拓扑心理学认知空间下的莎士比亚十四行研究

发布时间：2018-04-25 04:21

本文选题：莎士比亚十四行诗 + 拓扑心理学　；参考：《上海外国语大学》2013年博士论文

【摘要】：二十世纪七八十年代，欧美学术界掀起了“隐喻热”，到了该世纪末和本世纪初，这股“隐喻热”漫延到了中国学术界，特别是外国语言文学界。隐喻研究热度升温，原因有二：一是隐喻现象本身具有极大的丰富性和趣味性，一是传统隐喻研究对修辞效果的重视。隐喻不仅是语言现象，更是人类思维和认知世界的方式，是认知和语言的纽带。因此，现在的隐喻研究把隐喻视为一种认知现象，把它视为人类思维和感知的一个重要方式。近年来，心理学家和语言学家试图通过大量的实验，证明隐喻对人类思维和日常行为具有重要影响。随着认知语言学理论研究在中国的发展，有关隐喻的研究也在不断拓展和深入。德国心理学家库·勒温的拓扑心理学认知理论认为，宇宙是单数的，心理的空间则是复数的。正如罗马尼亚诗人鲁布拉说：“所有科学家加在一起才能开辟一个世界；一个哲学家就足以开辟一个世界；而一个诗人却能开辟许多世界。这个世界就是诗人所向读者展示的他对事物的不同感知、认识和理解，，也就是他个人心理空间的隐射，或者是读者通过心理感知对他所描绘的心理空间的不同理解。换句话说，当我们处于同一个社会、同一个情景或欣赏同一景色的时候，不同的人就会有不同的感受，这些感受都源于个人的多样的心理空间。诗人想向我们展示的世界会因为读者的不同会有不同的呈现。一千个人读莎士比亚十四行诗，会有一千个对莎翁诗中所创造的世界的不同感知和理解。这是读者对诗人在诗中使用的隐喻不同的认知和理解造成的。一个诗人的思想是辽阔的，想象力可以比宇宙还大，创造出不一样的世界。莎士比亚以其独特、新颖、迷人、瑰丽的诗歌言语为我们构建了许多个世界。根据这一理论，我们剖析莎士比亚十四行诗，就不难发现，莎士比亚十四行诗中所描绘的心理空间是隐喻的，其具体特征是多维的、开放的、动态的；诗歌中所体现的立体隐喻性认知图形从不同的角度说明、阐述和描绘了同一个概念，表达了同一个主题。莎翁运用多样的、不同的隐喻和表达方式让读者感知他诗歌中的主题如爱情、友情、时间和永恒等。如果我们把他的文字和表达方式形象地比喻成是一个立体的球形，所有的隐喻突出于文字上方，我们借助拓扑心理学的规律进行隐喻梳理和整合，那么读者站在这个立体的球形中央，就会以360度的视角从不同的诗节和文字里读懂他的主题。1 借助库·勒温的拓扑心理学理论，本论文将莎翁一百五十四首十四行诗中的隐喻进行了梳理和归类，结合心理空间隐喻的特征，尝试以拓扑心理学的视角对这些诗篇进行解读。论文把《莎士比亚十四行诗》看成为一个隐喻网络构成的多维意义空间，把他的诗放在拓扑心理学空间里来研讨，从而突破了以往仅在平面上阅读莎士比亚十四行诗的局限。这是理论视野转换所产生的结果。论文认为，这种转换有助于读者认知诗中所反映的意象，有助于读者明白，这些隐喻所蕴涵的意象不是单一、封闭和静态的，而是多维、开放和动态的。如果对诗歌中的意象理解肤浅，仅从视觉角度感知和欣赏一下，那么诗人对意象的创造性运用对读者而言就毫无意义了，但如果把诗人所创造的意象反映到心理隐喻空间中，则读者可运用想象对它们进行联想、整合和重构，进而生成独特的、多维的意义体系。心理隐喻空间是动态开放的，因此这些意象的心理隐喻也是不确定的，多变的，它们随着时代，随着读者变异和发展。莎士比亚一百五十四首十四行诗中出现了六百一十一处隐喻，平均每首四个。这些隐喻主要涉及“爱情”、“人类”、“生命”、“美”和“时间”，其中尤以“植物”为最常出现的喻体，而“财富”则是使用最广泛的喻体。莎士比亚擅长使用“隐喻组”，即一个隐喻涵盖两到三个隐喻。莎士比亚十四行诗在其文字的表达背后，隐藏着诗人深邃的思想，这些思想是通过诗人对于隐喻的使用和隐喻网络的构建呈现在读者面前的。如诗中自然界事物的变化（季节变化、植物生长变化，昼夜更替）让我们联想到了人生变化。探索人的地位、价值和意义是莎士比亚十四行诗中的一个重大主题。在莎士比亚的作品里，上述隐喻网络是深厚而复杂的，其隐喻性认知图形生动地体现了诗人对生命意义的理解和对人生意义的写照。莎士比亚运用宇宙、时间、永恒、爱情、身体、音乐、和谐等文学主题来描述自身内心世界的同时，也在与外部世界进行着交流，诗中的隐喻认知意义也就因此在字里行间得以体现。这证明了诗人内心之深刻，证明了诗人的内心并非是一个单数的物理空间，其上，建有一个复数的心理空间。
[Abstract]:In 70s and 80s twentieth Century, "metaphor fever" was set off in the academic circles of Europe and America. By the end of this century and the beginning of this century, the "metaphor fever" extended to the Chinese academia, especially the foreign language and literature circles. The heat of metaphor study was heated up. There were two reasons: one is that metaphor has great richness and interest, one is traditional implicit. Metaphor studies the effect of rhetoric. Metaphor is not only a linguistic phenomenon, but also a way of human thinking and cognitive world. It is the link between cognition and language. Therefore, metaphorical research regards metaphor as a cognitive phenomenon and regards it as an important formula for human thinking and perception. In recent years, psychologists and linguists have tried to pass it through A large number of experiments have proved that metaphor has an important influence on human thinking and daily behavior. With the development of cognitive linguistics in China, the research on metaphor is expanding and deepening.
The German psychologist Cu Lewin's cognitive theory of topological psychology holds that the universe is singular and the psychological space is plural. As Rubra, the Romania poet, says, "all scientists add together to open a world; a philosopher is enough to open a world; and a poet can open up a lot of worlds. The world is the different perception, understanding and understanding of the things that the poet has shown to the reader, that is, his personal psychological space, or the different understanding of the psychological space he has described by the reader's psychological perception. In other words, when we are in the same society, the same scene, or the same view. Different people have different feelings. These feelings come from a variety of mental spaces. The world that the poet wants to show us will be different because of the different readers. One thousand people read Shakespeare sonnet, there will be one thousand different perceptions and understanding of the world created in Shakespeare's poetry. This is the reader's poem. The metaphor used in the poem is caused by the different cognition and understanding of the metaphor. The thought of a poet is vast, the imagination can be larger than the universe, and creates a different world. Shakespeare built many worlds for us with its unique, novel, charming, and magnificent poetic words.
