【作者】 李媛媛；

【导师】 祖利军；

【作者基本信息】 华北电力大学（北京） ， 英语语言文学， 2010， 硕士

【摘要】 通感隐喻是语言中普遍存在的现象,而从认知角度看,通感隐喻不但是一种修辞手段,而且也是一种认知现象,它表现为感官特征之间的映射过程。音乐中包含着丰富的情感体验和视觉景象。不同的音高、音强和音长能够引发其他感官相应的感受。事实上,听觉感受和非听觉性体验的产生正是一种通感现象。本文以一些古典音乐片段为分析样本,运用实证检验和理论详解的方法对音乐节律中的三个特点——音高、音强、音长——进行通感隐喻研究,旨在说明以通感隐喻和体验观为理论基础的通感隐喻能够有效地解释理解音乐的过程,同时证明个体经验是音乐理解和想象的基础。本研究为音乐审美研究开辟了一个新的角度,同时也扩大了隐喻及体验观的解释范围。更多还原

【Abstract】 Synesthetic metaphor is a universal linguistic phenomenon. It is both a rhetorical device and a cognitive representation. It is characterized by mappings across the five senses of human beings. Music contains a wealth of emotional experience and visual spectacles. Different musical rhythmic features (pitch, intensity and duration in the present study) tend to evoke corresponding sensations from the five human sense organs. As a matter of fact, the interaction between auditory sensations and non-auditory experience brings about synesthetic metaphor. The present study, framed in the theory of synesthetic metaphor, makes a study of the three musical rhythmic features by analyzing some classical music piece samples. Empirical and theoretical methods are applied to the data analysis with a view to expounding the fact that synesthetic metaphor and cognitive embodiment can effectively explain the process of music understanding. This research proves that individual experience provides a ground for music understanding and imagination. It is expected that the present study will open up a new avenue to aesthetic study of music and enlarge the explanatory gamut of synesthetic metaphor and embodiment.更多还原