隱語(yǔ)是一種特殊的語(yǔ)言現(xiàn)象。其使用對(duì)象是某些特定社會(huì)群體,其使用目的是維護(hù)群體利益、促進(jìn)群內(nèi)成員的交流。隱語(yǔ)既是一種語(yǔ)言變體,也是一種社會(huì)方言,因此它的產(chǎn)生既離不開(kāi)人類對(duì)現(xiàn)實(shí)世界的認(rèn)知體驗(yàn),也與其產(chǎn)生的社會(huì)因素有著密切的聯(lián)系。小偷隱語(yǔ)作為典型的隱語(yǔ)現(xiàn)象,反應(yīng)了該群體特有的行為方式和群體意識(shí)等,因此小偷隱語(yǔ)的產(chǎn)生勢(shì)必與該群體對(duì)現(xiàn)實(shí)的認(rèn)知體驗(yàn)以及社會(huì)對(duì)其產(chǎn)生的影響有著諸多聯(lián)系�；诖�,我們有必要從認(rèn)知社會(huì)語(yǔ)言學(xué)角度對(duì)小偷隱語(yǔ)的認(rèn)知機(jī)制進(jìn)行探討,進(jìn)而對(duì)其意義的產(chǎn)生給出合理的解釋�！鹅F都孤兒》是英國(guó)作家查爾斯·狄更斯的一部現(xiàn)實(shí)主義小說(shuō),也是世界經(jīng)典名著之作。該小說(shuō)中,狄更斯用了諸多小偷隱語(yǔ)刻畫(huà)了費(fèi)金等惡棍形象,借此揭露了當(dāng)時(shí)許多社會(huì)問(wèn)題。雖有學(xué)者從語(yǔ)言學(xué)角度對(duì)該小說(shuō)中的語(yǔ)言表達(dá)進(jìn)行了研究,但大都探討其會(huì)話含義及權(quán)勢(shì)話語(yǔ)等,少有學(xué)者對(duì)其小偷隱語(yǔ)進(jìn)行系統(tǒng)研究,因此本文從認(rèn)知社會(huì)語(yǔ)言學(xué)視角出發(fā),以從該小說(shuō)中收集到的72條小偷隱語(yǔ)為研究對(duì)象,基于語(yǔ)言接觸、概念隱喻、概念轉(zhuǎn)喻和事件域認(rèn)知模型,嘗試構(gòu)建LME模型（其中L代表語(yǔ)言接觸,M代表概念隱喻和概念轉(zhuǎn)喻,E代表事件域認(rèn)知模型）,探討小偷隱語(yǔ)的認(rèn)知機(jī)制,... 

【文章來(lái)源】：四川外國(guó)語(yǔ)大學(xué)重慶市

【文章頁(yè)數(shù)】：87 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
摘要
abstract
Acknowledgements
Chapter One Introduction
    1.1 Research Background
    1.2 Objectives of the Study
    1.3 Methodology and Data Collection
    1.4 Layout of the Thesis
Chapter Two Literature Review
    2.1 Previous Studies on Cant
        2.1.1 Definitions of Cant
        2.1.2 Characteristics of Cant
        2.1.3 Classifications of Cant
        2.1.4 Previous Studies on Cant
            2.1.4.1 Studies on Cant Abroad
            2.1.4.2 Studies on Cant at Home
    2.2 Previous Studies on Language in Oliver Twist
    2.3 Shortcomings of Previous Studies
Chapter Three Theoretical Framework
    3.1 Theoretical Basis
        3.1.1 Language Contact Theory
            3.1.1.1 Definitions of Language Contact
            3.1.1.2 Classifications of Language Contact
            3.1.1.3 Limitations of Language Contact
        3.1.2 Conceptual Metaphor
            3.1.2.1 Basic Elements of Conceptual Metaphor
            3.1.2.2 Classifications of Conceptual Metaphor
            3.1.2.3 Characteristics of Conceptual Metaphor
            3.1.2.4 Limitations of Conceptual Metaphor
        3.1.3 Conceptual Metonymy
            3.1.3.1 Definitions of Conceptual Metonymy
            3.1.3.2 Classifications of Conceptual Metonymy
            3.1.3.3 Characteristics of Conceptual Metonymy
            3.1.3.4 Limitations of Conceptual Metonymy
        3.1.4 Event-domain Cognitive Model
            3.1.4.1 The Background of ECM
            3.1.4.2 The Framework of ECM
            3.1.4.3 Limitations of ECM
    3.2 Theoretical Integration: LME Model
        3.2.1 The Feasibility of LME Model
        3.2.2 Working Mechanism of LME Model
        3.2.3 A Case Study
    3.3 Summary
Chapter Four LME Application to the Analysis of Thieves’ Cants
    4.1 Data Description
    4.2 Data Analysis Based on LME Model
        4.2.1 The Analysis of Thieves’ Cants by Conceptual Metaphor
            4.2.1.1 The Analysis of Thieves’ Cants by Structural Metaphor
            4.2.1.2 The Analysis of Thieves’ Cants by Orientational Metaphor
        4.2.2 The Analysis of Thieves’ Cants by Conceptual Metonymy
            4.2.2.1 The Analysis of Thieves’ Cants by Whole-Part Metonymy
            4.2.2.2 The Analysis of Thieves’ Cants by Part-Part Metonymy
        4.2.3 The Analysis of Thieves’ Cants by Conceptual Metaphor-Metonymy
        4.2.4 The Analysis of Thieves’ Cants by Language Contact
Chapter Five Conclusion
    5.1 Major Findings
    5.2 Limitations and Suggestions
References
Appendix Thieves’ Cants Collected from Oliver Twist



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