作　　者： ;

机构地区： 华南师范大学文学院

出　　处： 《中国美学研究》 2021年第2期341-358,共18页

摘　　要： 比起当代大多数语言哲学家的隐喻理论所倾向的认知维度,戴维森的隐喻论独树一帜地展现出丰富的美学维度。通过指出从隐喻意义来解释隐喻的不充分性,戴维森给出了隐喻起作用的关键解释,即隐喻的功能并非由隐喻意义所决定,而是在于隐喻语句在具体语境中的使用所激发出"新奇性"的审美效果。因此,戴维森认为,从语言意义论出发去探究隐喻的本质的观点都走错了方向,隐喻属于语用学范围而不是语义学范围。可以说,戴维森的观点对说明文学或者诗歌中的隐喻所展现的新奇性、想象力尤为具有阐释效力。但是,戴维森隐喻论的不足之处在于,其非认知主义立场牺牲了隐喻的认知内核,在一定程度上无益于我们理解隐喻中审美和认知要素的融合。 Compared with the cognitive dimension presented by the metaphor theory of other contemporary language philosophers,Davidson’s metaphor theory presents a rich aesthetic dimension.By pointing out the inadequacies of metaphor in terms of its meaning,Davidson gives his key explanation of the role of metaphor—metaphor is realized by arousing the listener’s“novelty”perception in a specific context.Obviously,Davidson thinks that the function of metaphor is to stimulate the aesthetic effect of“novelty”.Therefore,those views on exploring metaphor from the perspective of linguistic meaning are all going in the wrong direction.Metaphor belongs to the scope of pragmatic rather than semantic.It can be said that Davidson’s views are particularly effective in explaining the novelty and imagination of metaphors in literature or poetry.However,the non-cognitive position of Davidson’s metaphor theory deprives the possibility of the integration of aesthetics and cognition in metaphor,so the sacrifice is great.

关 键 词： 戴维森 隐喻 美学维度 意义理论

领　　域： [哲学宗教—美学]