Iconicity.pptVIP

The frequent use of nasals ([m], [n], and [?]), and vowel-like consonants ([y] and [w]). The dominance of sonorants such as [m], [n], [?], [r], [y] and [w] is clearly evident. They provide prolongation and fullness of the sounds, and hence usually produce lingering effects. Just three occurrences of two vowels adjacent to each other – [a–u], [o–u] and [a–w], these vowel sequences, [a–u] and [o–u], are both verbs in Japanese, 会 and 逢, which mean ‘to meet’. Their hidden repetition in each line can be read as the echo of a hidden longing between separated persons. Once again, the iconic effect of this hidden element can only be guided by reading the whole poem as a global metaphorical juxtaposition, i.e. the separation of stars, of people and of loved ones. Summary The poetic text displays the complexity of metaphor–icon links. The basic mechanism of metaphor–icon links, however, is the same, and can be summarised in the two aspects: iconic moments in metaphor and metaphor giving iconic meaning to form. Iconicity Peircean definition The semiotic notion of iconicity originates with the American philosopher Charles Sanders Peirce. A sign A stands for an object B to an interpretant C. This simple formulation of the definition of the sign characterises the ternary structure and the interactive nature of the signs that Peirce sought out in his semiotic theory. Peirce, “we think only in signs ” semiosis的过程透过三个方向： 1.sign --representamen(代表项)某件事物的根据 2.mental image --interpretant(解释项)标物被接受的形式 3.object –referent (指称对象) 记号的根据 SJan Davidsz de Heem, (Dutch, 1606-1683/84)Still Life with Fruit, c.1640-50Oil on canvas31 1/2 x 26 1/2 in. EX:一个人看到一幅画，说是一篮水果的静物，而那影像，是围绕其他东西，是某个东西的sign --representamen(代表项)。而观者在他的心中形塑这个影像，是依据他联想的某个东西的影像。而这个心理的影像(mental image)就是 interpretant(解释项)。而interpretant指向object –referent (指称对象)。Object对每个人都不一样。可能对某人代表真实的水果，对某人是静物画，对某人又是一大笔钱，对某人又是17世纪的荷兰。对这幅画来说object是个人主观的和接受－决定(reception-determined)的。 The Representamen(代表项) a red light facing traffic at an i