George Lakoff - Metaphor, Morality & Politics, Or, Why Conservatives Have Left Liberals In The Dust
由屋舍、方位、席次论《红楼梦中荣宁府宅的空间文化(欧丽娟)
48 12010 3 5-536諾伯舒茲(Christian Norberg-Schulz)指出,「人為場所」表示一系列的環境層次,從村莊、市鎮到住宅或其內部,1而構成這些空間環境的建築形式與活動內容,便呈現出特定文化的豐富意義。
至於《紅樓夢》雖是一部以人的活動為主的虛構小說,但基於人類的外在活動與心靈運作本質上原即蘊含著先驗的空間性因素,再加上曹雪芹創作時賦予全書清晰可辨的空間調度,即便在回目的擬訂上,關涉特定建築房舍的「空間意象」也遠多過於模糊的時序,2因此可以說,各個住宅規劃及其內部設計所構成的人為場所既是奠立全書敘事骨架的背景基礎,亦是組成小說內在血肉肌理的一部分。
故而早自脂硯齋起即對此多所點示,3清代評點家也對其間院落布局有所整理,4甚至注意到其中描寫的舛誤並加1 Christian Norberg-Schulz,施植明譯,《場所精神——邁向建築現象學》(臺北:田園城市文化事業公司,2002),頁58。
2此一發現,見張世君,《「紅樓夢》的空間敘事》(北京:中國社會科學出版社,1999),頁11-12。
3如第3回寫黛玉出往賈赦邢夫人一房處拜見後,接著到王夫人處,「便往東轉彎,穿過一個東西的穿堂」一句,脂硯齋批云:「這一個穿堂是賈母正房之南者,鳳姐處所通者,則是賈母正房之北。
」又黛玉與王夫人談話過後,接下來「王夫人遂攜黛玉,穿過一個東西穿堂,便是賈母的後院了」,此處脂硯齋又批云:「這正賈母正室後之穿堂也,與前穿堂是一帶之屋,中一帶乃賈母之下室也。
記清。
」兩段皆見甲戌本第3回夾批,陳慶浩,《新編石頭記脂硯齋評語輯校》(臺北:聯經出版公司,1986),頁73、頁79。
尤其針對大觀園的座落方位與屋舍布局,己卯本第17回更有多處留下批語,詳見頁307-321。
4如姚燮《讀紅樓夢綱領》整理道:「寧、榮兩府房屋,街東為寧國府,稍西為黑油大門,榮府之旁院也,賈赦邢夫人居之,而二宅之間,中有小花以糾正,5時至現代學界,紅學系統中更隱約形成了空間文化研究之一小支系。
中德诗歌中爱情隐喻的异同浅析
中德诗歌中爱情隐喻的异同浅析莱考夫和约翰逊在其所著的Metaphors We Live By一书中提出:隐喻不仅存在于语言,也存在于人们的思维和行动中。
爱情作为最普遍、最重要的人类情感之一,也是诗歌的永恒话题,诗人们常将其隐喻化。
本文通过对中德诗歌中诗句的对比分析,发现中德诗歌中的爱情隐喻既有相同特征,又有各自特色;并进一步分析两种文化背景下的爱情认知共性。
标签:隐喻爱情诗歌认知一、引言自乔治·莱考夫(George Lakoff)和马克·约翰逊(Mark Johnson)发表其著作Metaphors We Live By并提出概念隐喻理论(Conceptual Metaphor Theory,简称“CMT”)以来,“CMT”掀起了隐喻研究的热潮。
莱考夫和约翰逊认为隐喻不仅存在语言中,也普遍存在于人们的思维和行动中[1]。
他们一反传统隐喻观点,从认知角度研究隐喻。
情感作为人类普遍、基本的经验,并非难以言状,而是蕴含丰富内容。
爱情是人类最久远、最神秘的情感之一,也是诗歌的永恒话题,古今中外,都有无数诗人不吝笔墨去描绘爱情。
为了使人类的这一体验更生动形象,诗人常将它隐喻化。
而情感隐喻实质上是以隐喻为认知机制,参照空间方位,或具体有形的实体,特别是人体本身来表达情感概念的[2]。
本文将以认知语言学的理论为指导,在“映射论”的基础上,以中德爱情诗歌为语料,对中德爱情诗歌中的隐喻进行对比分析,重在寻找相同之处,试图借此进一步了解两种文化背景下的爱情认知共性。
二、概念隐喻概念隐喻理论是由莱考夫和约翰逊于1980年正式提出的,他们认为隐喻不只是一种修辞手段,更是人类的一种思维方式。
隐喻的工作机制是“映射论”,Lakoff等人认为隐喻的每一个映射过程都有其内部结构——始源域和目标域[3],是一个概念映射到另一个概念的过程,比如在“argument is war”(争论是战争)中,通过“战争”去理解“争论”,其中“argument”是目标域,“war”是始源域,始源域概念化了目标域,同时一个目标域往往有不止一个始源域。
2016年政府工作报告概念隐喻分析
2016年政府工作报告概念隐喻分析摘要:隐喻不仅是一种语言现象,更是人类一种不可或缺的概念系统和思维认知方式。
本篇论文以概念隐喻理论为基础,对2016年中国政府工作报告中隐含的概念隐喻进行全面的分析。
关键词:概念隐喻;认知分析;2016年政府工作报告;一.理论基础《Metaphors We Live By》是由美国作家乔治·莱考夫(George Lakoff)和马克·约翰逊(Mark Johnson) 所著,其核心思想是一种“认知隐喻观”,认为语言和思维中含有大量的隐喻,虽较为抽象难以理解,却影响着我们的认知和思维。
乔治·莱考夫(George Lakoff)和马克·约翰逊(Mark Johnson) 把隐喻分为三大类即:空间方位性隐喻、实体隐喻和结构隐喻。
空间方位性隐喻是通过联想机制将上、下、前、后、左、右等具体的空间方位与社会地位、政治语言等联系在一起,使描绘的政治语篇更加形象化。
实体隐喻是将我们所生活的物质环境、生活实践通过联想来理解情绪和生活经验,通过物质实体将政府工作报告中指称量化,达到理性研究的目的。
结构隐喻是多角度多层面对客观世界的认知,对语义的了解进行延伸和变化,从而充分了解概念和语义之间深层次的关系。
二、多层次分析(一)2016年中国政府工作报告中的政治隐喻1.路程隐喻“路程”即道路,路径,在特定的时间、领域范围内设定目标并向着该社会活动前进。
每年的政府工作报告中都有大量的“路程隐喻”,这种“路程隐喻”属于空间方位性隐喻。
例如:坚持中国特色解决民族问题的正确道路,.....推进新型城镇化和农业现代化,促进城乡区域协调发展,......以区域发展总体战略为基础,以“三大战略”为引领,......以上的例子是从2016年政府工作报告中选取,其中“一带一路”、“正确道路”、“促进”、“引领”等这些词都是“路程隐喻”,隐射着社会发展的思路、进程和目标,是社会主义现代化建设的指南针、目的地。
从隐喻视角解读《被埋葬的孩子》
关键词:隐 喻 ;家 族 ;自 我 认 知 ;继 承 性 中图分类号:H059 文献标识码:A 文章编号:1673-2596(2012)01-0140-03
传统的谢泼德剧作研究多从写作手法,舞台技巧,及家 庭剧的写实方面研究,对作品中包含隐喻的语言、行为、场 景的的分析也是屈指可数, 还未有人对该部剧中所涉及的 隐喻作较为系统的论述及研究。 本文就从隐喻的角度出发, 系统剖析《被埋葬的孩子》一剧中三大隐喻主线,为帮助解 读作品提供更全面的视角。
一、隐喻 传统语言学认为隐喻是一种修辞, 其意义就是表达的 意义并非原语所指意义或原语的字面意义。 自亚里士多德 以来,隐喻都被认为是修辞的一种表达方式,是言语的重要
- 140 -
技巧。 1980 年 George Lakoff & Mark Johnson 发表了《我们 赖以生存的隐喻》(Metaphor We Live By)。 自此,隐喻的发 展步入了新的历史阶段— ——认知阶段。 认知语言学认为,隐 喻是日常语言中随处可见的现象, 它部分地构筑我们的日 常概念,更是一种通过语言表现出来的思维方式,是我们赖 以进行思考和认知的基础。 认知语言学家将隐喻的范围扩 大了,不仅限于文字面的比较,关联,而涉及思维理解中不 同概念域的相互映射。 文学作品中,隐喻更是频繁出现的现 象,它在意义表达、传递、理解中的地位不可取代。 传统对 Sam Shepard 的 代 表 作 《被 埋 葬 的 孩 子 》(Buried Child)研 究 中是将隐喻作为修辞手段, 对文学文本的象征意义等进行 剖析,本文是从认知的角度,对该剧中贯穿全剧的三大主要 隐喻进行探索分析。
类比式隐喻-从修辞手段到认识模式
类比式隐喻:从修辞手段到认识模式从亚里士多德的隐喻修辞观到列维·斯特劳斯的结构主义神话研究,再到当代的认知隐喻研究,学界对类比式隐喻的认识发生了重大转变。
类比式隐喻是一种修辞手法,也是一种基本认知方式。
作为诗歌语言的重要手段之一,掌握类比式隐喻对于理解和研究诗歌具有重要意义。
标签:类比式隐喻亚里士多德修辞认知诗歌一、隐喻的定义从词源学角度看,英语中的metaphor一词源自希腊语metapherein(动词)和拉丁文metaphora(名词),其词根phora指一种变化,即位移。
因此,metaphor 这个词表示的是两种事物间由此及彼的转移过程。
[2](P14~15)汉语中的“隐喻”一词,最早见于南宋陈骙的《文则》,但他所指的隐喻相当于当代汉语修辞学中的“借喻”,而当代修辞学所指的隐喻则类似于陈骙提出的“简喻”。
[3](P209)束定芳在《隐喻学研究》中对几部大型词典里metaphor(隐喻)的定义做了综述。
[7](P20~22)《韦伯斯特词典》(第三版)所做的定义是:辞格的一种,通常通过一个词或词组以一事物替代另一事物,并以此来暗示两者之间存在一种相似性或类推性;是一种凝练的明喻,明确揭示一种隐含的比较。
《大英百科全书》(第10版)的定义略有不同,认为明喻和暗喻之间存在“质”的不同,隐喻可以辨认和融合两种事物;它指出隐喻是诗歌的基本特征,也是语言本身的一个特征;另外它认为除明喻外的所有比喻,如拟人、换喻、提喻、寓言和象征等都可以归入隐喻。
汉语辞典里对隐喻的定义相对简单。
《辞海》把隐喻视为比喻的一种,其本体和喻体的关系,比之明喻更为密切。
明喻在形式上只是相类的关系,隐喻在形式上却是相合的关系。
综观几部词典的定义,隐喻本质上被视为修辞手法的一种,都是在修辞学的层面上进行的研究。
这种隐喻观可以上溯到亚里士多德的《诗学》(Poetics)和《修辞学》(Rhetoric)。
在《诗学》里,亚里士多德对隐喻下的定义是:隐喻字是属于别的事物的字,借来作隐喻,或借“属”作“种”,或借“种”作“属”,或借“种”作“种”,或借用类同字。
-绝望的主妇隐喻研究-英语(DOC)
郑州大学毕业论文题目:Analysis of Metaphor in Desperate Housewives《绝望的主妇》隐喻研究学生姓名:田磊学号: 20115410527 指导教师:李文竞职称:讲师院(系):护理学院年级: 2011 专业:双学位班级: 6完成时间:2015年 5 月29 日Analysis of Metaphor in Desperate HousewivesTian LeiA Thesis Submitted as Partial RequirementsFor the Bachelor’s Degree of Arts in EnglishSupervised by Li WenjingSchool of Foreign LanguagesZhengzhou UniversityMay 29, 2015摘要美国语言学家莱可夫和约翰逊在《我们赖以生存的隐喻》中首先提出概念隐喻的理论。
他们认为:“隐喻渗透于日常生活,不但渗透在语言里,也渗透在思维和活动中。
我们借以思维和行动的普通概念系统在本质上基本上是隐喻的。
”隐喻不仅仅是一种语言上的想象力,而且在本质上是人类理解周围世界的一种感知和形成概念的工具。
隐喻无处不在,影响着人类的思维和行为,它通过感知理解投射到现实生活中,深化并内化相关的文化内核,进而更好地理解艺术作品的主题。
《绝望的主妇》是美国 ABC 公司拍摄的一部风靡全球的畅销电视剧,其获得巨大成功的因素是多方面的,其中最具特色的是电视剧中的隐喻,在电视剧中应用了大量的隐喻,它们对这部电视剧起到了提炼与深化主题的作用。
关键词:绝望的主妇;隐喻AbstractAmerican linguisticians Lakoff & Johnson are the first men who put forward the concept of metaphor theory in their artical Metaphors We Live By. In their words : metaphor can be found in our everyday life, not only in the language, but also in our thinking and kinds of activities. The concept system in which our thinking and action is metaphorical in nature. Metaphor is not only a kind of imagine in language, but also a kind of tool in which people aware and form the image concept when we see the world around us. Metaphor is in our daily life, which do something about our thinking and behavioral patterns. It shows what we think about to the real life. What’s more, it makes the related culture deepen and internalize to help us to realize the theme of the movie. Desperate Housewives is a popular American TV play in the global world which is filmed by ABC Company. Of course, there are many factors to its success, but it is unique that the application of metaphor in the movie. A lot of metaphors found in the movie, helping refine and deepening the theme.Key words:Desperate housewives;MetaphorsAcknowledgementsUpon writing this thesis, my deepest gratitude goes first and foremost to my supervisor Wenjing Li, for her guidance, patience and the advice her gives me. This thesis has been completed under her guidance. She has helped me to revise several times and provided constructive suggestions. Besides, I would like thanks to the teachers who give me classes in the past several years, without them I can’t go through my thesis so quickly. At Last, my thanks would go to my roommates who gave me a hand facing the difficulties in the hard periods of this thesis.OutlineI. IntroductionA.The purpose of the StudyB. Innovation Point and Significance of the StudyII. Review on MetaphorA. DefinitionB. The Characteristics of MetaphorC. Studies of Grammatical Metaphor at Home and Abroad III.Metaphor Characters in Desperate HousewivesA. A Brief Introduction to Desperate HousewivesB. Metaphors Used in Desperate HousewivesIV.ConclusionAnalysis of Metaphor in Desperate HousewivesI. IntroductionA.The purpose of the StudyFor a long time metaphor has become one of the major topics. It has attracted the attention from more and more scholars and theorists. Metaphors are mostly culturally specific because their values depends on the readers' understanding. This paper aims to study on metaphor from the perspective of oral communication. Since Desperate Housewives is a popular American TV series which has attracted audiences from different cultural backgrounds all over the world. Many scholars have shown great interest in it and made their study focus on its humorous language, feminine language features, and its subtitle translation. However, studies on its rhetorical devices,especially on metaphor are rare. This thesis is to enrich the study on this TV series by analyzing metaphors in Desperate Housewives .B. Innovation Point and Significance of the StudyThe innovation point and the contents of the Study are as follows:With the rapid growth in developing countries, there are 70% of the people are middle class in February 2009 according to the survey. It suggests that the number of middle class has already reached a new top.And they do not live from hand to mouth as they usually do, and they go after not only the basic food and shelters but also the consumer goods even the luxury. They spend money to improve their health level and provide for their children’s better education. As language can reflect the attitudes and values of the speakers, we can analyze the mechanism of the metaphor used by the speakers and with it we can better find and realize the hidden attitudes and values of the speakers. We see and know more about the daily social status and the values of the American after our analysis of grammatical metaphor used in the TV series. As we all know, most of works of literatures or films or TV series reflect the real lives. If westudy the language features of these works deeper, we can further understand the cultural of gender difference in language usage and realize the culture of a country better.What’s more, the studies of metaphorical theory are mostly applied on written language. As far as I know the study on spoken language focusing on metaphor are rare. In my study I try my best to analysis the study of grammatical metaphor to spoken language.In my study I mainly study the grammatical metaphor. Thanks to this, students can better understand the TV shows, such as the relationship between characters, their social status and so on, instead of just knowing the literal meaning or grammar structures of sentences. At the same time, from the TV shows I learn to use right words in proper place. It is a necessary lesson for us to cultivation a good sense to use the right words in right place. For English, it has amassed intuitive knowledge about linguistic appropriateness and correctness. Compared with the aborigines of English, foreign students are not doing well in the situations and customs of English speaking countries; as a result, they are at a sea in this matter sometimes. Depend on it, if they never learn stylistics, they are always not aware of the difference between common and rare types of language behavior. What’s more, they are not aware of the alternatives available in particular situations; they cannot react appropriately to language right. What they know is only what they are taught in language classes. For what we talk above, for the point to make students better in foreign languages study, we should cultivate their sense of styles.II.Review on MetaphorMetaphor, a popular phenomenon, is widely used at all times. This part is mainly an introduction to metaphor and previous studies on it.A.DefinitionMetaphor comes fro m the Greek word “Metaphora”.The root "meta-"means“over”and“phora” implies “carry”. The com pounding word relates tolinguistic process, through which the characteristics of a certain object could be transferred to another one, in the effect that the second object could be taken as the first one.In Webster ‘s New World