本文選題：詩(shī)歌意象語(yǔ)言 + 性質(zhì)��； 參考：《上海外國(guó)語(yǔ)大學(xué)》2007年博士論文

【摘要】： 詩(shī)歌意象是詩(shī)歌的基本構(gòu)成要素,是詩(shī)歌的靈魂和生命。詩(shī)歌意象是以語(yǔ)言為載體的。事實(shí)上,詩(shī)歌創(chuàng)作的過程就是詩(shī)人尋找客觀事物作為意象、建構(gòu)意象語(yǔ)言、從而使其主觀情感能夠生動(dòng)形象地表達(dá)出來的過程。與以往從文學(xué)創(chuàng)作的藝術(shù)手法和藝術(shù)效果角度對(duì)詩(shī)歌意象進(jìn)行的研究不同,本研究以詩(shī)歌意象的載體——語(yǔ)言,即詩(shī)歌意象語(yǔ)言為研究對(duì)象,從語(yǔ)言學(xué)角度出發(fā),運(yùn)用普通語(yǔ)言學(xué)、文化語(yǔ)言學(xué)、修辭學(xué)、對(duì)比語(yǔ)言學(xué)、心理語(yǔ)言學(xué)等理論,以漢、英詩(shī)歌作品為例,對(duì)詩(shī)歌意象語(yǔ)言進(jìn)行多角度的探討。 從語(yǔ)言學(xué)角度分析,與詩(shī)歌意象相對(duì)應(yīng)的大多是表示具體物象、事象的名詞性詞語(yǔ),包括名詞性詞和名詞性短語(yǔ)。這些具象性、可感知的名詞性詞語(yǔ)用在詩(shī)歌中便成為意象詞語(yǔ)。詩(shī)歌中,擔(dān)負(fù)一組意象語(yǔ)言的可以是單個(gè)的意象詞語(yǔ);也可以是一個(gè)固定的熟語(yǔ);還可以是一個(gè)以意象詞語(yǔ)為主體的非名詞性短語(yǔ)或句子等。詩(shī)歌意象語(yǔ)言從文藝學(xué)角度看,是塑造藝術(shù)形象的一種手段,而從語(yǔ)言學(xué)角度講,它又是一種傳遞美學(xué)信息和審美感受的一種藝術(shù)語(yǔ)言。詩(shī)歌意象語(yǔ)言以日常語(yǔ)言為基礎(chǔ),其審美價(jià)值的實(shí)現(xiàn)須借助于日常語(yǔ)言的概念意義;它又不同于日常語(yǔ)言,是對(duì)日常語(yǔ)言語(yǔ)音、語(yǔ)義、語(yǔ)法等方面的審美變異,這種審美變異突出表現(xiàn)在承擔(dān)詩(shī)歌意象語(yǔ)言主體的意象詞語(yǔ)與形容詞、動(dòng)詞等之間搭配的超常性上。 詩(shī)歌意象語(yǔ)言具有具象性、隱喻性、民族性特點(diǎn)。詩(shī)人運(yùn)用隱喻的方式,使具象性的詩(shī)歌意象語(yǔ)言成為其主觀情感的載體。依據(jù)主體意象詞語(yǔ)與民族文化積淀的關(guān)系,我們將詩(shī)歌意象語(yǔ)言分為承襲性意象語(yǔ)言和創(chuàng)新性意象語(yǔ)言。無論是承襲性意象語(yǔ)言,還是創(chuàng)新性意象語(yǔ)言,都具有民族性,都必須受到民族文化的制約。 詩(shī)歌意象語(yǔ)言具有形象描繪功能、感情描繪功能和美學(xué)功能。詩(shī)歌意象語(yǔ)言是形象描繪和情感描繪高度統(tǒng)一的語(yǔ)言,它從形象描繪和感情描繪相結(jié)合的角度寫景抒情,寓主觀情感、深刻哲理于客觀事物的形象描繪之中。詩(shī)歌意象語(yǔ)言具有豐富的審美屬性,它的本質(zhì)特征就是審美,帶給人們美的感受和啟迪,具有突出的美學(xué)功能。詩(shī)歌意象語(yǔ)言的形象描繪功能和感情描繪功能,也使詩(shī)歌意象語(yǔ)言帶給人們外在形式的美感和內(nèi)在意蘊(yùn)的美感。 詩(shī)人建構(gòu)意象語(yǔ)言時(shí),運(yùn)用的是隱喻思維機(jī)制。隱喻思維是以人與物之間、物與物之間的相似性為基礎(chǔ)的。因此,隱喻思維遵循萬物互滲的思維規(guī)律。詩(shī)人通過運(yùn)用直覺聯(lián)想或超常想象的思維運(yùn)算方式來建構(gòu)主觀情感和客觀事物之間的相似性,將自己的某種主觀情思與客觀事物的某些感性特征對(duì)應(yīng)起來,從而建構(gòu)出隱喻性的詩(shī)歌意象語(yǔ)言。 