李清照词中主要意象的认知机制
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摘要
Fauconnier和Turner(2002)认为概念整合理论在人类思维和行动中发挥决定性的作用。“背景认知”机制对语言使用者如何理解特殊的表达和想象具有较强的解释力。本论文运用Fauconnier和Turner等人提出的概念整合网络(ConceptualIntegration Networks)从认知的层面对李清照词中主要意象的认知机制进行分析,旨在说明概念整合是一种具有普遍性的认知活动,具有极强的认知解释力。本论文通过具体实例分析,证明了李清照词中主要意象的认知机制可以从认知角度并运用概念整合理论来阐释。为宋词意象构建的研究提供一种新的研究角度和方法。
本论文以李清照六首词中的七个主要意象作为分析样本,运用概念整合网络进行分析,揭示了李清照词中主要意象的认知机制。具体为整合的七个方面:输入空间(Input Space)、类属空间(the Generic Space)、复合空间(the Blend Space)、跨空间映射(the Cross-space Mapping)、选取性投射(the Selective Projection)、层创结构(Emergent Structure)和关系压缩(Compression of Vital Relations)进行了分析,并依据组织性框架(Organizing Frame)的投射这一概念整合网络的特点和意象的定义将其进行分类研究。通过对样本的分析发现:李清照词中主要意象的认知机制主要涉及三种网络模型:镜像网络(Mirror Network)、单边网络(Single-scope Network)、双边网络(Double-scope Network)。
Fauconnier & Turner (2002) contend that Conceptual Integration Theory plays a decisive role in human thought and action. The mechanism of 'background cognition' can account for the way in which language users understand particular expressions or images. Therefore, the thesis attempts to apply the Conceptual Integration Networks to investigate the major images in Song Ci by Li Qingzhao through the case studies. In terms of Cognitive Linguistics, we can get a better understanding of the cognition processes on the major images by Li Qingzhao. At the same time, it also offers an alternative perspective to interpret the image in Song Ci.
In order to expound the cognitive mechanisms of major images in Song Ci by Li Qingzhao, the author has chosen seven major images as the research objects. These images come from six pieces of poems in Song Ci by Li Qingzhao collection as data for analysis. And the application of Conceptual Integration Networks is to be analyzed in seven aspects: Input Spaces, the Generic Space, the Blend Space, Cross-space Mapping, Selective Projection, Emergent Structure and the Compression of Vital Relations. Then, those major images are classified according to the Organizing Frame and the working definition of the image. As the data analyses suggest, the cognitive mechanisms mainly involve three types of networks: Mirror Networks, Single-Scope Networks and Double-Scope Networks. Moreover, the hidden cognitive processes of major images in Song Ci by Li Qingzhao can be revealed by those three types of networks.
本论文以李清照六首词中的七个主要意象作为分析样本,运用概念整合网络进行分析,揭示了李清照词中主要意象的认知机制。具体为整合的七个方面:输入空间(Input Space)、类属空间(the Generic Space)、复合空间(the Blend Space)、跨空间映射(the Cross-space Mapping)、选取性投射(the Selective Projection)、层创结构(Emergent Structure)和关系压缩(Compression of Vital Relations)进行了分析,并依据组织性框架(Organizing Frame)的投射这一概念整合网络的特点和意象的定义将其进行分类研究。通过对样本的分析发现:李清照词中主要意象的认知机制主要涉及三种网络模型:镜像网络(Mirror Network)、单边网络(Single-scope Network)、双边网络(Double-scope Network)。
Fauconnier & Turner (2002) contend that Conceptual Integration Theory plays a decisive role in human thought and action. The mechanism of 'background cognition' can account for the way in which language users understand particular expressions or images. Therefore, the thesis attempts to apply the Conceptual Integration Networks to investigate the major images in Song Ci by Li Qingzhao through the case studies. In terms of Cognitive Linguistics, we can get a better understanding of the cognition processes on the major images by Li Qingzhao. At the same time, it also offers an alternative perspective to interpret the image in Song Ci.
