认知诗学视域下绘本叙事“语篇视角”的多模态构建  

Multimodal Construction of Discourse Perspective in Graphic Narrative from the Perspective of Cognitive Poetics

作　　者：赵秀凤[1] 

机构地区：[1]中国石油大学外国语学院,北京102249

出　　处：《解放军外国语学院学报》2017年第1期35-43,共9页Journal of PLA University of Foreign Languages

基　　金：国家社会科学基金项目"基于语料库的英汉反讽对比研究"(15BYY015);教育部人文社会科学研究规划基金项目"叙事‘语篇视角’的认知诗学研究"(13YJA740082);中国石油大学(北京)中央高校科研基本业务费资助项目"后现代哲学视野下现当代小说的认知诗学研究"(2462015YQ0901)

摘　　要：在图像为主、文字为辅的绘本叙事中,语篇视角的表征方式有别于纯文字叙事。绘本叙事通常采用哪些手段,激发读者启用何种认知机制,对故事内人物的视角进行识别、解释和评价?本文以几米的绘本《时光电影院》为例,发现绘本主要依赖图形-背景、概念隐喻和整合等认知机制,创造前景化的图文组合,表征视角的切换。立足于语境框架,读者会在特定图文组构的激活下启用相应的认知操作,识别和感知语篇的视角化等级,形成对故事世界的认识和评价。In graphic narrative,where high priority is given to visual images with verbal texts in alignment,the ways to represent character' s perspective differ from those employed by mono-modal verbal narratives. Then the question arises as to what devices are employed to trigger readers ' identification,explanation and appraisal over figural perspective,and what cognitive mechanisms are involved. Taking Jimmy' s The Rainbow of Time( 2012) as atelling example,this paper finds that three cognitive mechanisms,namely,figure-ground,metaphor and blending,are used to create foregrounded verbal-pictorial incorporation, represent figural perspective and mark perspective shift. Within a given contextual frame,readers' certain cognitive operations are activated by visual and verbal cues to identify and experience varying degrees of perspectivization of the discourse,hence forming their interpretation and evaluation of the fictional story world.

关 键 词：多模态 认知诗学 语篇视角 绘本叙事 

分 类 号：I052[文学—文学理论]