詩(shī)人受到外部世界的刺激,產(chǎn)生創(chuàng)作動(dòng)機(jī),并在創(chuàng)作動(dòng)機(jī)的驅(qū)動(dòng)下,進(jìn)行內(nèi)部言語(yǔ)的組織。詩(shī)歌意象語(yǔ)言內(nèi)部言語(yǔ)的構(gòu)思和組織過程,就是詩(shī)人在民族文化的制約下,恰當(dāng)選擇客觀事物充當(dāng)意象載體,建構(gòu)詩(shī)歌意象語(yǔ)言以寄托情思的過程。 當(dāng)詩(shī)歌意象語(yǔ)言的內(nèi)部言語(yǔ)生成后,內(nèi)部言語(yǔ)必須外化,發(fā)之于聲音,形之于文字,詩(shī)歌意象語(yǔ)言建構(gòu)的全過程才得以完成。詩(shī)人通過運(yùn)用語(yǔ)音、語(yǔ)義、語(yǔ)法等外部語(yǔ)言手段,實(shí)現(xiàn)內(nèi)部言語(yǔ)向隱喻性外部言語(yǔ)表達(dá)形式的轉(zhuǎn)換。 詩(shī)歌意象語(yǔ)言具有語(yǔ)義多層性、多義性、不確定性特征。詩(shī)歌意象語(yǔ)言深層意義的理解須受到文化語(yǔ)境的制約。詩(shī)歌中,意象語(yǔ)言中的主體意象詞語(yǔ)起著重要的作用。因而,正確把握主體意象詞語(yǔ)賴以存在的文化語(yǔ)境,是深刻理解詩(shī)歌意象語(yǔ)言深層語(yǔ)義的重要依據(jù)和保證。 詩(shī)歌意象語(yǔ)言的語(yǔ)義理解可以訴諸于語(yǔ)言坐標(biāo)系兩軸關(guān)系的幫助。從語(yǔ)義關(guān)系上講,詩(shī)歌的上下文意義構(gòu)成意象語(yǔ)言語(yǔ)義理解的橫軸,主體意象詞語(yǔ)的各種文化語(yǔ)境意義構(gòu)成意象語(yǔ)言語(yǔ)義理解的縱軸�？v、橫軸上的語(yǔ)義組合關(guān)系和語(yǔ)義聚合關(guān)系相互作用、相互制約,從而形成詩(shī)歌意象語(yǔ)言的深層審美意義。 依據(jù)詩(shī)歌意象語(yǔ)言主體意象詞語(yǔ)的選擇和理解受制于文化語(yǔ)境的觀點(diǎn),本文以愛情、歡樂、感傷、理趣為主題的漢、英詩(shī)歌作品為例,對(duì)漢、英詩(shī)歌作品中的主體“愛情意象詞語(yǔ)”、“歡樂意象詞語(yǔ)”、“感傷意象詞語(yǔ)”、“理趣意象詞語(yǔ)”做一具體實(shí)例對(duì)比分析。
[Abstract]:Poetic imagery is the basic constituent element of poetry, the soul and life of poetry. Poetic imagery is the carrier of language. In fact, the process of poetry creation is the process of the poet's searching for objective things as images, constructing image language, so that the subjective emotion can be expressed vividly and vividly. The study of poetic imagery is different from the angle of artistic and artistic effect. This study takes the carrier of the poetic image as the object of the study of the language, that is, the poetic image language. From the perspective of linguistics, the study applies the theories of common linguistics, cultural linguistics, rhetoric, contrastive linguistics and psycholinguistics, taking Chinese and English poetry as an example. The song image language is discussed in many angles.
