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研究生:林彥含
研究生(外文):Yen-HanLin
論文名稱:《哈利波特》中的身體、情緒、與語言:聯覺隱喻在華語與英語中的比較
論文名稱(外文):Body, Emotion, and Languages in Harry Potter: The Comparison between Mandarin Chinese and English Synaesthestic Metaphors
指導教授:謝菁玉謝菁玉引用關係
指導教授(外文):Shelley Ching-Yu Hsieh
學位類別:碩士
校院名稱:國立成功大學
系所名稱:外國語文學系在職專班
學門:人文學門
學類:外國語文學類
論文種類:學術論文
論文出版年:2012
畢業學年度:100
語文別:英文
論文頁數:102
中文關鍵詞:聯覺隱喻身體情緒語意圖華語英文《哈利波特》
外文關鍵詞:synaesthetic transferbodyemotionsemantic mapMandarin ChineseEnglishHarry Potter
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本論文以「聯覺隱喻」(Synaesthetic metaphor, Williams,1976; Lien, 1994; Day, 1996),「語意圖」(Semantic map, Hasegawa,2006),「情緒分類」(Emotion categorization, Parrott, 2001)為理論架構,研究《哈利波特》的中譯本和英語本的聯覺隱喻現象。旨在探討(1)漢語與英語的聯覺隱喻在《哈利波特》一書裡有何衍伸的發展與獨特性,以及(2)聯覺隱喻在語言中,是否有通則可循。
研究結果顯示:(1)在聯覺隱喻中,華語與英語有其偏好的來源域(source domain)。華語較常用空間概念詞(dimension)來描述其他感官經驗,其次是情緒詞(emotion)與觸覺詞(touch)。反觀於英語,情緒詞較常使用於聯覺隱喻中的來源域,其次才是觸覺詞與空間概念詞。(2)雖然情緒詞並未於Williams(1976),Lien(1994),和Day(1996)的研究中探討,但在本論文中,情緒詞與其他感官詞有高度相關的轉換。情緒詞是英語聯覺隱喻中最主要的來源域,也是華語中第二大的目標域(target domain)。(3)英文中,觸覺詞彙在視覺聯覺隱喻(visual-type synaesthesia)的運用比中文具多元性。(4)根據Williams(1976)的研究顯示,空間概念詞與觸覺詞之間並無聯覺隱喻。但在本研究中,空間概念詞可轉換到觸覺詞,且這項結果與Lien(1994)在閩南方言(Southern Min dialect)的聯覺隱喻發現相符。(5)感官詞在聯覺隱喻的轉換可依不同語境而有所改變。例如,被視為較低階的感官詞可能因為語境的不同而轉為目標域。
藉由研究《哈利波特》中華語與英語的聯覺隱喻現象,發現聯覺隱喻不僅與文化和身體發展息息相關,其映照(mapping)方向也會因語境目的不同而有所改變。
This thesis investigates a linguistic phenomenon, synaesthetic metaphors, among body, emotion, and languages in Mandarin Chinese and English. The data are extracted from a widely translated piece of fantasy literature, Harry Potter. The synaesthetic metaphor is regarded as “one of the most common types of metaphoric transfer in all languages” (Williams, 1976: 463). Through the mappings from one sensory modality to another, expressions are understood via observable bodily symptoms, figurative bodily images (Wierzbicka, 1999b), and other cognitive mechanisms. The analysis for the current thesis draws on the synaesthetic schemas proposed by Williams (1976), Lien (1994), and Day (1996). The idea of semantic map is proposed by Hasegawa (2006) and the emotion categorization is classified by Parrott (2001). The thesis aims at discovering (1) how synaesthesia transfers are used in Mandarin Chinese and English in Harry Potter; (2) in what way language diversity exists in synaesthetic transfer; (3) in what way language universality exists in synaesthetic transfer.
This thesis has found: (1) both Mandarin Chinese and English have their favored source domain in synaesthetic transfers. The preference ranking of source domains in Mandarin Chinese is dimension, emotion, and touch; while it is emotion, touch, and dimension in English. (2) Emotionally related synaesthesia weighs heavily in both Mandarin Chinese and English. In English, emotion is the primary source domain and is the second largest target in Mandarin Chinese. (3) The usages of tactile lexicons in visual-type synaesthesia occur more in English than in Mandarin Chinese. (4) Dimension and touch are not as isolated as Williams (1976) stated. Instead, there are connection moves from dimension to touch, which is pointed out by Lien (1994) as well when he conducted his research of synaesthetic transfers in the Southern Min dialect. (5) The transfer rule can be modified due to different linguistic purposes and different stimuli.
