1 introduction.
Image similarity is a topic of common concern of many subjects. From Pierce (1955) about the iconic symbol learns to be elaborated, language iconicity (Haiman, 1983; Shen Jiaxuan, 1993) cognition definition and classification research to poetics in literary text iconicity discussion of characteristics and types of Cognitive Poetics (Freeman, from 2007 to 2009. Hiraga, 2005; bear Muqing, 2012, are to comply with "Xingyi between similarity" the basic phenomena like definition, from the symbol can refers to refers to the relationship between point of view, exploring all kinds of symbolic representation of the nature, type and effect.
Poetics as iconicity is stylistics (such as leech & short, 1981) and Cognitive Poetics (such as Freeman, 2009; Xiong MuQing, 2012) a study of literary characteristics of conclusive findings. They are combined with literature examples to explain the phenomenon of the literary text, which reveals the difference between literature as aesthetic art and deepens our understanding of the characteristics of literature. Although the existing research attention to poetics iconicity of language iconicity between the provisions of the difference, however, most research basically still in the pan from the level of literature, of verbal and nonverbal symbols collaborative poetics in the characterization of the literature class as iconicity is still a lack of systematic research.
The multimodal cognitive poetics research path, combined with many examples of literary mode, explore poetics as iconicity of multimodal representation and aesthetic perception of readers to metaphor and poetic iconicity as the breakthrough point, interpretation of readers in reading multi-modal literature discourse of cognitive operations and resulting from the emotional response and aesthetic experience.
2 poetic image.
The definition and characteristics of the 2.1 poetic images.
The term "poetic image" was first proposed by Margaret Freeman, a leading figure in the cognitive poetics of the United States. In a title of "from the metaphor to like poetry text similarity" (2006) in this paper, borrow Susan Freeman - definition of art K. Langer (19531967), explain poetics as iconicity when said: "one of the first successful poetry creation poetics of iconicity, creating the perception of life illusion." (Freeman, 2006: 7), in the case of Dickson, her poem "My life had stood a loaded gun", describes the connotation of poetic iconicity of the term, and has repeatedly stressed: Poetic iconicity is the thoughts and feelings of the iconicity, it creates the illusion of life the perception of (Freeman, 2006: 9). She pointed out that the concept of poetic iconicity in Pearce (1955) as the basis of similarity on the concept of development, at the same time, she also from Hiraga (2005) and N nny and Fischer (2003) in the literature about iconicity of inspiration in the study, combined with Reuven Tsur (19922003) and the theory of Cognitive Poetics (19531967) Susanne K. Langer (Freeman 2006:, the theory of art 7). She proposed the term mind is trying to cognitive theory and literary criticism and Philosophy To explain the aesthetic characteristics of literary form.
Following a more macroscopic and the printed image boundary, Freeman (200720082009) has passed through a series of thinking, constantly revised and improved the connotation and theory of poetic image. Compared with the definition of the linguistic image and the symbolic image, the poetic image is the following:
(1) aesthetic image. Standing in the height of art, Freeman has repeatedly stressed that literature is different from the general language expression, literature, especially poetry of the shape of the world literature is not the real world mechanical mapping, its primary purpose or function is activate aesthetic experience or perception. Therefore, poetics is like the subject is not to like like to create an idea or concept symbols, namely Pierce said "logic to explain the matter, but through symbols, create a mood to explain the matter, cause the reader's emotional reaction to produce realistic sense, experience of aesthetic pleasure. This is the prime motive of poetic image. Freeman (200720082009) repeatedly stressed that emotion (emotion, emotion, perception) is the driving force for the creation of poetic image. Just from this point of view, Xiong MuQing (2012: 9) detailed in the poetics as similar connotation. It is pointed out that "poetics iconicity is an aesthetic characteristics in literary texts, because literary discourse is the aesthetic creation activities of the product. Different from everyday language like, in the aesthetic creation produced in the process of image similarity is the author in order to highlight the charm of art literature and deliberately created, is from "a special, non automated way" (Hiraga, 2005: 26).
(2) integration of image. Aesthetic image is the essence of poetic image, and its integration is the way or process of its formation. Freeman (2009) has repeatedly stressed that the poetic image is not to be achieved by the symbolic representation of the reproduction, but through the integration of a complete symbolic symbols to construct a kind of aesthetic effect. The illusion created by poetic image is the integration of a series of processes, such as motivation, heterogeneity, and imitation. Specifically, under the impetus of the imitation of the real life emotional illusion, the metaphor structure schema will induce the integration of the material and the media mode, and create the effect of aesthetic poetics. In short, metaphorical schemas are triggers of functional integration of emotion, form and experience. It is suggested that the researchers construct a "material medium effect" integration model in order to capture the nature of the poetic image of the literary text.
