唐诗中月之意象的概念整合分析
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摘要
本论文运用Fauconnier和Turner等人提出的概念整合理论从认知的层面上对汉语唐诗中月亮意象的意义建构进行分析,旨在运用这一理论阐释唐诗中月之意象的意义建构的认知机制,为唐诗意象研究提供一种新的研究角度和方法。
概念整合理论具有完整的框架结构,遵循一套完整灵活的运作机制。它的基本运作需要四个心理空间:两个输入空间,一个类属空间和一个整合空间。在整合过程中,两个输入空间中的成分有选择地投射到整合空间。通过组合、完善和阐释的过程,生成输入空间所没有的新结构。运用这一理论可以解释人们理解唐诗中月之意象的心理运作机制,从而为从认知角度诠释唐诗的意象研究提供一个新的视角。
全文由六部分组成。第1章简要介绍论文研究的方向和基本结构。第2章从文献梳理的角度,简要介绍了概念整合理论的发展过程和应用,并回顾了前人对唐诗中月亮意象的研究。第3章进入研究过程的实质阶段,结合实例探讨了月亮在唐诗中的意象和唐诗的自身特点。第4章和第5章是全文的核心,其中第4章对概念整合理论进行了系统的介绍,包括概念整合网络,类型、运行原则,关键关系以及概念压缩,并结合具体的唐诗例子进行了深入的探讨和分析。第5章是研究的重点所在,运用概念整合理论和概念整合网络对唐诗中月之意象进行分析。分析从概念整合网络框架下的单型网络,照映网络,单畴网络和双畴网络四个类型展开,这些类型都通过关键关系的压缩来实现诗歌的意义建构。通过这些分析,证明概念整合理论对于唐诗中月之意象的意义建构具有强大的解释力。最后一章给出了研究结论,并且提出了后续研究的若干建议。
This dissertation employs a cognitive approach to the interpretation of the moon's images in Tang poetry within the framework of conceptual integration theory (CIT) which is proposed by Gilles Fauconnier and Mark Turner as a cognitive operation and serves a variety of cognitive purposes. This dissertation attempts to demonstrate the mental cognitive meaning construction process and offer an alternative perspective on the study of the images in Tang poetry.
Conceptual integration theory has complete networks, which function independently according to a set of uniform structural and dynamic principles. The basic operation is comprised of four mental spaces: two input spaces, one generic space and one blended space. In blending, structures from spaces are selectively projected to a separate "blended space". Through composition, completion and elaboration, the blend develops structures that are not provided by the inputs. With this theory, the hidden cognitive mechanism involved in the comprehension of the moon's images in Tang poetry can be revealed.
The whole dissertation is made up of six parts. Chapter 1 presents a brief introduction to the general framework and the research direction of the study. Chapter 2 generalizes the development of CIT and its applications briefly by means of literature review, and it looks back on the previous study about the moon's images in Tang poetry as well. Chapter 3 enters the virtual stage of the study, as it explores the moon's images in Tang poetry and the characteristics of the Tang poetry itself. Chapters 4 and 5 are the heart of the whole study. In Chapter 4, the conceptual integration theory is explicated with relevant cases in detail, including conceptual integration network (CTN), the network model, four kinds of sub-networks, operation principles, and compressions of vital relations. Chapter 5 is the pivot of the study, and it is the specific application of the CIN. The analyses are demonstrated with a case study from four types: simplex network, mirror network, single-scope network and double-scope network which concern the moon' images in Tang poetry, and the meaning constructions of the four types are fulfilled by the compression of vital relations. The research proves that conceptual integration theory is a powerful explanatory theory in cognitive interpretation of the moon' images in Tang poetry. The last chapter is a conclusion of the whole thesis in which suggestions for further study are presented.