In sum, the body and emotion create an interesting linguistic phenomenon, synaesthetic metaphor. Through the present thesis, it would conduct a balanced view that takes into account both the universality and diversity of synaesthetic metaphors as they occur in two versions of Harry Potter: the Mandarin Chinese version and the original English text.
中文摘要 I
Abstract II
Acknowledgements IV
Table of Contents VI
List of Figures IX
List of Tables X
Conventions XI
Chapter 1 Introduction 1
1.1 Motivation and goals 1
1.2 Research questions 2
1.3 The structure of the thesis 4
Chapter 2 Methodology and Theoretical Background 5
2.1 The schema for synaesthetic transfers 5
2.1.1 Williams’ generalization schema (1976) 5
2.1.2 Lien’s transfer of synaesthetic metaphor in Southern Min (1994) 6
2.1.3 Day’s hierarchical distribution of synaesthetic metaphor (1996) 8
2.1.4 Summary 9
2.2 Semantic map 10
2.3 Categorization of emotion 11
2.4 Data collection: Harry Potter 12
Chapter 3 Literature Review 15
3.1 Semantic, emotion, and body 15
3.1.1 Sweetser (1990) 15
3.1.2 Wierzbicka (1999b) 18
3.2 Synaesthetic Metaphor in Mandarin Chinese 20
3.2.1 Lien (1994) 20
3.2.2 Yang (2000) 21
3.2.3 Tsao (2003) 23
3.2.4 Yu (2003) 23
3.2.5 Hsieh (2009) 25
3.3 Synaesthetic Metaphor in English 26
3.3.1 Williams (1976) 27
3.3.2 Day (1996) 28
3.3.3 Strauss (2005) 29
3.4 Intern summary 30
Chapter 4 Synaesthesia in Harry Potter 31
4.1 Synaesthesia in Harry Potter of Mandarin Chinese version 31
4.1.1 Synaesthesia of Touch 32
4.1.2 Synaesthesia of Taste 35
4.1.3 Synaesthesia of Smell 38
4.1.4 Synaesthesia of Vision 39
4.1.5 Synaesthesia of Sound 43
4.1.6 Synaesthesia of Emotion 44
4.1.7 General discussion 45
4.2 Synaesthesia in Harry Potter of English version 46
4.2.1 Synaesthesia of Touch 47
4.2.2 Synaesthesia of Taste 50
4.2.3 Synaesthesia of Smell 52
4.2.4 Synaesthesia of Vision 52
4.2.5 Synaesthesia of Sound 56
4.2.6 Synaesthesia of Emotion 57
4.2.7 General discussion 58
4.3 The similarity in synaesthetic transfers between English and Mandarin Chinese 58
4.4 The dissimilarity in synaesthetic transfers between English and Mandarin Chinese 60
Chapter 5 Emotions in Synaesthetic Expressions 63
5.1 Language diversity in emotional synaesthesia 63
5.1.1 Anger in synaesthetic transfer 64
5.1.2 Fear in synaesthetic transfer 66
5.1.3 Joy in synaesthetic transfer 69
5.1.4 Sadness, love, and surprise in synaesthetic transfer 71
5.2 Language universality in emotional synaesthesia 75
5.2.1 Source domains in emotional synaesthetic transfer 76
5.2.2 Target domains in emotional synaesthetic transfer 78
5.3 Synaesthesia in real life 81
5.3.1 Synaesthetic Expressions through Vision in food commercials 83
5.3.2 Synaesthetic Expressions through the Olfactory Sense in food commercials 85
5.3.3 Synaesthetic Expressions through the Tactile Sense in food commercials 86
5.3.4 Synaesthetic Expressions through the Gustatory Sense in food commercials 87
5.3.5 Synaesthetic Expressions through Emotion in food commercials 88
5.3.6 Summery 89
Chapter 6 Conclusions 92
6.1 Summary of the findings 92
6.2 The contribution of this thesis 95
6.3 Suggestions for Future Research 96
References 98
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