【摘要】：隱喻是現(xiàn)代語言學(xué)研究的一個熱門話題,隱喻的本質(zhì)問題一直困擾著語言學(xué)家和哲學(xué)家。上世紀(jì)80年代以來,Lakoff(1987)和Johnson(1987)等一些語言學(xué)家提出隱喻理論(LakoffTurner1989:203),人們才開始認(rèn)識到隱喻對人類語言和認(rèn)知的重要性。傳統(tǒng)語言研究中,隱喻常常被用來修飾話語,屬于語言的一種修辭現(xiàn)象。而認(rèn)知語言學(xué)的觀點是通過人類的認(rèn)知和推理,隱喻可以系統(tǒng)地、對應(yīng)地將一個概念域映射到另一個概念域。因此隱喻不僅僅是一種語言現(xiàn)象,它更是一種人類的認(rèn)知現(xiàn)象。它是人類用某一種事物的經(jīng)驗來說明或解釋另一種事物的經(jīng)驗的一種認(rèn)知活動。隱喻無所不在,它是“兩個類屬不同的語義場之間的語義映射’'(I.A.Richards,1994)。(Lakoff,1980)認(rèn)為“所有的語言都具有隱喻性”。萊考夫和約翰遜(1981)曾經(jīng)整理出大量語言實例來證明隱語概念是構(gòu)成語言的基礎(chǔ)。由此看來,隱喻不僅僅是一種語言現(xiàn)象,也屬于人類思維現(xiàn)象,這與傳統(tǒng)修辭學(xué)中認(rèn)為的隱喻被重新定義為“隱喻表達(dá)”,它是跨語義場映射的表層實現(xiàn)方式的觀點不同。 人類的情感可以說是最復(fù)雜的,人類大部分的情感都是通過隱喻方式來表達(dá)的,情感隱喻屬于一種心理現(xiàn)象。情感是人類對外部世界感知經(jīng)驗總和的組成部分,存在于人們生活的各個角落,因此也成為世界各民族一個共同的或者永恒的話題。人們常說生活中的酸甜苦辣(辛酸、幸福、悲苦等),可能是因為情感是很抽象的一個概念,所以想通過味覺概念來形容和解釋情感的概念。人類的情感概念通過隱喻的方式來解釋,會讓人們更容易理解人類情感的抽象概念。目前,已經(jīng)有很多學(xué)者專家,運用概念隱喻理論結(jié)合情感進(jìn)行了大量的研究研究,如：Kovecses在1986年,借助《憤怒、驕傲與愛情隱喻》一書,通過語料分析,總結(jié)出愛情隱喻的概念體系(conceptual systems),進(jìn)一步提出利用典型性(prototype)理論分析、研究人類情感因素的理論。漢越學(xué)者關(guān)于情感隱喻比較研究十分豐富,可是關(guān)于漢越愛情隱喻對比的研究,到目前為止我還沒找到相關(guān)的文章。 愛情是一個永恒的話題,也是是情感里面最豐富、最有意義的。如果用一年有四個季節(jié)：春夏秋冬,來形容愛情的話,愛情是春天。為什么春天是愛情的象征?可能是春天是溫暖,不冷也不熱,百花盛開,是人們最期望的季節(jié)。而愛情這種感覺也是人們最盼望的,也是最美好的,更是最甜美的。因此筆者決定,再進(jìn)一步,對漢越語愛情隱喻對比進(jìn)行專門的研究。希望這些研究能夠拓寬我們對漢越民族愛情隱喻系統(tǒng)內(nèi)部機(jī)制的認(rèn)識。再說,我們來討論漢越語愛情隱喻的語義結(jié)構(gòu)特征,并進(jìn)一步論證隱喻現(xiàn)象產(chǎn)生的認(rèn)知理據(jù)及其延伸的相關(guān)范疇。以期加深漢越兩國人民對情感隱喻系統(tǒng)內(nèi)部機(jī)制的認(rèn)識。 通過對漢越語兩種語言中的愛情隱喻進(jìn)行對比研究后,我們發(fā)現(xiàn),兩種語言在使用情感隱喻,尤其愛情隱喻方面既有共性也有一定的差異： 第一是共性：漢越語中常用的基本情感隱喻有很多相同：喜悅是上/高漲、喜悅是溫暖、喜悅是液體、喜悅是天氣、喜悅是人體部位(心,肚子)、喜悅是光、喜悅是人體變化、喜悅是甜的物質(zhì)等,尤其是愛情隱喻的共同點是相當(dāng)多的：愛情是旅程、愛情是戰(zhàn)爭、愛情是心。(愛情是心臟)、愛情是植物、愛情是容器中的液體、愛情是藝術(shù)、愛情是經(jīng)濟(jì)經(jīng)濟(jì)交換、愛情是人、愛情是人的身體變化、愛情是火,熱著火、愛情是山、愛情是水、愛情是病、愛情是發(fā)瘋、愛情是月、愛情是云雨、愛情是風(fēng)月、愛情是天氣變化、愛情是春天、愛情是神、愛情是味覺、愛情是歌曲、愛情是樂器、愛情是物理力量、愛情是生活用品、愛情是物質(zhì)的、愛情是結(jié)構(gòu)物、愛情是營養(yǎng)品,愛情是養(yǎng)料、必需品、愛情是寶貴的物品、愛情是生產(chǎn)工具、愛情是農(nóng)產(chǎn)品、愛情是建筑、愛情是永恒、愛情是金屬、愛情是成雙成對、愛情是魔幻力量、愛情是成雙成對。 第二是差異,一般說來,具有共同生理感知基礎(chǔ)的詞,在不同語言中也常被賦予不同的文化負(fù)載,因而在其能指數(shù)量與所指范圍方面有時存在著差異①。