(3) metaphorical image. Metaphor is a poetics iconicity of the working mechanism of the (Xiong MuQing, 2012). Poetics iconicity is not based on a simple copy of reality, straightforward and reproduces the world, but based on the integration of emotion, form and function of the material medium modal metaphor is in the art level, implicit symbol metaphor of integration construction of real world and author reader concept world mapping similar. It is in this sense that Hiraga (2005) proposed can be regarded as a metaphor for the whole of literary text; literary texts for the transmission of various concepts between domains are mapping system (Xiong MuQing, 2012: 9). As main way to map like structure and analogical relationship, which constitutes the structural principle of Art.
Overall, Freeman proposed poetics concept and the theory of iconicity although scattered in many papers, the system was far from and clear, however, by combing, we can still see poetic image connotation of iconicity, motivation, mechanism and mode. This theory reflects the essence of literature and art. In a nutshell, in connotation, poetics as between iconicity said "Xingyi similar" focus is not a general sense of "form and meaning" similar, more important is "form" and "feelings" (Literary Representation and literature conveys the emotion, emotion, perception) mapping similar. In the motivation, the intrinsic driving force of the poetic image is the artistic aesthetics, which is the mission and characteristic of literature as art. In terms of the mechanism, the condition of the poetic image is the metaphor schema and the structural mapping of the resulting system. In the generative mode, the poetic image is the product of the series integration, the form, meaning and function of the integration.
2.2 metaphor and image similarity.
In Pearce's semiotic system, "metaphor" is a kind of symbol, and it is a kind of image and graphics. We know that Pearce's semiotics is a complex theoretical system. This system is built on the basis of pragmatic epistemology. The concept of Pearce's three point method (such as the symbol, the index sign, the symbol), the movement and the meaning of meaning, has deepened our understanding of the relationship between the symbol and the human being as the cognitive subject. But in this theoretical system, "metaphor" refers only to "metaphorical iconicity" is from the signifier and signified distinction on the perspective of the relationship between objects and a symbol of the type, emphasize the symbols of the symbolic characteristics. It can be seen that the metaphor of Pearce's semiotics is different from the "conceptual metaphor" in cognitive linguistics as a cognitive and ideological mechanism.
In the field of cognitive poetics, the earliest research on the relationship between metaphor and image is Hiraga Masako (19942005).
Her basic proposition is: literary texts (especially in poetry in similar mapping and not by voice (such as word) and visual image (Graphic Design) replication representation to achieve, but through the structural and relational analogy as the meaning of a diagram components to achieve. She believes that grammatical metaphor is a bridge between form and meaning, and the distinction between "metaphor as like movement" (iconic movement in meta-phor) and "like like the metaphor movement" (metaphoric move-ment in iconicity). From the point of view of the system, Hiraga did not completely get rid of the metaphor of the semiotic definition, is the use "metaphor, image and graphics are like the icon of the sub category of" the idea, she thinks that is independent of the presence of metaphors and images, charts and do not realize that metaphor is, in fact, graphic images, an indispensable structural elements.
At this point, Freeman (2010) held a different view, that "metaphor, image and graphics are the elements of a symbol, it is because of them, as if the symbol becomes complicated.". The author agrees with Freeman's elaboration on the relationship between metaphor and image. We adopt cognitive linguistics as the definition of Metaphor: metaphor is a conceptual cross domain mapping mechanism, rather than a label of a class of symbols.
Since the foundation of cross domain mapping is similar, then between different conceptual domains of similarity to the corresponding is the metaphor produce base and condition, and similarity mapping is like the core similarity. Therefore, metaphor is the operating mechanism of the generation of iconicity. No matter how the embodiment of the image is like the image of a symbol or a graph, it is restricted by the cross domain mapping mechanism of metaphor.
In a word, iconicity is the result of the operation of metaphor, poetic iconicity in aesthetic product driven by metaphorical mapping. In turn, metaphor is a mechanism or condition of the formation of a like. However, it is worth emphasizing that the process of poetic image generation is not a simple inter domain mapping, as mentioned above, is the result of multi domain interactive system integration.
3 multimodal poetic image.
3.1 multimodal literature.
"Multimodal literature", refers to the "multi modality symbols in literary communication, synergistic effect together to create literary meaning and aesthetic effect of literary works". As can be seen from the definition, "multi modal literature" is a broad literature class name and contains a wide variety of types, such as graphic novels, graphic novels, children's picture story, concrete poetry, hypertext fiction, cyber literature.
In media technology and modern cultural trend of thought of the boost, the prevailing multimodal communicative and linguistic hegemony by unprecedented challenges and enable multi sensory perception transfer and exchange of information become a trend of the times and fashion, even in known as the "language arts" literature is a new trend: for adults to read novels also increasingly increased printing graphics and illustrations (gibbons, 2012: 1).
