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1、AcknowledgmentsThanks for giving me this chance to achieve this paper and to make a conclusion for my four years university education. Through writing this paper, I have acquired more knowledge than I supposed.My sincere thanks are due to my supervisor，Ms. Zou Qiangzhen, for helping me to clarify my
2、 minds and strengthen the depth of my thinking.Here, I also want to give my thanks to other teachers and my classmates who gave me much help. Thank you!AbstractPersuasion is a powerful communication method. People study the persuasion strategy from many aspects, like rhetoric, advertising and so on.
3、 Pragmatics provides a new orientation for the research on persuasion strategy. Using pragmatics to analyze the persuasion strategy can improve the skills of persuader, and help persuader to use persuasion strategy in a better way. This paper used literature review method to summarize the relationsh
4、ip between film and pragmatics, as well as the relationship between persuasion and pragmatics. Then, this paper analyzed the persuasion strategy in the film The Day After Tomorrow using the method of induction and exemplification from the perspective of pragmatics, especially in Co-operation Princip
5、les, and the contexts of the film. This paper applies pragmatics as well as context to study persuasion strategy in The Day After Tomorrow in order to make readers understand the deep meaning of the film and improve their ability of appreciation. Moreover, it is expected to wield pragmatics theory i
6、n daily life and make contributions to the connection of the theory and practice.Key Words: persuasion; persuasion strategy; pragmatics; The Day After Tomorrow摘 要劝说是一种强有力的交际手段，人们对劝说策略的研究涉及了很多方面：修辞学，广告学等等，而语用学为劝说策略的研究提供了新的方向。运用语用学来研究和分析劝说策略不仅能够提高劝说者的劝说技巧，而且能够帮助劝说更好地运用劝说策略以达到劝说目的。本文首先运用文献综述法，概括了电影与语用学
7、以及劝说与语用学的关系，然后采用归纳法和例证法，从语用学视角，特别是会话原则理论视角，结合电影中的各种语境，分析灾难电影后天中劝说策略。研究表明，运用语用学和语境来分析电影后天劝说策略，可以促使读者更好地理解这部电影所要表达的意思，进而提高影片观赏者的电影艺术欣赏能力，并将语用学理论应用到日常生活之中，为理论和实践相结合做一些新的贡献。关键词：劝说；劝说策略；语用学；后天ContentsTOC o 1-3 h z u3567An Analysis of Persuasion Strategy of Disaster Movie The Day After Tomorrow from the P
8、erspective of Pragmatics1. IntroductionThere are many works concerned with natural disaster in American film. Among them, some disaster films such as Water World (1995) and Ice Age (2002) resulted from the destructive activities of human beings. These disaster films established the modern ecological
9、 values in the form of entertainment which contributed to attaching peoples attention to global ecological crisis and spreading the ecological moral principle. This kind of film can “use a special way to let audience see some events they have never seen” (qtd. in Zhang 131-136). In this sense, as a
10、form of popular entertainment, disaster film could attract and persuade audience to discuss and think about the social problems in order to attain the pragmatic function that persuade people to protect ecology by infusing some ecological consciousness to the inner world of human beings.The Day After
11、 Tomorrow is an American science fiction film, which described the disasters resulting from global warming. In recent years, many authors have analyzed the film The Day After Tomorrow from different aspects. Some authors analyzed it in ecology, such as The analysis of the Ecological Theme and the Di
12、stinctive Performance in The Day After Tomorrow (Wang 84-85) and The Analysis of The Day After Tomorrow from the Perspective of Eco-criticism (Zhou and Wang 91-92). Some authors analyzed it in the traditional culture value of America, such as An Analysis of American Traditional Cultural Values in Am
13、erican Disaster Film The Day After Tomorrow (Zheng 78-81). And some authors analyzed it in science and human, such as An Analysis of the Relationships Between Science and Human (Fang 68-72). However, there are few works analyzing the film The Day After Tomorrow concerned with linguistics, particular
14、ly in pragmatics. In fact, the film is a language which is used to communicate between directors and audience (wang 7). Given that, it is possible for people to make an analysis of the film from the perspective of pragmatics. In disaster films, the directors try to employ various strategies to reach
15、 the persuasive destination that people should pay much more attention to their environment or something else. Based on this kind of persuasive intention, this paper will analyze the persuasion strategy of the film The Day After Tomorrow from the perspective of pragmatics. The focus is on the specia
16、l language of the film in terms of its scene, characters and plots, not on the conversational language used by the characters.This paper is very worthy of being researched. For one thing, it can provide the reference for English teaching, especially in the teaching of the movie appreciation. For ano
