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论文作者:www.51lunwen.org论文属性:硕士毕业论文 thesis登出时间:2014-04-08编辑:hynh1021点击率:5331
论文字数:53280论文编号:org201404032043598838语种:英语 English地区:中国价格:$ 66
关键词:概念隐喻概念合成理论关联理论面部化妆艺术象征符号拟象符号指示符号视觉语言
摘要:本文结合 Sperber & Wilson 的关联理论,对与面部彩绘艺术有关的跨文化交流问题提出了基本的认识。本项研究初步揭示了面部彩绘艺术背后的认知理据、认知结构和认知机制,对面部彩绘艺术的欣赏、交流和有关教学具有参考价值。
5.1 Major findings
The present study aims to make a scientific research on the visual language offace art from the perspective of Cognitive Metaphor Theories. With Chinese PekingOpera facial paintings and Halloween facial paintings as its major focus, it finds thatcolors and shapes as visual signs carry different metaphorical meanings in differentcultures based on their own highlighted or hidden embodied experiences and imageschemas. Even though there may be an enormous or even unpredictable variety ofcolor and shape configurations in face art production, we can still find some coherentmetaphorical constructions or conceptual metaphors that coherently govern the artwork, such as up-and-down metaphors related to social status or emotional states inshape configurations, and metaphors involving color-emotion mappings.Usually a facial painting involves three phases of signification, constructed withthree kinds of metaphors---symbolic metaphor, iconic metaphor and indexicalmetaphor, which are distinguished according to the dominance of the one phase ofsignification in the process of the metaphorical construction. Most of the visual signsin Peking Opera facial paintings are symbolic metaphors since its profound culturalbackground endow its facial paintings with abundant conventional emotional andsocial meanings. In Halloween facial paintings, however, there are more iconic andindexical metaphors involved.
5.2 Limitations and suggestions
This paper makes a preliminary analysis of the cognitive metaphors in the visualsigns in face art. Owing to its diversified classification and strong aesthetic effects,face art is infused with profound connotation and infinite charm.Despite the effort taken to make the present study as scientific as possible,admittedly, it has limitations in several ways and there is much room for improvement.Obviously, the analysis of the face art examples and the demonstration of the theoriesare provided from a personal point of view. Therefore, some aspects of the researchmight have been neglected. For example, only two traditional festival facial paintingsare given a fairly thorough analysis in this paper, one is Chinese Peking Opera facialpainting, the other is Halloween facial paintings, and only a little part of modern typesof face art are concerned. Besides, it doesn’t cover all the color and shape metaphorsin these two forms of facial paintings. Therefore, it cannot explain the visual languageof face art accurately and comprehensively.Further studies need to be done to fulfill the integrality of the research.Firstly, face art is always changing by fashion. More and more forms of face artare emerging. The visual language of more modern face art works from home andabroad can be further explored.Secondly, actually, there are many famous novels in different times depictingdifferent kinds of face art, we may find that, in different times, the way to applycosmetics is different. This is an interesting field to explore for the understanding ofthe visual language of face art.Thirdly, we mainly focus on the comparis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。