在過(guò)去的幾十年里,貝克特戲劇的研究非常廣泛。研究視角從政治、到哲學(xué)、美學(xué)、結(jié)構(gòu)主義、后現(xiàn)代主義、后殖民主義、女性主義以及讀者接受理論等等。但是,很少有人對(duì)貝克特戲劇中的隱喻進(jìn)行研究。為此,本論文從認(rèn)知的視角對(duì)貝克特戲劇中的隱喻進(jìn)行了研究。本論文的意圖有二:第一,闡述與隱喻理論有關(guān)的問(wèn)題。本論文人為,文本意義,包括戲劇文本意義,是可以通過(guò)隱喻產(chǎn)生的。傳統(tǒng)的觀點(diǎn)認(rèn)為隱喻是一種修辭,其意義就是表達(dá)的意義并非原語(yǔ)所指意義或原語(yǔ)的字面意義。換句話說(shuō),這是言語(yǔ)組成中的一種“錯(cuò)配”或“偏離”。結(jié)果是對(duì)隱喻的理解就是要對(duì)言語(yǔ)進(jìn)行錯(cuò)位或者語(yǔ)義異�；�;而言語(yǔ)錯(cuò)位和語(yǔ)義異常與認(rèn)知緊密相關(guān),屬于認(rèn)知語(yǔ)言學(xué)的研究范疇。在貝克特戲劇中,言語(yǔ)錯(cuò)位和語(yǔ)義異常是相當(dāng)普遍的,所以,貝克特戲劇中的隱喻的研究方法也要從言語(yǔ)層面轉(zhuǎn)向認(rèn)知層面,任何言語(yǔ)都根植于具有隱喻的概念之中。本論文的第二個(gè)意圖就是運(yùn)用情感、時(shí)間和空間、意象圖式等與認(rèn)知有關(guān)的理論研究貝克特的戲劇文本中的隱喻。本論文認(rèn)為,貝克特的戲劇不遵循傳統(tǒng)法則,形式、主題和方法上都具有獨(dú)創(chuàng)性,其戲劇創(chuàng)作手法多種多樣,包括幽默、詼諧、戲擬、反諷、譏諷和隱喻等等,最重要的特征是... 

【文章來(lái)源】：上海交通大學(xué)上海市 211工程院校 985工程院校 教育部直屬院校

【文章頁(yè)數(shù)】：201 頁(yè)

【學(xué)位級(jí)別】：博士

【文章目錄】：
Acknowledgements
Abstract
內(nèi)容提要
Chapter One Introduction
    1.1 Objectives of this research
    1.2 Significance of study
    1.3 Methods of study
    1.4 The structure of this dissertation
Chapter Two Literature Review
     2.1 Introduction
    2.2 Traditional studies on metaphor
        2.2.1 Metaphor in fiction and poetry
        2.2.2 Metaphor in drama
        2.2.3 Dramatic text and performance
    2.3 Contemporary studies on metaphor
        2.3.1 Semantic theory of metaphor
        2.3.2 Pragmatic theory of metaphor
        2.3.3 Cognitive theory of metaphor
        2.3.4 Conceptual metaphor
        2.3.5 Conventional and novel metaphors
    2.4 Metaphor studies of Beckett’s plays
        2.4.1 Overview of criticism of Samuel Beckett’s plays
        2.4.2 Overview of metaphor studies on Beckett’s plays
     2.5 Summary and research questions
Chapter Three Emotion Metaphors in Waiting for Godot and Krapp’s Last Tape
    3.1 Introduction
    3.2 Emotion metaphors
    3.3 Emotion metaphors in Waiting for Godot
     3.4 Emotion metaphors in Krapp’s Last Tape
    3.5 Summary
Chapter Four Time as Space Metaphors in Happy Days and Endgame
    4.1 Introduction
     4.2 Conceptions of time and space
        4.2.1 Keshavmurti on time and space
        4.2.2 Alverson on time and space
        4.2.3 Lakoff on space and time
        4.2.4 Lakoff and Johnson on everyday metaphor
    4.3 Time as space metaphors in Happy Days and Endgame
    4.4 “Time” and “oblivion” in Waiting for Godot
    4.5 Summary
Chapter Five Image-Schema Metaphors in Endgame
    5.1 Introduction
     5.2 Interpretations of image-schemata
        5.2.1 Interpretation on images
        5.2.2 Interpretation on schemata
        5.2.3 Image-schema
    5.3 Schema theory and metonymy
    5.4 A game of chess: metonymic manifestation of the part-whole image-schema
    5.5 A room: metonymic manifestation of centre-periphery image-schema
    5.6 A journey: metonymic manifestation of the source-path-goal image-schema
    5.7 Summary
Chapter Six Non-verbal metaphors in Beckett’s Dramaticules
    6.1 Introduction
    6.2 Musical metaphors in Beckett’s Ghost Trio
        6.2.1 Musical meaning and metaphor
        6.2.2 Musical Event Structure Metaphors in Ghost Trio
            6.2.2.1 Dynamic qualities of music in Ghost Trio
            6.2.2.2 Intensity of musical experience in Ghost Trio
     6.3 Visual metaphors in Beckett’s dramaticules
        6.3.1 Visual metaphors and verbal metaphors
        6.3.2 A fragmented mouth identity: visual metaphor in Not I
        6.3.3 Esse est percipi: visual metaphor in Film
        6.3.4 Counterpoint and iconography: visual metaphor in Beckett’s Play
    6.4 Summary
Chapter Seven Findings and Conclusions
    7.1 Findings of this dissertation
    7.2 Conclusions
    7.3 Some issues worthy of future study
Bibliography
攻讀博士學(xué)位期間科研成果


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期刊論文
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