Dictionary,metaphor is defined as :“a figure of speech in which one thing is likened to another, different thing by being spoken of as if were the other; implied comparison, in which a word or phrase ordinarily and primarily use of one thing is applied to another " .George Lakoff and Mark Johnson said that “The essence of metaphor is understanding and experiencing one kind of thing in terms of another" . They also put forward the well-known term “conceptual metaphor” in their work Metaphors We live by.From all over the above, we can find metaphor is considered as a matter of language, or a rhetorical device, which makes comparison between two elements that, bears some similarities. However, this comparison is implied rather than stated. It is taken as a figure of speech that used for some special effects, as well as an art that only masters of language know how to employ. In this definition, similarities between the two elements are mentioned, but they are just within the scope of language instead of something related to people's cognition. According to them, metaphor is not just a matter of language. It is the systematic mapping from source domain to target domain. It is related to people's thinking and cognition. This is the view of contemporary metaphor study, which is from the view of cognition.The definitions of metaphor is different for the very perspectives and different scholars. However, there is something in common in the above definitions. Metaphor is mainly the resemblance or similarity between two similar elements: the image and the object. We cannot call it a metaphor if the two elements are not similar in all of their respects.B. The Characteristics of MetaphorGenerally speaking, metaphor has the following characteristics:Tenor refers to the literal meaning. Vehicle refers to the figurative meaning. Theelement that is not overly stated is ground , which serves as the likeness perceived between the tenor and the vehicle. Every metaphor is implicitly of the form “X is like Y in respect of Z”(X is the tenor, Y is the vehicle and Z is the ground).As we all know, metaphor is not what it literally means. The context determines the implied meaning. Besides, the conflicting understanding course makes the meaning of metaphor different from the literal meaning. However, when there is conflict between the literal meaning and the involved context, we choose metaphorical meaning which is another kind of understanding and consistent with the context. Metaphor is in essence a self-contradictory and self-destructive phenomenon.Metaphor must be produced in a particular context, which means the context is a key factor that influences metaphor greatly.C. Studies of Grammatical Metaphor at Home and AbroadAristotle came up with the exploration of metaphor Two thousand years ago. In his rhetoric and poetics, he talked about metaphor many times. In his point, metaphor can add charm and distinguishing features to familiar styles, which provides a theoretical basis for later researchers to study metaphor from the perspective of rhetoric.While the history is long, it was Aristotle who began the research on metaphor. But the study of metaphor is blooming in 20th century. Later, scholars began to study metaphor from different dimensions.Scholars such as Ricoeur(1977), Ortony(1993)and Lakoff(1980)explained metaphor from a cognitive perspective, considering metaphor as not only a rhetoric phenomenon but also a cognitive model closely relevant to language, nation and culture. Cognitive metaphor theory innovatively researches metaphor through the relationship between language and thought,but metaphor research from rhetoric perspective to cognitive one is no more than a shift of researching angles, still failing to see the relationship between metaphor and society and values.In our country, the first man who paid his attention in the study is linguistics HuZhuanglin. He initiates and leads the study of grammatical metaphor in China. It is Hu Zhuanglin who first claims the long existence of grammatical metaphor and then he challenges to make a definition for congruency and summarizes five criteria from the joint works by Halliday and Martin to distinguish incongruent realizations from their congruent counterparts.In a word, grammatical metaphor is getting more and more attentions. Scholars at home and abroad join in the study of grammatical metaphor. However most of the studies are focused on written language, there searches on spoken language is still rare. Halliday believes that spoken language is a style as well: its application to metaphor is not only arbitrary but also restricted and affected by certain mechanism, which is the social status and values of the speakers. This is undoubtedly a vast field, but the present researches are few. This thesis aims to use metaphorical discourse in Desperate Housewives as researching materials and analyzes the mechanism of metaphor based on register theory and appraisal system to reveal the real social status and awkward faced by American middle-class women.It is a succession of metaphor study that the development from rhetorical metaphor through cognitive metaphor to grammatical metaphor. What’s mor e, the deepening of metaphor research reflects a general rule of human’s cognition:from surface (literal research in rhetorical metaphor) to deep (research of cognitive metaphor), from phenomena to essence and then from inner structure (study inside language system on the layer of lexical-rhetorical metaphor and cognitive metaphor) to outer (relationship between language and society-grammatical metaphor). That reflects the trend of human's recognition. Thus it can be found that rhetorical metaphor and cognitive metaphor laid a solid foundation for metaphor study, and grammatical metaphor greatly expands the scope of metaphor study.III. Metaphor Characters in Desperate HousewivesIn this chapter, the strategies of translating metaphors in Desperate Housewives will be discussed.A. A Brief Introduction to Desperate HousewivesDesperate Housewives is a popular American television series produced by Marc Cherry. It has enjoyed great popularity among audience all over the world and has been translated into many languages such as French, Japanese and German. It was reported to be the most popular show in its demographic worldwide, with the number of audience is approximately 120 million , what’s more it was reported that the series, was the third most watched TV show in a study of ratings in 20th countries.Desperate Housewives was first introduced to China in December, 2005 and was played on CCTV. However, it wasn't well received at that time. Then it was released online and attracted the attention of many people, especially students and white-collar ladies. It was translated by more than one translation studio.It tells a story which happened in the street of Wisteria Lane in the fictional American town of fair view in the Eagle State. The TV begins with the suicide of a housewife named Mary Alice Young. She killed herself, at the same time, that’s she who serves as a watcher, told the following story of her neighbors alive, another four housewives: Susan Mayer, Lynette Scavo, Bree Van De Kamp and Gabrielle Solis. Susan is kind-hearted but sometimes simple-minded; Lynette is the mother of four unmanageable kids. While Bree is a woman who pursues perfection and pays so much attention to details. She excels in cooking and doing her household duties. Gaby, who is pretty and sexy, is an ex-model with everything and she's ever wanted a rich husband, a big house, but she still cannot be satisfied. The series mainly focuses on the daily life of the four housewives. The monologues and conversations in the series are natural and vivid, full of rhetorical devices,and metaphors can be found in so many situations. This part is an analysis of metaphor in Desperate Housewives.B. Metaphors Used in Desperate HousewivesMetaphor is not only a common linguistic phenomenon, but also a deepening cognition on human. It belongs to the field of cognitive linguistics. Film and television works are the language, images and music integrated art form. It can notonly carry the theme of ideas though the film lines, but also can be combined on the television screen for strengthening the cognitive and deepening the impression. The classic ending art of Desperate housewives was deeply described in the perspective of a woman who has been in heaven.By using metaphor, it deepened the film and television works. At the same time, the American middle class woman’s life and values were profoundly analyzed. In the Desperate housewives, Apple’s culture allusions and real life were skillfully combined though the lens of a movie. Though the metaphor meaning of apple, it let the audience to think about the perception of life, life reflection, abstract reasoning for the expression of specific. Meanwhile, it deeppen the theme of the movie. The film’s thoughts and feelings became more and more plentiful and substantial.So it achieved good artistic effects. In the beginning of the Desperate housewives, four housewife hands with an apple was a metaphor, which mean that they must must make a choice. Apple is a metaphor for the hard choices. The cultural connotation in the Desperate housewives has also been well represented, distributed a great charm.Facing the difficulties in life, four housewives always wanted to make a different choice. The image of the apple reflecting the metaphor can be found everywhere in our life.Lynette Scavo. After being full-time housewife for 7 years, Lynette decides to return to the work. On the first day,she is nervous, and her husband perceives her abnormal. He asks her:“ nervous ?” She replie s“I’ve been out of work for seven years, I’m a woman of a certain age in a business that values youth above all else.Why should I be nervous ?”In this expression,“ Why should I be nervous ?” is a metaphor, and its consistent tone type is“ I am nervous ”. Through the same type, we know that she was very nervous, but she uses the expression of grammatical metaphor to cover her nervous. Because she is a very strong and confident woman. She would not reveal herself in front of other people confidence, even if it’s he r husband.Bree Van De Kamp. Bree is a perfect housewife in the eyes of her neighbors outside, but her family doesn’t fall for it. Her son mocked that she is just a housewife but behaved a person who is like going to run for mayor. She is angry for that, but shejust look at her husband, and asks:“ Seeing as you are the head of this household,I would really appreciate you saying something.” Her tone expression is a grammatical metaphor, and the same type should be “ Say something ”.Although she is angry for her son, but she still chooses to use the expression of grammatical metaphor to maintain her elegant image.Gabrielle Solis. After getting married, she lives a rich and comfortable life, but she is more and more hated that her husband does not care about her spirit. At a part, her husband asks her to show off the neck bought for her. She replied:“Why don’t you just pin the receipt to my chest ?” This is a