According to this theory, the analysis of Shakespeare sonnet is not difficult to find that the psychological space depicted in the sonnet of Shakespeare is metaphorical, its specific features are multidimensional, open and dynamic; the stereoscopic metaphorical cognitive graphics embodied in poetry explain and describe the same concept in different angles. The same theme. Shakespeare uses various, different metaphors and expressions to let the reader perceive the themes in his poetry, such as love, friendship, time and eternity. If we figuratively figuratively figure out his words and expressions into a three-dimensional sphere, all the metaphors are out of the words, and we use the rules of topological psychology. The law carries on the metaphorical carding and integration, then the reader stands in this solid spherical center and reads his theme from different verses and words in a 360 degree angle of view.
With the help of Lewin's topological psychology theory, this thesis combs and classifies the metaphors in the one hundred and fifty-four sonnets of Savon, and tries to interpret these poems with the visual angle of topological psychology, combining the characteristics of psychological space metaphor. The thesis takes "Shakespeare's fourteen lines poetry" as a multidimensional form of a metaphorical network. In meaning space, he puts his poems in the space of topological psychology to break through the limitations of reading Shakespeare's Sonnets on the plane only in the past. This is the result of the transformation of the theoretical field of vision. The paper holds that this kind of transformation helps the readers to recognize the images reflected in the poetry, and helps the readers understand that these metaphors contain the implication. The image is not single, closed and static, but multidimensional, open and dynamic. If the understanding of the image in the poetry is superficial and only perceiving and appreciating from the visual angle, the creative use of the image is meaningless for the readers, but if the image created by the poet is reflected in the psychological metaphor space, then reading is read. They can use imagination to associate, integrate and reconstruct them, and then create a unique and multidimensional meaning system. Psychological metaphor space is dynamic and open, so the psychological metaphors of these images are uncertain and changeable. With the time, they change and develop with the readers.
In the one hundred and fifty-four sonnets of Shakespeare, there are six hundred and eleven metaphors, averaging four. These metaphors mainly involve "love", "human", "life", "beauty" and "time", especially "plant" as the most common metaphor, and "wealth" is the most widely used metaphor. Shakespeare is good at it. Using the "metaphorical group", that is, a metaphor covers two to three metaphors. Behind the expression of Shakespeare's sonnet, the poet's deep thought is hidden by the poet's use of metaphor and the construction of the metaphorical network. Long change, day and night replacement) reminds us of the change in life. The position, value and meaning of the Explorer is a major theme in Shakespeare's sonnet. In Shakespeare's works, the metaphor network is deep and complex, and its metaphorical cognitive graphics vividly embodies the poet's understanding of the meaning of life and the business of the person. Shakespeare uses the literary themes of universe, time, eternity, love, love, body, music, harmony and other literary themes to describe his inner world, but also to communicate with the outside world. The cognitive meaning of metaphor in the poem is reflected between the lines. This proves that the poet's heart is profound and proves that the poet's heart is not. It is a singular physical space, on which there is a plural mental space.

【学位授予单位】：上海外国语大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I561.072

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