In order to expound the cognitive mechanisms of major images in Song Ci by Li Qingzhao, the author has chosen seven major images as the research objects. These images come from six pieces of poems in Song Ci by Li Qingzhao collection as data for analysis. And the application of Conceptual Integration Networks is to be analyzed in seven aspects: Input Spaces, the Generic Space, the Blend Space, Cross-space Mapping, Selective Projection, Emergent Structure and the Compression of Vital Relations. Then, those major images are classified according to the Organizing Frame and the working definition of the image. As the data analyses suggest, the cognitive mechanisms mainly involve three types of networks: Mirror Networks, Single-Scope Networks and Double-Scope Networks. Moreover, the hidden cognitive processes of major images in Song Ci by Li Qingzhao can be revealed by those three types of networks.
引文
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Coulson,S.,& Oakley,T.(2000).Special issue of Cognitive Linguistics,Conceptual Blendin.11:3-4.
Coulson,S.(2000).Semantic Leaps." Frame-Shifting and Conceptual Blending in Meaning Construction.New York:Cambridge University Press.
Culler,J.(1997).Literary Theory:A Very Short Introduction.Oxford University Press.
Fauconnier,G.(1985).Mental Spaces.Cambridge/London:MIT Press.
Fauconnier,G.(1994).Mental Space.New York:Cambridge University Press.
Fauconnier,G.(1997).Mappings in Thought and Language.Cambridge:Cambridge University Press.
Fauconnier,G.(1998).Mental spaces,language modalities,and conceptual integration.Ed.MichaelTomasello.The New Psvchology of Language.London:Lawrence Erlbau Associates Publishers.
Fauconnier,G.(2001).Conceptual Blending and Analogy.In Dedre Gentner,Keith Holyoak,and Boicho Kokinow(Ed.) The Analogical Mind:Perspectives from Cognitive Science.Cambridge,Mass:MIT Press.255-286.
Fauconnier,G.& M.Turner.(1995).Conceptual Integration and Formal Expression.In Mark Johnson(Ed.),Journal of Metaphor and Symbolic Activity,Vol.10,No.3.Fauconnier,G.&M.Turner.(1996).Blending as a central process of grammar.Ed.Adele Goldberg.Conceptual Structure,Discourse and Language.Stanford:CSLI Publications.
Fauconnier,G.& M..Turner.(1998).Principles of conceptual integration.Ed.JeanPierre.Koening.Discourse and Cognition.Stanford:CSLI Publications.
Fauconnier,G.& M.Turner.(1994).Conceptual Integration and Formal Expression.In Mark Johnson.(Ed.),Journal of Metaphor and Symbolic Activity,10(1),133-142.
Fauconnier,G.& M.Turner.(1998)."Conceptual Integration Networks".Cognitive Science,22(1),133-187.
Fauconnier,G.& M..Turner.(2002).The way we think.New York:Basic Books.
Frazer,R.(1960).The Origin of the Term "hnage ".New York:New Literature History(27).
Gibbs,R.W.(1994).The Poetics of Mind.Cambridge:Cambridge University Press.
Grady,J.E.,T.Oakley,& Coulson,S.(1999).Blending and Metaphor.In R.Gibbs and G.Steen (Eds.) Metaphor in Cognitive Linguistics(pp.101-124).Philadelphia:John Benjamins
Herman,V.Deictic(1999).Projection and Conceptual Blending in Epistolarity.Poetica toady,20(3), 523-541.
Holman.C & W.Harmon(1992).A Handbook to Literature.Macmillan Publishing Company.
Hu Pin-Ching.(1966).Random Talks on Classical Chinese Poetry.(Li Ch'ing-chao).Twayne Publishers,Join Sun Publishing Co.,Ltd.,1990.