概念整合理论具有完整的框架结构,遵循一套完整灵活的运作机制。它的基本运作需要四个心理空间:两个输入空间,一个类属空间和一个整合空间。在整合过程中,两个输入空间中的成分有选择地投射到整合空间。通过组合、完善和阐释的过程,生成输入空间所没有的新结构。运用这一理论可以解释人们理解唐诗中月之意象的心理运作机制,从而为从认知角度诠释唐诗的意象研究提供一个新的视角。
全文由六部分组成。第1章简要介绍论文研究的方向和基本结构。第2章从文献梳理的角度,简要介绍了概念整合理论的发展过程和应用,并回顾了前人对唐诗中月亮意象的研究。第3章进入研究过程的实质阶段,结合实例探讨了月亮在唐诗中的意象和唐诗的自身特点。第4章和第5章是全文的核心,其中第4章对概念整合理论进行了系统的介绍,包括概念整合网络,类型、运行原则,关键关系以及概念压缩,并结合具体的唐诗例子进行了深入的探讨和分析。第5章是研究的重点所在,运用概念整合理论和概念整合网络对唐诗中月之意象进行分析。分析从概念整合网络框架下的单型网络,照映网络,单畴网络和双畴网络四个类型展开,这些类型都通过关键关系的压缩来实现诗歌的意义建构。通过这些分析,证明概念整合理论对于唐诗中月之意象的意义建构具有强大的解释力。最后一章给出了研究结论,并且提出了后续研究的若干建议。
This dissertation employs a cognitive approach to the interpretation of the moon's images in Tang poetry within the framework of conceptual integration theory (CIT) which is proposed by Gilles Fauconnier and Mark Turner as a cognitive operation and serves a variety of cognitive purposes. This dissertation attempts to demonstrate the mental cognitive meaning construction process and offer an alternative perspective on the study of the images in Tang poetry.
Conceptual integration theory has complete networks, which function independently according to a set of uniform structural and dynamic principles. The basic operation is comprised of four mental spaces: two input spaces, one generic space and one blended space. In blending, structures from spaces are selectively projected to a separate "blended space". Through composition, completion and elaboration, the blend develops structures that are not provided by the inputs. With this theory, the hidden cognitive mechanism involved in the comprehension of the moon's images in Tang poetry can be revealed.
The whole dissertation is made up of six parts. Chapter 1 presents a brief introduction to the general framework and the research direction of the study. Chapter 2 generalizes the development of CIT and its applications briefly by means of literature review, and it looks back on the previous study about the moon's images in Tang poetry as well. Chapter 3 enters the virtual stage of the study, as it explores the moon's images in Tang poetry and the characteristics of the Tang poetry itself. Chapters 4 and 5 are the heart of the whole study. In Chapter 4, the conceptual integration theory is explicated with relevant cases in detail, including conceptual integration network (CTN), the network model, four kinds of sub-networks, operation principles, and compressions of vital relations. Chapter 5 is the pivot of the study, and it is the specific application of the CIN. The analyses are demonstrated with a case study from four types: simplex network, mirror network, single-scope network and double-scope network which concern the moon' images in Tang poetry, and the meaning constructions of the four types are fulfilled by the compression of vital relations. The research proves that conceptual integration theory is a powerful explanatory theory in cognitive interpretation of the moon' images in Tang poetry. The last chapter is a conclusion of the whole thesis in which suggestions for further study are presented.
引文
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Coulson, S. and T. Oakley, T. 2005. Blending and Coded Meaning: Literal and Figurative Meaning in Cognitive Semantics. Journal of Pragmatics. 37:1510-1536.
Croft, W. and D. A. Cruse. 2004. Cognitive Linguistics. Cambridge University Press.
Dong Pingrong. 2003. Conceptual Blending as a Cognitive Means of Meaning Construction in Jueju Text. M. A. thesis., Chongqing University, Chongqing, China.
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Fauconnier, G. 1997. Mappings in Thought and Language. New York and Cambridge: Cambridge University Press.
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Fauconnier, G. and M. Turner. 1998. Conceptual integration Networks. Cognitive Science. 22/2: 133-187.
Fauconnier, G. and M. Turner. 2000. Compression and global insight. Cognitive Science. 11:283-304.
Fauconnier, G. and M. Turner. 2002. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books.
Fillmore, C. 1982. Frame Semantics. in The Linguistic Society of Korea, (ed.). Linguistics in the morning calm. Seoul: Hanshin.
Gibbs, R. 1994. The poetics of mind: Figurative thought, language and understanding. Cambridge: Cambridge University Press.
Gibbs, R. 2000. Making good psychology out of blending theory. Cognitive Linguistics. 11: 347-358.
