本文選題：轉(zhuǎn)喻 + 理想化認(rèn)知模型�。� 參考：《山東大學(xué)》2008年碩士論文

【摘要】： 本文以認(rèn)知轉(zhuǎn)喻理論為基礎(chǔ),對《推銷員之死》中的轉(zhuǎn)喻進(jìn)行分析,以研究轉(zhuǎn)喻在這部戲劇中的表現(xiàn)形式、運(yùn)作方式及其功能,從而試圖探索轉(zhuǎn)喻對人類的語言和行為的影響。 傳統(tǒng)的語言學(xué)只把轉(zhuǎn)喻視作一種修辭手段、一種語言現(xiàn)象,其功能主要在于間接指稱或達(dá)到某種修辭效果。隨著認(rèn)知語言學(xué)的發(fā)展,傳統(tǒng)的轉(zhuǎn)喻觀遭到了極大的挑戰(zhàn)。認(rèn)知語言學(xué)將轉(zhuǎn)喻理解為在同一個理想化認(rèn)知模型中一個概念實(shí)體為另一個概念實(shí)體提供心理通道的認(rèn)知過程。轉(zhuǎn)喻基于人們的日常經(jīng)驗(yàn),其本質(zhì)是概念性的。轉(zhuǎn)喻的認(rèn)知基礎(chǔ)在于概念上的鄰近性和認(rèn)知突顯性,其使用是有理據(jù)的。關(guān)于轉(zhuǎn)喻的運(yùn)行機(jī)制,認(rèn)知語言學(xué)家從不同的視角提出了不同的模型,例如,理想化認(rèn)知模型、認(rèn)知參照點(diǎn)、映射或者突顯。轉(zhuǎn)喻的功能不再僅僅局限于間接指稱,而且在認(rèn)知、思維、詞義擴(kuò)展、日常交際以及語篇構(gòu)建等方面都起著重要的作用。 現(xiàn)在,人們越來越關(guān)注轉(zhuǎn)喻的應(yīng)用價(jià)值,在此方面人們已經(jīng)進(jìn)行了若干個案研究。本文作者以對《推銷員之死》這部戲劇作品中的轉(zhuǎn)喻分析為例,試圖探討語言和行動中的轉(zhuǎn)喻。本研究是從以下兩個層面展開的:一個是微觀語言層面,即戲劇文本中的轉(zhuǎn)喻:另一個是宏觀結(jié)構(gòu)層面,即舞臺表演中的轉(zhuǎn)喻。通過分析,我們看到戲劇文本的措辭和舞臺表演的組織在一定程度上是由轉(zhuǎn)喻思維決定的;舞臺上事件和人物的呈現(xiàn)也體現(xiàn)了對轉(zhuǎn)喻思維的運(yùn)用,轉(zhuǎn)喻在舞臺表演中確實(shí)是一種有效的策略。具體地說,舞臺上事件的呈現(xiàn)存在許多空缺,經(jīng)常只用最初的和最后的場景代表整個事件,這正是“子事件代整個事件”的概念轉(zhuǎn)喻的運(yùn)用和體現(xiàn)。典型的服裝、道具、動作被用來表現(xiàn)人物的職業(yè)和身份,此舉運(yùn)用了“突顯特征代整個范疇”的概念轉(zhuǎn)喻。 通過分析可以看出,作者在構(gòu)造劇本、導(dǎo)演在指導(dǎo)舞臺表演的過程中都運(yùn)用了轉(zhuǎn)喻思維,這說明轉(zhuǎn)喻不僅影響人們的語言,而且影響人們的行為。舞臺表演蘊(yùn)含著一個選擇過程,這個過程是以概念轉(zhuǎn)喻為基礎(chǔ)的,通常只選擇突顯的部分搬上舞臺,以此激活整體。在閱讀戲劇文本和欣賞舞臺表演時(shí),讀者和觀眾都需要借助于轉(zhuǎn)喻的思維方式才能充分地理解這部戲劇。作為一種經(jīng)濟(jì)有效的策略,轉(zhuǎn)喻在電影、廣告、繪畫等各種藝術(shù)形式中都會有廣泛的利用,這一領(lǐng)域尚需更多系統(tǒng)的研究。本文進(jìn)一步深化了人們對轉(zhuǎn)喻的理解,為轉(zhuǎn)喻研究開拓了新的領(lǐng)域。
[Abstract]:Based on the theory of cognitive metonymy, this paper analyzes metonymy in "death of a Salesman" in order to study the form, mode of operation and function of metonymy in this play, so as to explore the influence of metonymy on human language and behavior. Traditional linguistics only regards metonymy as a rhetorical device and a linguistic phenomenon whose function is mainly to indirectly refer to or achieve a certain rhetorical effect. With the development of cognitive linguistics, the traditional metonymy is challenged greatly. Cognitive linguistics interprets metonymy as a cognitive process in which one conceptual entity provides a psychological channel for another conceptual entity in the same idealized cognitive model. Metonymy is based on people's daily experience and is conceptual in nature. Metonymy is based on conceptual proximity and cognitive salience, and its use is justified. On the mechanism of metonymy, cognitive linguists put forward different models from different perspectives, such as idealized cognitive model, cognitive reference point, mapping or prominence. The function of metonymy is not only limited to indirect reference, but also plays an important role in cognition, thinking, extension of word meaning, daily communication and discourse construction. Nowadays, people pay more and more attention to the application value of metonymy. The author takes the metonymy analysis in "death of a Salesman" as an example to try to explore metonymy in language and action. This research is carried out from the following two aspects: one is the microcosmic language level, namely the metonymy in the drama text; the other is the macroscopic structure level, namely the metonymy in the stage performance. Through analysis, we can see that the wording of the drama text and the organization of the stage performance are to some extent determined by metonymy thinking, and the events and characters on the stage also reflect the use of metonymy thinking. Metonymy is really an effective strategy in stage performance. Specifically, there are many gaps in the presentation of events on the stage, often representing the whole event only in the initial and final scenes, which is precisely the use and embodiment of the conceptual metonymy of "sub-event for the whole event". Typical costumes, props, and actions are used to represent the character's profession and identity, using the conceptual metonymy of "highlighting features for the whole category". It can be seen from the analysis that the author uses metonymy thinking in the process of constructing the script and directing the stage performance, which shows that metonymy not only affects people's language, but also affects people's behavior. Stage performance contains a selection process, which is based on conceptual metonymy. In order to fully understand the play, readers and audience need metonymy to read the text and appreciate the stage performance. As an economical and effective strategy, metonymy is widely used in film, advertising, painting and other art forms, and more systematic research is needed in this field. This paper further deepens people's understanding of metonymy and opens up a new field for metonymy research.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：I712.073

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