Lakoff,G.& M.Johnson.(1980).Metaphors We Live By.Chicago:University of Chicago Press.
Lakoff,G.(1987).Women,Fire and Dangerous Things.Chicago:University of Chicago Press.
Line Brandt and Per Aage Brandt(2005).Cognitive Poetics and Imagery European Journal of English Studies,9(2),117-130.
Liu,J.Y.(1962).The Art of Chinese Poetry.Chicago:University of Chicago Press.
Ortony,A.(1979).Metaphor and Thought.Cambridge:Cambridge University Press.
Perrine,L.(1969).Sounds and Sense:An introduction to poetry.New York:Harcourt,Brace&World,Inc.
Richards,A.(1965).The Philosophy of Rhetoric.New York:Cambridge University Press.
Svorou,Soteri.(1994).The Grammar of Space.Amsterdam:John Benjamins.
Sweetser,E.(1990).From Etymology to Pragmatics.Cambridge:Cambridge University Press.
Tannen,D.(1993).What's in a Frame In Tannen,D.(Ed.),Frame in Discourse New York:Oxford University Press.
Tannen,D.& Wallat,C.(1993 ).Interactive Frames and Knowledge Schemas Interaction.In Tannen,D.(Ed.),Framing in Discourse.New York:Oxford University Press.
Tea,J.H.A.& P.H.B.Lee.(2004) Preference and Blending in a Computer Role Playing Game.Journal of Pragmatics,36,1609-1633.
Turner,M.(1996).The Literary Mind.Oxford,New York:Oxford University Press.
Turner,M.,Fauconnier,G.(1995).Conceptual Integration and Formal Expression.Journal of Metaphor and Symbolic Activity,10(3),183-203.
Ungerer,F.& H.J.Schmid(1996).An Introduction to Cognitive Linguistics.Addison Wesley:Longman.
Wang Xiaohui(2004).Blending Theory and Poetry Translation.Beijing:Beijing ForeignTeaching and Research Press.
陈植锷(1990).《诗歌意象论》.秦皇岛:中国社会科学山版社.
邓朝晖(2006).意象--诗歌表达的另一种语言.《四川教育学院学报》.第11期:24-26.
范会斌(2006).对王维诗歌中主要意象的图形-背景分离分析.重庆:重庆大学硕士论文.
侯建,吕智敏(1985).《李清照诗词评注》.太原:山西人民出版社.
蓝纯(2003).《从认知角度看汉语和英语的空间隐喻》.北京:外语教学与研究出版社.
刘正光(2002).Fauconnier的概念合成理论:阐述与质疑.《外语教学与研究》.第10期: 8-12.
孟霞(2004).概念整合理论评介.《西安外国语学院学报》.第4期:4-6.
宋苏玲(2000).合成空间理论对语篇连贯解读的解释意义.《外语与外语教学》.第5期:18-22,27.
苏晓军,张爱玲(2001).概念整合理论的认知力.《外国语》.第3期:31-36.
汪少华(2001).合成空间理论对隐喻的阐释力.《外国语》.第3期:37-43.
汪少华(2002).诗歌中视角空间的美学功能.《外语教学》.第2期:33-37.
汪少华(2002).诗歌中的视角空间与文化想象.《外国语言文学》.第2期:46-49.
王文斌(2004).概念合成理论研究与应用的回顾与思考.《外语教学》.第3期:6-12.
吴莉(2006).心理空间理论关照下的语篇分析认知图式解读.《外语教学》.第3期:26-29.
谢艳明(2006).中英诗歌视觉意象的美学解读.《外国语言文学(季刊)》.第2期:53-54,64.
杨健(2001).李清照词英译研究.西宁:广西大学硕士论文.
余渭深(2001).复合空间模式在语言理解研究中的应用.《外国语言文学研究》.第2期:24-31.
余渭深,董平荣(2003).合成空间与中国古典诗词意象.《外语教学与研究》.第3期:4-6.