expression of grammatical metaphor, and its consistent style is “ You can just pin the receipt to my chest ”. In this case, Gabrielle does not choose the sweet expression, but she chooses to use the grammatical metaphor to express her anger and dissatisfaction with her husband. Though her irony, she meant that her husband didn’t regard her as a wife, even a woman, and just stick her as trademark goods.Susan Mayer. When Gabrielle has fat too much, she realizes the seriousness of the matter. Gabrielle asks her best friend Susan if she is fat, and Susan answers her:“You’ve just gained a litt le weight ”. This is a expression of grammatical metaphor, and the same type should be“ You are fat ”. Susan is a kind and simple housewife. In order not to damage the self-esteem of a friend, she does not want to use the expression of same type, but chooses to use the expression of grammatical metaphor to comfort her friends.Grammatical metaphor is closely related with the speaker’s personality characteristic, social status, education degree and so on. Though the analysis of grammatical metaphor in Desperate Housewives, we can have a more profound understanding about the people’s psychological activities, such as the inner world. It shows that grammatical metaphor not only portrays characters personality, emotional attitude and though plays an important role, but also provides a new theoretical support for the film discourse analysis.IV.ConclusionAs we can see from the above analysis, it can be found that the use of grammatical metaphor is not only arbitrary, but also governed by register. Wh at’s more, grammatical metaphor adds more interpersonal meanings to communications so that grammatical metaphor is a reflection of the speakers' real intentions and values. It is not only a simple direct conversion from the original text to the target text. Cultural and psychological factors are also involved. Due to the lack of practical experiences of the author, not every specific strategy of metaphor is touched. In this sense, the writer believes this subject could be analyzed in a deeper and broader aspect.BibliographyHatirn, Basil. Communication across Cultures: Translation Theory and Contrastive Text Linguistics. Shanghai: Shanghai Foreign Language Education Press, 2004. Li,Xia. A Study of Female Language features in Desperate Housewives.Shanghai:Shanghai International Studies University,2007.Lakoff,George & Johnson, Mark. Metaphors We Live By. Chicago: The University of Chicago Press, 1980.Linda Bell. Linguistic Adaptations in Spoken Human-Computer Dialogues.Stockholm: KTH, 2003.Lakoff. R. Language and Women‟s Place. New York: Harper and Row, 1975. Linstead, S. Jokes Wild: The Importance of Humor in the Maintenance of Organization Culture. New York: Sociological Review, 1985.胡壮麟,认知隐喻学,北京:北京大学出版社,2004。
论英语新闻报道中的隐喻及其翻译
论英语新闻报道中的隐喻及其翻译摘要:隐喻作为一种常见的修辞手段,在英美报刊的新闻报道中也被广泛采用。
准确理解新闻报道的隐喻是准确到位地翻译这些隐喻的前提。
通过对所选取隐喻的实例分析,着重讨论隐喻的分析理解过程与翻译的表达方法。
关键词:英语新闻报道;隐喻;理解;翻译现代语言学之父索绪尔指出,语言是一个符号系统。
符号是形式和意义的结合。
隐喻作为一种常见的修辞手段,英语中有数千词用于隐喻意义,这种用法并不局限于文学作品或诗歌语言,它同样出现在报刊的新闻报道中。
这是因为新闻报道是向受众传播信息,为增加报道的可读性和生动性,在坚持新闻报道的真实性和正确性的前提下,英语新闻报道往往恰当而巧妙地采用某些修辞手段,隐喻就是其中重要的手段之一。
新闻报道是记者与读者的沟通桥梁,在二者之间起着交流的媒介作用。
因而在对英美报刊中的新闻报道进行汉译时,正确理解并表达出隐喻的意义对于读者阅读理解英语新闻报道具有重要的意义。
一隐喻的特点与分类人们在认识某个事物时,往往利用凸现的事物去认识比较隐蔽的事物,利用已知的事物去认识未知的事物。
一般来说,隐喻就是利用具体、生动、常用、熟悉的概念来说明比较抽象、陌生、难以理解的概念。
隐喻不仅在口语中大量使用,正式场合也不少见。
许多词既有字面意义,又有隐喻意义。
英语中有很多词用语隐喻意义,这种用法也出现在新闻报道中。
但是,人们对有些词的隐喻意义用法已经习以为常,因此,很多母语为英语的人在用其隐喻意义时已不在去想其字面意义。
(Alice Deignan,2001:iv)隐喻没有一定的语言形式,它可能是一个词、一个词组、一个句子或一段文章。
比如“He hatched a cleverscheme”,其中的hatch就是一个隐喻,它把一项计划的产生比作孵化过程。
认知语言学在近二十年的发展中已经证明隐喻不仅是语言修辞手段,而且是一种思维方式,它体现了人们赖以思维和行动的观念系统的本质特征,是人们认识、思维乃至行为的基础。
论弗罗斯特《摘苹果之后》中的死亡隐喻
论弗罗斯特《摘苹果之后》中的死亡隐喻发布时间:2022-07-21T08:53:03.876Z 来源:《时代教育》2022年5期作者:刘沛婷[导读] 乔治·莱考夫和马克?约翰逊于《我们赖以生存的隐喻》一书中指出隐喻不仅仅是一种修辞手法,更是一种思维方式刘沛婷湖南师范大学,湖南长沙 410006摘要:乔治·莱考夫和马克?约翰逊于《我们赖以生存的隐喻》一书中指出隐喻不仅仅是一种修辞手法,更是一种思维方式,在人们的日常语言和活动中无所不在。
诗歌是高度隐喻化的体裁,本文就将以弗罗斯特的短诗——《摘苹果之后》为例,通过挖掘诗歌中的结构隐喻、方位隐喻和本体隐喻,深刻剖析弗罗斯特的死亡观建构,为该诗的解读提供新的维度,也有助于丰富该理论的应用范畴。
关键词:《摘苹果之后》;结构隐喻;方位隐喻;本体隐喻;死亡On death metaphors in Frost’s “After Apple-Picking”Peiting LiuHunan Normal University, Hunan Changsha 410006Abstract: George Lakoff and Mark Johnson put forward in their book Metaphors We Live By that metaphor is not only a figure of speech but a way of thinking, pervasive in everyday language and action. Since poetry is highly metaphorical, this thesis is to explore how Robert Lee Frost construct his insight of death through structural metaphors, orientational metaphors as well as ontological metaphors in his short poem “After Apple-Picking”, with the hope to provide a new dimension for the interpretation of the poem and to expand the application scope of the theory. Key words: “After Apple-Picking”; structural metaphors; orientational metaphors; ontological metaphors; death 1.IntroductionLakoff and Johnson in their monograph Metaphors We Live Вy, point out that metaphor not only can be understood from the figurative perspective, but is the thinking way.[1] Ungerer and Schmid hold that conceptual metaphor, as a cognitive instrument, is not just a stylistically dramatic way of expressing thoughts by means of literary language, but a way of thinking.[2] K?vecses has put that conceptual metaphor is defined as understanding one conceptual domain in terms of another conceptual domain.[3] On the basis of the cognitive approach to the understanding of conceptual metaphor, it can be divided into structural metaphor, orientational metaphor and ontological metaphor. The development of conceptual metaphor theory has brought advance to Linguistics, Anthology, Literature and so on.Robert Lee Frost commands an important place in any list of outstanding poets in the twentieth century. His poem “After Apple-picking” is written in the first person. The speaker is an orchard worker who has picked apples long and hard but is now on the verge of being overwhelmed by fatigue and the depth of the experience. On the edge of falling sleep, he remembers not only the ripe apples successfully picked but also those that fell and were considered damaged and had to be sent to the cider mill. He knows that his sleep will be troubled by the failures more than by the successes. He is not sure about the nature of the sleep he is about to drop into—whether it will be ordinary sleep, more like a hibernation, or more like death.The entire poem is a kind of extended metaphor, in which the activity of harvesting apples represents people’ life and the speaker’s falling asleep suggests human death.As a classical literary work, the study of this poem mostly focuses on its rhythm and writing devices. The analysis of multiple themes and symbols has always been the research hotspot of literature works. Li Yingxue discussed the fuzziness of the meaning of poetry from the perspective of deconstruction, and there are many scholars who explore metaphors in Frost’s other poems.[4] Few people applied it to analyze “After Apple-Picking”. Therefore, this paper is to discuss how Frost structures his thoughts on death metaphorically by describing a laborer’s picking apples. The first three chapters of this thesis illustrate Frost’s views of death through the construction of structural metaphors, orientational metaphors and ontological metaphors in “After Apple-Picking” respectively. At last it is followed by a logical conclusion of this thesis.2.Structural MetaphorsIn structural metaphor, one greatly structured and explicitly delineated concept is applied to structure another. As Lakoff and Johnson point out that one domain of conceptual metaphor is metaphorically structured in light of another. Structural metaphor allows its source domain to offer a comparatively rich knowledge structure for the target domain, that is to say, the cognitive function of structural metaphor is to enable audiences to understand the target domain by the structure of the source domain. The poem “After Apple-Picking” include two key conceptual metaphors: DEATH IS SLEEP and PEOPLE ARE PLANTS.2.1 DEATH IS SLEEPFrost chooses a laborer who is overtired with apple-picking and falls asleep to reflect his insight of death. Hence the poem can be understood as a mapping from a source domain (sleep) to a target domain (death). The mapping is tightly structured. There are ontological correspondences. The dead correspond to those who have a sound sleep. The retrospection before death corresponds to the unconscious state near sleep. The darkness corresponds to the night. The cease of life corresponds to the stillness and motionlessness of sleep. As Lakoff puts it, “people use a concrete source domain to describe an abstract target domain.”[5] Death is an abstract concept, which can be understood vividly through the concept of sleep. The word “sleep”has been repeated five times. “Winter sleep” suggests the emotion of being decayed, forlorn and silent triggered by death because winter, in the metaphoric meanings, has strong associations with death.[6] Another euphemistic expression of death is “long sleep”, which is indicative of its permanence. “Human sleep” is the most evident reflection of conceptualization of death as sleep, showing that human death is what Frost has discussed. In the light of sleep, Frost’s “After Apple-Picking” is no longer a lyrical poem of a worker’s experience on the orchard farm and fatigue aftera day’s labor, but a profound thought on life and death through an extended conceptual metaphor of death as sleep.2.2 PEOPLE ARE PLANTSBoth man and tree are living beings that go through birth and wither, and the achievements of man are kin to the fruits of plants. “Apples I didn’t pick upon some bough” correspond to those unfilled dreams while apples that “struck the earth/ No matter if not bruised or spilled with stubble”correspond to people’s failed pursuits. The scent of apples refers to delight and satisfaction brought by success. In Frost’s poem, the act of apple-picking is a metaphor for the fruits the speaker has achieved in life.[7] It is universally acknowledged that success is what people desire and is something enjoyable. However, the speaker is overtired of the great harvest and wished to rest, which illustrates that the speaker has been bored with worldly sense of accomplishment and hopes to simple have a dream and a “long sleep”. Due to the sweet smell of the apple, the narrator actually falls asleep after fatigue and he enters into “long sleep”(death) with a sense of emptiness resulted from the excessive fruits he has gathered. The speaker’s experience reveals the poet’s meditation on life that it is futile people achieve a great deal of success but eventually own nothing after death. Therefore, the poet don’t ponder on human sleep for no reason but he penetrates the meaninglessness of long tough life struggles.The two root metaphors are carefully chosen to reflect Frost’s philosophy on death. This also confirms the cognitive value of metaphor, that is, vehicles(such as sleep) are usually well known to readers, and their features and structures will be mapped to relatively unfamiliar things when they interact with tenor (such as death) to help readers understand the characteristics and structures of ontology. The characteristics of sleep are mapped to the characteristics of death. Frost’ poem “After Apple-Picking” is not only a pastoral work of rural world in orchard farm but also a thought-provoking poem on death. The end of labor leaves the speaker with a sense of completion and fulfillment yet finds him blocked from success by winter’s approach and physical weariness. The futility that what people achieved as a result resembles fallen apples of no worth leads to fatigue and wish to seek relief in sleep, that is death. Therefore, this seemingly idyllic poem is in fact the ultimate exploration of human destiny through the metaphors of death as sleep and people as plants.3.Orientational MetaphorsOrientational metaphors do not structure one concept in terms of another but instead organize a whole system of concepts with respect to one another.