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隐喻不仅是一种语言现象,更是一种认知现象,是人类思维的基本方式。概念隐喻是隐喻系统的中心概念,是隐喻研究的一项重要内容,它的提出标志着隐喻研究从传统的修辞学进入了认知范畴。本文试从三个主要方面分析和阐述概念隐喻：概念隐喻构成的基本方式是从已知领域向未知领域的映射,以达到对未知领域的认知和判断;概念隐喻的最主要特点是系统性、概括性和派生性;概念隐喻作为强大的认知工具,可以通过阐释隐喻和构建隐喻两种方式来辅助人们的思维,帮助人们运用具体简单的概念来认知和理解自然界和社会的复杂问题。最后,本文提出了概念隐喻对于词汇教学的启示作用。 相似文献
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雷静 《濮阳教育学院学报》2014,(6):88-90
隐喻性是人类思维模式的本质特征,人们往往借助已知的认知域去类比、认识和理解新的认知域,从而形成新的概念。表＂生命终止＂是＂死＂的基本意义,经过语法范畴和语义范畴的跨越,它由动词发展为形容词、副词等词性,其隐喻内涵也发生了改变。从两个范畴的跨越来解析＂死＂字的隐喻内涵,可以揭示多义词＂死＂形成过程的隐喻本质。 相似文献
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一词多义是一种普遍语言现象。利用两种概念的相似性、用已知概念去表达未知概念的隐喻认知模式对理解和掌握一词多义有着重要的作用。文章分析了隐喻对一词多义的影响。并提出通过掌握基本范畴词汇、寻找词义间的相似性以及在语境中理解隐喻等方法来提高隐喻认知能力。 相似文献
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现代隐喻理论突破了传统修辞学的限制,从崭新的认知角度为英语研究提供了新方向。根据现代隐喻理论学者Lakoff和Tohnson的观点,将隐喻理论引入词汇研究中,能够充分解释英语词汇中的诸多语言表达习惯,深化学习研究者对具体话语中潜在概念的理解,帮助他们从一个已知领域通向一个新的认知领域。因此,以现代隐喻认知理论指导英语词汇研究是一条值得语言工作者探索的途径。 相似文献
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禹丽芳 《黄冈师范学院学报》2011,31(1):113-115
隐喻是两个认知域概念间的映射。空间概念是人类认识过程最早形成的概念之一,认知的发展和深化是空间概念向新的概念域延伸。在这一发展过程中,作为一种认知工具的隐喻起了非常重要的作用。本文从认知语言学的角度,运用空间隐喻探讨AT—ON—IN语义的延伸,表明介词意义间的理据性和系统性,旨在对英语的教学和学习有一定的借鉴意义。 相似文献
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从本质上讲词汇隐喻和语法隐喻都利用了概念系统中两个概念域的建立、两个概念域中单向性与互动性的经验重构,以及最终由经验重构产生双重性语义结果这一系列的认知过程;因此,这一系列认知过程可以作为研究词汇隐喻和语法隐喻的综合认知模式。这一模式进一步证明了思维的隐喻性本质,同时基于这一模式可将词汇隐喻和语法隐喻看作一个连续体。 相似文献
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隐喻不仅是一种语言修辞手段,而且是一种思维方式,一种重要的认知工具。作为认知和语言的纽带,隐喻在词汇教学中具有不可或缺的地位。将隐喻理论引入词汇教学中,是隐喻研究发展的必然,也是英语教学的需要。它能够充分解释英语词汇中的诸多语言表达习惯,深化学习研究者对具体话语中潜在概念的理解,帮助他们从一个已知领域通向一个新的认知领域。本文从英语基本范畴词的理解、词义的延伸、词义的文化内涵等几个方面详释认知隐喻理论在英语词汇教学中的具体应用,以揭示隐喻在英语词汇教学中的重要意义。 相似文献
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认知语言学的概念隐喻揭示了隐喻的本质,隐喻不仅是一种修辞手段,更是一种认知方式和思维方式。这给隐喻的翻译提供了新的视角,隐喻的翻译应该以认知为取向。本文以认知翻译为指导,探究奥巴马演讲词中概念隐喻的翻译策略,着重从保留概念隐喻、替换概念隐喻及放弃概念隐喻方面加以探讨。 相似文献
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郑家芳 《常熟理工学院学报》2011,25(7):93-96
认知语言学家认为隐喻和转喻不仅是修辞现象,更是认知思维方式。隐喻是通过另一类事物来理解和经历某一类事物的认知活动。转喻是在同一理想化认知模型中一个概念实体为另一概念实体提供心理可及的认知过程。隐喻和转喻理论为词义演变的研究提供了一个新的视角。隐喻和转喻两种认知机制在英语饮食词语的语义延伸中起着重要作用。 相似文献
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林慧卿 《宁波教育学院学报》2013,15(3):62-65
隐喻是创造词语和创新词义的源泉,但隐喻如何让词语产生新义历来是研究的焦点。Lakoff&Johnson的概念隐喻理论很好地诠释了这一创新过程。同时,它也有助于认知思维能力、创新能力的培养。本文将以Lakoff&Johnson的概念隐喻理论为基础,以创新复合词为例,探讨隐喻思维的创造性及其对英语词汇教学的启示。 相似文献
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文章运用现代隐喻理论和当今现实文化差异比较理论,从隐喻与文化创意研究入手,对比分析中美广告图示创意实例,探究其在媒体、商业以及商品海报中的传递效果,并对中芙广告隐喻创意进行意义的剖析,进而探讨中芙广告图示臆喻创意文化的价值和影响。 相似文献
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Jonathan Monk 《English in Education》2016,50(2):95-115
Historical attitudes to literary creativity often focus on it as a genetic or innate characteristic. Ericsson's notion of ‘deliberate practice’ and Simon & Chase's ‘ten‐year rule’, however, have shown the importance of sustained practice to achieve high‐level performance. The iceberg illusion of elite performance leaves observers marvelling at the end product without an appreciation of the hours of work beneath the surface. This case study considers how attitudes to student creative writing may be altered by emphasising creative process. Students engaged in creative writing which literalised the iceberg metaphor, placing greater focused on the ‘submerged’ planning, drafting and revision alongside the ‘visible’ end product. Utilising the extended mind hypothesis, student responses demonstrate the importance of planning to order and develop their ideas. The benefits of encouraging an approach to creativity that negates innatist explanations in favour of a growth mindset or deliberate practice approach are evidenced. 相似文献
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Arthur J. Cropley 《High Ability Studies》1996,7(2):203-219
Creativity can be understood as production of effective novelty. From the point of view of test psychology, it can be looked at either in terms of personal properties associated with novelty production or of psychological processes leading to novel results. Creativity tests can be divided along these lines into two groups: those concentrating on biographical and personal properties (creative person) and those which aim to measure creative thinking (creative process). In the case of school children, creativity tests are most useful as indicators of potential, since few children produce widely acclaimed creative products. Although a variety of creativity tests exists, their ability to measure real life creativity in a reliable way is open to doubt. This may well be because creativity involves a combination of psychological elements, some of them apparently contradictory or paradoxical, in both cognitive and noncognitive domains. Measurement of creativity probably requires new procedures that cross conventional test boundaries. Despite unresolved questions about their psychometric properties, creativity tests measure something that is not adequately covered by existing tests, especially intelligence and achievement tests, and are worth persisting with.
