人們對象似性的討論由來已久。從中國古代倉頡造字的記錄到古希臘著名的文學(xué)模仿論,符號象似性及文學(xué)象似性便已分別現(xiàn)其雛形。象似性理論是針對語言任意性理論提出來的�，F(xiàn)代語言學(xué)奠基人索緒爾提出語言任意性原則,認(rèn)為能指和所指之間并無自然聯(lián)系,并將其視為統(tǒng)治整個語言系統(tǒng)的首要原則。與此相對,美國著名哲學(xué)家和符號學(xué)家皮爾斯區(qū)分了三種符號:象似符、標(biāo)記符及象征符,三者因任意性程度不同而存在著差異。他將語言符號能指和所指之間存在的自然關(guān)系叫做象似性,并進一步把象似符分為映象符和擬象符。自二十世紀(jì)六十年代,越來越多的語言學(xué)家意識到能指和所指之間的關(guān)系不能僅僅被概括為任意性,因而就語言象似性展開了深入討論。目前,隨著認(rèn)知語言學(xué)的發(fā)展,有關(guān)語言象似性的研究已經(jīng)取得豐碩成果,而對象似性的研究亦已深入到語言學(xué)研究各個領(lǐng)域。為象似性與其它學(xué)科的結(jié)合打下了堅實的理論基礎(chǔ)。從符號象似性理論出發(fā),學(xué)者們認(rèn)為,文學(xué)是象似的,文學(xué)莫不以各種方式映照現(xiàn)實。文學(xué)作品中許多藝術(shù)手法都是有意而為之。這些手法的使用,目的就是要使文學(xué)作品的形式盡量貼近其所要描述的客觀現(xiàn)實和所要表達的心理體驗。換言之,就是要使其形式盡可能“像”其內(nèi)容。二... 

【文章來源】：西南交通大學(xué)四川省 211工程院校 教育部直屬院校

【文章頁數(shù)】：87 頁

【學(xué)位級別】：碩士

【文章目錄】：
摘要
Abstract
Contents
Chapter 1 Introduction
    1.1 Research Background
    1.2 Purpose, Methodology and Significance
    1.3 Layout of the Thesis
Chapter 2 A Survey of Iconicity Theory
    2.1 Introduction
    2.2 Quest for the Nature of Signs: Arbitrariness and Iconicity
        2.2.1 Pre-Saussurean Stage: Philosophical Perspective
        2.2.2 Saussurean Stage: Semiotic Perspective
            2.2.2.1 Saussurean Arbitrariness
            2.2.2.2 Peircean Iconicity
            2.2.2.3 Other Views
        2.2.3 Post-Saussurean Stage: Cognitive Perspective
    2.3 Definition and Categories of Iconicity
    2.4 Iconic Studies in Literature
        2.4.1 Traditional Iconic Studies in Literature
            2.4.1.1 Xiang in China
            2.4.1.2 Icon in the West
        2.4.2 Current Iconic Studies in Literature
    2.5 Summary
Chapter 3 Sound Iconicity and Its Stylistic Function
    3.1 Introduction
    3.2 Imagic Aspects of Sound Iconicity
        3.2.1 Onomatopoeia
            3.2.1.1 Onomatopoeia of Natural Sounds
            3.2.1.2 Onomatopoeia of Animal Sounds
            3.2.1.3 Onomatopoeia of Human Sounds
        3.2.2 Sound Symbolism
            3.2.2.1 Sound Symbolism of Vowels
                3.2.2.1.1 Length: long and short
                3.2.2.1.2 Mouth Shape: Open and Closed
                3.2.2.1.3 Tongue Place: Front and Back
            3.2.2.2 Sound Symbolism of Consonants
    3.3 Diagrammatic Aspects of Sound Iconicity
        3.3.1 Meter and Rhythm
        3.3.2 Rhyme Pattern
            3.3.2.1 Single Rhyme
            3.3.2.2 Rhyme Shift and Multiple Rhymes
    3.4 Summary
Chapter 4 Visual Iconicity and Its Stylistic Function
    4.1 Introduction
    4.2 Imagic Aspects of Visual Iconicity
        4.2.1 Single Signs Proper
            4.2.1.1 Chinese Characters
            4.2.1.2 Alphabetical Letters
        4.2.2 Typographic Layout I: Transparent Imitation
    4.3 Diagrammatic Aspects of Visual Iconicity
        4.3.1 Typographic Layout II: Translucent Representation
        4.3.2 Lineation Schemes: Long and Short Lines
        4.3.3 Line Break
        4.3.4 Stanza Break
        4.3.5 Textual Size
    4.4 Summary
Chapter 5 Conclusion
    5.1 Summary of the Thesis
    5.2 Major Findings
    5.3 Limitations
    5.4 Suggestions for Future Study
Acknowledgements
Bibliography
Publication While Registered with the MA Program



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