概念整合理论在认知诗学上的功能与反应
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摘要
认知诗学，主要以认知语言学和认知心理学为基础，是语言学与文学相结合的新学科。它既关注文学文本，又重视读者在阅读过程中与作者、文本的互动与交流，是对整个文学活动的再评价。这门新兴的诗学，几乎在人文学科的各个领域都产生了重大影响，被称为继“语言学转向”之后的又一次“认知革命”。
认知诗学独特的学科魅力，引起了国内外专家的浓厚兴趣，越来越多的学者开始深入研究认知诗学的相关议题，如认知诗学的介绍，理论的应用及反思。但是，相关理论在认知诗学中所起的作用却没有得到系统地探讨。尽管表面看来一种理论已经包含了相应的功能和作用，但在涉及到某一具体的学科时，其功能显然也会略有不同。因此，廓清这些功能对于进一步发展认知诗学不无裨益。
诗学，是人类的一种特殊认知和交流方式，寓意丰富。诗性的语言，意蕴深远，触及人类的心灵世界。而谈及诗歌，必然会让人想到诗学意象。文艺心理学认为意象是熔铸了作者主观意图的想象表象(金开诚,1999, p.49)；认知心理学和认知语言学认为意象是表象，是“感觉、知觉的心智表征”(王寅,2006, p.175)。然而，诗歌中的意象到底是怎样被读者所理解的这一动态的认知过程还是没有得到详尽地阐释。
概念整合理论是基于心理空间理论而发展起来的一种认知理论，是探索意义构建中信息整合的一种理论框架。概念整合是在一个四空间的概念整合网络中进行的：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首先形成跨空间映射，然后有选择地投射到合成空间，再通过组合，完善和扩展的过程生成输入空间所没有的新创结构。这一结构的形成过程可以解释人们理解诗歌意象的心理运作机制。
Cognitive poetics which integrates linguistics and literature is a new discipline.It is mainly based on cognitive linguistics and cognitive psychology. Cognitivepoetics not only attends the literary text, but also emphasizes the interaction andcommunication between readers, authors and texts during the reading process. It is there-evaluation of the whole literary activity. This new poetics has been influencingnearly every area of human discipline significantly and regarded as another “cognitiverevolution” after the linguistic turn.
The unique attraction of cognitive poetics initiates interest of scholars. More andmore scholars begin to deeply study the relevant issues of cognitive poetics, such asthe introduction of cognitive poetics, the application and modification of the theories.However, the functions of relevant theories in cognitive poetics have not beendiscussed systematically. Although a kind of theory has already includedcorresponding functions and values, touching upon a specific subject, there indeedexist some differences. Therefore, differentiating these functions will be benefited tothe further development of cognitive poetics.
Poetics can be regarded as a special way of cognition and communication. Theliterary language implies among lines and touches the thought of human being.Referring to poetry, poetic images will be certainly brought to mind. In psychology ofliterature and art, image is thought to be only imaginative, which embodies particularideas and emotions of the artist (Jin Kaicheng,1999, p.49). Cognitive psychologyand cognitive linguistics define it as “mental representation of perception”(Wang Yin,2006, p.175), also adopting the terms “image”,“mental image” or “mental imagery”to refer to it. However, the dynamic cognitive process of how images in poetry will beunderstood by readers on earth has not been interpreted at large.
Conceptual blending theory is a kind of cognitive theory developed from mentalspace theory. It is also a theoretical framework used to explore the informationblending in the process of meaning construction. The conceptual blending runs in a network with four spaces: two input spaces, one generic space and one blended space.During the blending process, firstly elements and structures from the two input spacesset up the cross-mapping, and then they are projected onto the blended spaceselectively, finally through operations of composition, completion and elaboration，anemergent structure is formed in the blend. With the emergent structure, thepsychological mechanism about the process of understanding the poetic imagery willbe revealed.