Goguen, J.1999. An introduction to algebrasic semiotics with application to user interface desigh. in Nehaniv, Chrystopher (ed.), Computation for Metaphor, Analogy and Agents. Berlin: Springer-Verlag, 242-291.
Grady, J. 2000. Cognitive mechanisms of conceptual integration. Cognitive Linguistics. 11/3-4:335-345.
Herman, V. 1999. Deictic Projection and Conceptual Blending in Epistolarity. Poetics Today. 20(3): 523-541.
Johnson-Laird, P.N. 1983. Mental Models. Cambridge: Cambridge University Press.
Kahneman, D. 1995. Varieties of counterfactual thinking. in Roses, N. J. and J. M. Olson. (ed.) What Might Have Been: The Social Psychology of Counterfactual Thinking. Hillsdale: Lawrence Erlabum Associates.
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Legge, J. 1993. Book of Changes. Chang Sha: Hunan Press.
Liddell, S. 1998. Grounded blend, gestures, and conceptual shifts. Cognitive Linguistics. 9: 283-314.
Liu, James Y. 1962. The Art of Chinese Poetry. Chicago: University of Chicago Press.
Oakley, T. 1998. Conceptual blending, narrative discourse, and rhetoric. Cognitive Linguistics. 9: 321-360.
Qin, Shengyong. 2002. Conceptual Blending and Computer Metaphor. M. A. thesis. Hunan University, Hunan, China.
Schwartz, D. L. and J. B. Black. 1996. Shuttling between depictive models and abstract rules: Induction and fallback. Cognitive Science. 20: 457-497.
Shen, Dan. 1995. Literary Stylistic and Fictional Translation. Beijing: Peking University.
Sweetser,E.1996.Mental spaces and the grammar of conditional constructions.In G.Fauconnier and E.Sweetser(eds).Spaces,Worlds,and Grammar.Chicago:University of Chicago Press.
Tea,J.H.A.and P.H,B.Lee.2004.Preference and Blending in a Computer Role Playing Game.Journal of Pragmatics.36:1609-1633.
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Yu,Ping.2005.Image Schema and Perspective Analysis of Tang Poetry Discourse.M.A.thesis.Chongqing University,Chongqing,China.
Zbikowski,L.2001.Conceptualizing Music:Cognitive Structure,Theory,and Analysis.New York:Oxford University Press.
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Coulson, S. and T. Oakley, T. 2000. Blending Basics. Cognitive Linguistics. 11-3/4: 175-196.
Coulson, S. and T. Oakley, T. 2005. Blending and Coded Meaning: Literal and Figurative Meaning in Cognitive Semantics. Journal of Pragmatics. 37:1510-1536.
Croft, W. and D. A. Cruse. 2004. Cognitive Linguistics. Cambridge University Press.
Dong Pingrong. 2003. Conceptual Blending as a Cognitive Means of Meaning Construction in Jueju Text. M. A. thesis., Chongqing University, Chongqing, China.
Eliot, T.S. 1954, Literary Essay of Ezra Pond. London: Faber& Faber.
Fauconnier, G. 1994 [1985]. Mental Spaces. Cambridge, Mass.: MIT Press. (1994). Mental Spaces. New York: Cambridge University Press.
Fauconnier, G. 1997. Mappings in Thought and Language. New York and Cambridge: Cambridge University Press.
Fauconnier, G. and E. Sweetser. 1996. Spaces, Worlds, and Grammar. Chicago: University of Chicago Press.
Fauconnier, G and M. Turner. 1996. Blending as a Central Process of Grammar. Goldberg, A. E. Conceptual Structure, Discourse and Language. CSLI Publications. 113-130.
Fauconnier, G. and M. Turner. 1998. Conceptual integration Networks. Cognitive Science. 22/2: 133-187.
Fauconnier, G. and M. Turner. 2000. Compression and global insight. Cognitive Science. 11:283-304.
Fauconnier, G. and M. Turner. 2002. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books.
Fillmore, C. 1982. Frame Semantics. in The Linguistic Society of Korea, (ed.). Linguistics in the morning calm. Seoul: Hanshin.
Gibbs, R. 1994. The poetics of mind: Figurative thought, language and understanding. Cambridge: Cambridge University Press.
