本論文以「聯覺隱喻」（Synaesthetic metaphor， Williams，1976； Lien， 1994； Day， 1996），「語意圖」（Semantic map， Hasegawa，2006），「情緒分類」（Emotion categorization， Parrott， 2001）為理論架構，研究《哈利波特》的中譯本和英語本的聯覺隱喻現象。旨在探討（1）漢語與英語的聯覺隱喻在《哈利波特》一書裡有何衍伸的發展與獨特性，以及（2）聯覺隱喻在語言中，是否有通則可循。
研究結果顯示：（1）在聯覺隱喻中，華語與英語有其偏好的來源域（source domain）。華語較常用空間概念詞（dimension）來描述其他感官經驗，其次是情緒詞（emotion）與觸覺詞（touch）。反觀於英語，情緒詞較常使用於聯覺隱喻中的來源域，其次才是觸覺詞與空間概念詞。（2）雖然情緒詞並未於Williams（1976），Lien（1994），和Day（1996）的研究中探討，但在本論文中，情緒詞與其他感官詞有高度相關的轉換。情緒詞是英語聯覺隱喻中最主要的來源域，也是華語中第二大的目標域（target domain）。（3）英文中，觸覺詞彙在視覺聯覺隱喻（visual-type synaesthesia）的運用比中文具多元性。（4）根據Williams（1976）的研究顯示，空間概念詞與觸覺詞之間並無聯覺隱喻。但在本研究中，空間概念詞可轉換到觸覺詞，且這項結果與Lien（1994）在閩南方言（Southern Min dialect）的聯覺隱喻發現相符。（5）感官詞在聯覺隱喻的轉換可依不同語境而有所改變。例如，被視為較低階的感官詞可能因為語境的不同而轉為目標域。
藉由研究《哈利波特》中華語與英語的聯覺隱喻現象，發現聯覺隱喻不僅與文化和身體發展息息相關，其映照（mapping）方向也會因語境目的不同而有所改變。

This thesis investigates a linguistic phenomenon, synaesthetic metaphors, among body, emotion, and languages in Mandarin Chinese and English. The data are extracted from a widely translated piece of fantasy literature, Harry Potter. The synaesthetic metaphor is regarded as “one of the most common types of metaphoric transfer in all languages” (Williams, 1976: 463). Through the mappings from one sensory modality to another, expressions are understood via observable bodily symptoms, figurative bodily images (Wierzbicka, 1999b), and other cognitive mechanisms. The analysis for the current thesis draws on the synaesthetic schemas proposed by Williams (1976), Lien (1994), and Day (1996). The idea of semantic map is proposed by Hasegawa (2006) and the emotion categorization is classified by Parrott (2001). The thesis aims at discovering (1) how synaesthesia transfers are used in Mandarin Chinese and English in Harry Potter; (2) in what way language diversity exists in synaesthetic transfer; (3) in what way language universality exists in synaesthetic transfer.
This thesis has found: (1) both Mandarin Chinese and English have their favored source domain in synaesthetic transfers. The preference ranking of source domains in Mandarin Chinese is dimension, emotion, and touch; while it is emotion, touch, and dimension in English. (2) Emotionally related synaesthesia weighs heavily in both Mandarin Chinese and English. In English, emotion is the primary source domain and is the second largest target in Mandarin Chinese. (3) The usages of tactile lexicons in visual-type synaesthesia occur more in English than in Mandarin Chinese. (4) Dimension and touch are not as isolated as Williams (1976) stated. Instead, there are connection moves from dimension to touch, which is pointed out by Lien (1994) as well when he conducted his research of synaesthetic transfers in the Southern Min dialect. (5) The transfer rule can be modified due to different linguistic purposes and different stimuli.
In sum, the body and emotion create an interesting linguistic phenomenon, synaesthetic metaphor. Through the present thesis, it would conduct a balanced view that takes into account both the universality and diversity of synaesthetic metaphors as they occur in two versions of Harry Potter: the Mandarin Chinese version and the original English text.

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