[1] Most of them have to do with spatial orientation: up-down, in-out, front-back, on-off, deep-shallow, central-peripheral. These spatial orientations arise from the fact that we have bodies of the sort we have and that they function as they do in our physical environment. As Lakoff points out that CONSCIOUS IS UP; UNCONSCIOUS IS DOWN. HEALTH SND LIFE ARE UP; SICKNESS AND DEATH ARE DOWN. This poem employs spatial antagonism to construct death metaphor. “The Apple-Picking” involves a development from consciousness to unconsciousness. At the very beginning, the farmer is sober enough on the long two-pointed ladder sticking toward heaven. The spacial position is rather high. After the speaker has been done with apple-picking, rest is badly needed after the arduous labour. He is drowsed off and no longer in his conscious state. Frost adopts simple past tense from line8 to line17, serving as a beginning of the speaker’s dream. In the half unconsciousness of the farmer, the autumn evening bursting with the aroma of the apples has for a moment changed into a winter morning with hoary glass. In farmer’s dream, things “melted”, “fall and break”, which suggests a downward trend. Finally both woodchuck and the farmer fall asleep on the ground. The perspective of the whole poem shifts from heaven to earth, that is from top to bottom, revealing the opposition of space. A pane of glass divides the world into two parts: reality and dream. The transition from reality to dream is the manifestation of change of the speaker’s consciousness. The higher position represents reality and consciousness while the lower dream and unconsciousnessWhat’s more, the positional contrast reveals the opposition of life and death. In the first line of “After Apple-Picking”, the ladder occupies a central position in the whole picture of the poem, acting as a bridge between heaven and earth, life and death. The imagery of heaven and apples evokes the garden of Eden. The act of ascending the ladder symbolized a re-approach to heaven and eternal life while the movement down the ladder symbolizes the descent from heaven to earth, also from life to death[4]. According to Bible, picking apples is considered as corruption and degradation. As baskets of apples fall down and are spiked, they become worthless. This is true of human beings. After the farmer has finished apple-picking, fatigue and emptiness has wrapped him. His vigorous life reaches a pause, which actually means the farmer’s death. Most of fundamental concepts are organized in terms of one or more spatialization metaphors. In Frost’s “After Apple-Picking”, the poet shows the transition from consciousness to unconsciousness as well as from life to death in virtue of the binary opposition of space. The physical basis of such division is that humans sleep and die lying down and stand up when they are awaken. Therefore, the antagonism of life and death is constructed through the opposition of up and down positions, which contributes to the further construction of the root metaphors.4.Ontological MetaphorsOntological metaphor helps us understand those abstract entities through conceptualizing them as these entities and substances which are related to human’s experience. As Lakoff and Johnson point out: “our experience of physical objects and substances provides a further basis for understanding.” Ontological metaphor could be classified into three types, which are entity and substance metaphor, container metaphor and personification.Firstly, an invisible abstract concept, in entity and substance metaphor, is considered as a visible concrete object. Human being expresses abstract concepts as these entities and substances which are related to human’s experience. Death is an abstract concept, which can be understood thanks to another common concept—sleep. The dark and bleak state of death is implied by night in winter. The poet also tries to clarify the hibernation of hamsters and the long sleep of human beings: one is short seasonal rest and the other is an eternal stop of motion. In this way, the characteristics of death are no longer vague. The first root metaphor of death as sleep receives deeper and more detailed illustrations. Similarly, human achievements becomes a measurable entity like apples in “ After Apple-Picking”. Through these well-known common things, the original abstract concept can be elucidated. The essence of metaphor lies in the comparison between two entities.Secondly, container metaphor is a kind of ontological metaphor in which an invisible abstract concept is regarded as a container which has a surface owning scope and range with an in-out orientation. In Frost’s poem, the farmer’s dream and sleep is a container, where he can see “magnified apples”, feel “the pressure of ladder-round”. The farmer’s falling into dreams shows the motion from one space to another space. The state of farmer can be classified into “in sleep” and “out of sleep”, which symbolize death and life respectively.Lastly, personification specifies the physical object as being a man, which can make people to comprehend these different physical objects in light of human characteristics, motivations and activities. In Frost’s poem, apple “struck the earth” and long sleep can “come on” are all personification. They are extensions of ontological metaphors and that they allow us to make sense of phenomena in the world on the basis of our own goals. It is carefully chosen to endow this poem a dynamic effect so that the theme of this poem can be effectively conveyed. All in all, the understanding of a poetic metaphor is a cognitive process.[8] Ontological metaphor makes us understand abstract concepts by use of concrete concepts. The poet uses sleep to explain death, making the abstract concept simplified and concrete. In the poem, the dream not only reflects the structural metaphor, but also reflects the container metaphor. It forms a contrast between “in dream” and “out of dream” so as to further strengthen the difference between life and death. Apple has bruises, and Death actively does come in. These anthropomorphic expressions embody the metaphorical nature of language and the symbolic nature of death. As a result, metaphor of death in this poem has been justified.5.ConclusionThe exploration of the relationship between Frost’s view of death and Lakoff’s cognitive metaphors will undoubtedly help readers to guard against deceptive surface meanings when interpreting and appreciating Frost’s poems, and to explore the profound life philosophy reflected in his poems through metaphorical thinking and active participation.Through dividing metaphors in Frost’s “After Apple-Picking” according to Lakoff’s classification, the way of constructing poem’s theme is evidently revealed. At the first glance, it seems to be a lyrical poem, but it actually a poem of death after further analysis. Frost implicitly depicts life actions as apple picking activities, apples are symbols of human achievements, and death is similar to long sleep, which are structural metaphors, through which the characteristics of abstract concept death can be easily understood. Moreover, the orientational metaphors constitute to the body of this poem. The up-down spatial position divides the farmer’s state into consciousness and unconsciousness, also a reflection of human’s state of life and death. The contrast between in-out categories reflects the whole poem’s structure: it shifts from reality to dream. Since the farmer’s dream is explained as a container, the state of dreaming metaphorically stands for death. Therefore the whole poem is based on structural metaphors of death is sleep and people are plants, which are illustrated with orientational metaphors and ontological metaphors.However, the thesis still has some limitations due to the author’s slim analysis. It can be better with more logical illustrations and evidences. But it is no doubt that the thesis provides a new perspective of discussing Frost’s poem. It expands the application scope of Lakoff’s conceptual metaphor and enriches its practice, and produces referential meaning to literature appreciation. References[1]Lakoff, G & M. Johnson. Metaphors We Live By[M]. Chicago: The University of Chicago Press.1980.[2]Ungerer, F & H. J. Schmid. An Introduction to Cognitive Linguistics.[M]. Beijing: Foreign Language Teaching and Research Press. 2008.[3]K?vecses, Z. Metaphor: A practical introduction[M]. New York: Oxford University Press.2002.[4]李应雪. 一个解构批评的范本——析罗伯特·弗洛斯特诗歌《摘苹果之后》意义的模糊性[J]. 宁夏大学学报(人文社会科学版), 2007(04): 78-81.[5]Lakoff, G. The Invariance Hypothesis: is abstract reason based on image-schemas?[J]. Cognitive Linguistics, 1990(01): 39-47.[6]Huo, Lirong. Comments on “After Apple-Picking”[J]. Overseas English, 2012(01): 196-197.[7]赵志宇. 罗伯特·弗洛斯特的《摘罢苹果》[J]. 文学语言学研究, 2007(02):70-71.[8]胡壮麟. 诗性隐喻[J]. 山东外语教学, 2001(03): 3-8.。
lakoff 莱考夫 a conceptual category 概念
George Lakoff是一位著名的认知语言学家,他的研究主要集中在语言和思维的关系上,特别是如何通过语言来理解和构建我们的概念世界。
在Lakoff的理论中,他强调了概念分类(conceptual categories)的重要性。
他认为,我们的思维并非基于独立、客观的事实,而是通过我们使用的语言和文化背景中的概念框架来组织和理解世界的。
这些概念框架构成了我们的“心智模型”(mental models),帮助我们对经验进行分类、解释和预测。
Lakoff提出了以下几个关于概念分类的关键观点:1. 基本层次类别(Basic Level Categories):Lakoff注意到人们在描述世界时,通常会使用一种中间级别的类别,如“椅子”而不是更具体的“餐椅”或更一般的“家具”。
这种基本层次的类别具有最高的认知效率和最丰富的语义特征。
2. 理想化认知模型(Idealized Cognitive Models, ICMs):Lakoff认为,我们对概念的理解往往基于一种理想化的、抽象的模型,这种模型反映了我们对特定概念的一般化认识和期望。
例如,我们对“家庭”的理解可能基于一个包含父母、孩子和爱的理想化模型。
3. 隐喻和转喻(Metaphor and Metonymy):Lakoff和Mark Johnson一起提出了隐喻理论,他们认为隐喻不仅是修辞手法,而且是思维的基础。
我们经常通过将一个概念域映射到另一个概念域来理解和表达抽象概念,如用“时间就是金钱”这样的隐喻来理解时间的价值。
转喻则是通过部分来代表整体或者通过容器来代表内容等关系来构建概念。
4. 框架理论(Frame Theory):Lakoff的框架理论指出,我们对事件和情境的理解是基于预设的认知框架,这些框架包含了我们对该情境的基本结构、角色、预期行为和评价标准的理解。
通过这些观点,Lakoff强调了语言和思维的紧密联系,以及我们如何通过概念分类和相关的认知机制来构建和理解我们的世界。
认知语言学大师George
认知语⾔学⼤师George Lakoff简介
George Lakoff is the Richard and Rhoda Goldman Distinguished Professor of Cognitive Science and Linguistics at the University of California at Berkeley, where he has taught since 1972. He previously taught at Harvard and the University of Michigan. His academic career has been devoted to developing the field of cognitive lingusitics, the cognitive theory of metaphor, construction grammar, embodied conceptual systems, a neural theory of grammar, and the cognitive foundations of mathematics.