认知诗学独特的学科魅力，引起了国内外专家的浓厚兴趣，越来越多的学者开始深入研究认知诗学的相关议题，如认知诗学的介绍，理论的应用及反思。但是，相关理论在认知诗学中所起的作用却没有得到系统地探讨。尽管表面看来一种理论已经包含了相应的功能和作用，但在涉及到某一具体的学科时，其功能显然也会略有不同。因此，廓清这些功能对于进一步发展认知诗学不无裨益。
诗学，是人类的一种特殊认知和交流方式，寓意丰富。诗性的语言，意蕴深远，触及人类的心灵世界。而谈及诗歌，必然会让人想到诗学意象。文艺心理学认为意象是熔铸了作者主观意图的想象表象(金开诚,1999, p.49)；认知心理学和认知语言学认为意象是表象，是“感觉、知觉的心智表征”(王寅,2006, p.175)。然而，诗歌中的意象到底是怎样被读者所理解的这一动态的认知过程还是没有得到详尽地阐释。
概念整合理论是基于心理空间理论而发展起来的一种认知理论，是探索意义构建中信息整合的一种理论框架。概念整合是在一个四空间的概念整合网络中进行的：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首先形成跨空间映射，然后有选择地投射到合成空间，再通过组合，完善和扩展的过程生成输入空间所没有的新创结构。这一结构的形成过程可以解释人们理解诗歌意象的心理运作机制。
Cognitive poetics which integrates linguistics and literature is a new discipline.It is mainly based on cognitive linguistics and cognitive psychology. Cognitivepoetics not only attends the literary text, but also emphasizes the interaction andcommunication between readers, authors and texts during the reading process. It is there-evaluation of the whole literary activity. This new poetics has been influencingnearly every area of human discipline significantly and regarded as another “cognitiverevolution” after the linguistic turn.
The unique attraction of cognitive poetics initiates interest of scholars. More andmore scholars begin to deeply study the relevant issues of cognitive poetics, such asthe introduction of cognitive poetics, the application and modification of the theories.However, the functions of relevant theories in cognitive poetics have not beendiscussed systematically. Although a kind of theory has already includedcorresponding functions and values, touching upon a specific subject, there indeedexist some differences. Therefore, differentiating these functions will be benefited tothe further development of cognitive poetics.
Poetics can be regarded as a special way of cognition and communication. Theliterary language implies among lines and touches the thought of human being.Referring to poetry, poetic images will be certainly brought to mind. In psychology ofliterature and art, image is thought to be only imaginative, which embodies particularideas and emotions of the artist (Jin Kaicheng,1999, p.49). Cognitive psychologyand cognitive linguistics define it as “mental representation of perception”(Wang Yin,2006, p.175), also adopting the terms “image”,“mental image” or “mental imagery”to refer to it. However, the dynamic cognitive process of how images in poetry will beunderstood by readers on earth has not been interpreted at large.
Conceptual blending theory is a kind of cognitive theory developed from mentalspace theory. It is also a theoretical framework used to explore the informationblending in the process of meaning construction. The conceptual blending runs in a network with four spaces: two input spaces, one generic space and one blended space.During the blending process, firstly elements and structures from the two input spacesset up the cross-mapping, and then they are projected onto the blended spaceselectively, finally through operations of composition, completion and elaboration，anemergent structure is formed in the blend. With the emergent structure, thepsychological mechanism about the process of understanding the poetic imagery willbe revealed.
引文
Brone, G.,&Vandaele, J.(Eds.).(2009). Cognitive poetics: Goals, gains and gaps. Berlin:Mouton de Gruyter.
Brooks, C.,&Warren, R. P.(2004). Understanding poetry. Orlando: Holt, Rinehart and Winston.
Coulson, S.(1995). Analogic and metaphoric mapping in blended spaces. Center for Research inLanguage Newsletter,9(1).
Coulson, S.(2001). Semantic leaps: Frame-shifting and conceptual blending in meaningconstruction. New York and Cambridge: Cambridge University Press.
Fauconnier, G.(1985). Mental space. Cambridge MA: MIT Press.
