發(fā)布時(shí)間：2018-04-25 04:21

  本文選題：莎士比亞十四行詩(shī) + 拓?fù)湫睦韺W(xué)�。� 參考：《上海外國(guó)語(yǔ)大學(xué)》2013年博士論文

【摘要】：二十世紀(jì)七八十年代，歐美學(xué)術(shù)界掀起了“隱喻熱”，到了該世紀(jì)末和本世紀(jì)初，這股“隱喻熱”漫延到了中國(guó)學(xué)術(shù)界，特別是外國(guó)語(yǔ)言文學(xué)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(duì)修辭效果的重視。隱喻不僅是語(yǔ)言現(xiàn)象，更是人類思維和認(rèn)知世界的方式，是認(rèn)知和語(yǔ)言的紐帶。因此，現(xiàn)在的隱喻研究把隱喻視為一種認(rèn)知現(xiàn)象，把它視為人類思維和感知的一個(gè)重要方式。近年來(lái)，心理學(xué)家和語(yǔ)言學(xué)家試圖通過(guò)大量的實(shí)驗(yàn)，證明隱喻對(duì)人類思維和日常行為具有重要影響。隨著認(rèn)知語(yǔ)言學(xué)理論研究在中國(guó)的發(fā)展，有關(guān)隱喻的研究也在不斷拓展和深入。 德國(guó)心理學(xué)家?guī)臁だ諟氐耐負(fù)湫睦韺W(xué)認(rèn)知理論認(rèn)為，宇宙是單數(shù)的，心理的空間則是復(fù)數(shù)的。正如羅馬尼亞詩(shī)人魯布拉說(shuō)：“所有科學(xué)家加在一起才能開辟一個(gè)世界；一個(gè)哲學(xué)家就足以開辟一個(gè)世界；而一個(gè)詩(shī)人卻能開辟許多世界。這個(gè)世界就是詩(shī)人所向讀者展示的他對(duì)事物的不同感知、認(rèn)識(shí)和理解，，也就是他個(gè)人心理空間的隱射，或者是讀者通過(guò)心理感知對(duì)他所描繪的心理空間的不同理解。換句話說(shuō)，當(dāng)我們處于同一個(gè)社會(huì)、同一個(gè)情景或欣賞同一景色的時(shí)候，不同的人就會(huì)有不同的感受，這些感受都源于個(gè)人的多樣的心理空間。詩(shī)人想向我們展示的世界會(huì)因?yàn)樽x者的不同會(huì)有不同的呈現(xiàn)。一千個(gè)人讀莎士比亞十四行詩(shī)，會(huì)有一千個(gè)對(duì)莎翁詩(shī)中所創(chuàng)造的世界的不同感知和理解。這是讀者對(duì)詩(shī)人在詩(shī)中使用的隱喻不同的認(rèn)知和理解造成的。一個(gè)詩(shī)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(dú)特、新穎、迷人、瑰麗的詩(shī)歌言語(yǔ)為我們構(gòu)建了許多個(gè)世界。 根據(jù)這一理論，我們剖析莎士比亞十四行詩(shī)，就不難發(fā)現(xiàn)，莎士比亞十四行詩(shī)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(dòng)態(tài)的；詩(shī)歌中所體現(xiàn)的立體隱喻性認(rèn)知圖形從不同的角度說(shuō)明、闡述和描繪了同一個(gè)概念，表達(dá)了同一個(gè)主題。莎翁運(yùn)用多樣的、不同的隱喻和表達(dá)方式讓讀者感知他詩(shī)歌中的主題如愛情、友情、時(shí)間和永恒等。如果我們把他的文字和表達(dá)方式形象地比喻成是一個(gè)立體的球形，所有的隱喻突出于文字上方，我們借助拓?fù)湫睦韺W(xué)的規(guī)律進(jìn)行隱喻梳理和整合，那么讀者站在這個(gè)立體的球形中央，就會(huì)以360度的視角從不同的詩(shī)節(jié)和文字里讀懂他的主題。1 借助庫(kù)·勒溫的拓?fù)湫睦韺W(xué)理論，本論文將莎翁一百五十四首十四行詩(shī)中的隱喻進(jìn)行了梳理和歸類，結(jié)合心理空間隱喻的特征，嘗試以拓?fù)湫睦韺W(xué)的視角對(duì)這些詩(shī)篇進(jìn)行解讀。論文把《莎士比亞十四行詩(shī)》看成為一個(gè)隱喻網(wǎng)絡(luò)構(gòu)成的多維意義空間，把他的詩(shī)放在拓?fù)湫睦韺W(xué)空間里來(lái)研討，從而突破了以往僅在平面上閱讀莎士比亞十四行詩(shī)的局限。這是理論視野轉(zhuǎn)換所產(chǎn)生的結(jié)果。論文認(rèn)為，這種轉(zhuǎn)換有助于讀者認(rèn)知詩(shī)中所反映的意象，有助于讀者明白，這些隱喻所蘊(yùn)涵的意象不是單一、封閉和靜態(tài)的，而是多維、開放和動(dòng)態(tài)的。如果對(duì)詩(shī)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(shī)人對(duì)意象的創(chuàng)造性運(yùn)用對(duì)讀者而言就毫無(wú)意義了，但如果把詩(shī)人所創(chuàng)造的意象反映到心理隱喻空間中，則讀者可運(yùn)用想象對(duì)它們進(jìn)行聯(lián)想、整合和重構(gòu)，進(jìn)而生成獨(dú)特的、多維的意義體系。心理隱喻空間是動(dòng)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(shí)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(shī)中出現(xiàn)了六百一十一處隱喻，平均每首四個(gè)。這些隱喻主要涉及“愛情”、“人類”、“生命”、“美”和“時(shí)間”，其中尤以“植物”為最常出現(xiàn)的喻體，而“財(cái)富”則是使用最廣泛的喻體。莎士比亞擅長(zhǎng)使用“隱喻組”，即一個(gè)隱喻涵蓋兩到三個(gè)隱喻。莎士比亞十四行詩(shī)在其文字的表達(dá)背后，隱藏著詩(shī)人深邃的思想，這些思想是通過(guò)詩(shī)人對(duì)于隱喻的使用和隱喻網(wǎng)絡(luò)的構(gòu)建呈現(xiàn)在讀者面前的。如詩(shī)中自然界事物的變化（季節(jié)變化、植物生長(zhǎng)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(jià)值和意義是莎士比亞十四行詩(shī)中的一個(gè)重大主題。在莎士比亞的作品里，上述隱喻網(wǎng)絡(luò)是深厚而復(fù)雜的，其隱喻性認(rèn)知圖形生動(dòng)地體現(xiàn)了詩(shī)人對(duì)生命意義的理解和對(duì)人生意義的寫照。莎士比亞運(yùn)用宇宙、時(shí)間、永恒、愛情、身體、音樂(lè)、和諧等文學(xué)主題來(lái)描述自身內(nèi)心世界的同時(shí)，也在與外部世界進(jìn)行著交流，詩(shī)中的隱喻認(rèn)知意義也就因此在字里行間得以體現(xiàn)。這證明了詩(shī)人內(nèi)心之深刻，證明了詩(shī)人的內(nèi)心并非是一個(gè)單數(shù)的物理空間，其上，建有一個(gè)復(fù)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(xué)位授予單位】：上海外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：I561.072

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