分形理论视域下汤显祖和莎士比亚戏剧动物比喻研究——以《哈姆雷特》和《牡丹亭》为例  

On Animal Metaphors of Tang Xianzu’s and Shakespeare’s Plays from the Perspective of Fractal Theory: A Study of Hamlet and The Peony Pavilion

作　　者：谢世坚[1] 袁咏丹 XIE Shi-jian;YUAN Yong-dan(College of Foreign Studies,Guangxi Normal University,Guilin 541004,Guangxi)

机构地区：[1]广西师范大学外国语学院,广西桂林541004

出　　处：《阜阳师范大学学报（社会科学版）》2021年第2期43-49,共7页Journal of Fuyang Normal University：Social Science

基　　金：国家社科基金一般项目“汤显祖和莎士比亚戏剧修辞比较研究”(19BYY098)。

摘　　要：本文以分形理论为视角,对比分析《哈姆雷特》和《牡丹亭》中动物比喻辞格,探讨其喻体建构的异同。研究发现,分形理论可为两部剧作中的动物比喻提供"外在"和"内在"表象建构的解释,两部戏剧多由明喻辞格表现"外在"表象,由隐喻、借喻辞格表现"内在"表象。由于作者所处的时代和两者的写作风格相异,《牡丹亭》中"内在"动物表象多为"文化继承型",《哈姆雷特》多为"自然联想型"。There are many metaphors in Tang Xianzu and Shakespeare’s plays. From the perspective of fractal theory, the present paper compares and analyzes the animal metaphors in Hamlet and The Peony Pavilion, and explores the similarities and differences in the construction of their vehicles. The study shows that fractal theory can provide explanations for the construction of "external" and "internal" perceptual representations for the animal metaphors in the two plays. In the two plays, the "external" perceptual representations are often expressed through simile, and the "inner" are metaphor and metonymy. Because the two authors differ in their times and writing styles, the "internal" perceptual representations in The Peony Pavilion are mostly "cultural inheritance", and in Hamlet "natural association".

关 键 词：汤莎戏剧 哈姆雷特 牡丹亭 动物比喻 分形理论 

分 类 号：H15[语言文字—汉语]