一丝不挂的意思摘要
隐喻研究已有两千多年的历史。隐喻从古希腊时期一直被单纯视为修辞手法，替代论和对比论成为这一时期的主要观点。直至上世纪30年代中期，隐喻研究才开始进入到语义研究领域，互动论在这一时期得以提出。70年代后，隐喻研究进入了黄金时期，开始向多学科研究发展。80年代后，隐喻开始逐渐往认知领域发展。我国的隐喻研究由来已久，却长期裹足不前，90年代后，国内当代语言学界才开始纷纷引进国外最新理论成果，结合我国实际情况，加以发展、利用，如今也在各个方面取得一定的成果。
在1989年莱考夫和特纳出版的专著《超越冷静的理性：诗性隐喻分析指南》中，作者提出诗性隐喻既然源于基本隐喻，则二者无本质上的区别。此观点引起了一定的争议：反对者认为诗性隐喻不能等同于基本隐喻。另一方面，2016年度诺贝尔文学奖授予了唱作人鲍勃·迪伦，他成为获得诺贝尔文学奖的第一位音乐诗人。本文以鲍勃·迪伦的作品为语料，以莱考夫提出的概念隐喻与诗性隐喻的相关理论为基础，试图对迪伦作品中出现的隐喻进行定性分析，一方面旨在厘清概念隐喻与诗性隐喻的关系，同时论证迪伦作品中的诗性特点与功能。首先对隐喻与文体、风格之间的关系以及应用理论的基本概念进行简要阐述，指出隐喻与概念隐喻的区别以及基本隐喻与诗性隐喻的基本区别；同时还提出了诗性隐喻理解的基本要求。最后在概念隐喻和诗性隐喻理论的指导下，结合迪伦的作品，从特征与功能两个方面对其作品中的隐喻进行分析，一方面论证作品中诗性隐喻的特点，另一方面阐明歌词中的诗性隐喻具有的功能及其发挥。
文章最后总结得出研究的主要发现。首先，作为非常规隐喻的一种，诗性隐喻独具原创性、不可能性下的真实性、美学性、趣味性与互动性、不可言喻性等特点，因此不应运用理解基本（概念）隐喻的方法来理解诗性隐喻；其次，鲍勃·迪伦的作品包含丰富的意象，擅于旁征博引，歌词中的隐喻发挥了诸如连贯、同情、评价、认知等诗性隐喻特有的功能，进而体现了歌词的诗性特点。文章通过具体的个案分析，得出诗性隐喻的特性与功能，对厘清概念隐喻与诗性隐喻的关系起到了一定的积极作用，同时也肯定了鲍勃·迪伦作品中的诗性价值。其次，通过对诗性隐喻特点与功能的分析，在一定程度上对诗歌的理解和赏析也有一定的指导意义。
此次研究在方法上具有一定的局限性，对诗性隐喻的特点与功能的发掘仍然十分有限，定性分析尚存在疏漏浅显的地方。若有长时间细心观察配合以科学的方法必定能有更多发现。对此，文章最后针对上述局限提出了一些可行性建议，望日后感兴趣的读者能进一步深入探索。
关键词：鲍勃·迪伦，诗性隐喻，民谣，特点，功能
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Abstract
The study on metaphor has a history of 2000 years. Since ancient Greek, metaphor is merely deeme
d to be a rhetorical device; during that time, substitution theory and comparison theory were put forward. Until 1930s, studies on metaphor were incorporated into mantics; interaction theory was then put forward. After 1970s, studies on metaphor underwent rapid development and became multidisciplinary. Metaphor studies in China also have a long history but barely had any development in the early time. From the 1990s, Chine linguists gradually introduced the latest theories from the West, and managed to make improvement bad on the basic situation of our own. Achievements have been made in recent years.
In the book More Than Cool Reason: A Field Guide to Poetic Metaphor published in 1989, Lakoff and Turner argue that since poetic metaphor is derived from basic metaphor, they are esntially the same. This viewpoint is disputed; the objectors believe that poetic metaphor and basic metaphor are two different concepts. On the other hand, the Nobel Prize for literature in 2016 was conferred to the singer-songwriter Bob Dylan, making him the first singer-songwriter winning a Nobel Prize. Bad on the theories about conceptual metaphor and poetic metaphor put forward by Lakoff, this study makes qualitative analys on Dylan’s works, attempting to clarify the relation between basic metaphor and poetic metaphor as well as to demonstrate the poetic characteristics and functions in Dylan’s works. Firstly, a discussion on the relation between metaphor and style is made. It also offer
s a description on the theories that are applied to the prent study, where veral basic theoretical concepts such as conceptual metaphor, basic metaphor and poetic metaphor are introduced so that a clear comparison to the concepts is conducted. Besides, basic requirements for poetic metaphor comprehension are put forward. Guided by the theory of conceptual metaphor and poetic metaphor, characteristic and functional analys on Dylan’s works are conducted to demonstrate the poetic characteristics and functions of his works.
There are two main findings. Firstly, as non-conventional metaphor, poetic metaphor has its typical characteristics such as originality, authenticity under the cover of impossibility, aesthetic, interestingness and interaction, ineffability and so forth. Thus, it is unreasonable to appreciate a poetic metaphor in the same way of comprehending a basic metaphor. Secondly, containing abundant images in the lyrics, poetic metaphor conducts certain functions in Dylan’s works, including cohesion, sympathy, evaluation and cognition, which further demonstrate the poetic features of his works. The discoveries are significant to distinguish poetic metaphor from basic metaphor. Moreover, it demonstrates the poetic values of Dylan’s works. In addition, by means of characteristic and functional analysis of poetic metaphor, this thesis can act as a guide to poetry comprehension and appreciation.