漢語的例句：大家都說他是陽光男孩。越南語的例句：越南語沒有這個說法、樂觀情感隱喻。漢語沒有這種說法。妻子有了外遇：越南語：Qua tam su cua anh,hoa ra thai nay nhieu quy ong bi cam sung qua.聽你的心里話,原來現(xiàn)在很多先生頭上被插角。漢語：懷疑年經(jīng)貌美的妻子給自己戴了綠帽子,心情抑郁的犯罪嫌疑人黃某竟以入室盜竊為發(fā)泄方式,并想讓妻子跟著他一塊兒“倒霉”,目前,黃某已被蒼南警方依法刑拘。"Ong Ta Ba Nguyet":絲老先生,月老娘：在“尋找越南文化的本色”的工程,陳玉增認(rèn)為：在越南,每一個都有對,它們跟著陰陽和諧的原則：Ong d6ng ba cot,女巫,巫公；dong Co dong Cau女和男性的銀鈴附體；dong Duc6ng,dong Duc Ba巫德先生,巫德老娘,連從國外借來的概念,國外的概念是單獨的,可是引進(jìn)越南都成為一對：在中華,媒介神是“月下老人”,那么進(jìn)入越南變成‘'Ong To Ba Nguyet'’絲老先生,月老娘。 對漢越語中愛情隱喻進(jìn)行對比研究后,我們發(fā)現(xiàn)：愛情隱喻在漢越語兩種語言中并不完全對等。如漢語中的紅娘、帶綠帽,愛情是圍城,越南語中沒有對等詞,使用的時候只好解釋一下或找相關(guān)的詞來翻譯,比如越南語"cam sung"頭上被插角跟中國“帶綠帽”是有著相同的含義；而現(xiàn)在是愛情隱喻里面的不對等越南語里面常用一些自然現(xiàn)象來隱喻愛情：山和水、天和水漢語統(tǒng)統(tǒng)沒有。正是因為這些不對等,所以給第二語言教學(xué)和語詞翻譯增加了一定的難度。
[Abstract]:Metaphor is a hot topic in modern linguistics. The nature of metaphor has been a problem for linguists and philosophers. Since the 1980s, some linguists, such as Lakoff (1987) and Johnson (1987), have put forward the theory of metaphor (Lakoff Turner 1989:203), and people begin to realize the importance of metaphor to human language and cognition. Metaphor is often used to modify discourse, which is a rhetorical phenomenon of language. The cognitive linguistic view is that metaphor can systematically and correspondingly map one domain to another through human cognition and reasoning. Therefore, metaphor is not only a linguistic phenomenon, but also a human cognition. Phenomenon. It is a cognitive activity in which human beings use the experience of one thing to explain or explain the experience of another. Metaphor is ubiquitous. It is a semantic mapping between two different categories of semantic fields'(I.A. Richards, 1994). (Lakoff, 1980) holds that "all languages are metaphorical." Lakoff and Johnson (1981) From this point of view, metaphor is not only a linguistic phenomenon, but also a human thinking phenomenon. This is different from the traditional rhetoric that metaphor is redefined as "metaphorical expression", which is the surface realization of cross-semantic mapping.
