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es or proclaim one group’s supposed priority overanother” (Schildcrout 2001: 1-8). The utilization of colors and shapes, endows face artwith abundant cultural meanings. What differs the meaning of colors and shapes inface art is culture. For example, in the facial paintings of Chinese Peking Opera,brilliant colors, delicate lines and exquisite composition of colors and lines stimulatethe receiver's imagination, and are perfect instantiations of the Chinese traditionalaesthetics, a wonderful display of the values of the Chinese traditional culture.As mentioned in the introduction, face art is a process conveying the abstractideas or emotional meanings in visual form. Based on the embodied experiences andimage schemas conventionally entrenched in the art tradition, colors and shapes cantrigger a set of conceptual correspondences between elements of the source and targetdomains. Metaphors enable face art to be visual signs that convey an enormousvariety of emotional and social meanings. It is endowed with plentiful emotional,social and even religious information. In both Chinese and English, there are abundantmisunderstandings could occur due to cultural diversities. In the previous chapter,based on a close examination of Chinese Peking Opera facial paintings andHalloween facial paintings and other face art during some festivals or sports events,we have revealed some of the similarities and differences in metaphorical meanings ofvisual signs in Chinese and English cultures, and we have illustrated the underlyingcognitive structures and mechanisms of the construction of a variety ofconventionalized color and shape metaphors from the perspective of CMT and CBT.With the cognitive approach, the emotional and cultural significance of visual signscould be commensurable to a certain extent across different cultures based on sharedembodied experiences and image schemas. Generally speaking, face art, as a mediumof signs, is a communication channel for expressing abstract thought and emotions inthe visual form. But how can abstract thoughts and emotions be successfully deliveredto the receiver in a different culture by the visual signs? What makes this questionparticularly interesting is the metaphor’s timeliness and spatiality that influence ourunderstanding of face art----particularly the embodied experiences in different timesand places.

4.2 Face art in cross-cultural communication from theperspective of Relevance Theory

Relevance Theory (RT) claims to have provided a general account of metaphor:metaphor involves an interpretive relation between the propositional form of anutterance and the thought it represents. Face art is an art form by the use of visualsigns to express human’s thought for the purposes of communication. In this section,we will attempt to look briefly at the cross-cultural issues involved in theunderstanding and communication of face art from the perspective of RT.Based on a general view of human cognition, RT argues that attention andthought process, automatically turn to information that seems relevant: that is, capableof yielding cognitive effects—— the more effects, and the more economically theseeffects are obtained, the greater the relevance. 

Chapter 5. Conclusion

In the previous chapters, we have discussed the cognitive structure and thecognitive mechanisms of visual signs in face art and especially dwell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。