發(fā)布時(shí)間：2019-03-18 12:59

【摘要】： 隱喻研究多年來(lái)受到國(guó)內(nèi)外眾多學(xué)科與學(xué)者關(guān)注。傳統(tǒng)研究將隱喻視為一種修辭方式,而近年來(lái)隨著認(rèn)知語(yǔ)言學(xué)的發(fā)展,隱喻被視為人類(lèi)一種普遍的思維方式和認(rèn)知手段。體驗(yàn)哲學(xué)認(rèn)為,人類(lèi)的認(rèn)知源自身體及其與空間的互動(dòng),所有的基本概念隱喻都植根于生活經(jīng)驗(yàn)。視覺(jué)是人類(lèi)體驗(yàn)生活或獲取信息的主要途徑之一,對(duì)與其相關(guān)隱喻的專(zhuān)門(mén)研究有助于我們加深理解概念隱喻運(yùn)作機(jī)制。 英漢語(yǔ)中都有大量的視覺(jué)隱喻表達(dá)。隱喻研究長(zhǎng)久以來(lái)不斷發(fā)展,視覺(jué)概念隱喻作為概念隱喻的一部分,雖受到不少學(xué)者的重視,卻很少有專(zhuān)門(mén)的、系統(tǒng)的針對(duì)視覺(jué)概念隱喻的研究成果。以往的研究大多局限于單一語(yǔ)言?xún)?nèi)部,且尚未形成統(tǒng)一的分析框架。 本文從認(rèn)知文體學(xué)角度,運(yùn)用概念整合理論,比較分析視覺(jué)概念隱喻在英漢文學(xué)作品中使用的異同,探討視覺(jué)概念隱喻的運(yùn)行機(jī)制及其在傳達(dá)觀(guān)點(diǎn)、情感時(shí)的作用,闡明其對(duì)文學(xué)作品的文體風(fēng)格的影響。本文所比較分析的語(yǔ)料分別選自英文小說(shuō)《德伯家的苔絲》和中文小說(shuō)《紅樓夢(mèng)》。本文旨在回答以下幾個(gè)方面的問(wèn)題：1)視覺(jué)概念隱喻在文學(xué)作品中的運(yùn)用；2)視覺(jué)概念隱喻對(duì)文學(xué)作品的文體風(fēng)格的影響；3)視覺(jué)概念隱喻在英漢文學(xué)作品中運(yùn)用的異同。 根據(jù)其目標(biāo)域的不同,英漢作品中的視覺(jué)概念隱喻均能總結(jié)為四大類(lèi)——觀(guān)點(diǎn)類(lèi)、判斷類(lèi)、期望類(lèi)和行為類(lèi)。本研究表明：視覺(jué)概念隱喻在英漢文學(xué)作品中均有大量運(yùn)用,其使用對(duì)作者傳達(dá)觀(guān)點(diǎn)、傳遞情感等有重要作用,并對(duì)作品的文體風(fēng)格有一定的影響。另一方面,英漢兩種語(yǔ)言在對(duì)視覺(jué)概念隱喻的認(rèn)知上既有相同之處也有相異之處。 本文分為六章,主要內(nèi)容如下： 第一章“引言”,作為全文的開(kāi)篇,介紹本文的研究背景,簡(jiǎn)述選題理?yè)?jù)、研究對(duì)象、研究目的、分析方法、結(jié)構(gòu)布局和所用語(yǔ)料。 第二章“文獻(xiàn)綜述”,回顧有關(guān)概念隱喻、視覺(jué)概念隱喻的研究成果,著重指出以往研究中存在的不足之處。 第三章“理論框架”,介紹相關(guān)認(rèn)知文體學(xué)理論,回顧概念整合理論,并融合概念隱喻理論與概念整合理論,得到本文用以分析視覺(jué)概念隱喻的理論模式。 第四章“語(yǔ)料分析”,介紹作為語(yǔ)料的兩部小說(shuō),分別統(tǒng)計(jì)兩部小說(shuō)中視覺(jué)概念隱喻的分布、種類(lèi)和數(shù)量。 第五章分析視覺(jué)概念隱喻在文學(xué)作品中的使用,探討視覺(jué)概念隱喻的運(yùn)行機(jī)制及其在傳達(dá)觀(guān)點(diǎn)、情感時(shí)的作用,比較其在英漢語(yǔ)文學(xué)作品中使用的異同,并進(jìn)一步闡釋其對(duì)文學(xué)作品的文體風(fēng)格的影響。 第六章“結(jié)語(yǔ)”,總結(jié)全文,歸納本文的主要貢獻(xiàn),所存在的問(wèn)題以及對(duì)將來(lái)進(jìn)一步研究的展望。
[Abstract]:Metaphor research has been concerned by many subjects and scholars at home and abroad for many years. With the development of cognitive linguistics, metaphor has been regarded as a universal means of thinking and cognition in the past few years. According to experiential philosophy, human cognition originates from body and its interaction with space, and all basic conceptual metaphors are rooted in life experience. Vision is one of the main ways for human beings to experience life or to obtain information. The study of related metaphors is helpful for us to understand the working mechanism of conceptual metaphors. There are lots of visual metaphors in English and Chinese. As a part of conceptual metaphor, visual conceptual metaphor has been paid attention to by many scholars for a long time, but few special and systematic researches on visual conceptual metaphor have been made. Most of the previous studies are confined to the single language and have not yet formed a unified analytical framework. From the perspective of cognitive stylistics, this paper makes a comparative analysis of the similarities and differences in the use of visual conceptual metaphor in English and Chinese