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cided which one is more important. For instance, Li Xinhua (2005) proposed arbitrariness and iconicity of linguistic signs together  form  two  levels  of  language’s  essential  nature  and  it  was  unscientific  and unwise  to  deny  or  ignore  either  of  them  completely,  and  Perniss  et  al.  (2010)  put forward  the  idea  that  iconicity  need  also  be  recognized  as  a  general  property  of language, which might serve the function of reducing the gap between linguistic form and  conceptual  representation  to  allow  the  language  system  to  hook  up  to  motor, perceptual, and affective experience. Although there is some truth in each of the above three  three  views,  the  second  one  seems  to  be  more  reasonable  than  the  other  two. Compared with arbitrariness, iconicity has a more solid philosophical foundation and theoretical basis, so research on iconicity becomes particularly important. 

Chapter Three   Theoretical Framework .............. 15

3.1 Principles of Imagic Iconicity ...................................... 15

3.1.1 Aural Iconicity ....................................... 16

3.1.2 Visual Iconicity ............................. 17

Chapter Four   Research Methodology ............................. 26

4.1 Research Design ....................................... 26

4.2 Data Collection ................................... 26

4.3 Data Analysis .......................................... 27

Chapter Five   Results and Discussion ............................. 29

5.1 Chraceristics in Imagic Iconicity .............................. 29

5.1.1 Aural Iconicity Features in English and Chinese Huawei Ads ............. 29

5.1.2 Visual Iconicity Features in English and Chinese Huawei Ads ............ 32

Chapter Five   Results and Discussion

5.1 Characteristics in Imagic Iconicity

The  principle  of  imagic  iconicity  refers  to  the  one-to-one  correspondence between a single linguistic symbol and the object it refers to, which involves people’s sense of hearing, vision and touch. That is to say, the principle of imagic iconicity is essentially to understand objective reality through people’s sensory experience, which can be said to be the most direct means of iconicity. The main content of this chapter is mainly embodied in two aspects: aural iconicity and visual iconicity.

5.1.1 Aural Iconicity Features in English and Chinese Huawei Ads

Xiang Chengdong (1993) pointed out that “aural iconicity is mainly reflected in the phonetic level of vocabulary, and the clever use of sound symbolism in discourse can  produce  certain  ideographic  functions  and  achieve  specific  stylistic  effects.”  In general, aural iconicit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。