后朦胧诗与元曲的解构美学
发布时间：2018-08-03 19:42
【摘要】：后朦胧诗与元曲虽然在文学史上相隔千年,但它们都对传统文学从根基上进行反叛,从而呈现出一种共同的解构主义美学倾向,即反对文学有一个固定的中心,文学不再是承载他者的工具,而是表现自我的主体。同时,后朦胧诗歌与元曲反对文学的有一个固定的解释,诗人认为诗歌的意义应该是语境化的、多解的、与前代作品联系的,甚至是无解的。自由精神是后朦胧诗与元曲最重要的精神,一切规则都不再存在,可以表达一切,可以用一切方式表达。第一章主要研究后朦胧诗与元曲的解构重心,后朦胧诗与元曲对精神化的性进行了解构,将性还原到肉体的层面,同时突出了女性主动的性欲望、性意识。后朦胧诗元曲还对具有社会价值的死亡进行解构,死得“重于泰山”还是“轻于鸿毛”其实没有区别。诗人同时还对日常生活进行了解构,否认日常生活底下还存在深沉的本质规律,他们只在粗糙原始的生活本身中感受快乐。后朦胧诗与元曲同时还对文化进行超越,他们认为文化那一层层隐喻、象征,遮蔽了宇宙本原。英雄也是他们的解构目标,他们将英雄还原为人。第二章主要讨论的是后朦胧诗与元曲“反叛”的艺术呈现,后朦胧诗与元曲破除了能指与所指的固定关系,元曲与后朦胧诗也转变为“辞丰义约”与“言之无物”,后朦胧诗与元曲还大量对于前人的经典作品进行有意误读,将原作的典雅崇高改写为幽默通俗。狂欢化的手法在元曲与后朦胧诗中也经常得以展现,释放语言与生命的激情,他们还打破普通话的话语霸权,在诗歌中大量使用方言,使得诗歌呈现一种与以往不一样的语感。第三章主要探究了后朦胧诗与元曲的自由精神,首先是酒神精神,元曲与后朦胧诗在作品中大力张扬无理性,诗歌中有强烈的自我意志灌注。还有就是游戏精神,他们的诗歌有时并想传达任何价值观,写作只是为了好玩,为了有趣。还有元曲与后朦胧诗中的极端精神,他们像极端分子一般在诗歌的领域狂飙突进。黑色幽默精神在他们作品中也十分明显,以笑写悲,悲喜交融,用幽默地方式去揭示世界背后的残酷荒诞。最后一章论述了元曲与后朦胧诗的写作神话,笔者认为元曲与后朦胧诗的写作是“共工怒触不周山”式的,他们的撞断的“不周山”就是德里达所说的“在场”,或者说中心和本质,他们将传统文学的根基撞断了。而他们的创造就好比天柱撞断后倾泻下来的洪水,那些丑的、脏的、情色的、本我的、非理性、非道德的东西得以直接展现在人们眼前。
[Abstract]:Although there are thousands of years between post-obscure poetry and Yuan qu in the history of literature, they both revolt against the traditional literature from the foundation, thus showing a common aesthetic tendency of deconstruction, that is, opposing literature has a fixed center. Literature is no longer the tool of others, but the subject of self-expression. At the same time, there is a fixed explanation for the opposition to literature in post-obscure poetry and Yuan qu. The poet thinks that the meaning of poetry should be contextualized, multi-explanatory, connected with previous works, or even unsolved. The spirit of freedom is the most important spirit of post-obscure poetry and Yuan qu, all rules no longer exist, can express everything, can be expressed in any way. The first chapter mainly studies the deconstruction center of post-obscurity poetry and Yuan qu, which deconstructs the nature of spiritualization, restores sex to the physical level, and at the same time highlights the female's active sexual desire and consciousness. The Yuan qu deconstructs the death with social value, and it is no difference between death "heavier than Mount Tai" or "lighter than Mao". At the same time, the poet deconstructed the daily life, denied that there are still deep essential laws under the daily life, they only feel happy in the rough primitive life itself. Post-obscurity poetry and Yuan qu transcend culture at the same time, they think that cultural metaphors, symbols, obscured the origin of the universe. Heroes are also their deconstruction goals. They restore heroes to human beings. The second chapter mainly discusses the artistic presentation of "rebellion" between post-obscure poetry and Yuan qu, which breaks the fixed relationship between signifier and signifier, and changes from Yuan qu and post-obscurity poem to "ci Fengyi covenant" and "words without substance". Post-obscure poetry and Yuan qu also intentionally misread the classical works of the predecessors, rewriting the elegance and sublime of the original into humor and popular. The carnival techniques are also often displayed in Yuan qu and post-obscure poems, releasing the passion of language and life. They also break the discourse hegemony of Putonghua and use dialects extensively in poetry, which makes poetry show a different sense of language than before. The third chapter mainly explores the free spirit of post-obscure poetry and Yuan qu, first of all, the spirit of Dionysus, Yuan qu and post-obscure poetry in the works to promote irrationality, poetry has a strong self-instillation. And then there's the spirit of play, their poetry sometimes wants to convey any values, writing just for fun, for fun. There is also the extreme spirit of Yuan qu and post-hazy poetry, which are like extremists in the field of poetry. The spirit of black humor is also very obvious in their works. It uses laughter to write sadness, sorrow and joy, and reveals the cruel absurdity behind the world in a humorous way. The last chapter discusses the writing mythology of Yuan qu and post-hazy poems. The author thinks that the writing of Yuan qu and post-hazy poems is "common work anger is not enough" type, and their broken "Zhou Shan" is what Derrida calls "presence". In other words, the center and essence, they break the foundation of traditional literature. And their creation is like a flood of broken pillars, ugly, dirty, erotic, self, irrational, immoral things that are directly visible to people.
