the Rhetorical Construction of Color and Sound, - Description of'Tone and Image

颜色和声音的修辞结构,-“色调和图像的描述”

基本信息

  • 批准号:
    18520097
  • 负责人:
  • 金额:
    $ 0.86万
  • 依托单位:
  • 依托单位国家:
    日本
  • 项目类别:
    Grant-in-Aid for Scientific Research (C)
  • 财政年份:
    2006
  • 资助国家:
    日本
  • 起止时间:
    2006 至 2007
  • 项目状态:
    已结题

项目摘要

In this sturdy, I tried to define the relationship between Sound and Color from the rhetorical viewpoint, focusing on the verbal expression. To analyze this question, I have begun to sample the way of expression of pianos' sound in many varies makers. I distributed questionnaires to the students in my university and asked them how they describe the differences of pianos' sound, in making them listen these sounds. They were not so familiarized with classical music, but after some practices, they had become able to distinguish the nuances and could guess the piano in question, in telling the differences by their own words. Generally speaking, Sound and /or Voice are not easy to describe in words. This feature is quite similar to the case of Taste or sense of Touch. So, when we want to characterize the differences about Sound or Touch or Taste, instead of describe the sound itself, we depend on the name of the object or the person who/which utters its sound. In case when we cannot notify or see it, we became uneasy. Sound is connected with object. Or, we should say that sound is connected more with <I> and the environment around <I>. Sound is connected with us by the name of object and with by the relationship between subject <I> and the atmosphere. The difficulty of verbalization of Sound comes from this diversity and ambiguity of the atmosphere around us. In this study, I also tried to analyze how we receive the atmosphere by sound. Focusing the expressions in Japanese poets in <Manyo-shu>, I would like to tell that the Sound/ tone is just the atmosphere of poet himself. Besides, in aiming at Japanese onomatopoeia, I could get another proof on the above fact. Especially for Japanese language, onomatopoeia has a grate part in recognition of the world.
本文试图从修辞学的角度来界定声与色的关系,重点放在言语表达上。为了分析这个问题,我开始对不同厂家的钢琴声音表现方式进行抽样调查。我向大学里的学生分发了调查问卷,问他们如何描述钢琴声音的差异,让他们听到这些声音。他们对古典音乐并不熟悉,但经过一些练习,他们已经能够分辨出细微的差别,并能猜测出问题的钢琴,用自己的话说出区别。一般来说,声音和/或声音不容易用语言描述。这个特征与味觉或触觉的情况非常相似。所以,当我们想描述声音、触觉或味觉的差异时,我们不是描述声音本身,而是依赖于物体的名称或发出声音的人。万一我们不能通知或看到它,我们变得不安。声音与物体相连。或者,我们应该说声音更多的是与周围的环境联系在一起的.<I><I>声音通过物体的名称与我们联系在一起,并通过主体与大气之间的关系与我们联系在一起。<I>声音语言化的困难来自于我们周围环境的多样性和模糊性。在这项研究中,我还试图分析我们如何通过声音接收大气。集中在日本诗人的表达,我想告诉的声音/音调只是诗人自己的气氛。<Manyo-shu>此外,针对日语拟声词,我还可以得到上述事实的另一个证明。特别是日语,拟声词在认识世界方面有着重要的作用。

项目成果

期刊论文数量(0)
专著数量(0)
科研奖励数量(0)
会议论文数量(0)
专利数量(0)
音色のレトリック
语气修辞
  • DOI:
  • 发表时间:
    2008
  • 期刊:
  • 影响因子:
    0
  • 作者:
    Ian Carruthers;松田幸子;Yukari Yoshihara;吉原ゆかり;Ian Carruhters編;Ryuta Minami;Yukari Yoshihara;南隆太;Ian Carruthers. Reading Suzuki Tadashi;佐藤望;樋口 桂子
  • 通讯作者:
    樋口 桂子
On the Rhetoric of Tone Color
论音色修辞
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HIGUCHI Keiko其他文献

HIGUCHI Keiko的其他文献

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{{ truncateString('HIGUCHI Keiko', 18)}}的其他基金

Study on the Plasticity and Transfiguration of Aesop's Fables from the viewpoint of the illustration's Deviation
从插图偏差看伊索寓言的可塑性与变形性
  • 批准号:
    13610058
  • 财政年份:
    2001
  • 资助金额:
    $ 0.86万
  • 项目类别:
    Grant-in-Aid for Scientific Research (C)
RHETORIC OF FABLE ILLUSTRATION AND ITS TEXT --- AESOP IN MODERN AGES' JAPAN
寓言插图及其文本的修辞——近代日本的《伊索寓言》
  • 批准号:
    63510031
  • 财政年份:
    1988
  • 资助金额:
    $ 0.86万
  • 项目类别:
    Grant-in-Aid for General Scientific Research (C)

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