As a new type of literature, the multimodal literature is quietly changing the current literature practice and the literature exchange picture, which changes the traditional literary aesthetic mode. Multi modal literature with images, text, graphics, sound, color, and a variety of ideographic symbols, synergistic effect, create meaning, convey emotion, manufacturing surprisingly aesthetic effect, has won the favor of more and more readers.
Multi modal cognitive poetics is according to the context of multi-modal literature prevailing and emerging cognitive poetics research direction, is the leading figures in the UK Alison gibbons (20062007200820102012) and intention through the investigation of the relationship between multimodal literary representation and the reader's cognitive experience revealed human to read literature and art and perception and understanding of the world the cognitive practice rules (gibbons, 2012:24).
The prosperity of multimodal literature can be attributed to a variety of reasons, among which, the multi modal poetics can be said to be its fatal magic weapon. A symbol of the success of the literary works is the works whether in the reader's mind excitation of poetics like perception (Freeman, 2006: 7) iconicity, Mukarovsky as the Prague school identity theory: art object is just a pure object, and aesthetic object only after the reader or viewer processing becomes possible, that is to say, poetics as similar aesthetic qualities must be readers or perceived, in the heart produce an illusion of real life, inspired by the strong emotional response or identity, can get recognition from the readers or favorite. From this point, we can deduce that multimodal literature is more and more popular, and it is not unrelated to the multimodal representation of poetic image.
Multimodal representation of 3.2 poetic images.
On the poetic iconicity in the form of type, bears Muqing (2012) in language iconicity classification (quantities like the iconicity, distance as iconicity, order iconicity) on the basis of and according to the characteristics of literary texts, an increase of phonological image iconicity and image iconicity and environment iconicity, words like iconicity, role iconicity. This classification is based on the literary text, which is a macro language, covering a wide range of categories. But as the authors (Xiong MuQing, 2012: 13), the classification is not exhaustive, the relationship between these classifications also remains to be further discussed.
In this paper, we discuss the formal representation of poetic image from the perspective of a change.
As mentioned above, in the poetic image of Freeman proposed integration model mentioned in the "material - medium - (aesthetic and emotional) effect", but, in this regard, she did not start. Here, we discuss the problem of poetic image in the multi modal literary text from the substance and media representation.
Poetics as iconicity is diffuse in the text in a trait (Xiong MuQing, 2012: 9). This trait is created by the cooperation of all the symbols within the text, this point in the literature of multi modal reflected more obvious, because in the literature of multi modal and non language symbol was promoted to and sign language are equally important position, take part in literary communication. In the graphic and text literature, the common modal symbols include:
Extraordinary discourse and the layout of the page design, concrete changing format of typography, color text and image, the embodiment of poetic text, highlight the text material by means of a variety of, flip animation, multi class visual mashups, etc. (gibbons, 2012: 2). Relatively pure text language and literature articles for multi-modal literary texts with high material media consciousness. When the language in the transition from sound symbols written symbols, the signifier of material characteristics, such as the speaker's tone, intonation, tone higher auditory metaphor --- is greatly reduced, strengthen its abstract and general characteristics. Symbolic language get rid of the dependence material and enable readers to pay more attention to, the language seems to be transparent, readers with an imagination, open rich horizon, input to language shape refers to the world. However, different language and symbols, images and other non language symbol can indicated by the specific performance of the media, to characterize a and physical, tangible and immediate world relevant perceptual knowable world (Ze Qing Wang, 2013). Multi modal symbol refers to itself is high degree of foregrounding and attract the attention of the reader of the media itself, to produce a kind of illusion, it seems that threw himself through a medium,, immersion in text symbols created by the virtual world.
For example, in a few meters of the book "the moon forgot", in many warm tone color pages, insert an entire page (double page to open the dark black, to open on the right side of the page is the central position, placing the two lines of white handsome text: "they met accidentally, but for the life of the dark bring light gentle and nice."
