本文選題：莎士比亞十四行詩 + 拓撲心理學��； 參考：《上海外國語大學》2013年博士論文

【摘要】：二十世紀七八十年代，歐美學術界掀起了“隱喻熱”，到了該世紀末和本世紀初，這股“隱喻熱”漫延到了中國學術界，特別是外國語言文學界。隱喻研究熱度升溫，原因有二：一是隱喻現(xiàn)象本身具有極大的豐富性和趣味性，一是傳統(tǒng)隱喻研究對修辭效果的重視。隱喻不僅是語言現(xiàn)象，更是人類思維和認知世界的方式，是認知和語言的紐帶。因此，現(xiàn)在的隱喻研究把隱喻視為一種認知現(xiàn)象，把它視為人類思維和感知的一個重要方式。近年來，心理學家和語言學家試圖通過大量的實驗，證明隱喻對人類思維和日常行為具有重要影響。隨著認知語言學理論研究在中國的發(fā)展，有關隱喻的研究也在不斷拓展和深入。 德國心理學家?guī)臁だ諟氐耐負湫睦韺W認知理論認為，宇宙是單數(shù)的，心理的空間則是復數(shù)的。正如羅馬尼亞詩人魯布拉說：“所有科學家加在一起才能開辟一個世界；一個哲學家就足以開辟一個世界；而一個詩人卻能開辟許多世界。這個世界就是詩人所向讀者展示的他對事物的不同感知、認識和理解，，也就是他個人心理空間的隱射，或者是讀者通過心理感知對他所描繪的心理空間的不同理解。換句話說，當我們處于同一個社會、同一個情景或欣賞同一景色的時候，不同的人就會有不同的感受，這些感受都源于個人的多樣的心理空間。詩人想向我們展示的世界會因為讀者的不同會有不同的呈現(xiàn)。一千個人讀莎士比亞十四行詩，會有一千個對莎翁詩中所創(chuàng)造的世界的不同感知和理解。這是讀者對詩人在詩中使用的隱喻不同的認知和理解造成的。一個詩人的思想是遼闊的，想象力可以比宇宙還大，創(chuàng)造出不一樣的世界。莎士比亞以其獨特、新穎、迷人、瑰麗的詩歌言語為我們構建了許多個世界。 根據(jù)這一理論，我們剖析莎士比亞十四行詩，就不難發(fā)現(xiàn)，莎士比亞十四行詩中所描繪的心理空間是隱喻的，其具體特征是多維的、開放的、動態(tài)的；詩歌中所體現(xiàn)的立體隱喻性認知圖形從不同的角度說明、闡述和描繪了同一個概念，表達了同一個主題。莎翁運用多樣的、不同的隱喻和表達方式讓讀者感知他詩歌中的主題如愛情、友情、時間和永恒等。如果我們把他的文字和表達方式形象地比喻成是一個立體的球形，所有的隱喻突出于文字上方，我們借助拓撲心理學的規(guī)律進行隱喻梳理和整合，那么讀者站在這個立體的球形中央，就會以360度的視角從不同的詩節(jié)和文字里讀懂他的主題。1 借助庫·勒溫的拓撲心理學理論，本論文將莎翁一百五十四首十四行詩中的隱喻進行了梳理和歸類，結合心理空間隱喻的特征，嘗試以拓撲心理學的視角對這些詩篇進行解讀。論文把《莎士比亞十四行詩》看成為一個隱喻網絡構成的多維意義空間，把他的詩放在拓撲心理學空間里來研討，從而突破了以往僅在平面上閱讀莎士比亞十四行詩的局限。這是理論視野轉換所產生的結果。論文認為，這種轉換有助于讀者認知詩中所反映的意象，有助于讀者明白，這些隱喻所蘊涵的意象不是單一、封閉和靜態(tài)的，而是多維、開放和動態(tài)的。如果對詩歌中的意象理解膚淺，僅從視覺角度感知和欣賞一下，那么詩人對意象的創(chuàng)造性運用對讀者而言就毫無意義了，但如果把詩人所創(chuàng)造的意象反映到心理隱喻空間中，則讀者可運用想象對它們進行聯(lián)想、整合和重構，進而生成獨特的、多維的意義體系。心理隱喻空間是動態(tài)開放的，因此這些意象的心理隱喻也是不確定的，多變的，它們隨著時代，隨著讀者變異和發(fā)展。 莎士比亞一百五十四首十四行詩中出現(xiàn)了六百一十一處隱喻，平均每首四個。這些隱喻主要涉及“愛情”、“人類”、“生命”、“美”和“時間”，其中尤以“植物”為最常出現(xiàn)的喻體，而“財富”則是使用最廣泛的喻體。莎士比亞擅長使用“隱喻組”，即一個隱喻涵蓋兩到三個隱喻。莎士比亞十四行詩在其文字的表達背后，隱藏著詩人深邃的思想，這些思想是通過詩人對于隱喻的使用和隱喻網絡的構建呈現(xiàn)在讀者面前的。如詩中自然界事物的變化（季節(jié)變化、植物生長變化，晝夜更替）讓我們聯(lián)想到了人生變化。探索人的地位、價值和意義是莎士比亞十四行詩中的一個重大主題。在莎士比亞的作品里，上述隱喻網絡是深厚而復雜的，其隱喻性認知圖形生動地體現(xiàn)了詩人對生命意義的理解和對人生意義的寫照。莎士比亞運用宇宙、時間、永恒、愛情、身體、音樂、和諧等文學主題來描述自身內心世界的同時，也在與外部世界進行著交流，詩中的隱喻認知意義也就因此在字里行間得以體現(xiàn)。這證明了詩人內心之深刻，證明了詩人的內心并非是一個單數(shù)的物理空間，其上，建有一個復數(shù)的心理空間。
[Abstract]:In 70s and 80s twentieth Century, "metaphor fever" was set off in the academic circles of Europe and America. By the end of this century and the beginning of this century, the "metaphor fever" extended to the Chinese academia, especially the foreign language and literature circles. The heat of metaphor study was heated up. There were two reasons: one is that metaphor has great richness and interest, one is traditional implicit. Metaphor studies the effect of rhetoric. Metaphor is not only a linguistic phenomenon, but also a way of human thinking and cognitive world. It is the link between cognition and language. Therefore, metaphorical research regards metaphor as a cognitive phenomenon and regards it as an important formula for human thinking and perception. In recent years, psychologists and linguists have tried to pass it through A large number of experiments have proved that metaphor has an important influence on human thinking and daily behavior. With the development of cognitive linguistics in China, the research on metaphor is expanding and deepening.
The German psychologist Cu Lewin's cognitive theory of topological psychology holds that the universe is singular and the psychological space is plural. As Rubra, the Romania poet, says, "all scientists add together to open a world; a philosopher is enough to open a world; and a poet can open up a lot of worlds. The world is the different perception, understanding and understanding of the things that the poet has shown to the reader, that is, his personal psychological space, or the different understanding of the psychological space he has described by the reader's psychological perception. In other words, when we are in the same society, the same scene, or the same view. Different people have different feelings. These feelings come from a variety of mental spaces. The world that the poet wants to show us will be different because of the different readers. One thousand people read Shakespeare sonnet, there will be one thousand different perceptions and understanding of the world created in Shakespeare's poetry. This is the reader's poem. The metaphor used in the poem is caused by the different cognition and understanding of the metaphor. The thought of a poet is vast, the imagination can be larger than the universe, and creates a different world. Shakespeare built many worlds for us with its unique, novel, charming, and magnificent poetic words.