From the linguistic point of view, most of the corresponding images are noun words, including noun words and noun phrases. These representational, perceptible noun words are used as image words in poetry. In poetry, a group of imagery language can be a single image word; it can also be used as a single image word. It is a fixed idiom; it can also be a non noun phrase or sentence with image words as the main body. The poetic image language is a means to shape the artistic image from the angle of literature and art. And from the linguistic point of view, it is also an artistic language that transmits aesthetic and aesthetic feelings. On the basis of ordinary language, its aesthetic value must be realized by means of the conceptual meaning of everyday language; it is also different from the everyday language, which is the aesthetic variation of the speech, the semantics and the grammar of the daily language. This aesthetic variation is highlighted in the supernormal nature of the collocation between the words and adjectives and the verbs that bear the language subject of the poetic image. Up.
The poetic imagery language is characterized by representativeness, metaphorical and national characteristics. The poet uses metaphor to make the image language of the figurative poetic image as the carrier of his subjective emotion. Both the aggressive imagery language and the innovative image language have national characteristics and must be restricted by national culture.
The poetic image language has the function of image depiction, the function of emotional depiction and the function of aesthetics. The poetic image language is a highly unified language for the image depiction and the emotional depiction. It expresses the scenery from the angle of the combination of the image depiction and the emotion depiction. It contains the subjective emotion and the profound philosophy in the image depiction of the objects. It has a rich aesthetic attribute, its essential feature is aesthetic, it brings people the aesthetic feeling and enlightenment, and has the prominent aesthetic function. The image depicting and emotional depicting function of the poetic image language also makes the poetic image language bring the aesthetic feeling of the external form and the aesthetic feeling of inner connotation.
When the poet constructs the image language, it uses the metaphorical thinking mechanism. Metaphorical thinking is based on the similarity between people and things and between objects and objects. Therefore, metaphorical thinking follows the law of thinking of mutual infiltration of all things. Similarly, it corresponds to a certain subjective feeling and some perceptual characteristics of objective things, thus constructing metaphorical imagery language of poetry.
The poet is stimulated by the external world, produces creative motivation, and carries out the organization of internal speech under the drive of creative motivation. The conception and organizational process of the internal speech in the poetic image language is the process that the poet chooses the objective things to act as the image carrier under the restriction of the national culture, and constructs the poetic image language to trust the emotion.
When the internal language of the poetic image language is generated, the internal language must be externalized and sent to the sound and form to the text. The whole process of the poetic image language construction can be completed. By using the external language means, such as speech, semantics, grammar, and other external language means, the poet realizes the transformation of the internal speech to the external speech expression form of the metaphor.
The poetic image language has the semantic multi-layer, polysemous and uncertain characteristics. The understanding of the deep meaning of the poetic image language must be restricted by the cultural context. In the poetry, the main image words in the image language play an important role. Therefore, the correct grasp of the main image words depends on the cultural context of existence and is a profound understanding of the poetic imagery. The important basis and guarantee of the deep meaning of language.
The semantic understanding of the poetic image language can appeal to the help of the two axis relations of the language coordinate system. From the semantic relation, the context meaning of the poetry constitutes the transverse axis of the semantic understanding of the image language, and the various cultural contexts of the main image words form the longitudinal axis of the semantic understanding of the image language. Paradigmatic relations interact and restrict each other, thus forming the deep aesthetic meaning of poetic imagery language.
According to the choice and understanding of the subject image words and expressions of the poetic image language, the Chinese and English poetry works are taken as the examples of the theme of love, joy, sentimentality and interest, and the main body of "love image words", "happy image words", "sentimental image words", "rational interest image words" in Chinese and English poetry works. Do a specific example of comparison and analysis.
【學(xué)位授予單位】：上海外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2007
【分類號(hào)】：I052

【引證文獻(xiàn)】

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