作者George Lakoff是美国加州⼤学伯克利分校的认知科学与语⾔学特聘教授,现任教于美国哈佛⼤学和密歇根⼤学,是认知语⾔学领域的代表⼈物。
他的专业研究范围为:认知语⾔学、隐喻的认知理论、构式语法、内在概念系统、语法与神经系统的关联理论等。
其作品《⼥⼈、⽕与危险事物》、《体验哲学》,以及与Mark Johnson合著的《我们赖以⽣存的隐喻》皆为认知语⾔学领域的经典著作。
有关于隐喻与认知机制的相关讨论
有关于隐喻与认知机制的相关讨论隐喻(metaphor)是语言中的一种修辞手法,它不仅仅存在于文学作品中,更是人们日常交流和思考的重要方式。
隐喻通过将一个概念或事物与另一个概念或事物进行比拟,从而引发读者或听众的联想和理解。
而认知机制则是指人类在认识和理解世界时所运用的一系列心理过程和机制。
隐喻与认知机制之间的关系备受学者们的关注,本文将就这一话题展开相关讨论。
隐喻在认知过程中的作用不容忽视。
认知科学家加里·庞斯特(Gary D. Fongster)和马克·约翰逊(Mark Johnson)认为,隐喻是人类认知的基本机制之一,它是构建概念、理解和解释世界的一种重要方式。
他们指出,人们通过隐喻将某一复杂或抽象的概念与一个更为熟悉或具体的概念进行比较,从而更好地理解和处理相对复杂的概念。
人们常说“时间就像流水一样”,这个隐喻将时间比作流水,使时间这一抽象的概念变得更加具体和易于理解。
隐喻还可以帮助人们在认知过程中解决新问题和应对新情境。
认知科学家乔治·莱克夫斯基(George Lakoff)和马克·约翰逊(Mark Johnson)认为,隐喻的运用不仅仅存在于语言中,更贯穿于人类的思维方式和认知结构中。
他们提出了“概念隐喻”(conceptual metaphor)的理论,认为人们通过在不同的领域中运用相同的隐喻来建立和调整自己的认知框架,从而更好地理解和处理新问题和新情境。
当人们将“爱情是一场战争”这一隐喻应用于对待感情关系时,就会启发人们在感情中采取类似于战争中的策略和方式,从而更好地处理感情中的矛盾和冲突。
隐喻还在人们的日常交流中扮演着重要的角色。
心理学家斯蒂文·皮特曼(Steven Pinker)指出,语言中的隐喻不仅仅是一种修辞手法,更是人们日常交流和思考的基本方式之一。
他认为,人们通过隐喻在交流中表达自己的思想和情感,让对方更好地理解和感同身受。
《我们赖以生存的隐喻》第一章译文
Translate the following material into ChineseCONCEPTS WE LIVE BYGeorge Lakoff and Mark JohnsonMetaphor is for most people device of the poetic imagination and the rhetorical flourish--a matter of extraordinary rather than ordinary language. Moreover, metaphor is typically viewed as characteristic of language alone, a matter of words rather than thought or action. For this reason, most people think they can get along perfectly well without metaphor. We have found,on the contrary, that metaphor is pervasive in everyday life, not just in language but in thought and action. Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature.The concepts that govern our thought are not just matters of the intellect. They also govern our everyday functioning, down to the most mundane details. Our concepts structure what we perceive, how we get around in the world, and how we relate to other people. Our conceptual system thus plays a central role in defining our everyday realities. If we are right in suggesting that our conceptual system is largely metaphorical, then the way we thinks what we experience, and what we do every day is very much a matter of metaphor.But our conceptual system is not something we are normally aware of. in most of the little things we do every day, we simply think and act more or less automatically along certain lines. Just what these lines are is by no means obvious. One way to find out is by looking at language. Since munication is based on the same conceptual system that we use in thinking and acting, language is an important source of evidence for whatthat system is like.Primarily on the basis of linguistic evidence, we have found that most of our ordinary conceptual system is metaphorical in nature. And we have found a way to begin to identify in detail just what the metaphors are halt structure how we perceive, how we think, and what we do.To give some idea of what it could mean for a concept to be metaphorical and for such a concept to structure an everyday activity, let us start with the concept ARGUMENT and the conceptual metaphor ARGUMENT IS W AR. This metaphor is reflected in our everyday language by a wide variety of expressions:ARGUMENT IS W ARYour claims are indefensible.He attacked every weak point in my argument.His criticisms were right on target.I demolished his argument.I've never won an argument with him.You disagree? Okay, shoot!If you use that strategy, he'll wipe you out. He shot down all of my arguments.It is important to see that we don't just talk about arguments in terms of war. We can actually win or lose arguments. We see the person we are arguing with as an opponent. We attack his positions and we defend our own. We gain and lose ground. We plan and use strategies. If we find a position indefensible, we can abandon it and take a new line of attack. Many of the things we do in arguing are partially structured by the concept of war. Though there is no physical battle, there is a verbal battle,and the structure of an argument--attack, defense, counter-attack, etc.---reflects this. It is in this sense that the ARGUMENT IS W AR metaphor is one that we live by in this culture; its structures the actions we perform in arguing.Try to imagine a culture where arguments are not viewed in terms of war, where no one wins or loses, where there is no sense of attacking or defending, gaining or losing ground. Imagine a culture where an argument is viewed as a dance, the participants are seen as performers, and the goal is to perform in a balanced and aesthetically pleasing way. In such a culture, people would view arguments differently, experience them differently, carry them out differently, and talk about them differently. But we would probably not view them as arguing at all: they would simply be doing something different. It would seem strange even to call what they were doing "arguing." In perhaps the most neutral way of describing this difference between their culture and ours would be to say that we have a discourse form structured in terms of battle and they have one structured in terms of dance.This is an example of what it means for a metaphorical concept, namely, ARGUMENT IS WAR, to structure <at least in part> what we do and how we understand what we are doing when we argue. The essence of metaphor is understanding and experiencing one kind of thing in terms of another.. It is not that arguments are a subspecies of war. Arguments and wars are different kinds of things--verbal discourse and armed conflict--and the actions performed are different kinds of actions. But ARGUMENT is partially structured, understood, performed, and talked about in terms of W AR. The concept is metaphorically structured, theactivity is metaphorically structured, and, consequently, the language is metaphorically structured.我们赖以生存的概念乔治·莱考夫和马克·约翰逊对于大多数人来说隐喻是一种诗意的想象机制或华丽的修辞手法——常出现在特殊的场合而非日常用语中.此外,隐喻通常被认为仅仅是语言的特征,只与文字有关而与动作无关.正因为如此,大多数人认为没有隐喻他们也能活得非常好.然而我们的研究发现,与此相反,在日常生活中隐喻无处不在,我们的语言,思维和行动中都包含了隐喻.从外面思考和行动方面来说,我们通常的概念系统从本质上来说基本上是隐喻的.控制我们思维的概念不仅仅与智力有关,它们还控制着我们日常活动,下至平常琐事.我们的概念构建了我们所能看见的东西,我们在世界上存在的方式已经我们与他人联系的方式.因此我们的概念系统在定义日常现象的过程中起非常重要的作用.假如说我们的概念系统主要是隐喻的,那么我们的思维方式,生活经历以与日常行为也是隐喻的.但我们的概念系统并不算我们能自然感觉到的.对于日常生活中的大多数琐事,我们只是粗略地思考,并按照某种路线无意识地采取行动.但这种路线到底是什么我们一点儿也不知道.弄清楚这个问题的一种方法就是观察语言.因为交流和我们思考,行动是建立在同一个概念系统之上的,所以语言是研究那个系统的重要证据来源.首先, 以语言学证据为基础,我们发现大多数普通概念系统本质上是隐喻的.并且我们发现了能详细定义什么是隐喻的方法.隐喻构建了我们领悟,思考的方式和行为.为了让读者了解为什么一种概念是隐喻以与这种概念是怎样构建我们日常活动的,我们从"争论"这个概念和"争论是战争"这一隐喻开始解释.这个隐喻在我们的日常生活中的许多表达方式上得到了反映:争论是战争你的主张站不住脚.他攻击了我的论述中所有的薄弱环节.他的批评正中要害.我摧毁了她的论点.和他争论我从未赢过.你不同意?好的,开火吧!如果你使用那种策略,他定会将你彻底消灭.他驳倒了我所有的论点.重要的是我们不仅仅是从"战争"方面谈论"争论", 我们真的可以赢得或者输掉一场争论.我们把和我们争论的人当作敌人.我们攻击对方的位置并包围自己的据点.我们会获得或者失去土地.我们谋划并使用策略.倘若我们发现某个位置难于防御,我们可以放弃它并展开新的战线.我们在辩论的过程中所做的很多事都部分建构于战争的概念之上.虽然没有身体上的战斗,却又言语上的斗争.一场争论的结构——进攻,防守,反击等——反映了这一切.就是从这个意义上说,"争论是战争"是我们在这个文化中赖以生成的隐喻之一,它构建了我们在争论中的行为表现.试想一个争论并不被看成是战争,没有人赢也没有人输,没有进攻防守,夺地失地观念的文化;试想一个争论被看作是舞蹈,参与者被当成表演者,目的是为了平衡地优美地令人愉悦地表演的文化.在这样的文化中,人们会以不同的观念看待,体验,实行,讨论争论.但我们或许根本不会把它们当作争论:它们只是在做一些别的什么事情.说它们是在争论则显得非常的奇怪.也许描写他们的文化与我们的文化之间这一差别的最合适的方法就是说我们有一个建立在战争概念基础上的对话形式,而他们的建立在舞蹈的基础上.以上是一个例子,用来解释隐喻概念,即"争论是战争",怎样构建了〔至少是部分构建了〕我们所做的事情以与我们怎样理解争论时我们所做的事.隐喻的本质是在一事物的基础上理解,体验另一事物.这并不是说争论就等于战争.争论与战争是两种不同的行为——一个是言语对话,另一个是武装冲突——两者的表现形式也完全不同.但争论部分地在战争的基础上被建造,理解,表现和讨论.概念是隐喻地构建的,行为也是这样,因此语言也是隐喻地被构造的.。
关于乔治卡林如何批判的英文作文
关于乔治卡林如何批判的英文作文George Carlin was a legendary American comedian known for his sharp wit, social commentary, and fearless critique of the status quo. Throughout his career, Carlin used humor as a tool to challenge societal norms, question authority, and expose hypocrisy. In this essay, we will explore how George Carlin used his platform to deliver scathing critiques of various aspects of society, from politics to religion, and why his legacy continues to inspire generations of comedians and thinkers.One of the most prominent themes in Carlin's comedy was his critique of the political establishment. He was unafraid to call out politicians for their hypocrisy, corruption, and incompetence. In his famous bit "The American Dream," Carlin highlighted the ways in which the government and big business work together to maintain their power and control over the masses. He humorously pointed out the absurdity of politicians making promises they couldn't keep, and the futility of voting in a system that was rigged against the average citizen.Carlin also tackled the issue of religion with his signature irreverence and wit. In his routine "Religion is Bullshit," he skewered organized religion for its hypocrisy, intolerance, and outdated beliefs. He used humor to expose the contradictionsand absurdities of religious dogma, pointing out the ways in which it has been used to control and manipulate people throughout history. Carlin's critiques of religion were incisive and thought-provoking, sparking conversations about faith, morality, and the role of religion in society.In addition to politics and religion, Carlin also took aim at the media, consumer culture, and the education system. He used his platform to challenge the idea that we are constantly bombarded with advertisements, misinformation, and distractions that keep us from thinking critically and engaging with the world around us. In his routine "Advertising Lullaby," Carlin mocked the ways in which advertisers manipulate people's emotions and desires to sell products they don't need. He also criticized the education system for its focus on conformity and obedience, rather than creativity and critical thinking.What set Carlin apart as a comedian and social critic was his fearlessness and honesty. He was unafraid to speak truth to power, even when it meant facing backlash or controversy. His willingness to challenge the status quo and confront uncomfortable truths made him a beloved figure among fans who admired his willingness to speak truth to power.In conclusion, George Carlin was a visionary comedian who used humor as a weapon to critique the injustices and absurdities of the world around him. His sharp wit, fearless honesty, and incisive social commentary continue to inspire generations of comedians, thinkers, and activists who seek to challenge the status quo and imagine a better world. George Carlin's legacy as a fearless critic and social commentator will continue to resonate for years to come.。
概念隐喻视角下《海浪》的生态解读
2019.04学教育内容摘要:隐喻是构成和界定我们人类概念系统的要素,它允许我们从一个经验领域去理解另一个经验领域。
《海浪》是弗吉尼亚·伍尔夫“意识流三部曲”中艺术上最臻于化境的一部,其语言凝练优雅,诗意而抽象。
本文通过研究该作品中极为丰富的概念隐喻及其中的跨域映射,总结出“人是自然”的博喻,反映了人与自然物我相融、和谐共生的亲密关系,进一步印证了伍尔夫的生态整体观,并为人们提供了认识自然、珍视自然的新视角。
关键词:概念隐喻《海浪》自然跨域映射何文琪概念隐喻视角下《海浪》的生态解读鉴赏者《海浪》是伍尔夫的意识流代表作之一,其语言诗意而抽象,是一部极具实验性的作品。
《海浪》由六个没有姓氏的、高度形式化的主人公交替呓语,描绘了他们从孩提直至老年的人生历程。
该作品运用丰富的隐喻意象,如“海浪、树木、花草、飞蛾、鸟兽、猿猴”等,在人类身体经验的基础上感悟自然,重新定位人在自然界扮演的角色。
“人是自然”的博喻体现在“身体是自然”、“情感是自然”两个方面,反映了伍尔夫万物和谐、互惠共生的生态整体观,极富生态意蕴。
一.概念隐喻与跨域映射1.概念隐喻的实质1980年,美国语言学家乔治·莱考夫(George Lakoff)和马克·约翰逊(MarkJohnson)在《我们赖以生存的隐喻》一书中首次提出“概念隐喻”(conceptualmetaphor),强调“人的思维过程很大程度上是隐喻性的,我们人类的概念系统是通过隐喻来构成和界定的。
”(Lakoff,George&MarkJohnson,1980:3)隐喻不仅是一种语言现象或是修辞手段,更为重要的是它成为人类的一种思维方式以及认知工具。
我们通常用身体经验来概念化非身体经验,“施喻本身就意味着一种经验的体验,是施喻者的一种经验投射”(王文斌,2006:48)。
在《海浪》中,伍尔夫通过身体与物理环境的互动,重新定义了人在自然界中扮演的角色,即“人是自然的一部分,人的身体和情感终究会回归到自然中去。
莱考夫概念隐喻专题研究
莱考夫概念隐喻专题研究一、本文概述隐喻作为一种重要的语言现象和认知工具,在我们的日常生活和学术研究中占据着举足轻重的地位。