According to this theory, the analysis of Shakespeare sonnet is not difficult to find that the psychological space depicted in the sonnet of Shakespeare is metaphorical, its specific features are multidimensional, open and dynamic; the stereoscopic metaphorical cognitive graphics embodied in poetry explain and describe the same concept in different angles. The same theme. Shakespeare uses various, different metaphors and expressions to let the reader perceive the themes in his poetry, such as love, friendship, time and eternity. If we figuratively figuratively figure out his words and expressions into a three-dimensional sphere, all the metaphors are out of the words, and we use the rules of topological psychology. The law carries on the metaphorical carding and integration, then the reader stands in this solid spherical center and reads his theme from different verses and words in a 360 degree angle of view.
With the help of Lewin's topological psychology theory, this thesis combs and classifies the metaphors in the one hundred and fifty-four sonnets of Savon, and tries to interpret these poems with the visual angle of topological psychology, combining the characteristics of psychological space metaphor. The thesis takes "Shakespeare's fourteen lines poetry" as a multidimensional form of a metaphorical network. In meaning space, he puts his poems in the space of topological psychology to break through the limitations of reading Shakespeare's Sonnets on the plane only in the past. This is the result of the transformation of the theoretical field of vision. The paper holds that this kind of transformation helps the readers to recognize the images reflected in the poetry, and helps the readers understand that these metaphors contain the implication. The image is not single, closed and static, but multidimensional, open and dynamic. If the understanding of the image in the poetry is superficial and only perceiving and appreciating from the visual angle, the creative use of the image is meaningless for the readers, but if the image created by the poet is reflected in the psychological metaphor space, then reading is read. They can use imagination to associate, integrate and reconstruct them, and then create a unique and multidimensional meaning system. Psychological metaphor space is dynamic and open, so the psychological metaphors of these images are uncertain and changeable. With the time, they change and develop with the readers.
In the one hundred and fifty-four sonnets of Shakespeare, there are six hundred and eleven metaphors, averaging four. These metaphors mainly involve "love", "human", "life", "beauty" and "time", especially "plant" as the most common metaphor, and "wealth" is the most widely used metaphor. Shakespeare is good at it. Using the "metaphorical group", that is, a metaphor covers two to three metaphors. Behind the expression of Shakespeare's sonnet, the poet's deep thought is hidden by the poet's use of metaphor and the construction of the metaphorical network. Long change, day and night replacement) reminds us of the change in life. The position, value and meaning of the Explorer is a major theme in Shakespeare's sonnet. In Shakespeare's works, the metaphor network is deep and complex, and its metaphorical cognitive graphics vividly embodies the poet's understanding of the meaning of life and the business of the person. Shakespeare uses the literary themes of universe, time, eternity, love, love, body, music, harmony and other literary themes to describe his inner world, but also to communicate with the outside world. The cognitive meaning of metaphor in the poem is reflected between the lines. This proves that the poet's heart is profound and proves that the poet's heart is not. It is a singular physical space, on which there is a plural mental space.

【學位授予單位】：上海外國語大學
【學位級別】：博士
【學位授予年份】：2013
【分類號】：I561.072

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