本文選題：概念整合理論 + 整合網(wǎng)絡(luò)　； 參考：《長(zhǎng)沙理工大學(xué)》2013年碩士論文

【摘要】：概念整合理論由Fauconnier和Turner提出來(lái)以后，受到了國(guó)內(nèi)外眾多學(xué)者的廣泛關(guān)注。該理論具有完整的框架結(jié)構(gòu)及靈活的運(yùn)作機(jī)制。概念整合過(guò)程需要四個(gè)心理空間，根據(jù)四者之間的相互關(guān)系分為不同的概念整合網(wǎng)絡(luò)模式。輸入空間的成分通過(guò)有選擇地投射到整合空間形成初步的結(jié)構(gòu)，通過(guò)組合、完善和精致三個(gè)過(guò)程形成新創(chuàng)結(jié)構(gòu)。概念整合理論能為語(yǔ)言現(xiàn)象的分析提供全新的理論工具，因此已被廣泛地運(yùn)用于廣告、詩(shī)歌、戲劇、新聞、電影和敘事散文詩(shī)等的分析。 詩(shī)歌意象是詩(shī)歌藝術(shù)的靈魂，，是傾注著作者主觀情感的客觀物象。詩(shī)歌作為文學(xué)的主要形式之一，通過(guò)含蓄地運(yùn)用意象，使詩(shī)人的主觀情感能夠生動(dòng)地表達(dá)出來(lái)，并能巧妙地傳達(dá)給讀者。唐代閨怨詩(shī)是非常獨(dú)特的古典詩(shī)歌，往往通過(guò)各種意象來(lái)表達(dá)豐富的情感內(nèi)涵。因此，許多學(xué)者對(duì)閨怨詩(shī)意象展開(kāi)了包括社會(huì)學(xué)、美學(xué)、翻譯學(xué)、修辭學(xué)等多角度的研究，但是絕大多數(shù)研究都是在非認(rèn)知領(lǐng)域展開(kāi)的。 文章運(yùn)用概念整合理論，以唐代閨怨詩(shī)為語(yǔ)料，對(duì)蓮、水、月和柳四種意象在詩(shī)歌中意義的構(gòu)建進(jìn)行了探索和分析。通過(guò)組合、完善、擴(kuò)展等步驟構(gòu)建不同的概念整合網(wǎng)絡(luò)模型，探索意象的意義是如何通過(guò)動(dòng)態(tài)的認(rèn)知過(guò)程生成的。 文章發(fā)現(xiàn)，讀者對(duì)唐代閨怨詩(shī)歌中意象的在線認(rèn)知是一種無(wú)意識(shí)、動(dòng)態(tài)的概念整合現(xiàn)象。由于各個(gè)心理空間之間整合模式不同，構(gòu)建的概念整合網(wǎng)絡(luò)模型也就不同。每個(gè)人的背景知識(shí)結(jié)構(gòu)不同，因此概念整合網(wǎng)絡(luò)模型的構(gòu)建并不是固定的，而是隨認(rèn)知主體主觀變化的。但是，不同的概念整合網(wǎng)絡(luò)對(duì)唐代閨怨詩(shī)中的意象都具有強(qiáng)大的解釋力。 文章指出，唐代閨怨詩(shī)作為一種意合的文學(xué)形式，意象的涵義無(wú)法單純地通過(guò)字面推敲得出。意象只有與讀者掌握的相關(guān)背景知識(shí)產(chǎn)生映射連接時(shí)，認(rèn)知主體才能掌握其意義的動(dòng)態(tài)認(rèn)知過(guò)程。從不同的視角對(duì)閨怨詩(shī)的意象去鑒賞品評(píng)，得出的評(píng)價(jià)往往會(huì)眾說(shuō)紛紜。 文章通過(guò)概念整合的認(rèn)知理論來(lái)分析唐代閨怨詩(shī)意象的意義構(gòu)建，進(jìn)一步證明了概念整合理論作為國(guó)外的語(yǔ)言學(xué)理論，同樣對(duì)中國(guó)古典文學(xué)具有巨大的認(rèn)知闡釋力。故此，文章主張，運(yùn)用概念整合理論來(lái)分析唐代閨怨詩(shī)，不但能夠?yàn)楣诺湓?shī)歌的賞析提供新的方法，而且還能為該類(lèi)詩(shī)歌的文本轉(zhuǎn)換與教學(xué)拓展新的思路。
[Abstract]:Since the conceptual integration theory was put forward by Fauconnier and Turner, it has received extensive attention from many scholars at home and abroad. The theory has a complete frame structure and flexible operation mechanism. The process of conceptual integration requires four psychological spaces, which can be divided into different conceptual integration networks according to the relationship between the four. The components of the input space form a preliminary structure by selectively projecting to the integration space, and a new and innovative structure is formed through three processes of combination, perfection and refinement. Conceptual integration theory can provide a new theoretical tool for the analysis of linguistic phenomena, so it has been widely used in the analysis of advertising, poetry, drama, news, film and narrative prose poetry. Poetic image is the soul of poetic art and the objective image of the author's subjective emotion. Poetry as one of the main forms of literature, through the implicit use of imagery, the poet's subjective feelings can be vividly expressed, and can be skillfully conveyed to the reader. Tang Dynasty purdah poetry is a very unique classical poetry, often through a variety of images to express rich emotional connotations. Therefore, many scholars have carried out researches on the poetic images of purdah, including sociology, aesthetics, translation, rhetoric and so on, but most of the studies have been carried out in the field of non-cognition. Based on the theory of conceptual integration, this paper explores and analyzes the meaning construction of lotus, water, moon and willow images in Tang Dynasty purdah poems. Through the steps of combination, perfection and expansion, different conceptual integration network models are constructed to explore how the meaning of image is generated by dynamic cognitive process. It is found that the online cognition of images in Tang Dynasty purdah poetry is an unconscious and dynamic phenomenon of conceptual integration. The conceptual integration network model is different because of the different integration models between different mental spaces. Each person's background knowledge structure is different, so the construction of conceptual integration network model is not fixed, but with the subjective change of cognitive agent. However, the different concept conformity network has the powerful explanatory power to the Tang Dynasty purdah poem image. The article points out that as a literary form of parataxis, the meaning of image cannot be obtained simply by literal examination. The cognitive subject can master the dynamic cognitive process of the meaning only when the image is linked to the background knowledge of the reader. Judging the images of purdah poems from different perspectives will result in different opinions. Based on the cognitive theory of conceptual integration, this paper analyzes the meaning construction of poetic images of boudoir grievances in Tang Dynasty, and further proves that the theory of conceptual integration, as a foreign linguistic theory, also has great cognitive and explanatory power for Chinese classical literature. Therefore, the paper argues that the application of conceptual integration theory to the analysis of Tang Dynasty purdah poetry can not only provide a new method for the appreciation and analysis of classical poetry, but also expand new ideas for the text conversion and teaching of this kind of poetry.
【學(xué)位授予單位】：長(zhǎng)沙理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：I207.22

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