近年来,随着认知语言学的发展,隐喻研究逐渐从修辞学的边缘地位走向了语言学、心理学、哲学等多个学科的中心舞台。
本文旨在深入探讨莱考夫(George Lakoff)的概念隐喻理论,分析其理论框架、核心观点以及在实际应用中的意义。
莱考夫作为认知语言学的领军人物之一,他的概念隐喻理论为我们理解隐喻的本质和功能提供了新的视角。
本文首先将对莱考夫的概念隐喻理论进行简要介绍,包括其理论背景、主要内容和特点等。
随后,本文将重点分析莱考夫理论中的核心观点,如隐喻的认知性、系统性以及文化依赖性等,并探讨这些观点如何影响我们对隐喻的理解和应用。
本文还将对莱考夫概念隐喻理论的应用价值进行评估。
通过对具体语料的分析和讨论,我们将展示该理论在解释语言现象、揭示文化特征以及指导语言教学等方面的实际应用。
本文将对莱考夫概念隐喻理论的研究前景进行展望,以期为该领域的进一步发展提供有益的参考和启示。
二、莱考夫隐喻理论概述莱考夫(George Lakoff)和约翰逊(Mark Johnson)在其著作《我们赖以生存的隐喻》(Metaphors We Live By)中,提出了概念隐喻理论(Conceptual Metaphor Theory),对隐喻进行了深入的研究。
他们认为,隐喻不仅仅是一种修辞手段,更是人类认知世界、构建概念系统的一种基本方式。
隐喻的本质在于通过一种事物来理解和体验另一种事物,即从一个具体的概念域(源域)向一个抽象的概念域(目标域)的映射。
莱考夫认为,隐喻是普遍存在的,它渗透到我们日常生活的方方面面,包括语言、思维、行为甚至信仰。
隐喻的生成和理解过程是一种概念化的过程,它涉及源域和目标域之间的一系列映射关系。
这些映射关系不是随意的,而是基于人类共有的经验和文化背景,具有一定的系统性和规律性。
莱考夫进一步指出,隐喻具有三个主要特点:普遍性、系统性和概念性。
浅析《末日审判》在乔治·克拉姆《黑天使》中的引用
浅析《末日审判》在乔治·克拉姆《黑天使》中的引用摘要:《末日审判》是13世纪著名的继叙咏。
由开头第一句歌词Dies irae Dies illa,而得名为Dies irae,即《末日审判》。
其歌词在浪漫主义时期之前经常被运用到安魂曲中,其曲调自1830年柏辽兹运用在《幻想交响曲》后至今,已有无数位作曲家局部或全部引用在自己的作品中,通常被用以表现死亡或黑暗、恐惧、不祥等象征。
到了20世纪,各种战争爆发,社会的不安定持续加剧。
此时期的作曲家作品中对于“死亡”主题变得更为热衷。
其中乔治·克拉姆借用早期画家用以象征堕落的“黑天使”的形象来暗喻现世,此曲中就引用了《末日审判》。
作者将在本文中浅析作曲家在《黑天使》中对于此曲调的引用手法。
关键词:《末日审判》乔治·克拉姆《黑天使》在20世纪50、60年代的时期的音乐中,寻求新的音色创作,是一种重要的现象和倾向。
这个时期中的作曲家们虽然创作风格、手法各不相同,但大致上可以分为两种手段。
其一是使用新的乐器或新的发声手段,比如电子装置或给乐器配置电子扩音器,让非乐音的噪音也成为音乐材料。
其二则是通过新的创作手法(如“音块”[ 音块(tone cluster):也译为音群(sound mass),在音程内密集着一群由半音、全音或微分音的组合。
它不突出个别的音的重要性,而强调一群音的整体效果。
])或新的演奏演唱技法来挖掘传统乐器的新的表现力。
乔治·克拉姆的这部《黑天使》可谓在新音色的探索上做足了文章——如用电声扩大的弦乐高音区连续快速密集的奏出小二度,来模仿昆虫所发出的聒噪之声(第一段:“挽歌Ⅰ,电昆虫之夜”);用大提琴弓在大锣上拉奏得出近似铜铃的泛音回响(第三段:“失去的铃声”);用弓在装水的玻璃杯上拉奏出带有幻想色彩的音响等。
在把弦乐四重奏演奏法及其音响带入一个新境界的层面上,《黑天使》获得了极大的成就。
单就作曲家在此曲中对《末日审判》曲调的音响效果处理中(时而用弓杆强压琴弦演奏,时而拨弦演奏的同时手中晃动沙锤奏出固定节奏型,时而又需要演奏员边吹口哨便用泛音拉奏等)就可以看出,克拉姆想用多变的新音色来表达现代人对于末日、死亡具有纷繁多样的看法。
玄学派诗人乔治·赫伯特的《美德》的艺术魅力
你总植根 于坟墓 ,这注 定你要消亡 ”( h o t i T y r o s
e e n i r v , An h u mu t d e 。而 坟 墓 v r i t g a e s d t o s i)
文章编号 :6 4 2 7 (0 00 —0 9 — 3 17 — 0 9 2 1 )4 06 0
收稿 日期 :2 1- 7 0 00 0- 9
玄学 派诗 人是 l 世纪 初 出现在 英 国的一批 诗 7
人 ,其中以约翰 ・ 多恩 ( h o n ) J n D n e、安德鲁 ・ o 马 维 尔 ( n rw re ) 乔 治 ・ 伯 特 ( er e A d e Mav l 、 1 赫 G og
只有美好有德 的灵魂 像焙干 的木材永不变形 , 纵然是整个世界化为灰烬 , 它仍然长存 、永生 。 乔治 ・ 赫伯特 : 美德》 ( 《
— —
是死亡的象征 ,暗示着再娇艳的玫瑰也终 究会消亡 ,
给 读 者 一 种 “ 可 奈 何 花落 去 ”的 无 奈 。 无
诗人在这 一诗节 中引用的意 象—— 惹人 羡慕的 玫瑰 ,象征 着美好 的爱情和令 人嫉妒的 美貌 ,它的
入化 。赫伯特 的主要作 品有宗 教诗集 圣殿 》( h Te T mpe , 美德 选 自于 诗集 圣殿 e l) 。诗 人用 简
结 明了的语言诠释 了他 的宗教信仰 : 世间一切 凡俗 的事物 ,无论多 么的美丽 ,最终都将 消亡 ,只 有有 德的灵魂才能永世长 存。 ( 《 美德 以其 简洁生动 的语言 和丰 富的修辞 手法 感召着 世人 ,可以说 它是一首 短小而精 悍的书 ,通
Lakoff 认知语义中原型效应与理想化认知模型-4页word资料
Lakoff 认知语义中原型效应与理想化认知模型认知语义学主要是指对语言表达形式的概念结构和组织的认知研究。
George koff在他的专著《女人、火和危险事物―范畴揭示了思维的什么奥秘》中阐述了范畴化理论在认知语言学研究中的运用。
他认为,一个语言范畴的内部成员之间存在着不对称性,有典型的成员,有非典型的成员。
同一个语法范畴的词具有家族相似性,但各个成员所表现出的具体特征是不同的。
在此基础上,笔者进一步对理想化认知模型(ICM)做了精辟的论述。
一、原型理论原型范畴理论是建立在批判古希腊哲学家Aristotle 的经典范畴理论基础之上的,经典范畴理论认为范畴成员共有的一组充分必要特性来限定,在同一个范畴中,各个成员之间,关系是平等的,不存在典型成员与边缘成员之分,不同的范畴之间存在着非此即彼的清晰界限。
英国哲学家维特根斯坦在对于德语词汇“spiel”(游戏)语义范畴的界定和描述时发现亚里士多德范畴观的缺陷,提出了用“家族相似性”来揭示语义范畴具有“中心”和“边缘”的内部结构。
维氏认为:建立语义范畴的基础是相似性而不是共同性。
这种相似性就像一个家族成员之间的特征相似关系,因此,人类语言的语义范畴具有由这种相似关系所维持的内在结构。
Rosch在此基础上提出了原型范畴理论,认为大多数认知范畴不可能制定出必要和充分的标准;同一范畴的成员之间地位是不平等的,范畴中心是范畴的典型或原型,与原型相似性较低的成员属非典型成员。
范畴的认知观认为,范畴没有明确界定的边界,范畴边界是开放的,模糊的。
范畴边界的开放性和模糊性确保了语义范畴的内在变化,使得新的成员可较容易地进入范畴,成为边缘成员,而不必从根本上改变整个语义结构。
语义范畴的原型其实是一种心理表征,是一种认知参照点。
它会随着人们的心理状况和所处的社会环境的变化而变化,同认知的文化模式密切相关。
在该理论中,词义的原形范畴的形式存在。
原型范畴由原型和边缘构成,原型是该范畴的典型成员,边缘则由该范畴中非典型的成员构成。
浅析商务英语语料库中的隐喻类别
浅析商务英语语料库中的隐喻类别牛堃【摘要】隐喻是修辞手法,也是一种认知活动.隐喻在多学科、多领域的出现是人类认知活动不断发展的结果.本文对英语国家主流商务媒体刊载的经济语篇进行实例分析、研究,借此希望能找到更好的办法,帮助商务英语学习者深谙文章表达信息,正确看待经济现象,理解活动与把握理论,最终实现"教""、学"相长的目标,实现学生教育的真正可持续性.【期刊名称】《吉林农业科技学院学报》【年(卷),期】2017(026)002【总页数】4页(P86-89)【关键词】隐喻;归类;语料库;经济语篇【作者】牛堃【作者单位】阜阳师范学院,阜阳 236041【正文语种】中文【中图分类】H315隐喻(metaphor)其实是一种修辞手法。
隐喻研究从亚里士多德提出的“隐喻观”开始,到现在早已是第三阶段,即多学科发展阶段。
中间阶段为语义学阶段。
七十年代后期,学界进入了“隐喻狂热”(Metaphormania)的时期,其中尤以美国取得成果为最[1]。
1980年,乔治·莱考夫(George Lakoff)和马克·约翰逊(Mark Johnson)合著的《我们赖以生存的隐喻》(MetaphorsWe Live by)出版。
自此起,学界掀起了研究隐喻的新一轮高潮,隐喻研究随之全面开启。
作为一种认知手段,隐喻运用范围极其广泛。
从最初的文学领域跨越至科技、文化、政治、经济等等领域。
隐喻的跨界使用是人类认知的体现。
鉴于隐喻表达之间的前后衔接、相互呼应,隐喻是商务英语语料库中衔接语篇的重要机制[2]。
如果不借助隐喻,经济理论学家无法更好地阐述经济概念,架构经济理论,分析经济现象,归纳经济规律[3]。
反之,如果借助隐喻,抽象的经济理论、概念会变得更加具象,语意表达可以更加生动、形象,直白、易懂。
隐喻为读者提供了完全不同的视角,便于他们更好地接受文章传达信息。
培养、强化学生的隐喻意识,利于商务英语学习者提高其专业阅读能力[4];如果以此为导向进行相关商务英语词汇学习,可以增强学生对关键经济概念的理解[5-6]。
语言哲学视角下的跨文化隐喻
语言哲学视角下的跨文化隐喻作者:张绪军来源:《哈尔滨师范大学·社会科学学报》2013年第02期[摘要]隐喻作为一种修辞手段和方法,也是我们认知和了解世界的思维方式。
在语言发展中,隐喻和文化有着密不可分的相互关系,同时隐喻也体现了不同文化背景下的认知相似性和差异性。
因此,从语言哲学视角下,宏观的探讨隐喻与跨文化的关系是十分必要的。
[关键词]语言哲学;认知;跨文化隐喻[中图分类号]H0-05 [文献标识码]A [文章编号]2095-0292(2013)02-0076-03一、引言自20世纪以来,随着新兴学科的兴起,欧美学者开始以语言学的视角来研究和探索隐喻。
其中,从20世纪中期开始,语言学界对隐喻研究的一个突出特点是从语义学向语言哲学(philosophy of language)的转变。
这一转变从很大程度上推进了对隐喻的理解。
尤其是1980年George Lakoff 和 Mark Johnson合著的《Metaphor We Live By》出版发行,引发了中西方学术界对隐喻研究的热潮。
Lakoff & Johnson在其专著中提出一个全新的观点,即隐喻不仅是一种语言修辞(a figure of speech)手段,而且是人类特有的一种思维方式和对客观世界的认知形式,是文化的反映。
在过去的几十年间,中外学者从不同视角跨学科对隐喻这一领域进行对比研究,并取得了丰硕的成果。
回顾近些年的研究,我们不难发现学者们对隐喻的研究主要集中在两个方面:一是从语言学层面上研究语言和隐喻的关系;二是从哲学方法上研究认知思维和隐喻的关系。
隐喻作为一种修辞方法,它不仅能够帮助我们了解和认知我们的世界,而且还是人类思维的元方式。
隐喻思维是一种超越型思维,直接诉诸认知对象的本质属性和关键特征,达到对事物的整体理解[1]。
同时,语言作为人类相互沟通和了解的手段,不同国家的语言也有着不同的文化背景,隐喻也经常表现出跨文化的相似性和差异性。
- 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。
[This is an early and much abbreviated discussion of the themes in my book Moral Politics.]In Social Research, vol 62, no. 2 (summer 1995)Metaphor, Morality, and PoliticsOr, Why Conservatives Have Left Liberals In the Dust1George LakoffUniversity of California at BerkeleyWe may not always know it, but we think in metaphor2. A large proportion of our most commonplace thoughts make use of an extensive, but unconscious, system of metaphorical concepts, that is, concepts from a typically concrete realm of thought that are used to comprehend another, completely different domain. Such concepts are often reflected in everyday language, but their most dramatic effect comes in ordinary reasoning. Because so much of our social and political reasoning makes use of this system of metaphorical concepts, any adequate appreciation of even the most mundane social and political thought requires an understanding of this system. But unless one knows that the system exists, one may miss it altogether and be mystified by its effects.For me, one of the most poignant effects of the ignorance of metaphorical thought is the mystification of liberals concerning the recent electoral successes of conservatives. Conservatives regularly chide liberals for not understanding them, and they are right. Liberals don’t understand how anti-abortion “right-to-life” activists can favor the death penalty and oppose reducing infant morality through prenatal care programs. They don’t understand why budget-cutting conservatives should spare no public expense to build prison after prison to house even non-violent offenders, or why they are willing to spend extra money to take children away from their mothers and put them in orphanages --- in the name of family values. They don’t understand why conservatives attack violence in the media while promoting the right to own machine guns. Liberals tend not to understand the logic of conservatism; they don’t understand what form of morality makes conservative positions moral or what conservative family values have to do with the rest of conservative politics. The reason at bottom is that liberals do not understand the form of metaphorical thought that unifies and makes sense of the full range of conservative values.To understand what metaphor has to do with conservative politics, we must begin with that part of our metaphor system that is used to conceptualize morality—a system of roughly two-dozen metaphors. To illustrate how the system works, let us begin with one of the most prominent metaphors in the system—the metaphor by which morality is conceptualized in terms of accounting.Keeping the Moral BooksWe all conceptualize well-being as wealth. We understand an increase in well-being as a “gain” and a decrease of well-being as a “loss” or a “cost.” This is combined with a very generalmetaphor for causal action in which causation is seen as giving an effect to an affected party (as in “The noise gave me a headache”). When two people interact causally with each other, they are commonly conceptualized as engaging in a transaction, each transferring an effect to the other. An effect that helps is conceptualized as a gain; one that harms, as a loss. Thus moral action is conceptualized in terms of financial transaction. Just as literal bookkeeping is vital to economic functioning, so moral bookkeeping is vital to social functioning. And just as it is important that the financial books be balanced, so it is important that the moral books be balanced.Of course, the “source domain” of the metaphor, the domain of financial transaction, itself has a morality: It is moral to pay your debts and immoral not to. When moral action is understood metaphorically in terms of financial transaction, financial morality is carried over to morality in general: There is a moral imperative not only to pay one’s financial debts, but also one’s moral debts.The Moral Accounting SchemesThe general metaphor of Moral Accounting is realized in a small number of basic moral schemes: Reciprocation, Retribution, Restitution, Revenge, Altruism, etc. Each of these moral schemes is defined using the metaphor of Moral Accounting, but the schemes differ as how they use this metaphor, that is, they differ as to their inherent logics. Here are the basic schemes. ReciprocationIf you do something good for me, then I “owe” you something, I am “in your debt.” If I do something equally good for you, then I have “repaid” you and we are even. The books are balanced. We know there is a metaphor at work here partly because financial reasoning is used to think about morality, and partly because financial words like “owe,” “debt,” and “repay” are used to speak of morality. 