literary works by using the theory of conceptual integration, and probes into the operational mechanism of visual conceptual metaphor and its role in conveying views and emotions. It expounds its influence on the style and style of literary works. The data collected from the English novel Tess and the Chinese novel A Dream of Red Mansions are selected from the English novel Tess and the Chinese novel A Dream of Red Mansions. This paper aims to answer the following questions: 1) the application of visual conceptual metaphor in literary works; 2) the influence of visual conceptual metaphor on the stylistic style of literary works; 3) the similarities and differences in the application of visual conceptual metaphor in English and Chinese literary works. According to the different target domains, visual conceptual metaphors in English and Chinese works can be summarized into four categories: viewpoint class, judgment class, expectation class and behavior class. The present study shows that visual conceptual metaphor is widely used in English and Chinese literary works, which plays an important role in the communication of views and emotions, and has a certain influence on the stylistic style of the works. On the other hand, both English and Chinese have similarities and differences in their cognition of visual conceptual metaphor. This paper is divided into six chapters, the main contents are as follows: the first chapter "introduction", as the beginning of the full text, introduces the research background of this paper, briefly describes the research motivation, research object, research purpose, analysis method, structure layout and the corpus used. The second chapter, "Literature Review", reviews the achievements of conceptual metaphor and visual conceptual metaphor, and points out the shortcomings of previous studies. The third chapter "the theoretical framework", introduces the related cognitive stylistic theory, reviews the conceptual integration theory, and combines the conceptual metaphor theory with the conceptual integration theory, and obtains the theoretical model for the analysis of visual conceptual metaphor. Chapter four, "Corpus Analysis", introduces two novels as corpus, and makes statistics on the distribution, type and quantity of visual conceptual metaphors in the two novels. The fifth chapter analyzes the use of visual conceptual metaphor in literary works, discusses the operational mechanism of visual conceptual metaphor and its role in conveying views and emotions, and compares the similarities and differences in the use of visual conceptual metaphor in English and Chinese literary works. And further explain its influence on the style of literary works. The sixth chapter "conclusion", summarizes the full text, summarizes the main contributions of this paper, the existing problems and prospects for further research in the future.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：I04

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本文編號(hào)：2442888