17、ther thing, this paper can make some new contributions to the integration of the theory with its practice. That the students analyze the film by using the knowledge in pragmatics is helpful to motivate their interests in learning.Literature ReviewBefore discussing the persuasion strategies of disast
18、er film The Day After Tomorrow from the perspective of pragmatics in Grices Co-operation Principles,it is necessary to know the relationship between the film and pragmatics, as well as the relationship between persuasion and pragmatics.2.1 Film and LanguageFilm is a comprehensive art. The content of
19、 the film derives from life and reflects the life. It can reveal the theme of film by showing audience a whole story and expressing filmmakers views to world in order to attain the purpose of communicating with audience. In this regard, film is similar to language in terms of transferring informatio
20、n and communicating.2.1.1 Film LanguageFilm language appears as soon as the birth of film. In the early 1920s, Riccioto Canudo, an Italian film theoretician, thought that film is an international language that crosses language barriers (Wang 5). Beria, a Hungary film theoretician, described his own
21、film language view: “Now, film only speaks in the international language. Sometimes, film will add some national characteristics in order to render the environment” (10). Mardan, a Russian film theoretician, defined the film language: “Originally, film language is a film showing or a simple reproduc
22、tion of reality, and is gradually transformed into a language, that is, a means of narrating stories and converying ideas” (Lu 2009). Metz, the founder of the film semiotics, thought that, the plot, the smallest unit of meaning of the film, is similar to the dialogue of the usual language. Whats mor
23、e, scene is a complex comment and the film is equivalent to a complex narrative text (25). Based on the above views, film is regarded as an expression form that composites a series of codes.2.1.2 Pragmatic Function of the FilmAs an art, film is the space-time combination and a mixture of visuality a
24、nd auction, and it unavoidably shows its characteristic of narrativity by means of a series of visual arts. As a language, film unavoidably shows its communication ability. That is to say, film language is in fact a kind of language tool by which film artists can communicate with audience and expres
25、s their opinions towards the whole object world. Vachel Lindsay, an American film theoretician, thought that: Like architecture, sculpture and poetry, the film, making use of different forms, reveals peoples common experience in their aesthetic feeling (qtd. in Sun and Wang 61-62). And Hugo Munsterb
26、erg, a German-American psychologist, suggested that the audience is lifted themselves from mind shackled by time and space in the real life, freely using imagination to build another world (qtd. in Sun and Wang 61-62). Roland Barthes, a distinguished semiotician, regarded film as a comprehensive sys
27、tem in which the system of film language is more complicated than the system of natural language and writing, because the film is mixed with sound and continuous image (qtd. in Sun and Wang 61-62). Compared with the narrative art, film artificially produces many a space by using the change of lens l
28、anguage and montage in an attempt to make audience shuttle in the time freely as they are riding time machine. Speaking of narrative structure, the plot is a basic unit of it. The film language is a dynamic discourse consisting of the numerous plots. In the aspect of communicative object, scriptwrit
29、er and director instruct actors to talk with audience. In this process, film will involve many more detailed and direct communicative behavior. That the audience enjoy the film is the process in which the audience communicate with directors and actors, and the pragmatics activity is produced at the
30、same time in the communication behavior.2.2 Persuasion and Pragmatics2.2.1 PersuasionFotheringham, a famous semiologist, defined persuasion as the effects that the speaker makes by giving information to the receiver (07). Burke, an American literary theorist, developed a definition as the behavior t
31、hat one user of symbols has an influence on another (46). According to Borchers, the chair of the Communication Studies Department, persuasion is the process of the co-production of meaning, in which an individual or a group of individuals use verbal strategies and / or visual images to make audienc
32、es reach a consensus with them (15). It can be seen that persuasion is a speech act and possesses the characteristics of the speech act that speech act should meet the Speech Act Theory.Persuasion is related closely to pragmatics. The production of the significance of persuasion and the choice of th
33、e persuasion strategy both depend on the context. The context is made up of linguistic knowledge and non-linguistic knowledge: linguistic knowledge is the ability to use language and the ability to comprehend the context in communication, and non-linguistic knowledge involves the comprehension to th