3Even in this simple case, there are two principles of moral action.The first principle: Moral action is giving something of positive value; immoral action is giving something of negative value.The second principle: There is a moral imperative to pay one’s moral debts; the failure to pay one’s moral debts is immoral.Thus, when you did something good for me, you engaged in the first form of moral action. When I did something equally good for you, I engaged in both forms of moral action. I did something good for you and I paid my debts. Here the two principles act in concert.RetributionMoral transactions get complicated in the case of negative action. The complications arise because moral accounting is governed by a moral version of the arithmetic of keeping accounts, in which gaining a credit is equivalent to losing a debit and gaining a debit is equivalent to losing a credit.Suppose I do something to harm you. Then, by Well-Being is Wealth, I have given you something of negative value. You owe me something of equal (negative) value. By moralarithmetic, giving something negative is equivalent to taking something positive. By harming you, I have taken something of value from you.By harming you, I have placed you in a potential moral dilemma with respect to the first and second principles of moral accounting. Here are the horns of dilemma:The first horn: If you now do something equally harmful to me, you have done something with two moral interpretations. By the first principle, you have acted immorally since you did something harmful to me. (“Two wrongs don’t make a right.”) By the second principle, you have acted morally, since you have paid your moral debts.The second horn: Had you done nothing to punish me for harming you, you would have acted morally by the first principle, since you would have avoided doing harm. But you would have acted immorally by the second principle: in “letting me get away with it” you would not have done your moral duty, which is to make “make me pay “ for what I have done.No matter what you do, you violate one of the two principles. You have to make a choice. You have to give priority to one of the principles. Such a choice gives two different versions of moral accounting: The Morality of Absolute Goodness puts the first principle first. The Morality of Retribution puts the second principle first. As might be expected, different people and different subcultures have different solutions to this dilemma, some preferring retribution, others preferring absolute goodness.In debates over the death penalty, liberals rank Absolute Goodness over Retribution, while conservatives tend to prefer Retribution: a life for a life.RevengeSuppose again that you do something to harm me, which is metaphorically to give me something of negative value. Moral arithmetic presents an alternative to retribution. By moral arithmetic, you have taken something of positive value from me by harming me. If I take something of equal positive value back from you, I have taken “revenge.” Revenge is the moral equivalent of retribution, another way of balancing the moral books.RestitutionIf I do something harmful to you, then I have given something of negative value and, by moral arithmetic, taken something of positive value. I then owe you something of equal positive value.I can therefore make restitution—make up for what I have done—by paying you back with something of equal positive value. Of course, in many cases, full restitution is impossible, but partial restitution may be possible.An interesting advantage of restitution is that it does not place you in a moral dilemma with respect to the first and second principles. You do not have to do any harm, nor is there any moral debt for you to pay, since full restitution, where possible, cancels all debts.AltruismIf I do something good for you, then by moral accounting I have given you something of positive value. You are then in my debt. In altruism, I cancel the debt, since I don’t want anything in return. I nonetheless build up moral “credit.”Turning the Other CheekIf I harm you, I have (by Well-being is Wealth) given you something of negative value, and (by Moral Arithmetic) taken something of positive value. Therefore, I owe you something of positive value. Suppose you then refuse both retribution and revenge. You either allow me to harm you further or, perhaps, you even do something good for me. By moral accounting, either harming you further or accepting something good from you would incur an even further debt: by turning the other cheek, you make me even more morally indebted to you. If you have a conscience, then you should feel even more guilty. Turning the other cheek involves the rejection of retribution and revenge and the acceptance of basic goodness—and when it works, it works via the mechanism of moral accounting.This example illustrates what a cognitive scientist means when he speaks of “conceptual metaphor.” It is an unconscious, automatic mechanism for using inference patterns and language from a source domain (in this case, the financial domain) to think and talk about another domain (in this case, the moral domain). It also shows that a mode of metaphorical thought need not be limited to a single culture. Cultures in many parts of the world conceptualize morality in terms of accounting. Moreover, it shows that the same metaphor can be used in different forms by conservatives and liberals. Conservatives tend to prefer the metaphorical scheme of retribution to that of restitution.Experiential MoralityBefore we proceed with our discussion of metaphors for morality, we should point out the obvious—that morality is not all metaphorical and that nonmetaphorical aspects of morality are what the metaphorical system is based on. Nonmetaphorical morality is about the experience of well-being.The most fundamental form of morality concerns promoting the experiential well-being of others and the avoidance and prevention of experiential harm to others. Here is part of what is meant by “well-being”: Other things being equal, you are better off if you are healthy rather than sick,rich rather than poor,strong rather than weak,free rather than imprisoned,cared for rather than uncared for,happy rather than sad, disgusted or in pain,whole rather than lacking,clean rather than filthy,beautiful rather than ugly,if you are experiencing beauty rather than ugliness,if you are functioning in the light rather than the dark, andif you can stand upright so that you don’t fall down.These are among our basic experiential forms of well-being. Their opposites are forms of harm. Immoral action is action that causes harm, that is, action that deprives someone of one or more of these -- of health, wealth, happiness, strength, freedom, safety, beauty, and so on.These are, of course, norms and the qualification “other things being equal” is necessary, since one can think of special cases where these may not be true. A wealthy child may not get the necessary attention of its parents, someone beautiful may be the target of envy, you need to be in the dark in order to sleep, excessive freedom can sometimes be harmful, sadness and pain may be necessary to appreciate happiness, and so on. But, on the whole, these conditions on experiential well-being hold. And these conditions form the grounding for our system of moral metaphors. For instance, Well-being is Wealth (and hence Moral Accounting) is based on the knowledge that it is better to the rich than to be poor. Similarly, since it better to be strong than to be weak, we expect to see morality conceptualized as strength. And because it is better to be healthy than sick, we expect to see morality conceptualized in terms of health and attendant concepts like cleanliness and purity.What we learn from this is that metaphorical morality is grounded in nonmetaphorical morality, that is, in forms of well-being, and that the system of metaphors for morality as a whole is thus far from arbitrary. Because the same forms of well-being are widespread around the world, we expect the same metaphors for morality to show up in culture after culture—and they do. Where we find purification rituals, we find a manifestation of Morality as Purity. Because of the widespread fear of the dark, we find a widespread conception of evil as dark and good as light. Because it is better to walk upright than to fall down, we find the widespread metaphor that Morality is Uprightness. In short, because our notion of what constitutes well-being is widely-shared, our pool of metaphors for morality is also widely shared. Indeed, the commonality of shared metaphors for morality both within and across societies raises a deep question: What are differences in moral systems and what is the source of those differences?Conservative MoralityOf the roughly two dozen conceptual metaphors for morality in our conceptual systems, most are used by both conservatives and liberals alike. But conservatives and liberals give different priorities to those metaphors, and the same moral metaphors with differences in priority results in radically different moral systems. The metaphor with the highest priority in the conservative moral system is Moral Strength. This is a complex metaphor with a number of parts, beginning with:• Being Good is Being UprightBeing Bad is Being Low Examples include sentences like:He’s an upstanding citizen. He’s on the up and up. That was a low thing to do. He’s underhanded. He’s a snake in the grass.Doing evil is therefore moving from a position of morality (uprightness) to a position of immorality (being low). Hence,• Doing Evil is FallingThe most famous example, of course, is the fall from grace.A major part of the Moral Strength metaphor has to do with the conception of immorality, or evil. Evil is reified as a force, either internal or external, that can make you fall, that is, commit immoral acts.• Evil is a Force (either Internal or External)Thus, to remain upright, one must be strong enough to “stand up to evil.” Hence, morality is conceptualized as strength, as having the “moral fibre” or “backbone” to resist evil.• Morality is StrengthBut people are not simply born strong. Moral strength must be built. Just as in building physical strength, where self-discipline and self-denial (“no pain, no gain”) are crucial, so moral strength is also built through self-discipline and self-denial, in two ways:1. Through sufficient self-discipline to meet one’s responsibilities and face existinghardships;2. Actively through self-denial and further self-discipline.To summarize, the metaphor of Moral Strength is a set of correspondences between the moral and physical domains:• Being Good is Being Upright• Being Bad is Being Low• Doing Evil is Falling• Evil is a Force (either Internal or External)• Morality is StrengthOne consequence of this metaphor is that punishment can be good for you, since going through hardships builds moral strength. Hence, the homily “Spare the rod and spoil the child.” By the logic of this metaphor, moral weakness is in itself a form of immorality. The reasoning goes like this: A morally weak person is likely to fall, to give in to evil, to perform immoral acts, and thus to become part of the forces of evil. Moral weakness is thus nascent immorality—immorality waiting to happen.There are two forms of moral strength, depending on whether the evil to be faced is external or internal. Courage is the strength to stand up to external evils and to overcome fear and hardship. Much of the metaphor of moral strength is concerned with internal evils, cases where the issue of “self-control” arises. What has to be strengthened is one’s will. One must develop will power in order to exercise control over the body, which seen as the seat of passion and desire. Desires—typically for money, sex, food, comfort, glory, and things other people have—are seen in this metaphor as “temptations,” evils that threaten to overcome one’s self-control. Anger is seen as another internal evil to be overcome, since it too is a threat to self-control. The opposite of self-control is “self-indulgence”—a concept that only makes sense if one accepts the metaphor of moral strength. Self-indulgence is seen in this metaphor as a vice, while frugality and self-denial are virtues. The seven deadly sins is a catalogue of internal evils to be overcome: greed, lust, gluttony, sloth, pride, envy, and anger. It is the metaphor of moral strength that makes them “sins.” The corresponding virtues are charity, sexual restraint, temperance, industry, modesty, satisfaction with one’s lot, and calmness. It is the metaphor of Moral Strength that makes these “virtues.”This metaphor has an important set of entailments:• The world is divided into good and evil.