Fauconnier, G.(1994). Mental space: Aspects of meaning construction in natural language. NewYork: Cambridge University Press.
Fauconnier, G.(1997). Mapping in thought and language. New York: Cambridge University Press.
Fauconnier, G.,&Turner, M.(1998). Conceptual integration networks. Cognitive Science,22(2),133-187.
Fauconnier, G.,&Turner, M.(2002). The way we think: Conceptual blending and the mind’shidden complexities. New York: Basic Books.
Gavins, J.,&Steen, G.(Eds.).(2003). Cognitive poetics in practice. London: Routledge.
Glucksberg, S.(2001). Uderstanding figurative language: From metaphors to idioms. Oxford:Oxford University Press.
Goldberg, A.(1994). Constructions. Chicago: University of Chicago Press.
Grush, R.(1995). Cognition and emulation. San Diego: University of California.
Johnson, M.(1987). The body in the mind: The bodily basis of reason and imagination. Chicago:University of Chicago Press.
Lakoff, G.(1993). The contemporary theory of metaphor. Metaphor and Thought,(2),202-251.
Lakoff, G.,&Johnson, M.(1980). Metaphors we live by. Chicago: University of Chicago Press.
Lakoff, G.,&Johnson, M.(1999). Philosophy in the flesh: The embodied mind and its challengeto western thought. New York: Basic Books.
Lakoff, G.,&Turner, M.(1989). More than cool reason: A field guide to poetic metaphor.Chicago: University of Chicago Press.
Semino, E.,&Culpeper, J.(Eds.).(2002). Cognitive stylistics: Language and cognition in textanalysis. Amsterdam: John Benjamin’s Publishing Company.
Stockwell, P.(2002). Cognitive poetics: An introduction. London: Routledge.
Tsur, R.(1992). Toward a theory of cognitive poetics. Amsterdam: North-Holland.
Turner, M.(1991). Reading minds: The study of English in the age of cognitive science. Princeton:Princeton University Press.
Turner, M.(1996). The literary mind: The origins of thought and language. New York: OxfordUniversity Press.
Vygotsky, L.(1978). Mind in society: The development of higher psychological processes.Cambridge MA: Harvard University Press.
丁祖馨.(2004).中国诗萃.沈阳:辽宁大学出版社.
傅道彬.(1996).晚唐钟声:中国文化的精神原型.北京:东方出版社.
海伦·凯勒.(2005).假如给我三天光明.孙达译.哈尔滨:北方文艺出版社.
黄杲忻.(1998).英国抒情诗100首(英汉对照).上海:上海译文出版社.
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,146(6),20-34.
金开诚.(2004).文艺心理学概论.北京:北京大学出版社.
寇鹏程.(1999).月:中国诗词的一种象征意象.延边大学学报(社会科学版),(2),115-118.
李白.(1992).李太白集注.王琦注.上海:上海古籍出版社.
李白.(1997).李白全集.上海:上海古籍出版社.
李孝诠.(2004).中西诗学意象范畴比较论.青岛大学师范学院学报,(2),67-74.
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,(2),105-110.
刘立华,刘世生.(2006).语言·认知·诗学—认知诗学实践评介.外语教学与研究,38(1),73-77.
刘勰.(1993).文心雕龙.合肥:安徽教育出版社.
刘永升.(2001).中国古代诗歌月亮原型初探.邢台师范高专学报,16(2),13-16.
孟修祥.(1991).中国文学中有关“月亮”的原型意象.文史哲,(5),82-85.
莫先武.(2009).当代意象理论五大家评述.南京晓庄学院学报,(4),74-80.
庞玉厚,刘世生.(2009).认知诗学与生态诗学.外国语文,25(1),16-22.
彭定求.(2008).全唐诗.陕西:三秦出版社.
苏晓军.(2009).国外认知诗学研究概观.外国语文,25(4),6-10.
涂昊.(1995).《花间集》中的月亮意象.衡阳师专学报(社会科学),16(4),74-79.
