文化有根 創意是伴 Bridging Creativity
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Posted on February 14, 2023 at 7:00pm 0 Comments 3 Promotions
如果我們對照雅各布森一前一後的兩篇文章《語言的兩個方面和失語症的兩種類型》(1956)和《結束語:語言學和詩學》(1958),還可以發現:他對隱喻和轉喻的看法是不同的,前者提出的「文學性」概念包括隱喻和轉喻,而後者則只把「文學性」與隱喻這一種類型相聯系,這意味著,雅各布森的這種「重隱喻輕轉喻」的「偏見」,是與其「文學性」的語言學界定密切相關的。…
Posted on February 1, 2023 at 12:00pm 0 Comments 3 Promotions
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雅各布森突破文學系統的限制,將隱喻和轉喻從修辭範疇引入到更廣闊的文化系統中,無疑具有開風氣先的重要示範作用,但他所強調的還是它們的形式意義,與歷史和社會的根本要求無關,而且他也並未解釋一個更根本的問題,即二者產生和運作的思維機制是什麽。
對此我認為,聯想是隱喻和轉喻核心的思維機制,共時性和歷時性的聯想路徑,分別構成了人類的隱喻思維(metaphorical thinking)和 轉 喻 思 維(metonymical thinking),一 般認…
ContinuePosted on January 30, 2023 at 11:00pm 0 Comments 4 Promotions
可以看出,他對隱喻和轉喻兩極的理解是較為辯證且靈活的,他甚至還舉了一個簡單例子對隱喻與轉喻同時存在進行說明:「『 一百條龍骨犁過波浪』,龍骨是提喻,指船,它是從龍骨和船這兩者事物的相鄰性中派生出來的 : 犁是隱喻,是從船和犁的運動間覺察到的類似性中派生出來的。」[5]…
ContinuePosted on January 29, 2023 at 10:30am 0 Comments 5 Promotions
精神分析學說成為可能。在《字符的代理作用》(1957)中,他將這一象征性的修辭結構與弗洛伊德釋夢邏輯中的凝縮和移置關聯起來,即凝縮等同於隱喻,用於掩飾,移置等同於轉喻,用於揭示,雖然他對雅各布森的觀點有所修正,①但不可否認,拉康正是因為置身於弗洛伊德和雅各布森之間,正是因為與雅各布森在 1950 年代的親密交往,才使得他同樣選擇了這種跨學科的比較研究,重新解釋弗洛伊德模式和無意識,並最終得出「無意識也具有語言結構」的著名結論。②
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愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.
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