There are certain limitations in the prent study. More characteristics and functions of poetic metaphor remain to be found. Besides, if possible, a more scientific rearch method like quantitative analysis should be employed in the study for a more objective and comprehensive result.
Key words：Bob Dylan poetic metaphor folk music characteristic function
湘家荡
Contents
Chapter 1 Introduction (1)
1.1 Study Background (1)
1.2 Purpo and Significance of the Study (3)
环保行业有哪些1.3 Methodology for the Study (4)
1.4 Framework of the Thesis (4)
Chapter 2 Literature Review (5)
2.1 A Historical Review on Metaphor Study Abroad (5)
2.1.1 Rhetorical Study on Metaphor (5)
2.1.2 Semantic Study on Metaphor (6)
2.1.3 Multi-disciplinary Study on Metaphor (7)
2.2 Metaphor Study at Home (8)
安全检查表法
Chapter 3 Poetry and Metaphor (11)
3.1 Metaphor and Style (11)
3.1.1 Metaphor and the Style of a Discour (11)
3.1.2 Metaphor and the Style of an Author (12)
3.1.3 Metaphor and the Style of an Era (13)
3.2 Basic Categories of Metaphor (14)
3.2.1 Conceptual Metaphor (14)
3.2.2 Basic Metaphor (15)
3.2.3 Poetic Metaphor (16)
精品奇石3.3 Basic Requirements for Poetic Metaphor Comprehension (17)
3.3.1 Intelligence (17)
3.3.2 Experience (18)
3.3.2.1 Direct Experience (19)
3.3.2.2 Indirect Experience (19)
Chapter 4 Analys of Poetic Metaphor in Lyrics (21)
4.1 Characteristic Analys of Poetic Metaphor in Lyrics (21)
4.1.1 Originality (21)
4.1.2 Authenticity Under the Cover of Impossibility (23)
4.1.3 Aesthetic (25)
4.1.4 Interestingness and Interaction (27)
4.1.5 Ineffability (30)两条直线垂直斜率的关系
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4.2 Functional Analys of Poetic Metaphor in Lyrics (31)
4.2.1 Coherence (32)
4.2.2 Sympathy (33)
4.2.3 Evaluation (36)
4.2.4 Cognition (38)
Chapter 5 Conclusions (43)
5.1 Main Findings of the study (43)
5.2 Limitations of the study (44)
5.3 Suggestions for Further Rearch (44)
Bibliography (46)
个人简历
攻读硕士学位期间的研究成果及发表的学术论文
Acknowledgements
II
桂林理工大学硕士学位论文
神圣之光
Chapter 1 Introduction
What brings about the great shifts in the world of literature? Often it is when someone izes upon a simple, overlooked form, discounted as art in the higher n, and makes it mutate.
—The Swedish Academy award speech for literature in 2016
假如我是一只猫
1.1Study Background
The Nobel Prize for literature was conferred on the singer-songwriter Bob Dylan in 2016 becau “by means of his oeuvre, Bob Dylan has changed our idea of what poetry can be and how it can work”. It was a great shock to people in the literature scene and even people in the whole world. However, it ought not to be a nsation that a singer-songwriter stood recipient of the literary Nobel Prize, becau in a distant past, poetry was sung or tunefully recited—the word “lyrics” comes from “lyre”. Historically, early poems evolved from folk songs such as the Chine Shijing, Chuci, Yuefu and the like or from a need to retell oral epics such as the Homeric epics the Iliad and the Odysy. Lyrics and poetry are alike in many ways. The Chine Classic of Poetry (Shijing) has a particular introduction to poetry, which reveals the relations between lyrics and poetry. It says that poetry is a way of expression of one’s ambition that developed in mind and prents in a particular form of language. Emotions buried inside were initially expresd with oral words. When oral words were not expressive enough, chants appeared; when chants got insufficient, people turned to singing, and then to dancing.1Hence, lyrics and poetry are the same in nature. Linguistically, poetry is a form that us aesthetic and rhythmic qualities of language—such as phonaesthetics (the study of the aestheti
c properties of sound), sound symbolism and meter—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. Lyrics, on the other hand, are much of the same characteristics as poetry though they are mostly for singing instead of reading.
For Dylan, as he said, it is his songs that are vital center for almost everything he does. He listened, learned, wrote and played not to return to the Greeks, singing eternities, but “to speak of what was happening around us, as if the oracle of Delphi were reading the evening news.”Nonetheless, in his hands, the daily material changed. “In the most unlikely tting of all—the commercial gramophone record—he gave back to the language of poetry its elevated style, lost since the Romantics.” Never asking once if his songs could be counted as literature, Dylan gained the recognition of the Nobel committee as well as the mass with his honesty and how it relates to the depth of his talent—the power and beauty of his songs. However, what one should admit is that for tho who do not pay much attention to music—more precily, to contemporary American folk music—it might be the first time that they have heard about him. This exciting news from the Swedish Academy let more people get to know this singer-songwriter, and more importantly, get to know this poet. Thus too more and more people, young and old, started to re-value contemporary
1Quoting and interpreting from Classic of Poetry: A General Introduction (《诗·大序》): 诗者志之所
也。在心为志，发言为诗。情动于中而形于言，言之不足，故嗟叹之；嗟叹之不足，故永歌之；永歌之不足，不知手之舞之，足之蹈之也。情发于声；声成文，谓之音。
1
