《红楼梦》中林黛玉、薛宝钗人物形象刻画的认知研究

论文摘要

人们的想象力对于意义、理解和推理起着不可或缺的作用。Johnson (1987:xiv)提出语言中两种与想象有关的结构,一种是意象图式,另一种是隐喻投射。本研究正是基于认知语言学框架内意象图式理论和概念隐喻理论展开的。《红楼梦》是中国四大名著之一。鉴于其深刻的思想内涵和艺术价值人们通常认为它是中国古典小说的巅峰之作和大百科全书式的小说。《红楼梦》的作者很善于运用伏笔、象征、隐喻及其他新颖的语言表达来构思结构和塑造人物,书中极其丰富的隐喻表达为文学、修辞学及语言学研究提供了宝贵资源。围绕《红楼梦》中两位主要女性人物的形象塑造,本文试图应用意象图式理论和概念隐喻理论对其进行比较系统的探讨。通过对两位人物形象塑造的语言的精细分析,本文得出如下发现：1.在两位人物的形象塑造中有两个占主导地位的意象图式,一个是刻画林黛玉过程中的循环图式,另一个是刻画薛宝钗过程中的“正”图式。循环图式主要反映在情节设计上,而“正”图式由出现频率较高的一组词语反映出来,它的主要作用是突显薛宝钗的内在特征。2.本文从内在特征和外在特征两个方面总结了最能代表人物形象的概念隐喻。刻画林黛玉外在特征的概念隐喻包括：林黛玉是神仙,林黛玉是植物。刻画她精神世界的有：林黛玉的精神是可以离开身体随意漫游的事物,林黛玉的精神是有限的可再生资源,林黛玉的烦闷是气态物质,林黛玉的感情是物体,林黛玉的命是物体。刻画薛宝钗外在特征的概念隐喻有：薛宝钗是花,薛宝钗是雪。刻画其内在特征的概念隐喻包括：好、正确和重要是“正”,正直、正派是“正”,符合标准要求是“正”,明智是“明白”。3.本文同样总结了以下关于林黛玉、薛宝钗刻画过程中概念隐喻的一般规律：隐喻表达遍布语言,但并非每一个隐喻概念都与人物形象有关。它有可能只是一个人类共有的深植于语言中的陈旧概念。同时,同一个隐喻概念可以用于刻画不同人物。选用始源域的不同方面和不同类别可以表达不同的意义。隐喻表达的数量也对于获得不同效果起着一定的作用。由于作者有限的学术能力和语料的复杂性,本文未能穷尽性地分析两位人物形象塑造过程中的所有隐喻概念,然而其仍然是作者在认知语言学框架内研究文学中人物形象的一次有意义的尝试,希望能为文学研究提供一个新的视角。

论文目录

• 中文摘要
• Abstract
• List of Figures and Tables
• Chapterl Introduction
• 1.1 Topic of the Study
• 1.2 Purpose of the Study
• 1.3 Significance of the Study
• 1.4 Organization of the Thesis
• Chapter 2 Literature Review
• 2.1 Studies of Discourse Metaphor and Poetic Metaphor
• 2.1.1 Cognitive Approaches to the Studies of Discourse Metaphor
• 2.1.2 Cognitive Approaches to the Studies of Poetic Metaphor
• 2.2 Studies of Hongloumeng
• 2.2.1 Studies of the Character Images of Lin Daiyu and Xue Baochai
• 2.2.2 Studies of the Conceptual Metaphors in Hongloumeng
• Chapter 3 Theoretical Framework and Methodology
• 3.1 Philosophical Basis:Experientialism
• 3.2 Image Schema Theory
• 3.2.1 Definition and Features of Image Schema
• 3.2.2 Image Schema and Metaphor
• 3.3 Conceptual Metaphor Theory
• 3.3.1 Definition and Working Mechanism of Conceptual Metaphor
• 3.3.2 The Classification of Conceptual Metaphor
• 3.3.3 The Systematicity of Metaphor
• 3.4 Methodology
• 3.4.1 Metaphor Identification Procedure
• 3.4.2 Description of the Language Data
• Chapter 4 Analysis of the Image Schemata in the Character Portrayal of Lin Daiyu and Xue Baochai
• 4.1 Analysis of the Image Schema in the Character Portrayal of Lin Daiyu
• 4.1.1 Introduction of the CYCLE Schema
• 4.1.2 Application of the CYCLE Schema in the Character Portrayal of Lin Daiyu
• 4.2 Analysis of the Image Schema in the Character Portrayal of Xue Baocha
• 4.2.1 Introduction of the "ZHENG" Schema
• 4.2.2 Application of the "ZHENG" Schema in the Character Portrayal of Xue Baochai
• Chapter 5 Analysis of Conceptual Metaphors in the Character Portrayal of Lin Daiyu and Xue Baochai
• 5.1 Analysis of Conceptual Metaphors in the Character Portrayal of Lin Daiyu
• 5.1.1 Conceptual Metaphors Portraying the External Features of Lin Daiyu
• 5.1.2 Conceptual Metaphors Portraying the Internal Features of Lin Daiyu
• 5.1.2.1 Conceptual Metaphors Structuring the Concept of Spirit
• 5.1.2.2 Conceptual Metaphors Structuring the Concepts of Emotions
• 5.1.2.3 Conceptual Metaphors Structuring the Concept of "MING"
• 5.2 Analysis of Conceptual Metaphors in the Character Portrayal of Xue Baochai
• 5.2.1 Conceptual Metaphors Portraying the External Features of Xue Baochai
• 5.2.2 Conceptual Metaphors Portraying the Internal Features of Xue Baochai
• Chapter 6 Conclusions
• 6.1 Major findings
• 6.2 Limitations of the thesis and implications for future studies
• Bibliography
• Appendices
• Appendix A
• Appendix B
• Appendix C
• Appendix D
• Publications During the Postgraduate Program
• Acknowledgements