王文斌(2004).概念合成理论研究与应用的回顾与思考.《外语教学》.第3期:6-12.
张辉(2003).《熟语及其理解的认知与语义学学研究》.南京:外语教学军事谊文出版社.
张全生(2004).中国隐喻研究十年综述.《新疆大学学报(社科版)》.第3期:28-31.
朱永生,蒋勇(2003).空间映射论与常规含意推导.《外语教学与研究》.第1期:26-33.
Coulson,S.,& Oakley,T.(2000).Special issue of Cognitive Linguistics,Conceptual Blendin.11:3-4.
Coulson,S.(2000).Semantic Leaps." Frame-Shifting and Conceptual Blending in Meaning Construction.New York:Cambridge University Press.
Culler,J.(1997).Literary Theory:A Very Short Introduction.Oxford University Press.
Fauconnier,G.(1985).Mental Spaces.Cambridge/London:MIT Press.
Fauconnier,G.(1994).Mental Space.New York:Cambridge University Press.
Fauconnier,G.(1997).Mappings in Thought and Language.Cambridge:Cambridge University Press.
Fauconnier,G.(1998).Mental spaces,language modalities,and conceptual integration.Ed.MichaelTomasello.The New Psvchology of Language.London:Lawrence Erlbau Associates Publishers.
Fauconnier,G.(2001).Conceptual Blending and Analogy.In Dedre Gentner,Keith Holyoak,and Boicho Kokinow(Ed.) The Analogical Mind:Perspectives from Cognitive Science.Cambridge,Mass:MIT Press.255-286.
Fauconnier,G.& M.Turner.(1995).Conceptual Integration and Formal Expression.In Mark Johnson(Ed.),Journal of Metaphor and Symbolic Activity,Vol.10,No.3.Fauconnier,G.&M.Turner.(1996).Blending as a central process of grammar.Ed.Adele Goldberg.Conceptual Structure,Discourse and Language.Stanford:CSLI Publications.
Fauconnier,G.& M..Turner.(1998).Principles of conceptual integration.Ed.JeanPierre.Koening.Discourse and Cognition.Stanford:CSLI Publications.
Fauconnier,G.& M.Turner.(1994).Conceptual Integration and Formal Expression.In Mark Johnson.(Ed.),Journal of Metaphor and Symbolic Activity,10(1),133-142.
Fauconnier,G.& M.Turner.(1998)."Conceptual Integration Networks".Cognitive Science,22(1),133-187.
Fauconnier,G.& M..Turner.(2002).The way we think.New York:Basic Books.
Frazer,R.(1960).The Origin of the Term "hnage ".New York:New Literature History(27).
Gibbs,R.W.(1994).The Poetics of Mind.Cambridge:Cambridge University Press.
Grady,J.E.,T.Oakley,& Coulson,S.(1999).Blending and Metaphor.In R.Gibbs and G.Steen (Eds.) Metaphor in Cognitive Linguistics(pp.101-124).Philadelphia:John Benjamins
Herman,V.Deictic(1999).Projection and Conceptual Blending in Epistolarity.Poetica toady,20(3), 523-541.
Holman.C & W.Harmon(1992).A Handbook to Literature.Macmillan Publishing Company.
Hu Pin-Ching.(1966).Random Talks on Classical Chinese Poetry.(Li Ch'ing-chao).Twayne Publishers,Join Sun Publishing Co.,Ltd.,1990.
Lakoff,G.& M.Johnson.(1980).Metaphors We Live By.Chicago:University of Chicago Press.
Lakoff,G.(1987).Women,Fire and Dangerous Things.Chicago:University of Chicago Press.
Line Brandt and Per Aage Brandt(2005).Cognitive Poetics and Imagery European Journal of English Studies,9(2),117-130.
Liu,J.Y.(1962).The Art of Chinese Poetry.Chicago:University of Chicago Press.