• To remain good in the face of evil (to “stand up to” evil), one must be morally strong.• One becomes morally strong through self-discipline and self-denial.• Someone who is morally weak cannot stand up to evil and so will eventually commit evil.• Therefore, moral weakness is a form of immorality.• Lack of self-control (the lack of self-discipline) and self-indulgence (the refusal to engage in self-denial) are therefore forms of immorality.Moral strength thus has two very different aspects. First, it is required if one is to stand up to some externally defined evil. Second, it itself defines a form of evil, namely, the lack of self-discipline and the refusal to engage in self-denial. That is, it defines forms of internal evil. Those who give a very high priority to Moral Strength, of course, see it as a form of idealism. The metaphor of Moral Strength sees the world in terms of a war of good against the forces of evil, which must be fought ruthlessly. Ruthless behavior in the name of the good fight is thus seen as justified. Moreover, the metaphor entails that one cannot respect the views of one’s adversary: evil does not deserve respect; it deserves to be attacked!The metaphor of Moral Strength imposes a strict us-them moral dichotomy. The metaphor that morality is strength induces a view of evil as the force that moral strength is needed to counter. Evil must be fought. You do not empathize with evil, nor do you accord evil some truth of its own. You just fight it.Moral strength, importantly, imposes a form of asceticism. To be morally strong you must be self-disciplined and self-denying. Otherwise you are self-indulgent, and such moral flabbiness ultimately helps the forces of evil.In the conservative mind, the metaphor of moral strength has the highest priority. Though it clusters with other metaphors that we consider shortly, it is the one that matters most. It determines much of conservative thought and language—as well as social policy. It is behind the view that social programs are immoral and promote evil because they are seen as working against self-discipline and self-reliance. Given the priority of Moral Strength, welfare and affirmative action are immoral because they work against self-reliance. The priority of Moral Strength underlies conservative opposition to providing condoms to high school students and clean needles to drug addicts in the fight against teen pregnancy and AIDS. This are seen as promoting the evil of self-indulgence; the morally strong should be able to “Just say no.” The morally weak are evil and deserve what they get. Orphanages are seen as imposing discipline, which serves morality. They may cost more than AFDC payments to mothers, but the issue for conservatives is morality, not just money. Conservative opposition to student aid also follows from this metaphor; morally strong students should be self-reliant and pay for the full cost of their own education. Similarly, the opposition to prenatal care programs to lower infant mortality stems from the view that moral mothers should be able to provide their own prenatal care, and if they can’t they should abstain from sex and not have babies.An important consequence of giving highest priority to the metaphor of moral strength is that it rules out any explanations in terms of social forces or social class. If it is always possible to muster the discipline to just say no to drugs or sex and to support yourself in this land of opportunity, then failure to do so is laziness and social class and social forces cannot explain your poverty or your drug habit or your illegitimate children. And if you lack such disciple, then by the metaphor of Moral Strength, you are immoral and deserve any punishment you get.The metaphor of moral strength does not occur in isolation. It defines a cluster of other common metaphors for morality that are important in the conservative world view. Here is a list of the others.Moral Bounds: Here action is seen as motion, and moral action is seen as motion within prescribed bounds or on a prescribed path. Immoral people are those who transgress the bounds or deviate from the path. The logic of this metaphor is that transgressors and deviants are dangerous to society not only because they can lead others astray, but because they create new paths to traverse, thus blurring the clear, prescribed, socially accepted boundaries between right and wrong.Moral Authority: Moral authority is patterned metaphorically on parental authority, where parents have a young child’s best interests at heart and know what is best for the child. Morality is obedience. Just as the good child obeys his parents, a moral person obeys a moral authority, which can be a text (like the Bible or the Koran), an institution, or a leader.Moral Essence: Just as physical objects are made of substances, which determines how they will behave (e.g., wood burns, stone doesn’t), so people are seen as have an essence—a “character”—which determines how they will behave morally. Good essential properties are called virtues; bad essential properties are called vices. When we speak of someone as having a “heart of gold” or as “not having a mean bone in his body” or as “being rotten to the core,” we are using the metaphor of moral essence. The word “character” often refers to moral strength seen as an essential moral property. To “see what someone is made of” is to test his character, to determine his moral essence. The logic of moral essence is this: Your behavior reveals your essence, which in turn predicts your future behavior.Moral Health: Immorality is seen as a disease that can spread. Just as you have a duty to protect your children from disease by keeping them away from diseased people, so you have a duty to protect your children from the contagion of immorality by keeping them away from immoral people. This is part of the logic behind urban flight, segregated neighborhoods and strong sentencing guidelines for nonviolent offenders. Since purity and cleanliness promote health, morality is seen as being pure and clean.Moral Wholeness: We speak of a “degenerate” person, the “erosion” of moral standards, the “crumbling” of moral values, the “rupture” or “tearing” of the moral fabric. Wholeness entails an overall unity of form that contributes to strength. Thus moral wholeness is attendant on moral strength.We can see these metaphors at work in the conservative worldview, in conservative rhetoric, and especially in social policy. The “three strikes and you’re out law,” which is popular with conservatives, is a reflection of the metaphor of moral essence: Repeated criminal behavior reveals an essence that is “rotten to the core.” If you have an immoral essence, you will keep performing immoral acts that can be predicted even before they are performed. Locking you up for 25 years, or for life , may seem like punishment for metaphorically predicted crimes, but if you believe in Moral Essence, then is it simply protection for society.The metaphors of Moral Boundaries, Moral Health, and Moral Wholeness can be seen clearly in conservative views of pornography and sexually explicit art. Pornography should be banned to stop the contagion of immoral behavior (Moral Health). If pornography is allowed, then it marks out new paths of sexual behavior as normal and the old, clear paths and boundaries that define right and wrong become blurred (Moral Bounds). Sexually explicit art defies the edifice of traditional sexual values, leading those values to “crumble” or “erode” (Moral Wholeness).Indeed, deviant behavior of any kind challenges all these metaphors for morality, as well as the metaphor of Moral Authority, according to which deviance is disobedience.From the perspective of these metaphors, multiculturalism is immoral, since it permits alternative views of what counts as moral behavior. Multiculturalism thus violates the binary good-evil distinction made by Moral Strength. It violates the well-defined moral paths and boundaries of Moral Bounds. Its multiple authorities violate any unitary Moral Authority. And the multiplicity of standards violates Moral Wholeness.This cluster of metaphors—what I will call the “strength complex” defines the highest priorities in conservative moral values. There is another metaphor that serves these priorities—the metaphor of Moral Self-Interest. It is based on a folk version of Adam Smith’s economics: if each person seeks to maximize his own wealth, then by an invisible hand, the wealth of all will be maximized. Applying to this the metaphor that Well-being is Wealth, we get: If each person tries to maximize his own well-being (or self-interest) the well-being of all will be maximized. This metaphor sees it as the highest morality when everyone pursues his own self-interest unimpeded.In conservative thought, self-reliance (a goal defined by Moral Strength) is achieved through the disciplined and unimpeded pursuit of self-interest. In metaphorical terms, the complex of strength metaphors defines the moral goal and Moral Self-Interest defines the means for achieving that goal. In moderate conservatism, the reverse is true. There maximizing self-interest is the goal and conservative values (defined by the strength complex) is the means. Thus, the difference between strict and moderate conservatism is a matter of priorities. Strict conservatives are moralistic, giving highest priority to the conservative moral metaphors and seeing the pursuit of self-interest as the natural means for achieving conservative moral values. Moderate conservatives are more pragmatic and less moralistic, seeing conservative moral values as the natural means to achieve the pragmatic end of maximizing self-interest.Consider for a moment what a model citizen is from the point of view of this moral system. It is someone who, through self-discipline and the pursuit of self-interest, has become self-reliant. This means that rich people and successful corporations are model citizens from a conservative perspective. To encourage and reward such model citizens, conservatives support tax breaks for them and oppose environmental and other regulations that get in their way. After all, since large corporations are model citizens, we have nothing to fear from them.The FamilyAt this point, a natural question arises. What gives rise of the cluster of conservative moral metaphors? Why should those metaphors fit together as they do? The answer, interestingly enough, is the family. Conservatives share a ideal model of what a family should be. I will refer to as the Strict Father Model.The Strict Father Model. A traditional nuclear family with the father having primary responsibility for the well-being of the household. The mother has day-to-day responsibility for the care of the house and details of raising the children. But the father has primary responsibility for setting overall family policy and the mother’s job is to be supportive of the father and to help carry out the father’s views on what should be done. Ideally, she respects his views and supports them.。