论《哈姆莱特》空间、有无、身份和新旧的概念整合  

On the Conceptual Blending of Spaces,Something and Nothing,Identities,and the New and the Old in Hamlet

作　　者：何辉斌[1] HE Huibin(School of International Studies,Zhejiang University,Hangzhou,Zhejiang 310058)

机构地区：[1]浙江大学外国语言文化与国际交流学院,杭州310058

出　　处：《文化艺术研究》2021年第1期55-61,113,共8页Studies in Culture and Art

基　　金：国家社科基金重点项目“戏剧表演和观赏的认知研究”(项目编号:17AWW006)的阶段性成果。

摘　　要：概念整合是福科尼耶和特纳提出来的重要认知理论,整合将不同空间的内容投射到一个空间中,通过压缩突出重大关系,创造出多层次的新意思。如果用整合理论来分析《哈姆莱特》,每个人都是角色、演员、观众的整合,每个要素都是真实和虚假的整合。在这一剧本中,莎士比亚通过有和无的整合,使无具备一些有的属性,从而变得可以认知,有的特性则在整合中得到彰显,甚至可以向无限延伸。剧作中的时空和事件都只是非常有限的在场,这些在场可以帮我们联想无穷的不在场,而不在场的要素又是在场的补充,使在场变得完整和可以理解。这部戏剧作品的内容充满新意,但新的内容都建立在旧的内容之上,新旧相依。Conceptual blending as a cognitive theory,proposed by Fauconnier and Turner,projects the contents of different spaces into one space,intensifi es vital relations by compression,and creates new,multi-layer meanings.From the perspective of blending,every character in Hamlet is the blending of the character,the actor and the audience;every element is the blending of reality and fi ction.The play is the blending of“something”and“nothing”,in which“nothing”shares the qualities of“something”and becomes conceivable,and“something”more tangible,and ad infi nitum.The presence of time,place,and events is very limited in the play,yet this limited presence could lead to infi nite absence that complements the presence and makes it more comprehensible.The play is innovative,yet its fresh elements are based on traditional contents.In the play,“the new”and“the old”are interwoven.

关 键 词：概念整合 《哈姆莱特》 时空整合 有无整合 身份整合 新旧整合 福科尼耶 

分 类 号：J805[艺术—戏剧戏曲]