Ortony,A.(1979).Metaphor and Thought.Cambridge:Cambridge University Press.
Perrine,L.(1969).Sounds and Sense:An introduction to poetry.New York:Harcourt,Brace&World,Inc.
Richards,A.(1965).The Philosophy of Rhetoric.New York:Cambridge University Press.
Svorou,Soteri.(1994).The Grammar of Space.Amsterdam:John Benjamins.
Sweetser,E.(1990).From Etymology to Pragmatics.Cambridge:Cambridge University Press.
Tannen,D.(1993).What's in a Frame In Tannen,D.(Ed.),Frame in Discourse New York:Oxford University Press.
Tannen,D.& Wallat,C.(1993 ).Interactive Frames and Knowledge Schemas Interaction.In Tannen,D.(Ed.),Framing in Discourse.New York:Oxford University Press.
Tea,J.H.A.& P.H.B.Lee.(2004) Preference and Blending in a Computer Role Playing Game.Journal of Pragmatics,36,1609-1633.
Turner,M.(1996).The Literary Mind.Oxford,New York:Oxford University Press.
Turner,M.,Fauconnier,G.(1995).Conceptual Integration and Formal Expression.Journal of Metaphor and Symbolic Activity,10(3),183-203.
Ungerer,F.& H.J.Schmid(1996).An Introduction to Cognitive Linguistics.Addison Wesley:Longman.
Wang Xiaohui(2004).Blending Theory and Poetry Translation.Beijing:Beijing ForeignTeaching and Research Press.
陈植锷(1990).《诗歌意象论》.秦皇岛:中国社会科学山版社.
邓朝晖(2006).意象--诗歌表达的另一种语言.《四川教育学院学报》.第11期:24-26.
范会斌(2006).对王维诗歌中主要意象的图形-背景分离分析.重庆:重庆大学硕士论文.
侯建,吕智敏(1985).《李清照诗词评注》.太原:山西人民出版社.
蓝纯(2003).《从认知角度看汉语和英语的空间隐喻》.北京:外语教学与研究出版社.
刘正光(2002).Fauconnier的概念合成理论:阐述与质疑.《外语教学与研究》.第10期: 8-12.
孟霞(2004).概念整合理论评介.《西安外国语学院学报》.第4期:4-6.
宋苏玲(2000).合成空间理论对语篇连贯解读的解释意义.《外语与外语教学》.第5期:18-22,27.
苏晓军,张爱玲(2001).概念整合理论的认知力.《外国语》.第3期:31-36.
汪少华(2001).合成空间理论对隐喻的阐释力.《外国语》.第3期:37-43.
汪少华(2002).诗歌中视角空间的美学功能.《外语教学》.第2期:33-37.
汪少华(2002).诗歌中的视角空间与文化想象.《外国语言文学》.第2期:46-49.
王文斌(2004).概念合成理论研究与应用的回顾与思考.《外语教学》.第3期:6-12.
吴莉(2006).心理空间理论关照下的语篇分析认知图式解读.《外语教学》.第3期:26-29.
谢艳明(2006).中英诗歌视觉意象的美学解读.《外国语言文学(季刊)》.第2期:53-54,64.
杨健(2001).李清照词英译研究.西宁:广西大学硕士论文.
余渭深(2001).复合空间模式在语言理解研究中的应用.《外国语言文学研究》.第2期:24-31.
余渭深,董平荣(2003).合成空间与中国古典诗词意象.《外语教学与研究》.第3期:4-6.
王文斌(2004).概念合成理论研究与应用的回顾与思考.《外语教学》.第3期:6-12.
张辉(2003).《熟语及其理解的认知与语义学学研究》.南京:外语教学军事谊文出版社.
张全生(2004).中国隐喻研究十年综述.《新疆大学学报(社科版)》.第3期:28-31.
朱永生,蒋勇(2003).空间映射论与常规含意推导.《外语教学与研究》.第1期:26-33.