【摘要】：本文研究了動(dòng)態(tài)性藝術(shù)作品兒童動(dòng)畫片中圖像、聲音、文字多種模態(tài)協(xié)同構(gòu)建情感體驗(yàn)的表征手段,以國內(nèi)具有廣泛代表性和觀眾基礎(chǔ)的動(dòng)畫片《喜羊羊與灰太狼》為語料來源,系統(tǒng)考察了恐懼情緒的多模態(tài)構(gòu)建手段,并闡釋其認(rèn)知詩學(xué)效果。語料分析表明,動(dòng)態(tài)性藝術(shù)作品中的情緒表征主要有以下三種機(jī)制:轉(zhuǎn)喻——恐懼情緒的生理效果替代恐懼情緒;隱轉(zhuǎn)喻——基于基礎(chǔ)隱喻之上的轉(zhuǎn)喻替代;隱喻——實(shí)現(xiàn)從具體(如自然現(xiàn)象)源域到抽象概念域(恐懼情緒)的映射。動(dòng)畫片等動(dòng)態(tài)性藝術(shù)作品與純文字、靜態(tài)漫畫或繪本享有共同的概念構(gòu)建基礎(chǔ),但也因媒介的不同而具有自己的特征。
[Abstract]:In this paper, we study the representation of the emotional experience in children's animated films of dynamic art works, which is composed of images, sounds and characters in various modes. With the widely representative and audience-based cartoon Xiyang Sheep and the Gray Wolf as the source of corpus, this paper systematically examines the multi-modal construction of fear and explains its cognitive poetics effect. The corpus analysis shows that there are three main mechanisms for emotional representation in dynamic art works: metonymy-the physiological effect of fear instead of fear, implicit metonymy-metonymy based on basic metaphor, and metonymy substitution based on basic metaphor; Metaphor-mapping from the source domain of concrete (for example, natural phenomena) to the domain of abstract concepts (fear). Dynamic works of art, such as cartoons, share the same conceptual basis with pure text, static cartoons or picture books, but also have their own characteristics due to the different media.
【作者單位】： 欽州學(xué)院;廣西民族大學(xué)外國語學(xué)院;
【基金】：廣西哲學(xué)社會(huì)科學(xué)規(guī)劃研究項(xiàng)目〈項(xiàng)目編號(hào):15CZW003〉 廣西教育廳中青年教師基礎(chǔ)能力提升項(xiàng)目〈項(xiàng)目編號(hào):KY2016LX390〉階段性研究成果
【分類號(hào)】：J954

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本文編號(hào)：2435768