艺术语言的审美特性和指义性的语符实现

发布时间：2018-03-28 14:28

本文选题：艺术语言　切入点：符号　出处：《云南师范大学》2006年硕士论文

【摘要】：艺术语言是语言发展过程中人文精神高扬和敞亮的标志，它的产生和创造既是语言发展高度发达的必然结果，也是人类追求美的天性与气质在语言互动行为中的充分流露，更是语言学家心灵升华的体现和情感智慧的结晶。作为一种充满诗性的美学语言，艺术语言是具有审美意象和审美价值的言语符号，蕴涵了美学指义信息的审美特性是其最本质的属性，也是它区别于科学语言的最根本的特征。发话者根据语境的需要，运用形象思维和情感逻辑，使用背离常规语法的变异手法，塑造人物艺术形象，表现主体的思想情感，生成陌生化的语言符号，激活接受者的联想和想象，从而传递多层审美体验信息，让接受者得到美的艺术享受。本文运用语言学、符号学、美学、修辞学、心理学、文艺学、接受美学等学科的理论和方法，以艺术语言符号为本位，，立足于修辞学的立场，从生成和接受两大维度，系统地研究了艺术语言符号的审美特性和指义性的言语实现策略。第一部分引论，对本文使用的术语“符号”和“艺术语言”等基本概念进行界定和明确的定位，并在前人研究的基础上提出了自己的见解，肯定艺术语言是深层修辞，它的艺术性是形式与意义、内容三方面完美、高度的三维辩证统一，同时对艺术语言在符号形式和符号意义上分别表现出来的审美特性和指义性及其二者的关系作了综述，提出了本文的研究原则、方法、基本思路及语料来源。第二部分结合语言学、符号学、美学和文艺学等学科的相关理论，从发话主体的运思生成的视角，对艺术语言在符号形式上表现出来的三种审美特性作了分析，并把自我指陈性、曲指复义性和逼真虚指性分别与语言形式主义、语言晦涩和语言空无等非艺术语言现象作了区分探讨。第三部分运用心理学和阐释美学等学科的理论，从审美接受者或者说解构阐释者的角度，分析了接受者的心理特点，并对艺术语言在符号内容上呈现出来的多层审美指义信息系统作了结合语境具体功能的分析。第四部分通过收集阅读和分析研究大量的艺术语言材料，分别从语音、语法、语义、语体、标点、汉字等各个语言要素的角度，对审美特性和指义性辩证统一的艺术语言符号的最终实现，作了具体的例证分析和审美评判。第五部分结语，在前几部分论述的基础上，对论文研究的收获和优点进行概要的总结，并指出本文的有待完善之处。
[Abstract]:Artistic language is the symbol of the high and bright humanistic spirit in the process of language development. Its emergence and creation are not only the inevitable result of the highly developed language development, but also the full expression of human nature and temperament in the interactive behavior of language. As a poetic aesthetic language, artistic language is a verbal symbol with aesthetic image and aesthetic value. The aesthetic characteristic of implied aesthetic meaning information is not only its most essential attribute, but also the most fundamental characteristic which distinguishes it from scientific language. According to the needs of the context, the speaker uses image thinking and emotional logic, uses variation techniques that deviate from the conventional grammar, shapes the artistic image of the characters, expresses the subject's thoughts and emotions, and generates defamiliarized language symbols. It activates the association and imagination of the receiver, so as to transmit the multi-layer aesthetic experience information and make the recipient get the artistic enjoyment of beauty. This paper applies the theories and methods of linguistics, semiotics, aesthetics, rhetoric, psychology, literature and art, reception aesthetics and so on. This paper systematically studies the aesthetic characteristics of artistic language symbols and the verbal realization strategies of signifying. In the first part, the author defines and orientates the basic concepts of the terms "symbol" and "artistic language", and puts forward his own opinion on the basis of previous studies, affirming that artistic language is a deep rhetoric. Its artistry is the form and meaning, the content is perfect in three aspects, and the highly three-dimensional dialectical unity. At the same time, it summarizes the aesthetic characteristics and the referential meaning of artistic language in the symbolic form and the symbolic meaning, as well as the relationship between them. This paper puts forward the research principles, methods, basic ideas and the source of the corpus. The second part combines the theories of linguistics, semiotics, aesthetics and literature and art, and analyzes the three aesthetic characteristics of artistic language in the form of symbols from the perspective of the thinking generation of the speakers. This paper also makes a distinction between the self-referencing, the complex meaning of the curved finger and the lifelike hypocrisy, respectively, and the non-artistic linguistic phenomena such as linguistic formalism, language obscurity and language emptiness. The third part analyzes the psychological characteristics of the receiver from the perspective of the aesthetic receiver or deconstruction interpreter using the theories of psychology and hermeneutical aesthetics. And the multi-level aesthetic meaning information system of artistic language in symbol content is analyzed in combination with the specific function of context. In the fourth part, a large number of art language materials are collected and analyzed, from the perspective of phonological, grammatical, semantic, stylistic, punctuation, Chinese characters and other language elements, respectively. The final realization of the dialectical unity of aesthetic characteristics and finger-meaning of artistic language symbols is analyzed through concrete examples and aesthetic judgment. The conclusion of the fifth part, on the basis of the first few parts, summarizes the achievements and advantages of the paper, and points out that this paper needs to be improved.
【学位授予单位】：云南师范大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：I045

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