艺术语言辞里与辞面的不吻合性研究

发布时间：2018-05-27 02:22

本文选题：术语 + 言辞　；参考：《云南师范大学》2003年硕士论文

【摘要】： 本文从语义学、语用学、行为主义心理学、格式塔心理学、图式理论，以及美学、普通心理学等角度，对与艺术语言辞里与辞面的不吻合性及与此相关的几个问题进行了论述和探讨。引言部分提出了本文准备探讨的几个问题。首先，辞里与辞面不吻合是语言运用中的普遍现象，就辞里与辞面的不吻合性而言，艺术语言与其他的言语运用形式有何不同？其次，艺术语言辞里与辞面不吻合，那么艺术语言是如何理解的？它的作用机制是什么？语境在其中所起的作用是什么，是如何作用的？辞里和辞面是植根于中国自己的学术土壤的概念。第二部分把辞里和辞面的概念放在现代语言学的背景下进行了梳理，指出辞里和辞面及其相关概念是从语言运用的角度提出来的。在此基础上，把辞面定义为汉语的编码形式，辞面意义定义为话语形式脱离实际运用所具有的静态意义，辞里定义为话语在具体的交际过程中所具有的意义。最后用辞里与辞面意义的关系定义辞里与辞面的关系。第三部分根据辞里与辞面意义的关系，把辞里与辞面的关系分为四种类型：1．辞里与辞面意义相同；2．辞里与辞面意义相反； 3．辞里包含辞面意义；4．辞里与辞面意义没有可比性。第四部分在第三部分分类的基础上，归纳总结了艺术语言在辞里与辞面的不吻合性这一点上所具有的特点。指出艺术语言的不吻合性是由于辞里所包含的情感信息和审美信息造成的，艺术语言以此区别于其他言语运用形式。第五部分，从如何超越艺术语言辞面到达辞里的角度对艺术语言的作用机制进行了探讨。重点探讨了语境重建的心理机制，提出了艺术语言生成的三种主要方式以及理解的两种模式。第六部分是结语，指出了本文的不足和有待继续探讨和解决的问题，，指出本文存在过分依赖推理和内省的方法，如何摆脱这种方法的局限，是今后努力的方向。
[Abstract]:From the perspectives of semantics, pragmatics, behaviorism psychology, Gestalt psychology, schema theory, aesthetics, general psychology, etc. This paper discusses the inconsistency with artistic language and some related problems. The introduction part puts forward several problems that this paper intends to discuss. First of all, incongruity between speech and speech is a common phenomenon in the use of language. What is the difference between artistic language and other forms of speech use in terms of the incongruity between speech and speech? Secondly, the artistic language words and rhetoric do not match, so how to understand the artistic language? What is its mechanism? What is the role of context in it and how? Ci-Li and ci-mi are concepts rooted in China's own academic soil. The second part combs the concept of ci-Li and ci-face in the context of modern linguistics and points out that the Concepts of ci-Li and ci-face and their related concepts are put forward from the perspective of language use. On this basis, the paper defines the speech surface as the coding form of Chinese, the verbal meaning as the static meaning of the discourse form being divorced from the actual application, and the meaning of the discourse in the concrete communication process. Finally, it defines the relationship between verbal meaning and verbal meaning. In the third part, according to the relationship between ci Li and rhetorical meaning, the relationship between ci Li and ci face is divided into four types: 1. The meaning of ci Li is the same as that of rhetoric face. The meaning of rhetoric is opposite to that of rhetoric; 3. The rhetoric contains the meaning of rhetoric. There is no comparability between the meaning of rhetoric and the meaning of rhetoric. The fourth part summarizes the characteristics of artistic language on the basis of the third part. It is pointed out that the incongruity of artistic language is caused by the emotional information and aesthetic information contained in the speech, which distinguishes the artistic language from other forms of speech application. The fifth part discusses the mechanism of art language from the angle of how to transcend the artistic language. This paper focuses on the psychological mechanism of context reconstruction and puts forward three main ways of artistic language generation and two modes of understanding. The sixth part is the conclusion, pointing out the deficiency of this paper and the problems that need to be further discussed and solved, pointing out that there is too much reliance on reasoning and introspection in this paper. How to get rid of the limitation of this method is the direction of future efforts.
【学位授予单位】：云南师范大学
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：I04

【共引文献】