情緒是感情的抒發，但對於它的認知以及形成過程，仍留有許多研究空間。華語方位詞『上』與『下』經研究證實(劉月華， 潘文娛 & 故韡，2001；吳，2009)，在空間概念的範疇中有多重延伸意義。本論文從認知隱喻以及生理現象之換喻的角度出發，藉由研究華語中含有『上』與『下』之情緒的文辭(縮寫各為EES和EEX)，以空間意象 (spatial schema)，心理空間 (mental spaces) 以及施力動態概念 (force dynamics) 為理論架構，研究『上』與『下』在情緒文辭中的作用及概念化過程。
研究所採用的語料重正確性及實用性。先以教育部線上重編國語辭典修訂本(2007)以及教育部成語典(2005)為基礎，再進一步查詢網路上部落格及論壇等所使用的言辭為語料。研究主題可分成三個面向。首先，『上』『下』擁有相反的字義，其映照過程是否也相反。其次，從認知譬喻以及生理現象之換喻角度而言，探究EESs和EEXs的概念化過程。最後再從空間意象，心理空間以及施力動態概念等認知觀點來看EESs和EEXs之間的語義關係。
以『上』與『下』的縱向觀點來看，研究結果顯示，EESs和EEXs分別在 (1)臉部表情方面：『上』常表地點而『下』常表方向。此外，EESs包含正面及負面表情，但EEXs與負面表情連用。(2)羞恥(shame)觀方面：EESs與生理現象之換喻及臉部表情之關聯性勝於EEXs。然而，無論EESs或EEXs，以自我為焦點之文辭表達皆比以他人為焦點之文辭表達更多元豐富，顯現出華語的文化特殊性。(3)其他生理現象方面：『上』常與表生氣之文辭連用，而『下』常與表悲傷之負面情緒之生理現象連用。
以橫向觀點來看，在討論EESs和EEXs的語意關係部分，研究結果顯示： (1) 『上』『下』之聯合使用，可勾勒出抽象的空間。而感情在此空間中的活動，可顯示出情緒狀態。(2) 雖『上』、『下』擁有相反的字義，但EESs的反義文辭除以EEXs來表示之外，另有其他的表達方式，例如「看得上」的反義文辭「看不上」，就是以否定字「不」來表達反義。(3) 『上』、『下』皆有時間之延伸用法。加上情緒含意，『上』、『下』皆喪失原本字面意義。(4) 在EESs的情緒動詞中，『上』可輔助動詞，表達感情狀態。而我們的語料則缺乏EEXs此種特性的實例。此外，用來表達情緒反應的EESs 與 EEXs皆可以用來代表情緒本身。
隱喻和換喻的分析幫助了解人類在情緒上的認知。藉由語言呈現，方位與情緒的關係，充份反映出語言使用者的思考過程與心理層面的認知。

Emotion is viewed as the emission of subjective feelings, yet the conceptualization and formation of emotion remain unclear. In addition, there have been research works that have stated that the Mandarin locative expressions shang and xia in spatial concepts are polysemous (Liu, Gu & Pan, 2001; Wu, 2009). Thus, this thesis aims at exploring the conceptualization of EESs (expressions of emotion containing shang) and EEXs (expressions of emotion containing xia) by means of spatial schema (Talmy, 1996, 2003), mental spaces (Fauconnire, 2002) and force dynamics (Talmy, 2000) viewed in light of conceptual metaphor and physiological metonymy.
The data in this research are collected from the Online Chinese Dictionaries of Ministry of Education (Ministry of Education, 2007), the Dictionary of Chinese Idioms of Ministry of Education (Ministry of Education, 2005) and from online searches in the texts of blogs or articles in order to indicate compliance with requirements for accuracy and practicability. There are three research questions: 1) Assuming contrastive lexical meanings, do shang and xia have a contrary mapping process? 2) Viewed in light of metaphor and metonymy, what are the conceptualization processes of EESs and EEXs? 3) What are the characteristics of the interrelationship between EESs and EEXs from the perspectives of spatial schema, mental spaces and force dynamics?
From the perspective of their being locative expressions, the rotation of shang in EESs and xia in EEXs around facial expressions as well as the shame concept and other physiological effects resulting from emotion are as follows: (1) In terms of facial expressions, shang in EESs is often regarded as a location and is connected with both positive and negative emotions while xia in EEXs is seen as directional in nature and is mainly associated with negative emotions. (2) Concerning the shame concept, the link between EESs and facial expressions or physiological effects is more obvious than that between EEXs in linguistic performance. In addition, the amount of expressions of self-focused shame in both EESs and EEXs outweigh those of other-focused shame, which reveals the value placed on shame in Mandarin. (3) In virtue of other physiological effects, EESs often fall into the category of anger and EEXs into the category of sadness.
In view of the semantic relationship between EESs and EEXs, the results show: (1) The association of shang and xia can generate a virtual space in which the emotional state is revealed. (2) The antonymous senses of EESs are performed not only by EEXs but also by other expressions. (3) When added to an emotional state, both shang and xia can get rid of their original spatial domain and extend into the domain of time. (4) In terms of the verbs of emotion, only shang is found to be conducive to a description of an emotional state. Further, either EESs or EEXs, which depict the response deriving from an emotion, can be adopted to stand for the emotion itself.
The analysis of the locative expressions shang and xia can help us understand the conceptualization of emotion. By means of linguistic performance, the relation of space and emotion reflects the specialized relationship of spatial images to emotion with regard to the cognition of human beings.

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