【摘要】：一般認(rèn)為辭格是指對(duì)本民族語(yǔ)言的語(yǔ)音、語(yǔ)義以及話語(yǔ)結(jié)構(gòu)進(jìn)行特殊組合從而產(chǎn)生具有獨(dú)特效果的言語(yǔ)表達(dá)方式。比喻作為一種常見(jiàn)的修辭格,有著頑強(qiáng)的生命力和古老的歷史。人們的日常生活處處存在比喻,浩如煙海的文學(xué)文本中比喻的使用也是俯拾即是。作為首位獲得諾貝爾文學(xué)獎(jiǎng)的中國(guó)籍作家——莫言先生,他的小說(shuō)中比喻運(yùn)用的數(shù)量之多令人望塵莫及,看似信手拈來(lái)卻又不拘一格、不落俗套;相較而言,雖然錢(qián)鐘書(shū)先生的小說(shuō)作品數(shù)量不多,但是比喻的使用同樣是比比皆是、不落窠臼,往往能給讀者帶來(lái)耳目一新的美妙感覺(jué)。同樣是當(dāng)代文壇上閃爍的文學(xué)大家,同樣是小說(shuō)作品中比喻運(yùn)用豐富多彩的學(xué)者,但是相較兩人的小說(shuō)作品中比喻的使用便會(huì)發(fā)現(xiàn),其中存在相似性的同時(shí)也有具有明顯的差異性,究其緣由,是因?yàn)楸扔骶哂兄饔^性。著名語(yǔ)言學(xué)家Lyons指出,主觀性指的是自然語(yǔ)言在它們的結(jié)構(gòu)和運(yùn)作的正常方式中提供了說(shuō)話人的言語(yǔ)行為的表達(dá)和他自己的態(tài)度以及信念等。錢(qián)鐘書(shū)先生與莫言先生在小說(shuō)創(chuàng)作中比喻的使用同樣也表達(dá)他們各自的想法、態(tài)度、經(jīng)驗(yàn)以及信念等。本篇論文共分為四個(gè)部分:第一部分為緒論,主要是對(duì)本篇論文的研究緣起、研究方法、以及國(guó)內(nèi)外相關(guān)研究的概括與總結(jié);第二部分是對(duì)比喻修辭構(gòu)成要素的梳理;第三部分通過(guò)對(duì)錢(qián)鐘書(shū)先生和莫言先生比喻的搜集、整理,從喻體的主觀選擇上,喻體的表現(xiàn)形式,比喻的功能分類以及比喻的風(fēng)格四個(gè)方面來(lái)闡釋比喻的主觀異同;第四部分在上述分析的基礎(chǔ)上說(shuō)明比喻主觀性受到生活經(jīng)歷、地域差異、時(shí)代特征、文化心理等的影響。本篇論文以錢(qián)鐘書(shū)先生與莫言先生的小說(shuō)為文本載體,分析其作品中的比喻句型,研究?jī)晌蛔骷以诒扔鬟\(yùn)用中的主觀性體現(xiàn)以及造成主觀性差異的原因,希望能對(duì)比喻主觀性的解讀有一個(gè)深層次的認(rèn)識(shí)。
[Abstract]:It is generally believed that figures of speech refer to the special combination of phonology, semantics and discourse structure of their own languages in order to produce a unique effect of speech expression. Metaphor, as a common figure of speech, has tenacious vitality and ancient history. There are metaphors everywhere in people's daily life, and the use of metaphors in vast literary texts is everywhere. As the first Chinese writer to win the Nobel Prize for Literature, Mr. Mo Yan, the number of metaphors used in his novels is beyond reach, it seems that it is easy to come by hand, but it is not cliche. In contrast, although the number of novels written by Mr. Qian Zhongshu is small, the use of metaphors is also everywhere, which often brings fresh and wonderful feelings to readers. It is also a twinkling literature in the contemporary literary world, and it is also a rich and colorful scholar in the use of metaphors in novel works, but compared with the use of metaphors in the novels of two people, it will be found that There are similarities and obvious differences, and the reason is that metaphors are subjective. Lyons, a famous linguist, points out that subjectivity refers to the fact that natural languages provide the speaker's speech act expression, his own attitude and belief in the normal way of their structure and operation. The use of metaphors in novel creation by Mr. Qian Zhongshu and Mr. Mo Yan also expresses their respective ideas, attitudes, experiences and beliefs. This paper is divided into four parts: the first part is the introduction, mainly on the origin of this paper, research methods, as well as the summary and summary of related research at home and abroad; the second part is the combing of the elements of figurative rhetoric; The third part explains the subjective similarities and differences of the metaphor from four aspects: the subjective choice of the metaphor, the manifestation of the metaphor, the functional classification of the metaphor and the style of the metaphor through the collection and collation of the metaphor of Mr. Qian Zhongshu and Mr. Mo Yan. On the basis of the above analysis, the fourth part shows that the subjectivity of metaphor is influenced by life experience, regional differences, characteristics of the times, cultural psychology and so on. This paper takes the novels of Mr. Qian Zhongshu and Mr. Mo Yan as the text carrier, analyzes the metaphorical sentence patterns in their works, and studies the subjective embodiment of the two writers in the use of metaphors and the reasons for the differences in subjectivity. I hope to have a deep understanding of the subjectivity of metaphor.
【學(xué)位授予單位】：華中科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：H15

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本文編號(hào)：2493183