导演李少红执导的电影《血色清晨》重写“魔幻现实主义大师”马尔克斯的代表作《一桩事先张扬的凶杀案》(Crónica de una muerte anunciada),开创了其作品在中国跨文化改编的艺术先河。该电影在现实主义悲剧基调和艺术框架的基础上...导演李少红执导的电影《血色清晨》重写“魔幻现实主义大师”马尔克斯的代表作《一桩事先张扬的凶杀案》(Crónica de una muerte anunciada),开创了其作品在中国跨文化改编的艺术先河。该电影在现实主义悲剧基调和艺术框架的基础上,重现了原著的文学价值与精神内涵。同时,影片在叙述技巧、人物设置和文化观念等方面进行了位移,实现了“本土化”的思想开拓与艺术创新,成为东西方文化互动与文化符号转换的成功范例。展开更多
This thesis is a comparative discussion of conceptual metaphors of “SHEN” and “QIAN”, carried out within the framework of conceptual metaphor from the perspective of cognitive linguistics. Both qualitative and qua...This thesis is a comparative discussion of conceptual metaphors of “SHEN” and “QIAN”, carried out within the framework of conceptual metaphor from the perspective of cognitive linguistics. Both qualitative and quantitative analyses are adopted in this research. The metaphorical extensions of Chinese “SHEN”/“QIAN” and DEEP/SHALLOW concepts in English have been compared quantitatively. The statistic results show in each projected domain, which further indicates the similarities of peoples’ modes of thinking in different cultures.展开更多
文摘导演李少红执导的电影《血色清晨》重写“魔幻现实主义大师”马尔克斯的代表作《一桩事先张扬的凶杀案》(Crónica de una muerte anunciada),开创了其作品在中国跨文化改编的艺术先河。该电影在现实主义悲剧基调和艺术框架的基础上,重现了原著的文学价值与精神内涵。同时,影片在叙述技巧、人物设置和文化观念等方面进行了位移,实现了“本土化”的思想开拓与艺术创新,成为东西方文化互动与文化符号转换的成功范例。
文摘This thesis is a comparative discussion of conceptual metaphors of “SHEN” and “QIAN”, carried out within the framework of conceptual metaphor from the perspective of cognitive linguistics. Both qualitative and quantitative analyses are adopted in this research. The metaphorical extensions of Chinese “SHEN”/“QIAN” and DEEP/SHALLOW concepts in English have been compared quantitatively. The statistic results show in each projected domain, which further indicates the similarities of peoples’ modes of thinking in different cultures.