Human emotions are the most complex. Most of human emotions are expressed through metaphor. Emotional metaphor belongs to a psychological phenomenon. Emotion is a part of human perception of the external world and exists in all corners of human life. Therefore, it has become a common or eternal phenomenon among all nations in the world. Topic. People often say that life's ups and downs (bitterness, happiness, sorrow, etc.) may be because emotion is a very abstract concept, so we want to use the concept of taste to describe and explain the concept of emotion. Many scholars and experts have done a lot of research on emotion by using conceptual metaphor theory. For example, Kovecses in 1986, with the help of Anger, Pride and Love Metaphor, summarized the conceptual systems of love metaphor through corpus analysis, and further proposed to use prototype theory to study human beings. Chinese and Vietnamese scholars are very rich in the comparative study of affective metaphor, but so far I haven't found any relevant articles on the comparative study of love metaphor between Chinese and Vietnamese.
Love is an eternal topic, but also the richest and most meaningful emotion. If there are four seasons in a year: spring, summer, autumn and winter, to describe love, love is spring. Why is spring the symbol of love? May be spring is warm, not cold or hot, flowers blooming, is the most desired season. It is also the most desirable, the most beautiful and the sweetest. Therefore, the author decides to make a further study on the comparison of Love Metaphors between Chinese and Vietnamese. It further demonstrates the cognitive motivation of metaphorical phenomena and the related categories it extends in order to deepen the understanding of the internal mechanism of emotional metaphor system by the people of Han and Vietnam.
After a comparative study of Love Metaphors in Chinese and Vietnamese, we find that there are similarities and differences in the use of affective metaphors, especially in love metaphors.
The first is the commonness: the basic emotional metaphors commonly used in Chinese and Vietnamese have many similarities: joy is upward / upward, joy is warm, joy is liquid, joy is weather, joy is part of the human body (heart, stomach), joy is light, joy is the body changes, joy is sweet substances, etc., especially the common points of love metaphors are quite a lot: love is Journey, love is war, love is heart. (love is heart), love is plant, love is liquid in container, love is art, love is economic and economic exchange, love is human, love is human body change, love is fire, hot fire, love is mountain, love is water, love is disease, love is madness, love is moon, love is cloud and rain, love is love Wind and moon, love is weather change, love is spring, love is god, love is taste, love is song, love is musical instrument, love is physical force, love is daily necessities, love is material, love is structure, love is nutrients, love is nutrients, necessities, love is precious goods, love is a tool of production, love is agricultural products. Love is architecture, love is eternity, love is metal, love is paired, love is magic power, love is paired.
The second is the difference. Generally speaking, words with a common physiological perception are often given different cultural loads in different languages, so there are sometimes differences in their energy index quantity and referential scope. The wife has an affair: Vietnamese: Qua Tam Su CUA anh, HOA RA Thai nay nhieu Quy ong Bi cam sung qua. Listen to your heart, many gentlemen are now in a corner on their heads. "Ong Ta Ba Nguyet": Mr. Silk, Mrs. Moon: In the "search for the true color of Vietnamese culture" project, Chen Yuzeng believes that in Vietnam, every one has a pair, they follow the principle of harmony between yin and yang: Ong d6ng ba: Cot, witch, wizard; Dong Co Dong Cau female and male silver bell appendage; Dong Duc6ng, Mr. Dong Duc Ba Wizard, Wizard Lao Niang, even borrowed concepts from abroad, foreign concepts are separate, but the introduction of Vietnam has become a pair: in China, the media God is the "old man under the moon", then entering Vietnam into the "Ong To Ba Nguyet'" Mr. silk, month old woman.
After a comparative study of Love Metaphors in Chinese and Vietnamese, we find that love metaphors are not completely equivalent in Chinese and Vietnamese. It has the same meaning as "green hat" in China, and now some natural phenomena are often used in Vietnamese to metaphor love: mountains and waters, heaven and water are not all in Chinese.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：H15;H44

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