中国影视对白中的“违规艺术”合作原则视角下幽默现象的分析——以《让子弹飞》《大话西游》《赌神》《功夫》《疯狂的石头》《非诚勿扰》《夏洛特烦恼》为例

“Illicit Art” of Dialogue in Chinese Film Humor Analysis Based on the Cooperative Principle—A Case Study of Let the Bullets Fly, A Chinese Odyssey, God of Gamblers, Kung Fu Hustle, Crazy Stone, If You Are the One, and Goodbye Mr. Loser

摘要: 格莱斯的合作原则为日常会话沟通与语用分析提供了理论基础。影视对白是会话的文字表现形式，许多喜剧对白通过故意违反合作原则的四条准则来制造幽默效果，本文将这种修辞策略称为“违规艺术”。本研究选取姜文、周星驰、宁浩、冯小刚及开心麻花团队创作的七部华语经典喜剧影片，对其中八段代表性对白进行定性话语分析，从准则违反类型、认知机制与文化内涵三个维度提炼幽默生成的核心机制与跨风格差异。研究发现，合作原则对分析中国本土喜剧具有强解释力，但不同喜剧风格的“违规策略”存在显著差异。黑色幽默偏好违反质量准则与关系准则来制造语义错位，无厘头幽默擅长违反数量准则与方式准则以制造预期反差，冯氏幽默通过形式理性与内容荒诞的反差实现讽刺效果，麻花式幽默则以身份认知错位创造全知视角幽默。本研究提出的“违规艺术”类型学框架可为影视编剧创作与字幕翻译提供理论参考。

Abstract: Grice’s Cooperative Principle provides the theoretical foundation for everyday conversational communication and pragmatic analysis. Film dialogues are textual manifestations of conversation, and many comedic dialogues deliberately violate the four maxims of the Cooperative Principle to create humorous effects. This paper defines such a rhetorical strategy as “illicit art.” This study selects seven classic Chinese comedy films created by Jiang Wen, Stephen Chow, Ning Hao, Feng Xiaogang, and the Mahua Fun Age team, and conducts qualitative discourse analysis of eight representative dialogues from them. From three dimensions—maxim violation types, cognitive mechanisms, and cultural connotations—it extracts the core mechanisms of humor generation and cross-generic differences. The findings demonstrate that the Cooperative Principle possesses strong explanatory power for Chinese domestic comedy, yet different comedy genres exhibit significantly distinct “violation strategies.” Black humor prefers to violate the Quality Maxim and the Relation Maxim to create semantic dislocation; nonsensical humor excels at violating the Quantity Maxim and the Manner Maxim to create expectation contrast; Feng-style humor achieves satirical effects through the contrast between formal rationality and content absurdity; and Mahua-style humor creates omniscient perspective humor through identity cognitive dislocation. The typological framework of “illicit art” proposed in this study offers theoretical references for screenwriting and subtitle translation.