汪宁.(2001).从古典诗歌看“月”的意象内涵.枣庄师专学报,18(1),34-36.
王长俊等.(2000).诗歌意象学.合肥:安徽文艺出版社.
王寅.(2006).认知语言学.上海:上海外语教育出版社.
肖体仁.(1994).古代游子诗人与月亮.四川教育学院学报(哲学社会科学版),(2),21-24.
谢天振.(1999).译介学.上海:上海外语教育出版社.
谢真元.(2006).一生必读唐诗三百首鉴赏(汉英对照).北京:中国对外翻译出版公司.
熊沐清.(2008).语言学与文学研究的新接面—两本认知诗学著作述评.外语教学与研究,40(4),299-305.
熊沐清.(2009).故事与认知—简论认知诗学的文学功用观.外国语文,25(1),6-15.
许渊冲.(2005).李白诗选.石家庄:河北人民出版社.
杨芙蓉.(1996).古典诗词中“月”意象探幽.广东民族学院学报(社会科学版),(1),58-62.
余渭深,董平荣.(2003).合成空间与中国古典诗词意象.外语与外语教学,(3),4-6.
郑小九.(2001).月亮的美——中国月亮文化的美学探索.焦作大学学报,(1),8-10.
钟雷.(2003).歌德名诗精选(英汉对照).哈尔滨:哈尔滨出版社.
朱光潜.(2005).诗论.上海:上海古籍出版社.
朱学勤.(2006).唐诗·宋词·元曲鉴赏.上海:上海辞书出版社.
庄超颖.(2003).古代离别诗中月亮意象的社会心理内涵.福州大学学报(哲学社会科学版),(2),74-77.
祖利军.(2008).《人生颂》的认知诗学解读.中国外语,5(4),105-109.
Brooks, C.,&Warren, R. P.(2004). Understanding poetry. Orlando: Holt, Rinehart and Winston.
Coulson, S.(1995). Analogic and metaphoric mapping in blended spaces. Center for Research inLanguage Newsletter,9(1).
Coulson, S.(2001). Semantic leaps: Frame-shifting and conceptual blending in meaningconstruction. New York and Cambridge: Cambridge University Press.
Fauconnier, G.(1985). Mental space. Cambridge MA: MIT Press.
Fauconnier, G.(1994). Mental space: Aspects of meaning construction in natural language. NewYork: Cambridge University Press.
Fauconnier, G.(1997). Mapping in thought and language. New York: Cambridge University Press.
Fauconnier, G.,&Turner, M.(1998). Conceptual integration networks. Cognitive Science,22(2),133-187.
Fauconnier, G.,&Turner, M.(2002). The way we think: Conceptual blending and the mind’shidden complexities. New York: Basic Books.
Gavins, J.,&Steen, G.(Eds.).(2003). Cognitive poetics in practice. London: Routledge.
Glucksberg, S.(2001). Uderstanding figurative language: From metaphors to idioms. Oxford:Oxford University Press.
Goldberg, A.(1994). Constructions. Chicago: University of Chicago Press.
Grush, R.(1995). Cognition and emulation. San Diego: University of California.
Johnson, M.(1987). The body in the mind: The bodily basis of reason and imagination. Chicago:University of Chicago Press.
Lakoff, G.(1993). The contemporary theory of metaphor. Metaphor and Thought,(2),202-251.
Lakoff, G.,&Johnson, M.(1980). Metaphors we live by. Chicago: University of Chicago Press.
Lakoff, G.,&Johnson, M.(1999). Philosophy in the flesh: The embodied mind and its challengeto western thought. New York: Basic Books.
Lakoff, G.,&Turner, M.(1989). More than cool reason: A field guide to poetic metaphor.Chicago: University of Chicago Press.
Semino, E.,&Culpeper, J.(Eds.).(2002). Cognitive stylistics: Language and cognition in textanalysis. Amsterdam: John Benjamin’s Publishing Company.
Stockwell, P.(2002). Cognitive poetics: An introduction. London: Routledge.
