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rpretation of ‘signs’(ibid) and “Nothing is a sign unless it is interpreted as a sign”, declares Peirce (Peirce1931-58, 2.172; Chandler 2001: 16).Often said to be derived from two sources---Ferdinand de Saussure and CharlesSanders Peirce, there are two dominant models of what constitutes a sign.Saussure offered a two-part model of sign and defined a sign as being composedof signifier - the form which the sign takes and signified - the concept it represents. Asign must have both a signifier and a signified. You cannot have a totally meaninglesssignifier or a completely formless signified (Saussure 1983: 101; Saussure 1974:102-103). The sign is the whole that results from the association of the signifier withthe signified (Saussure 1983: 67; Saussure 1974: 67; Chandler 2001: 16).

Chapter 2. Literature Review of Metaphor Studies ...................... 11

2.1 Evolution of metaphor theories in the west ..........................11

2.2 Lakoff and Johnson: Conceptual Metaphor Theory..............13

2.3 Fauconnier and Turner: Conceptual Blending Theory..................................... 19

2.3.1 The network model................................20

2.3.2 Emergent structure................................... 21

2.4 Sperber and Wilson: Relevance Theory......................... 21

2.5 Summary of the chapter.............................. 23

Chapter 3. Signs and Metaphors in Face Art............................ 25

3.1 Color metaphors in face art............................. 26

3.2 Shape metaphors in face art...................................46

3.2.1 Eyebrow shape in Peking Opera facial paintings....................................47

3.2.2 Eye shape in Peking Opera facial paintings.......................... 51

3.2.3 Mouth shape in Peking Opera facial paintings...............52

3.3 Three kinds of visual metaphors in face art.......................... 54

3.3.1 Symbolic metaphors in face art..............................54

3.3.2 Iconic metaphors in face art..........................55

3.3.3 Indexical metaphors in face art.................................... 57

3.4 The combination of three phases of signification in................................... 61

3.5 Summary of the chapter.................. 62

Chapter 4. Face art in Cross-Cultural Communication

Face art is both individual and cultural. It can be an expression of individuality,representing one’s personality, identity, character and emotion; but it can also be anexpression of group identity, e.g. religious identity. Face art “is about conformity andrebellion, freedom and authority. Its messages and meanings only make sense in thecontext of a culture, but because it is such a personal art form, it continuallychallenges cultural assumptions about the ideal, the desirable, and the appropriatelypresented face” (Schildcrout 2001: 1-8).

4.1 Cultural values of face art

Face art is such an obvious way of signaling cultural differences. People oftenuse it to identify, exoticize and ostracize others. Representations of face art “arepowerful visual metaphors that have been used to convey information about one’sidentity, to record cultural differenc本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。