Gibbs, R. 2000. Making good psychology out of blending theory. Cognitive Linguistics. 11: 347-358.
Goguen, J.1999. An introduction to algebrasic semiotics with application to user interface desigh. in Nehaniv, Chrystopher (ed.), Computation for Metaphor, Analogy and Agents. Berlin: Springer-Verlag, 242-291.
Grady, J. 2000. Cognitive mechanisms of conceptual integration. Cognitive Linguistics. 11/3-4:335-345.
Herman, V. 1999. Deictic Projection and Conceptual Blending in Epistolarity. Poetics Today. 20(3): 523-541.
Johnson-Laird, P.N. 1983. Mental Models. Cambridge: Cambridge University Press.
Kahneman, D. 1995. Varieties of counterfactual thinking. in Roses, N. J. and J. M. Olson. (ed.) What Might Have Been: The Social Psychology of Counterfactual Thinking. Hillsdale: Lawrence Erlabum Associates.
Lakoff, G. 1987. Women, fire and dangerous things: What categories reveal about mind. Chicago and London: University of Chicago Press.
Lakoff, G. and M. Johnson. 1980. Metaphors We Live By. The University of Chicago Press.
Legge, J. 1993. Book of Changes. Chang Sha: Hunan Press.
Liddell, S. 1998. Grounded blend, gestures, and conceptual shifts. Cognitive Linguistics. 9: 283-314.
Liu, James Y. 1962. The Art of Chinese Poetry. Chicago: University of Chicago Press.
Oakley, T. 1998. Conceptual blending, narrative discourse, and rhetoric. Cognitive Linguistics. 9: 321-360.
Qin, Shengyong. 2002. Conceptual Blending and Computer Metaphor. M. A. thesis. Hunan University, Hunan, China.
Schwartz, D. L. and J. B. Black. 1996. Shuttling between depictive models and abstract rules: Induction and fallback. Cognitive Science. 20: 457-497.
Shen, Dan. 1995. Literary Stylistic and Fictional Translation. Beijing: Peking University.
Sweetser,E.1996.Mental spaces and the grammar of conditional constructions.In G.Fauconnier and E.Sweetser(eds).Spaces,Worlds,and Grammar.Chicago:University of Chicago Press.
Tea,J.H.A.and P.H,B.Lee.2004.Preference and Blending in a Computer Role Playing Game.Journal of Pragmatics.36:1609-1633.
Turner,M.1991.Reading Minds.Princeton:Princeton University Press.
Turner,M.1996.The Literary Mind—The Origins of Thought and Language New York,Oxford:Oxford University Press.
Turner,M.and G.Fauconnier.1995,Conceptual Integration and Formal Expression.in Johnson,M.(ed.)Journal of Metaphor and Symbolic Activity.
Yu,Ping.2005.Image Schema and Perspective Analysis of Tang Poetry Discourse.M.A.thesis.Chongqing University,Chongqing,China.
Zbikowski,L.2001.Conceptualizing Music:Cognitive Structure,Theory,and Analysis.New York:Oxford University Press.
包莉秋,2003,荣格的原型理论与中国月亮意象之比较研究,《廊坊师范学院学报》第4期。
陈植锷,1992,《诗歌意象论》。北京:中国社会科学出版社。
董冰竹,1982,月是唐代明—谈唐人描写月色艺术,《山西文学》第12期。
傅道彬,1996,《晚唐钟声-中国文化的精神原型》。上海:东方出版社。
黄华,2001,试比较概念隐喻理论和概念整合理论,《外语与外语教学》第6期。
寇鹏程,1999,月:中国诗词中的一种象征意象,《延边大学学报》第2期。
李丹,2002,古代诗歌中的月亮意象,《沙洋师范高等专科学校学报》第2期。
刘传新,1992,高悬于中国诗坛上空的月亮-中国诗歌的原型研究之二,《东岳论丛》第2期。
刘怀荣,宋巧云,2005,二十世纪以来古典诗词月亮意想研究综述,《聊城大学学报》第3期。
刘永升,2001,中国古代诗歌月亮原型初探,《邢台师范高专学报》第2期。
刘正光,2002,Fauconnier的概念合成理论:阐释与质疑,《外语与外语教学》第10期。
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