發(fā)布時間：2024-03-09 03:10

　　近年來,信息技術(shù)的飛速發(fā)展將多模態(tài)交際推向了新的高度,不同體裁的多模態(tài)文本成為語言學(xué)研究的熱點。以往從系統(tǒng)功能語言學(xué)視角和認知語言學(xué)視角出發(fā)的多模態(tài)轉(zhuǎn)喻和隱喻研究,為我們展示不同體裁中多模態(tài)轉(zhuǎn)喻和隱喻的表征類型、區(qū)別性特征等。但關(guān)于多模態(tài)隱喻及轉(zhuǎn)喻的分類、意義建構(gòu)方式以及二者間的互動方式仍有待進一步探究。因此,本文運用概念轉(zhuǎn)喻理論、概念隱喻理論、多模態(tài)轉(zhuǎn)喻理論及多模態(tài)隱喻理論對國家形象宣傳片《中國》中的多模態(tài)隱喻和轉(zhuǎn)喻的類型、意義建構(gòu)及互動方式進行研究。本文有三個研究問題:(1)國家形象宣傳片《中國》中有哪些類型的多模態(tài)隱喻和轉(zhuǎn)喻?(2)國家形象宣傳片《中國》中多模態(tài)隱喻和轉(zhuǎn)喻的意義是如何建構(gòu)的?(3)國家形象宣傳片《中國》中多模態(tài)轉(zhuǎn)喻和隱喻是如何互動來呈現(xiàn)國家形象的?通過分析,本文有如下發(fā)現(xiàn):(1)宣傳片《中國》中多模態(tài)隱喻可分為四種基本類型:“源域(圖像)-目標(biāo)域(聲音+文字)”隱喻、“源域(圖像+文字+音樂)-目標(biāo)域(隱含)”隱喻、“源域(圖像)-目標(biāo)域(隱含)”隱喻、“源域(文字)-目標(biāo)域(文字)”隱喻。宣傳片中多模態(tài)轉(zhuǎn)喻比重較大,可分為部分代整體和部分代部分兩種類型,前者包括...

【文章頁數(shù)】：142 頁

【學(xué)位級別】：碩士

【文章目錄】：
Abstract
摘要
Introduction
    0.1 Research Background
    0.2 Research Objective and Methodology
    0.3 Research Significance
    0.4 Layout of the Thesis
Chapter One Literature Review
    1.1 Previous Studies on Multimodal Metaphor and Metonymy
        1.1.1 Previous Studies on Multimodal Metaphor and Metonymyfrom the Perspective of Systemic Functional Linguistics
        1.1.2 Previous Studies on Multimodal Metaphor and Multimodal Metonymy from the Perspective of Cognitive Linguistics
    1.2 Previous Studies on NPFs
        1.2.1 Previous Studies on NPFs from Linguistic Perspective
        1.2.2 Previous Studies on NPFs from Other Perspectives
    1.3 Summary
Chapter Two Theoretical Foundation
    2.1 Conceptual Metaphor Theory and Conceptual Metonymy Theory
        2.1.1 Conceptual Metaphor Theory
        2.1.2 Conceptual Metonymy Theory
        2.1.3 Interactions between Conceptual Metaphor and ConceptualMetonymy
    2.2 Multimodal Metaphor Theory and Multimodal Metonymy Theory
        2.2.1 Multimodal Metaphor Theory
        2.2.2 Multimodal Metonymy Theory
        2.2.3 Interactions between Multimodal Metaphor and Multimodal Metonymy
    2.3 Summary
Chapter Three Classification of the Multimodal Metaphors andMetonymies in NPF China
    3.1 Classification of the Multimodal Metaphors in NPF China
        3.1.1 The"Source(pictorial signs)-Target(spoken signs+ written signs)"Metaphor
        3.1.2 The"Source(pictorial signs+ written signs+ music)-Target(implied)"Metaphor
        3.1.3 The"Source(pictorial signs)-Target(implied)"Metaphor
        3.1.4 The"Source(written signs)-Target(pictorial signs)"Metaphor
    3.2 Classification of the Multimodal Metonymies in NPF China
        3.2.1 PART FOR WHOLE
        3.2.2 PART FOR PART
    3.3 Summary
Chapter Four Meaning Construction of the Multimodal Metaphorsand Metonymies in NPF China
    4.1 The Process of Meaning Construction of the MultimodalMetaphors and Metonymies in NPF China
        4.1.1 The Process of Meaning Construction of the MultimodalMetaphors in NPF China
        4.1.2 The Process of Meaning Construction of the MultimodalMetonymies in NPF China
    4.2 Cognitive Motivations for Meaning Construction of theMultimodal Metaphors and Metonymies in NPF China
        4.2.1 Cognitive Motivations for Meaning Construction of theMultimodal Metaphors in NPF China
        4.2.2 Cognitive Motivations for Meaning Construction of Multimodal Metonymies in NPF China
    4.3 Summary
Chapter Five Interaction Between the Multimodal Metaphors andMetonymies in NPF China
    5.1 Multimodal Metonymy Representing the Target Domain of a Multimodal Metaphor
    5.2 Multimodal Metonymy Representing the Source Domain of a Multimodal Metaphor
    5.3 Multimodal Metonymy Enriching a Multimodal Metaphor
    5.4 Summary
Conclusion
    1.Work Done in This Thesis
    2.Major Findings
    3.Limitations and Suggestions for Further Research
Bibliography
Appendix The Pictures in NPF China
Acknowledgements



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