Tsur, R.(1992). Toward a theory of cognitive poetics. Amsterdam: North-Holland.
Turner, M.(1991). Reading minds: The study of English in the age of cognitive science. Princeton:Princeton University Press.
Turner, M.(1996). The literary mind: The origins of thought and language. New York: OxfordUniversity Press.
Vygotsky, L.(1978). Mind in society: The development of higher psychological processes.Cambridge MA: Harvard University Press.
丁祖馨.(2004).中国诗萃.沈阳:辽宁大学出版社.
傅道彬.(1996).晚唐钟声:中国文化的精神原型.北京:东方出版社.
海伦·凯勒.(2005).假如给我三天光明.孙达译.哈尔滨:北方文艺出版社.
黄杲忻.(1998).英国抒情诗100首(英汉对照).上海:上海译文出版社.
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,146(6),20-34.
金开诚.(2004).文艺心理学概论.北京:北京大学出版社.
寇鹏程.(1999).月:中国诗词的一种象征意象.延边大学学报(社会科学版),(2),115-118.
李白.(1992).李太白集注.王琦注.上海:上海古籍出版社.
李白.(1997).李白全集.上海:上海古籍出版社.
李孝诠.(2004).中西诗学意象范畴比较论.青岛大学师范学院学报,(2),67-74.
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,(2),105-110.
刘立华,刘世生.(2006).语言·认知·诗学—认知诗学实践评介.外语教学与研究,38(1),73-77.
刘勰.(1993).文心雕龙.合肥:安徽教育出版社.
刘永升.(2001).中国古代诗歌月亮原型初探.邢台师范高专学报,16(2),13-16.
孟修祥.(1991).中国文学中有关“月亮”的原型意象.文史哲,(5),82-85.
莫先武.(2009).当代意象理论五大家评述.南京晓庄学院学报,(4),74-80.
庞玉厚,刘世生.(2009).认知诗学与生态诗学.外国语文,25(1),16-22.
彭定求.(2008).全唐诗.陕西:三秦出版社.
苏晓军.(2009).国外认知诗学研究概观.外国语文,25(4),6-10.
涂昊.(1995).《花间集》中的月亮意象.衡阳师专学报(社会科学),16(4),74-79.
汪宁.(2001).从古典诗歌看“月”的意象内涵.枣庄师专学报,18(1),34-36.
王长俊等.(2000).诗歌意象学.合肥:安徽文艺出版社.
王寅.(2006).认知语言学.上海:上海外语教育出版社.
肖体仁.(1994).古代游子诗人与月亮.四川教育学院学报(哲学社会科学版),(2),21-24.
谢天振.(1999).译介学.上海:上海外语教育出版社.
谢真元.(2006).一生必读唐诗三百首鉴赏(汉英对照).北京:中国对外翻译出版公司.
熊沐清.(2008).语言学与文学研究的新接面—两本认知诗学著作述评.外语教学与研究,40(4),299-305.
熊沐清.(2009).故事与认知—简论认知诗学的文学功用观.外国语文,25(1),6-15.
许渊冲.(2005).李白诗选.石家庄:河北人民出版社.
杨芙蓉.(1996).古典诗词中“月”意象探幽.广东民族学院学报(社会科学版),(1),58-62.
余渭深,董平荣.(2003).合成空间与中国古典诗词意象.外语与外语教学,(3),4-6.
郑小九.(2001).月亮的美——中国月亮文化的美学探索.焦作大学学报,(1),8-10.
钟雷.(2003).歌德名诗精选(英汉对照).哈尔滨:哈尔滨出版社.
朱光潜.(2005).诗论.上海:上海古籍出版社.
朱学勤.(2006).唐诗·宋词·元曲鉴赏.上海:上海辞书出版社.
庄超颖.(2003).古代离别诗中月亮意象的社会心理内涵.福州大学学报(哲学社会科学版),(2),74-77.
祖利军.(2008).《人生颂》的认知诗学解读.中国外语,5(4),105-109.