本論文以聯覺隱喻（Synaesthetic metaphor，Williams，1976；Lien，1994；Day，1996）為理論架構，研究台灣閩南語和德語近代歌詞中的聯覺隱喻現象。旨在探討（1）台灣閩南語和德語的聯覺隱喻在歌詞中的映射現象，（2）台灣閩南語歌詞中的聯覺詞是否符合Lien（1994）在閩南方言（Southern Min dialect）的聯覺隱喻結果，以及（3）從語言學和文化的角度分析聯覺隱喻在台灣閩南語和德語歌詞中的差異。研究結果顯示：（1）在聯覺隱喻中，台灣閩南語和德語各有其偏好的來源域（source domain）。台灣閩南語較常用觸覺詞（touch）來描述其他感官經驗，其次為空間概念詞（dimension）和味覺詞（taste）。而德語中，空間概念詞較常使用於聯覺隱喻中的來源域，其次為觸覺詞和視覺詞（vision）。（2）情緒詞（emotion）為台灣閩南語和德語最主要的目標域（target domain）。由此現象可觀察到情緒詞在閩南語和德語歌詞中與其他感官詞有高度相關的轉換。（3）顏色詞（color）和溫度詞（temperature）在台灣閩南語和德語中為最小的目標域。（4）在德語歌詞中，並未發現任何嗅覺詞（smell）與其他感官經驗的聯覺詞。此現象和Williams（1976）、Lien（1994）和Day（1996）的研究結果相符。（5）台灣閩南語和德語在情緒聯覺隱喻（emotional Synaesthesia）和味覺聯覺隱喻（gustatory Synaesthesia）中的差異，可以從文化的角度來作解釋。藉由台灣閩南語和德語聯覺隱喻的歌詞研究，發現聯覺隱喻和文化差異息息相關。由於前人並未作台灣閩南語和德語的聯覺隱喻比較研究，本研究提供了不同面向的結果。

This thesis investigates Synaesthesia in TSM and German. Synaesthesia is regarded as one of the most common types of metaphorical transfer in all languages (Williams, 1976: 463). The data are extracted from song lyrics during the years 2005 to 2016. The synaesthetic metaphorical transfers found from TSM and German song lyrics are carefully analyzed based on the schemes proposed by Williams (1976), Day (1996) and Lien (1994). The thesis aims at discovering: (1) How are synaesthetic transfers used in TSM and German song lyrics? (2) Do the synaesthetic transfers from TSM data in the thesis correspond to the tendencies based on the scheme proposed by Lien (1994)? (3) Since TSM and German belong to different language system and are influenced by their own cultures. What kind of language and cultural contrasts can be found in the synaesthetic transfers? The result shows that: (1) both TSM and German have their preferred source domains in synaesthetic transfers. In TSM, the preference ranking of source domain is touch with 143 transfers (30.2%), dimension and taste; while it is dimension, touch and vision in German. (2) The major destination of synaesthetic transfers in both languages is emotion, which accounts for 67% in TSM and 42% in the German data. The importance of emotionally-related Synaesthesia in both languages is thus observed. (3) Color and temperature are less in terms of the target domain in both languages. (4) Examples of smell as the source domain are not found in German song lyrics. This tendency is also revealed in research works of Williams (1976), Day (1996) and Lien (1994). (5) The differences between emotional and gustatory Synaesthesia in TSM and German are interpreted based on cultural backgrounds. In sum, via the exploration of the comparative study of TSM and German Synaesthesia in song lyrics, the tendencies of synaesthetic metaphorical transfers in both languages are found. Language universality and diversity are properly observed as they occur in both languages. Last but not least, this thesis fills the gap by the investigation on both TSM and German Synaesthesia.

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