论村上春树的落差式隐喻——以《挪威的森林》为例  

On Haruki Murakami's Drop Metaphor:A Case Study of Norwegian Wood

作　　者：韩涛[1] 王文斌[1] HAN Tao;WANG Wenbin

机构地区：[1]北京外国语大学

出　　处：《中国外语》2025年第1期51-58,共8页Foreign Languages in China

基　　金：教育部人文社会科学重点研究基地重大项目“汉外多语种词汇语法功能视角对比研究”(编号:22JJD740010)的阶段性成果。

摘　　要：村上春树以文体著称于日本文坛,其作品有大量隐喻用法。以往研究认为,其中很多隐喻背离了隐喻原则,被称为落差式隐喻。本文运用认知隐喻学相关原理,考察其代表作《挪威的森林》中的隐喻表达,主要发现有三:(1)过去学界对落差式隐喻的分析是执泥于传统的隐喻观;(2)从隐喻类型和运作机制看,所谓落差式隐喻实质上是一种诗性隐喻,概念整合是其主要机制;(3)从隐喻成立的基础看,这些隐喻仍遵循隐喻构建的自洽原则,经验相似与经验同现是其成立的基础。本文认为,落差式隐喻较日常隐喻在本质上并无二致,均是施喻者受到某种事物的刺激或出于某种创作上的需要所做出的关于相似性与同现性的认知判断。Haruki Murakami is renowned in the Japanese literary world for his distinctive style,and his works contain a large number of metaphors.Previous studies have suggested that many of these metaphors deviate from the principles of metaphor and are often referred to as drop metaphors.By applying principles from cognitive metaphor theory to Murakami's representative work,Norwegian Wood,this paper investigates his use of metaphors and finds that:(1)in the past,the academic understanding of drop metaphors was constrained by a traditional view of metaphors;(2)in terms of metaphor types and their operational mechanisms,the so-called drop metaphors are essentially poetic metaphors,with conceptual blending as their primary mechanism;(3)from the basis of metaphor establishment,these metaphors still adhere to the principle of self-negotiation in metaphor construction,which is founded on experiential similarity and co-occurrence.This paper argues that drop metaphors are not fundamentally different from everyday metaphors;they are also cognitive judgments of similarity and co-occurrence made by the metaphor creator when he is stimulated or he uses itforcreativepurposes.

关 键 词：《挪威的森林》 落差式隐喻 诗性隐喻 概念合成 隐喻基础 

分 类 号：H0-06[语言文字—语言学]