傳統(tǒng)的隱喻理論一直將隱喻視為一種修辭手法,而忽視了其重要的認(rèn)知功能。萊柯夫的概念隱喻認(rèn)為隱喻不僅是一種語言修辭手法,更是一種思維方法,是我們對外界抽象范疇進(jìn)行概念化的強(qiáng)大認(rèn)知工具,是從一個(gè)具體的概念域到一個(gè)抽象的概念域的系統(tǒng)映射。本文將概念隱喻的幾種跨域模式運(yùn)用到對中國經(jīng)典詩歌的分析研究中,尤其是對唐詩宋詞的分析,以期從全新的角度對詩歌進(jìn)行闡述,進(jìn)而達(dá)到對詩歌意境的理解。本文強(qiáng)調(diào)了三種跨域模式：第一,復(fù)合圖示映射：一個(gè)經(jīng)驗(yàn)域的復(fù)合圖式映射到另一個(gè)經(jīng)驗(yàn)域的對應(yīng)圖式中.此映射適用于分析單個(gè)意象和由一個(gè)意象構(gòu)成一個(gè)意境的詩歌。此映射也凸現(xiàn)了楊柳、月亮、菊花等幾種典型意象在詩歌中的作用。第二,意象圖示映射：把空間結(jié)構(gòu)映射到概念結(jié)構(gòu)而對感性經(jīng)驗(yàn)進(jìn)行的壓縮性的再描寫。此映射適用于由多個(gè)意象組成的詩歌,而這些意象又是按照一定的規(guī)律組合起來的。本文用中心——邊緣圖示,容器圖示,前——后圖示,整體——部分圖示等意象圖示分析了一些中國經(jīng)典詩詞,從整體的角度達(dá)到對詩詞意境的理解。第三,語用功能映射,它是概念結(jié)構(gòu)內(nèi)部的相互映射,借代性映射由于其內(nèi)部結(jié)構(gòu)的映射可以歸為此映射。語用功能映射涉及到幾個(gè)不同心理空間的... 

【文章來源】：武漢理工大學(xué)湖北省 211工程院校 教育部直屬院校

【文章頁數(shù)】：57 頁

【學(xué)位級別】：碩士

【文章目錄】：
摘要
Abstract
Contents
Chapter One Introduction
    1.1 Background of the Study
    1.2 Purposes of the Study
    1.3 Structure of the Thesis
Chapter Two Cognitive Theory of Metaphor and Chinese Poetry
    2.1 Cognitive Theory of Metaphor
        2.1.1 Domain
        2.1.2 Cross-domain Mapping
    2.2 Classification of Conceptual Metaphor
        2.2.1 Orientational Metaphor
        2.2.2 Ontological Metaphor
        2.2.3 Structural Metaphor
    2.3 The Function of Conceptual Metaphor Theory and the Chinese Poetry
    2.4 Conceptual Metaphors in Literature
Chapter Three Compound Schema Mappings and Images
    3.1 Compound Schema Mappings
    3.2 Characteristics of Images in Chinese Poetry
        3.2.1 Suggestiveness
        3.2.2 Specificity
        3.2.3 Polysemy
    3.3 Typical Images in Chinese Poetry
        3.3.1 Willows and Wine
        3.3.2 Moon and Swan Goose
        3.3.3 Chrysanthemum and Bamboo
    3.4 Compound Schema Mappings and Chinese Poetry
        3.4.1 Farewell
        3.4.2 Homesickness
        3.4.3 Hermit
Chapter Four Image Schema Mapping and Artistic conception
    4.1 Image Schema Mapping
        4.1.1 Source-Path-Goal
        4.1.2 Container Schema
        4.1.3 Center Periphery Schema
        4.1.4 The Link Schema
    4.2 The Manifestation of Artistic Conception in Chinese Poetry
        4.2.1 The Emotions Stirred up by the Scenes
        4.2.2 The scenes triggered by the emotions
        4.2.3 The Emotions Departing from the Scenes
        4.2.4 The poem without emotions or scenes
    4.3 Image Schema Mappings and Chinese Poetry
        4.3.1 whole-part schema
        4.3.2 Center-periphery Schema
        4.3.3 Front-Back Schema
        4.3.4 Container Schema
Chapter Five Pragmatic Function Mappings and Chinese Poetry
    5.1 Pragmatic Function Mappings
    5.2 Conceptual Integration Theory
        5.2.1 Mental Spaces
        5.2.2 Conceptual Integration Networks
        5.2.3 Conceptual Blending
        5.2.4 Analysis of Chinese Poetry by blended theory
    5.3 Pragmatic Function Mappings and Classical Chinese Poetry
        5.3.1 typical movement referring to whole event
        5.3.2 Classical Allusion Referring to Current Event
Chapter six Conclusion
Acknowledgements
Bibliography


【參考文獻(xiàn)】：
期刊論文
[1]唐詩中的梧桐意象與愛情[J]. 劉紅梅,高萍.  西安文理學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版). 2005(03)
[2]意象創(chuàng)造與欣賞的規(guī)律性把握——評《詩詞意象的魅力》[J]. 方守金.  安徽教育學(xué)院學(xué)報(bào). 2004(01)
[3]詩性隱喻[J]. 胡壯麟.  山東外語教學(xué). 2003(01)
[4]隱喻與文體[J]. 胡壯麟.  外語研究. 2000(02)
[5]國外隱喻研究綜述[J]. 林書武.  外語教學(xué)與研究. 1997(01)

碩士論文
[1]論詩歌隱喻的特點(diǎn)、分類及功能[D]. 曹麗英.湘潭大學(xué) 2005
[2]論中國古典詩歌中的隱喻翻譯[D]. 安允濤.首都師范大學(xué) 2003



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