貝克特戲劇文本中隱喻的認(rèn)知研究

內(nèi)容概要

　　This book， which is germinated from doctoral dissertation completed in Shanghai Jiaotong University in 2008， is the result of my constant pursuit of theoretical research on Samuel Beckett's Absurd Plays.　　Volumous studies on Beckett's plays have been conducted in the past decades， from perspectives such as politics， philosophy， aesthetics， deconstructuralism， postmodernism， postconolism， feminism and reader reception， and so on. However， the study of metaphors in　　Beckett's plays， by and large， has been neglected. Accordingly， this book studies metaphors by basing on Beckett's dramatic texts and analyzing them under multiple metaphorical theories from the cognitive perspective.

作者簡(jiǎn)介

　　黃立華（1964.09-），男，安徽安慶人，博士，副教授，現(xiàn)任南昌航空大學(xué)外國(guó)語(yǔ)學(xué)院教師、碩士生導(dǎo)師。主要研究方向?yàn)閼騽∥捏w學(xué)研究。參編著作一部：《比翼長(zhǎng)生》（蘇州：古軒出版社，2005年9月第一版）；翻譯兩部：《長(zhǎng)生殿》連環(huán)畫(huà)（蘇州：古軒出版社，2005年9月第一版），《郵票上的江西》（南昌：百花洲文藝出版社，2010年1月第一版）。在國(guó)內(nèi)外核心期刊發(fā)表相關(guān)論文10余篇。主持完成2011年江西省人文社科課題一項(xiàng)：“貝克特戲劇作品中反諷的認(rèn)知語(yǔ)用研究”（項(xiàng)目編號(hào)：WGW1112），主持并完成2010年江西省社會(huì)科學(xué)規(guī)劃項(xiàng)目一項(xiàng)：“后現(xiàn)代文學(xué)話(huà)語(yǔ)與生態(tài)批評(píng)研究”（項(xiàng)目編號(hào)：10WX22），主持2010年江西省社會(huì)科學(xué)規(guī)劃項(xiàng)目藝術(shù)類(lèi)課題一項(xiàng)：“江西儺戲中的符號(hào)研究”（項(xiàng)目編號(hào)：YG2010071）。目前主要致力于戲劇文本的認(rèn)知文體學(xué)（認(rèn)知詩(shī)學(xué)）、戲劇文本的認(rèn)知敘事學(xué)以及戲劇的美學(xué)等研究。

書(shū)籍目錄

ForewordPrefaceChapter One  Introduction  1.1  Objectives of this research  1.2  Significance of study  1.3  Methods of study  1.4  The structure of this bookChapter Two  Literature Review  2.1  Introduction  2.2  Traditional studies on metaphor  2.2.1  Metaphor in fiction and poetry  2.2.2  Metaphor in drama  2.2.3  Dramatic text and performance  2.3  Contemporary studies on metaphor  2.3.1  Semantic theory of metaphor  2.3.2  Pragmatic theory of metaphor  2.3.3  Cognitive theory of metaphor  2.3.4  Conceptual metaphor  2.3.5  Conventional and novel metaphors  2.4  Metaphor studies of Beckett's plays  2.4.1  Overview of criticism of Samuel Beekett's plays  2.4.2  Overview of metaphor studies on Beckett's plays  2.5  Summary and research questionsChapter Three  Emotion Metaphors in Waiting for Godot  and Krapp's Last Tape  3.1  Introduction  3.2  Emotion metaphors  3.3  Emotion metaphors in Waiting for Godot  3.4  Emotion metaphors in Krapp's Last Tape  3.5  SummaryChapter Four  Time as Space Metaphors in Happy Days  and Endgame  4.1  Introduction  4.2  Conceptions of time and space  4.2.1  Keshavmurti on time and space  4.2.2  Alverson on time and space  4.2.3  Lakoff on space and time    4.2.4  Lakoff and Johnson on everyday metaphor  4.3  Time as space metaphors in Happy Days and  Endgame  4.4  "Time" and "oblivion" in Waiting for GodotChapter Five Image-Schema Metaphors in EndgameChapter Six Non-verbal Metaphors in Beckett's DramaticulesChapter Seven Findings and ConclusionsBibliography

章節(jié)摘錄

　　It has developed powerful new theories about how the mind works， thanks in part to remarkable advances in neuroscience （Damasiol 1994）.　Much of the momentum behind preconceptions of the mind also has come from researchers in linguistics confronting old problems of how meaning arises （Lakoff and Johnson 1999）.　Theories built on the propositional model turned out to obscure such everyday phenomenon as polysemy， metaphor， analogy， irony and counterfactuals in language-the very field it is supposed to illustrate （Lakoff and Johnson 1980， Gibbs 1994）.　At the same time， psychologists and anthropologists began to show how the organization of knowledge at individual and societal levels determines and facilitates the formation of meaning （Dandridge 1984， Blasko and Connine 1993， Strauss and Quinn 1997）. Converging evidence from these several fields shifted toward the radically new view that meaning is constructed by a mind whose work is systematically constructed by our very human experience in and of reality （Johnson 1987）.　　These cognitive theories show how forms of communication serve as catalysts to make meaning operations including conceptual metaphor， metonymy， categorization， framing， and conceptual blending.　　In short， meaning is not something we simply find but something we fashion. Fauconnier and Tamer （2002） in particular propose a theory of conceptual integration that effectively explains how the inmate diversity of meaning emerges systematically from a small set of cognitive operations and how musical structure prompts the construction of meaning. We have seen cognitivism's status in music theoretic discourse. In addition， Eduard Hans lick's （1986） formalist ideology.　　……

編輯推薦

在過(guò)去的幾十年里，貝克特戲劇的研究非常廣泛。研究視角從政治、到哲學(xué)、美學(xué)、結(jié)構(gòu)主義、后現(xiàn)代主義、后殖民主義、女性主義以及讀者接受理論等等。但是，很少有人對(duì)貝克特戲劇中的隱喻進(jìn)行研究。為此，黃立華編著的《貝克特戲劇文本中隱喻的認(rèn)知研究》從認(rèn)知的視角對(duì)貝克特戲劇中的隱喻進(jìn)行了研究。

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