34、e background, the environment and other social factors. The context is not only the basis of pragmatic but also the foundation to infer the message of persuasion. Thus, to make the persuasion successfully, persuaders, as they make the fullest use of linguistic knowledge, should make full understandi
35、ng of the context, and the persuasive purpose, and figure out the receivers attitude, personality and social background (Li 75).2.2.2 Persuasion and Co-operation PrinciplesPaul Grice, a British philosopher of language, proposed that all speakers, regardless of their cultural background, adhere to a
36、basic principle governing conversation which he termed the Co-operation Principles (Peccei 27). Co-operation Principles are functional to ensure conversations smooth and success. Cooperation is supposed to be generally obeyed in all communications, as Grice introduced it, “make your contribution suc
37、h as it is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged”(33). That is to say, all participants should say what they have to say in a proper time and with a proper way in the talk exchange. Co-operation Principles consis
38、t of four basic maxims of conversation:1. Quantity Maxim:Make your contribution sufficiently informative for the current purposes of the conversation.Do not make your contribution more informative than is necessaryQuality Maxim:Do not say what you believe to be false.Do not say that for which you la
39、ck adequate evidence.Relevance Maxim:Make sure that whatever you say is relevant to the conversation at hand.4. Manner Maxim:Make sure your contribution is perspicuous and specific.Do not say anything obscure or ambiguous.Make your contribution as brief and orderly as possible. (Peccei 27)The role o
40、f Co-operation Principles is obvious in the analysis of persuasion. Persuasion can change a persons behaviors by changing his cognitive structure. Whats more, it needs the coordination of the persuader in the process of persuasion. Therefore, it is necessary for them to coordinate with each other. T
41、he gap can be narrowed by emotion, which can stimulate persuadees to persuade themselves and seek mutual cooperation as well as consensus.An Analysis of Persuasion Strategy of Disaster Movie The Day After Tomorrow from the Perspective of PragmaticsPersuasion is a communicating process within which t
42、he persuader aims to change the persuadees attitude and behavior with intentional message. When persuader tries to create or distinguish the persuadees attitudes, beliefs, behaviors and so on, it is apparent that persuader possesses a conscious effort in influencing the actions or thoughts of persua
43、dee. Then, the author analyzed persuasion strategies in Co-operation Principles of the film The Day After Tomorrow. And in this film, director is the persuader, and audience is the persuadee.3.1 To Persuade by the Scientist TheoriesPersuaders should have authority. People tend to show their worship
44、to authority. If persuaders really master some relevant knowledge in the particular fields, they will persuade the persuadees easily (Song 31). Jack Hall, a leading character in The Day After Tomorrow, was a climatologist and he offered many theories to prove that Ice Age would come in the film.Firs
45、t of all, at a United Nations Conference in New Delhi, he preached that he found the evidence of a cataclysmic climate shift which occurred ten thousand years ago with his companions. The concentration of these natural greenhouse gases in the ice cores indicated that runaway warming pushed earth int
46、o an Ice Age which lasted for two centuries. And then, he explained the reason why global warming could result in a cooling trend. Besides, he predicted that our warm climate would disappear in one hundred years or in one thousand years.Secondly, Terry Rapson who was a professor, thought that Jacks
47、forecast model of the prehistoric climate was right. He found one of their buoys registered a thirteen-degree drop in surface temperature. Whats worse, there were four buoys across the North Atlantic showing the same thing.Thirdly, there were many climatic disasters occurring all over the world, suc
48、h as a large outbreak of tornadoes wrecking Los Angeles, the strongest typhoon in Australia and so on. So American government organized scientists to discuss the reasons of these phenomenon. After excluding the influence of solar, Jack mentioned the effect of the North Atlantic Current. Global warmi
49、ng caused by greenhouse effect resulted in the melting polar ice. The ice water that was melting excessively had changed the salty of the sea water, which influenced the normal ocean current. In addition, changes in ocean currents gave rise to the corresponding changes in sea surface temperatures so that they formed the local air flow, such as typhoon and hurricane. The research project from professor Rapson proved that the North Atlantic Current had been dest