認(rèn)知語義學(xué)（卷II）

內(nèi)容概要

《認(rèn)知語義學(xué)》（Toward a Cognitive Semantics
Ⅰ&Ⅱ，2000，the MIT Press．以下簡稱“本書”或“該書”）為認(rèn)知語言學(xué)創(chuàng)始人、美國語言學(xué)家Leonard
Talmy傾盡心血的集大成之作。《認(rèn)知語義學(xué)》奠定了認(rèn)知語義學(xué)的理論基礎(chǔ)，是語言學(xué)領(lǐng)域，尤其是認(rèn)知語言學(xué)領(lǐng)域研究者必讀之作。該書原創(chuàng)性強(qiáng)，各章理論自成體系，且包含多種理論系統(tǒng)。全書基于大量的語料，理論基礎(chǔ)牢固。該書不僅對語言學(xué)領(lǐng)域內(nèi)的分支（尤其是語義學(xué)、句法學(xué)、類型學(xué)等）具有方向性的引領(lǐng)作用，而且對人類學(xué)、文學(xué)（尤其是敘事學(xué)）、心理學(xué)、哲學(xué)、文化研究、神經(jīng)科學(xué)及人工智能等學(xué)科中的話題也有重要影響。此書使作者一舉成為舉世公認(rèn)的認(rèn)知語言學(xué)創(chuàng)始人。
《當(dāng)代國外語言學(xué)與應(yīng)用語言文庫·認(rèn)知語義學(xué)（卷2）：概念結(jié)構(gòu)中的類型及過程》的核心是“概念結(jié)構(gòu)系統(tǒng)”。作者（塔爾米）在卷Ⅰ和卷Ⅱ
的副書名中均使用了structuring一詞，表示概念結(jié)構(gòu)并不是一個靜態(tài)的結(jié)構(gòu)系統(tǒng)，而是通過不同的認(rèn)知過程“構(gòu)建”（structuring）而成。

書籍目錄

Introduction
PART 1 TYPOLOGICAL PATTERNS IN THE REPRESENTATION OF EVENT
STRUCTURE 
Chapter 1 Lexicalization Pattems
Chapter 2 Surveying Lexicalization Patter
Chapter 3 A Typology of Event Integration
Chapter 4 Borrowing Semantic Space: Diachronic Hybridization
PART 2 SEMANTIC INTERACTION
Chapter 5 Semantic Conflict and Resolution
Chapter 6 Communicative Goals and Mea: Their Cognitive Interaction
PART 3 OTHER COGNITIVE SYSTEMS
Chapter 7 The Cognitive Culture System
Chapter 8 A Cognitive Framework for Narrative Structure
References
Index

章節(jié)摘錄

　　A work that reveals different parts ofitself through time can be considered intrinsically dynamic. Examples of genres of this type are conver-sation， storytelling， a play， a film， a comedy routine， an improvisational theater performance， a mime performance， a religious ceremony， a dance performance， music， video art， and kinetic sculpture.　　Other works are intrinsically staac， but the experiencer can interact with them by successively directing his attention to different parts of the whole. Static works may be classed into two groups on the basis of whether or not there is a cultural convention that prescribes a particular sequence in which attention is to be directed （even though it would be physically possible to direct one‘s attention elsewhere）. Works that involve such a convention include a book， a cartoon strip， a sequential fresco， and an Australian aboriginal sand tracing depicting mythic treks.　　Other types of static work are designed for random access by the experiencer’s focus of attention. Examples of such works are a painting or tapestry with a number of different depicted components; a sculpture designed for viewing from different angles; an architectural structure that one can view from different interior and exterior points; and a geographic-sized art work， as by Cristo， An interesting observation emerges from this analysis， Any old tapestry or painting that in effect depicts a story by showing a number of figures and activities together suggesting a succession of events， but one that the viewer must piece together through her own self-determined sequence .of visual fixations， is as much an example ofinteractive fiction as any modern computer-based form.　　The prototype requirement for narrative that it be progressional is abetted to the extent that a genre exhibits a certain one of the characteristics outlined above. This characteristic is that the genre‘s partwise succession is determined-whether by physical shifts of exposure or by conventions for directing attention-rather than being open to attentional random access.　　2.1.3　The Degree of Coherence and Significance　The third and final factor considered here is that of Coherence and Signiftcance. A lugh degree of coherence and significance are required for the narrative prototype. Coherence is the property that the parts of the work fit together into a sensible whole. That is， relative to the average human conceptual system，　the parts of the work can be cognized together in a way that they constitute a higherlevel entity that can be assessed as a unity. A work loses coherence to the extent that parts of the work are experienced as contra-dictory， irrelevant， or random with respect to each other. Significance （in its nonneutral sense） is the property that the parts and the whole of a work can be experienced as fulfilling some purpose or mission on the part of the author.　　It can be seen why a prototypical narrative requires that the factor of coherence and significance be added to the previous two factors， and that all three factors have positive values. A “work” could be prototypical in being ideational and progressional but， without coherence and significance， it would hardly qualify as a narrative. An example of this combination of values is a diary or’a chronicle， which recounts a succession of ideational events but lacks story character to the extent that the entries do not cohere. A collection of references to a succession of unrelated events-whose juxtaposition would thus not only lack coherence but also significance-would be even less of a narrative. On the other hand， to the extent that a diary is seen as someone‘s personal history or “story” or that a chronicle is seen as the history or “story” of， say， a kingdom， the recounted succession of events would be accorded a sense of coherence and purpose and so come closer to being experienced as a narrative.　　……

編輯推薦

　　《認(rèn)知語義學(xué)》（兩卷本）為認(rèn)知語言學(xué)創(chuàng)始人、美國語言學(xué)家Leonard Talmy傾盡心血的集大成之作。兩卷本奠定了認(rèn)知語義學(xué)的理論基礎(chǔ)，是語言學(xué)領(lǐng)域，尤其是認(rèn)知語言學(xué)領(lǐng)域研究者的必讀之作?！　　墩J(rèn)知語義學(xué)（卷Ⅱ）：概念結(jié)構(gòu)中的類型及過程》為兩卷本的第二卷，主要描述概念構(gòu)建過程中呈現(xiàn)的類型學(xué)和結(jié)構(gòu)特征。第一卷《認(rèn)知語義學(xué)（卷Ⅰ）：概念結(jié)構(gòu)系統(tǒng)》主要研究概念的構(gòu)建。

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