In this context, the black and white page text, font, text in italics Junsu was placed in the center position, two lines under the short length of the transverse arrangement itself has been given to the perceptual characteristics, multi modal symbols there has never been a visual impact to the reader, the reader not only pay attention to the language itself, but not consciously put the black white page, fonts, page setup, text and other media symbols and current story space within the literary significance of Lenovo, metaphorical mapping relationship between them to realize that the story in the lonely boy and drop the moon in the dark of life journey, meet bring comfort each other warm, no longer stay at the conceptual level, for the reader, this will lead to a warm physical emotional response -- this is empathy, substance induced media symbol Living metaphorical mapping, the form, meaning, emotion and aesthetic integration together as a result of the like. In the process, the fusion of multi modal symbols and the multi Space Integration Based on the metaphorical mapping are involved. Among them, as one of the most prominent is the double page in a frenzy of deep black, different in text mode such as the "dark" 2 words activate the hearts of readers abstract imagination and thinking. It touches the reader's visual perception, to stimulate a physical senses induced readers about day and night scenes and emotional memory, such as on the long night of loneliness, fear, tension and the longing for the light sense. Similarly, font color, white, in black, and the color of the sun's rays extremely iconicity, make the "moon brings warm feel precious by solitude, loneliness, fear of the readers with the story of the protagonist" boy "sense of. Here, on the page color symbol itself and structure characteristics of black and white backed, in structure and the relationship between analogy similar way, triggering a series of metonymy or metaphor mapping and integration: visual symbols domain, color domain, the natural domain and emotional domain. At the same time, middle of the text is placed in the position of page, from the visual domain to the spatial domain, container schema or spatial metaphor schema activation, to make the reader association to the moon brings warmth and light is the core of the boy's life, experience him at this moment of joy and happiness.
The feature of the multi modal sign expands the space of literary representation. And unlike the rely solely on the written language of traditional literary texts and literature of multi modal can get rid of the shackles of the characterization of linear, also called a variety of character - code image like icon, chart like icon, index symbol, symbol and put them in the three-dimensional space stitching, folding, combination. Multi modal symbol itself has the obvious characteristics of integration, in the art of aesthetic principle driven, each set of symbols are endowed with the potential to initiate the mapping of metonymy or metaphor.
For example, the poem "(Zhu Chun Park, 2011: 60) in a song entitled" distance "of the poem (see Figure 2). 16 line poems of varying lengths, are arranged in a semicircle outward radial lined. Black font lines around the semicircle of a blank, for the Gestalt sense perception, the reader will easily identify all the way round. Ray pattern of the circular and the arrangement of the text constitute a picture icon (containing images like icon and charts iconicity components), and in the reader's mind about the sun emits light mental representation of scene reflect, induced by readers of the poetry metaphor interpretation, cross domain mapping from shape to the sun domain. At the same time, the reader needs to turn the direction of the book to read each verse in order to form a circular trajectory. Combined with the poem: "spring, summer, autumn and winter different views depending on distance and the sun", readers will easily recognize the reading path itself constitutes a dynamic iconicity: iconicity from the rotation of the sun, iconicity in sunrise sunset of the law of life.
The structure and relation of analogy make the reader think of the Oriental life philosophy of life and the life cycle of life and death. From a reading of the action to the motion of the sun domain to life trajectory domain to domain of life philosophy, similar mapping the excitation of the layers of cross domain mapping and image icon, triggered by the mapping from the shape to the sun domain mutual links corresponding to form mapping system. The three-dimensional configuration of the multi modal symbols is endowed with infinite tension in the two-dimensional space of the plane, which calls the reader's multi sense organs to participate in the literary exchange, producing a surprising aesthetic feeling.
4 conclusion.
The poetic image is the characteristic of literature, it has the nature of the aesthetic, the process of integration and the mechanism of metaphor. Poetic image is a decisive factor to judge whether a literary work is successful or not.
The prevalence of multimodal literature is closely related to the multimodal representation of poetic image. Multi modal poetic iconicity due to nonlinear multi-modal "hypermedia" (bolter and Grusin, 1999) characteristics of a variety of symbolic representation heterogeneous co-occurrence, highlight material signifier and abstraction is between the characterization of tension (gibbons, 2012: 115), create out a new reading of literature and aesthetic experience. The traditional pure literature works often rely on the reader's imagination, to make the reader in the psychological imagination immersion into the fictional world, feel the emotions the characters in the stories. And multi-modal literature is dependent on the multi-modal poetic iconicity, calls readers of multiple senses, and even cause readers of body movements, so that it can feel the aesthetic effect of literature and art in the interface between the real and virtual, physical and cognitive. (Figure 2)
Reference
[1]Bolter,J. D. & R. Grusin. Remediation: UnderstandingNew Media [M]. Cambridge,MA: MTI Press,1999.
[2]Freeman,M. H. From Metaphor to Iconicity in a Poetic text[M]/ / Benczes,R. & Csábi,S. The Metaphors of Sixty:Papers Presented on the Occasion of the 60th Birthday ofZoltán Kvecses. Budapest: Etvs Loránd University,2006.
[3]Freeman,M. H. Minding: Feeling,Form and Meaning inthe Creation of Poetic Iconicity [M]/ / Brne,G. & J.Vanaele. Cognitive Poetics: Goals,Gains,and Gaps. Ber-lin: Mouton de Gruyter,2009.
[4]Freeman,M. H. Poetic Iconicity [M]/ / Chlopicki,W.Pawelec,A. & A. Pojoska. Cognition in Language: Vol-ume in Honour of Professor Elbieta Tabakowska. Kraków:Tertium,2007.