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Lene Tanggaard 《Journal of Education & Work》2016,29(6):728-745
Based on two empirical studies on education in health and elderly care, this paper reflects on the possible role of ‘old ideas’ involved in creative innovation. Most researchers agree that creativity and innovation are the results of a combination of what is new and valuable. What tends to be paid less attention, however, is the fact that many creative activities and everyday innovations in modern-day organisations actually build upon what is already there. Creative products and processes are often the result of some kind of learning from or even re-creation of existing processes and materials. The paper argues that there is excessive enthusiasm towards the novelty aspects of creativity and innovation, which overshadow the potential of old ideas and past experience as drivers of change. 相似文献
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创新教育是素质教育的重要方面之一,开展创新教育的根本目的在于培养学生的创新意识和创新思维。创造性思维是指用新异和创造性的方法和程序解决问题的思维活动,培养学生创造性思维的方法很多,如颠倒法、添加法、联想法等等,这些方法可以通过教会学生发散性思维、丰富学生想象力、培养学生的独创性思维等具体途径实现。 相似文献
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In order to prepare engineering students for a changing future and to help them develop their own capacity for independent innovative thought and creative problem‐solving, we are faced with the need to explore ways of fostering creativity in students within engineering programmes. We see the need to focus on how to access creativity, how to develop an environment which is less constrained and which will allow creative flow. Three case studies are presented which demonstrate the importance of establishing the freedom of the learning process as well as providing motivation, whether extrinsic, in terms of the assessment scheme, or intrinsic. This latter might take the form of helping students to realize that the process of learning is a process of invention in itself and that students need to recognize their existing creativity and capacity for engagement. The very important and yet elusive issue of evaluation is also considered for each course. We discuss how to monitor the level of success in achieving the given objective of fostering creativity in students. 相似文献
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创造力研究之我见 总被引：3，自引：0，他引：3
胡军 《课程.教材.教法》2004,(4)
在开展创造或创造力研究时,需要充分研究与“创造力”密切相关的内容,即研究“具有创造性的人”“创造的本质和过程”“创造出的成果”“影响创造的障碍”“创造力培养的途径”“创造力的提高”六个方面。结合新一轮课程改革,科学教材的开发和应用要“基于科学启蒙,基于创造性解决问题能力的培养”。 相似文献
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Lene Tanggaard 《欧洲师范教育杂志》2011,34(2):219-232
The article is based on an empirical, interview‐based research project investigating resources and barriers to creative teaching within three Danish primary and secondary schools. The analysis shows how project‐oriented teaching does seem to represent a creativity oasis for both teachers and pupils. Furthermore, the work identifies a distinction between an art‐based and a problem‐solving approach to creativity, and it is suggested that teachers help pupils to work with the various different opportunities for creative learning represented by different subjects in school. Furthermore, a dilemma is pinpointed between the demand that teachers conform to centrally defined test systems, and the challenges facing our societies in relation to bringing up pupils and students who dare to take risks, challenge the existing order and create something new. 相似文献
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Bharath Sriraman 《Interchange》2017,48(2):117-128
The aim of this article is to provide the reader, or anyone interested in creativity, a glimpse into the findings of existing psychological and psychiatric literature on manic depression, its occurrence in creative individuals, ways in which it manifests and affects their functioning and creative output (positively and negatively), and the lessons one can draw from these individuals attempts to creatively associate and even reconcile opposite positions. The literature from educational philosophy, psychology and psychiatry is used as a lens to examine mythological, biographical and autobiographical accounts of the lives of creative individuals, particularly frames or episodes of their mind. The construct of “happiness” is deconstructed with didactical implications for education. 相似文献