【学位授予单位】：四川省社会科学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.2
本文编号：2162808
[Abstract]:Although there are thousands of years between post-obscure poetry and Yuan qu in the history of literature, they both revolt against the traditional literature from the foundation, thus showing a common aesthetic tendency of deconstruction, that is, opposing literature has a fixed center. Literature is no longer the tool of others, but the subject of self-expression. At the same time, there is a fixed explanation for the opposition to literature in post-obscure poetry and Yuan qu. The poet thinks that the meaning of poetry should be contextualized, multi-explanatory, connected with previous works, or even unsolved. The spirit of freedom is the most important spirit of post-obscure poetry and Yuan qu, all rules no longer exist, can express everything, can be expressed in any way. The first chapter mainly studies the deconstruction center of post-obscurity poetry and Yuan qu, which deconstructs the nature of spiritualization, restores sex to the physical level, and at the same time highlights the female's active sexual desire and consciousness. The Yuan qu deconstructs the death with social value, and it is no difference between death "heavier than Mount Tai" or "lighter than Mao". At the same time, the poet deconstructed the daily life, denied that there are still deep essential laws under the daily life, they only feel happy in the rough primitive life itself. Post-obscurity poetry and Yuan qu transcend culture at the same time, they think that cultural metaphors, symbols, obscured the origin of the universe. Heroes are also their deconstruction goals. They restore heroes to human beings. The second chapter mainly discusses the artistic presentation of "rebellion" between post-obscure poetry and Yuan qu, which breaks the fixed relationship between signifier and signifier, and changes from Yuan qu and post-obscurity poem to "ci Fengyi covenant" and "words without substance". Post-obscure poetry and Yuan qu also intentionally misread the classical works of the predecessors, rewriting the elegance and sublime of the original into humor and popular. The carnival techniques are also often displayed in Yuan qu and post-obscure poems, releasing the passion of language and life. They also break the discourse hegemony of Putonghua and use dialects extensively in poetry, which makes poetry show a different sense of language than before. The third chapter mainly explores the free spirit of post-obscure poetry and Yuan qu, first of all, the spirit of Dionysus, Yuan qu and post-obscure poetry in the works to promote irrationality, poetry has a strong self-instillation. And then there's the spirit of play, their poetry sometimes wants to convey any values, writing just for fun, for fun. There is also the extreme spirit of Yuan qu and post-hazy poetry, which are like extremists in the field of poetry. The spirit of black humor is also very obvious in their works. It uses laughter to write sadness, sorrow and joy, and reveals the cruel absurdity behind the world in a humorous way. The last chapter discusses the writing mythology of Yuan qu and post-hazy poems. The author thinks that the writing of Yuan qu and post-hazy poems is "common work anger is not enough" type, and their broken "Zhou Shan" is what Derrida calls "presence". In other words, the center and essence, they break the foundation of traditional literature. And their creation is like a flood of broken pillars, ugly, dirty, erotic, self, irrational, immoral things that are directly visible to people.
【学位授予单位】：四川省社会科学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.2
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