drama criticisms. He wrote in his lifetime more than 50 plays along with numerous theoretical and critical works on theatre arts. Many scholars and commentators made researches into his life, deeds and dramatic works from various aspects, and presented with academic works of great importance, in which the discussions about ideological contents in his works were undertaken in most frequency and got the greatest successes. Yet it was unfortunate that many studies past only stayed in traditional methods and modes that commented ideological contents of Namdag' dramas in association with era background and thought his dramas as products of the time, that is, literary descriptions of and propaganda for the Party's policies and principles. Until today, no one took the most basic element of literature--language as key and used the literary theory in which forms, structure, symbols and text are essentials to conduct special studies on Namdag's dramas.This present article employed methods and modes of corpus stylistics and pragmatics all were built on modern linguistics and lingo-philosophy and used the externalist researching methods in which form, structure, symbols and text are essentials and the basic element of literature--language is taken as key to the texts, to conduct special studies on Namdag'dramas. The academic significances of this project lie not only in filling up the blank of the studies of Namdag's dramas, but speeches that include Hasah, Darlal, Moljil and Jardal and generalized that Gongor is a resolute revolutionist against foreign invasions and feudalism. On the contrary, MonhOcir could not distinguish the friends from enemies and so do the purpose of the revolution. In the play, the author didn't want to represent the opposite classes, instead do want to feature a person from middle class who struggle to live on. In unusual ages, there always are a group of centrist people except for the opposite parts. They often attempt to mediate the opposite parts in order to build a harmonious country. In the matter of fact, they always could not recognize the real nature and original face of the counter-revolutionary forces, didn't know the influences resulted from the time transition, their thoughts and ideas thus were still among the vast and hazy.Chapter II, the research and analysis to drama Gemten-uud, Surug Cono, Sandaralt Arban Honog with politeness principle and speech turns of the corpus and applied linguistics are made.Section I, in the corpus and speech analysis, I analyzed with cooperative principle the Goncogsiirung's persisting avoidance from main topic in course of talk with Detective and considered that his attitudes represent his internal anxiety for revealing of his killing of Yondon, and also considered that it was his internal activities that pushed the story onwards. In corpus analysis to the 7th stage, I counted out speech lengths of Goncogsurung and the Detective and found that here Goncogsiirung's speech were longer in lengths than elsewhere, and therefore I analyzed with manner principle of the cooperative principle and guessed that which was speech expression of Goncogjab's fear. On corpus analysis and with methods of cooperative principle of pragmatics and language analysis, I analyzed 7th stage of Gemten-uud, the contradiction-centered stage, found that the author have given much thoughts on arrangement of persons in play in which the author provide the Detective and Goncogsurung with pretty time at first, and then let Gotob, Camba and Ujuma make their appearances in the play. Around with Goncogsurung as object, the author arranged speeches in order, made closer to the truths step by step, enforced Goncogsurung nowhere to escape and eventually confirmed his guilt.Sectionâ…¡, based on the corpus analysis to Surug Cono,â… used the Polite Principle of Pragmatics to analyze the relationship between Dansan and other persons and then generalized that Nawanjab, Ceceg, Satab and Sosima adopted similar measures, that is, in the beginning they become very intimate to him in order to draw him to own side, as soon as successes they turn to threatening.Sectionâ…¢, made corpus and speeches analysis to Sandaralt Arban Honog and exerted observation on the characteristics of Nimaahuu and Yondon in accordance with Polite Principles, eventually made assumption that the author purposely arranged two policemen of totally different dispositions, and through their speaking activities led Balji give detailed accounts for Losol'case. How let Balji speak out become the key clue to the story of this play while this kind of arrangement represented the author's unique skill of writing drama.Chapterâ…¢, precisely lied on corpus analysis, made comparisons between fiction and play of the same theme both by Namdag, and generalized out how he represented the same theme in two different literary styles; made comparisons between early texts and late texts on the same theme written by Namdag, and outlined the trajectory features of writing style that Namdag ever had in different times; made an comparisons between original text of drama Harangui Jasag by S.Boyannemeh and its revision by Namdag, and took an marked line on the stylistic difference between Boyannemeh and Namdag.Sectionâ… , through the corpus analysis to story Ur Taraa and drama Ur Taraa generalized out how Namdag represented the same theme in two different literary styles. The play seems to be outline of the story while the story was extension of the play. Drama is well regulated, well refined and profound while Story has advantages on presentation of historical reason or course of personal characteristics. We can see that play text is a literary style very difficult to write and writing play text is a highly demanding work. Might be that when Namdag began to write drama Ur Taraa, so many ideas and materials made occurrences to him while the space-time of the stage had no so big capacity. Later on, as he revised the play into story, the ideas and materials were eventually spread out freely.Sectionâ…¡, in corpus analysis to and comparisons between drama Sin Jam and Egederee, through corpus analysis to the 3th and 5th stages, I found it is just the persons like Ocir, Galdanbuu, Sangjainima, Begjab and Culuunbaatar who talked with Suhbaatar in Sin Jam while disappeared from Egederee. We furthermore inferred that these persons were deliberately arranged in Sin Jam for featuring the impressing figure of revolutionary leader, and we can speculate more that the 3th and 5th stages of Sine Jam were special arrangements for Suhbaatar. The disappearances of these persons from Egederee indicate that, to the author, the representation of great leader has no significance any more in this play. The difference between Sin Jam and Egederee tell us that this change reflect not only the change of the author's writing conception but also beginning change of the public sense and ideology. Sectionâ…¢, made corpus analysis to and comparison between original text of drama Harangui Jasag and its revised text by Namdag, found that Boyannemeh in his play featured the antiphonal singing between Ceceg and Culuunbaatar, representatives from the pressed class, to highlight the miseries and hardships the pressed class is undertaking while Namdag in his revision few to described the dialogues between Ceceg and Culuunbaatar. We think that what Namdag intended to express is not the people's miseries and hardships suffered from cruel government, instead, through insert of Governor, Jabjan and so on, he planed to represent contradictions and conflicts between the King and the Queen. From this we can see that Boyanemeh in his play chiefly revealed the opposition between classes while Namdag represented in principal the human weakness and original nature of life. The Buyannemeh's drama took place big transformation after revision by Namdag, this was due to era elements on one hand, but on the other hand, it seems to be unreasonable that ascribe all of these to time transition and fully ignore the individual elements. Moreover, we can also see the marks of revision by Namdag from language usage and rhetoric, for example, in Namdag's text there are a lot of usages of words like Buu, Burhan while in Boyannemeh's text are few; in Boyannemeh's text there are a great number of expressions whose attributives are Yeh while become lesser in Namdag's text; in Boyannemeh's text there are few appearances of idioms while in Namdag's text are frequent.