吳青峰歌詞中關於愛情的認知隱喻探究

隱喻以經驗的具體事物描述另一較為抽象而複雜的概念,不僅僅只是文學的修辭範疇手法,其來源域(source domain)映射到目標域(target domain)更是牽涉認知的運作,是一種系統性的語言表徵。本文以 Lakoff& Johnson (1980)的概念隱喻(Conceptual Metaphor)理論作為基礎,從認知語言角度了解吳青峰創作的思維運作機制,歸納他運用愛情隱喻的特點,進而形成鮮明的個人風格。經研究發現,吳青峰歌詞中的隱喻有以下幾個特色:一、自然和物品是使用頻率最高的隱喻。自然主要在描述愛情所帶來的「感受」,使聽眾易產生共鳴。在物品的運用則以「功能」、「價值」、「性質」顯現愛情的某個面向, 粉碎情感的美好幻想,凸顯現實的缺憾才是真實存在的。二、愛情雖然有單戀、熱戀、失戀等不同階段,但真實世界的不完滿才是常態,因此吳青峰使用的愛情隱喻多描述負面特性。這樣可使那些感情受挫的聽眾有種被同理的感受,在傷痛的心路中振作,產生了療癒的作用。三、吳青峰善用「典故」及「象徵性」來使用隱喻,具有指稱功能,其運用帶出此經驗概念之影響,使歌詞所要表達的訊息能讓人們理解。歌詞展現了詩化特色的思考性跳躍與語言陌生化,產生文字歧異、趣味性。將吳青峰的愛情隱喻與歷年研究比較,本文發現其另有兩種類型的運用: 「遊戲」、「藝術」。遊戲包含了玩家、玩法以及有共同輸贏的目標。雖然將愛情導向成一場遊戲,想以輕鬆的姿態投入情感關係,卻又蘊含了一種避免失敗的麻痺心理。藝術以畫風強烈、用色大膽比喻追逐愛情的果敢,並表述每段情感獨特、不可替代性。

關鍵字

認知隱喻；流行音樂；吳青峰；歌詞

並列摘要

A metaphor pertains to the use of an experiential, concrete object or thing for the description of an abstract and complex concept. Therefore, a metaphor is not simply a figure of speech used in literary works but the verbal representation of a subject due to the cognitive operation involved in projecting a concept from a source domain to the target domain. This study adopted the conceptual metaphor theory proposed by Lakoff and Johnson (1980) as the theoretical basis to examine the thought process behind Qing-feng Wu’s works from the perspective of cognitive linguistics, thereby identifying characteristics in his use of metaphors for love that have become his unique personal style. The following characteristics were recognized: (1) The nature and objects are the most frequently used metaphors in Wu’s works. The nature is used to describe the feelings love brings to heart, thus creating the desired resonance with the audience. By contrast, when objects are used, he stresses their functionality, value, and character to illustrate a specific aspect of love, to dispel fanciful illusions about love, and to emphasize the imperfection in reality. (2) One’s experience with love comes in many forms, such as unrequited love, passionate love, and break-ups; in the real-world, imperfection is the norm. Therefore, Wu typically uses metaphors to depict the negative side of love. This is an empathetic gesture that enables his audience, who may be lovelorn, to find solace and the strength to restart. (3) Wu often uses symbolic or allusive metaphors to make references, and the experiential concepts involved allow for clear communication of messages to the audience. Furthermore, this also enables his works to become poetic, creating unconventional and playful words through his nonlinear thinking and linguistic defamiliarization embedded in the lyrics. Comparing Wu 's love metaphor with previous studies, there are two other types of use: game and art. A game is made up of players, rules, and a common goal to win. By comparing love to a game, the lyrics reflect the mindset of someone who seeks an uncommitted relationship as a disguise of their fear of failure and numbness toward love. As for art, one’s determination in the pursuit of love is often likened to a painting with strong personal style and bold colors to portray the uniqueness and irreplaceability of a relationship.