80年代以来现代汉语诗歌的隐喻特征研究

发布时间：2018-02-20 17:35

本文关键词： 诗歌隐喻情感诗到语言止拒绝隐喻诗歌分行　出处：《广西大学》2013年硕士论文　论文类型：学位论文

【摘要】：诗歌是一门古老、用来阐述心灵的文学体裁,诗歌中的隐喻通常会被当作修辞格来看待,但是人们往往忽略掉语言系统天生的隐喻性,而没有从本质上去认识诗歌中的隐喻。从传统诗学角度看,诗歌的本质在于言此意彼。言与道的分离导致言不尽意,此处言只能暗示而不能直指,而彼处是不可能言的,只能靠言的暗示去意会。换言之,语言的最本质特征是隐喻,隐喻本身又是一种文学性语言,“言此意彼”正是诗歌所特有的美学特征,所以隐喻就是诗性的语言,所以诗歌语言和隐喻本是同根同源同质,诗歌作为隐喻研究的语料最为合适。现代汉语诗歌的隐喻特征从20世纪80年代以来发生了一系列改变,造成这些变化的原因是多方面的,从语言学方面来分析主要分为内容意义上的改变和形式格律上的改变。从内容意义上来讲：80年代初,以食指、北岛、杨炼、舒婷、顾城为代表的“朦胧诗”派诗人在诗歌创作中渗透了大量隐喻,此时人们对诗歌隐喻的理解仅限于修辞学上的隐喻,本体与喻体富含情感,多有夸张的“英雄主义”情结,本体与喻体的语义映射关系繁杂,大都以共同的情感色彩为关联基础,负载文化蕴意的意象厚重、层层叠加,大量喻意信息堆积在诗歌当中,使读者思不暇接,诗歌显得“晦涩、多义、朦胧”。80年代以后出现以韩东、于坚、西川、臧棣为代表的“第三代诗人”,他们借鉴吸收西方现代主义诗歌的艺术经验,将诗歌隐喻的范围扩大到语言层面,隐喻不再只是修辞格。此时构成诗歌隐喻的本体和喻体多来自于日常生活的琐碎意象,“回归语言”的观念使隐喻本体与喻体之间呈现单一的语义映射关系,“冷抒情”的创作方式让诗歌隐喻平淡写实。在“诗到语言止”、“拒绝隐喻”口号的倡导下,语感、意识、语言的“还原理论”带领诗人将诗歌隐喻回归“纯语言”状态,日常口语成为构建诗歌隐喻的主体部分,隐喻趋向于对客观世界的简单命名。从形式格律的变化上来讲：利用分行创造隐喻空间是诗人们一直在探索、实践的问题,从“朦胧诗”到“第三代诗人”再发展到今天,现代汉语诗歌分行的方式随着诗人观念的改变也有着细微的变化：从束缚于古典诗歌格律,到有所启发、创新,再到有意识地塑造形式意义空间,乃至彻底摆脱束缚完全自由地分行,都体现了诗人敢于尝试、推陈出新的创新精神。诗歌中隐喻的变化是人们认知关系发生改变的结果。进入语言层面,就是语义的多义性和创造性发生变化的结果。本选题着力于选取具有代表性的现代汉语诗歌为语料,对80年代以来现代汉语诗歌的隐喻特征进行描写、归纳、总结,帮助人们认识语言本身的隐喻性,使人们认识到现代汉语诗歌隐喻的本质特征。
[Abstract]:Poetry is an ancient literary genre used to explain the soul. Metaphors in poetry are often treated as rhetorical Ge Lai, but people tend to ignore the natural metaphorical nature of the language system. From the point of view of traditional poetics, the essence of poetry lies in saying this meaning and meaning. The separation of speech and Tao leads to the lack of meaning of speech. Here, words can only be implied, not directly pointed at, and it is impossible to say anything else. In other words, the most essential feature of language is metaphor, and metaphor itself is a literary language. Therefore, poetic language and metaphor are homologous and homogenous, and poetry is the most suitable material for metaphor research. Since 1980s, a series of changes have taken place in the metaphorical characteristics of modern Chinese poetry. In terms of linguistics, it is mainly divided into changes in the meaning of content and changes in formal patterns. In terms of content, at the beginning of the 1980s, the index finger, the North Island, Yang Lian, and Shu Ting took the index finger, the North Island, Yang Lian, and Shu Ting. The poets of "hazy poetry" represented by Gu Cheng have infiltrated a large number of metaphors in their poetry creation. At this time, people's understanding of poetic metaphors is limited to rhetorical metaphors. Noumenon and vehicle are rich in emotion and have exaggerated "heroism" complex. The semantic mapping relationship between ontology and vehicle is complicated, and most of them are based on the common emotional color. The images loaded with cultural meaning are thick, stacked layer upon layer, and a large amount of metaphorical information is accumulated in poetry, which makes the reader unable to think. Poetry appears to be "obscure, polysemous, hazy". After the 1980s, "the third generation poets", represented by Han Dong, Yu Jian, Xichuan and Zang Di, appeared after the 1980s. They learned from the artistic experience of western modernist poetry. To extend the scope of poetic metaphor to the linguistic level, Metaphor is no longer just a rhetorical figure of speech. At this time, the ontology and metaphor of poetry metaphor come from the trivial images of daily life. The idea of "returning to language" makes the semantic mapping relationship between metaphor ontology and the metaphor simple, and "cold express". The creation of emotion makes the metaphor of poetry plain and realistic. Under the slogan of "poem to language" and "refuse metaphor", The "restoration theory" of language sense, consciousness and language leads the poet to return the poetic metaphor to the "pure language" state, and the daily spoken language becomes the main part of constructing the poetic metaphor. Metaphor tends to be a simple name for the objective world. From the perspective of the change of formal rules: the use of branches to create metaphorical space is a problem that poets have been exploring and practicing, from "obscure poetry" to "the third generation of poets" and then to today. With the change of the poet's concept, the way of modern Chinese poetry branch also has a slight change: from being bound to classical poetry, to enlightening, innovating, to consciously shaping the space of formal meaning. Even completely free from the shackles of the branch, reflects the poet dare to try, innovative spirit. The change of metaphor in poetry is the result of the change of people's cognitive relationship. Entering the linguistic level, it is the result of semantic polysemy and creativity. This paper describes, induces and summarizes the metaphorical features of modern Chinese poetry since 80s, which helps people understand the metaphorical nature of language itself and make people realize the essential features of metaphor in modern Chinese poetry.
【学位授予单位】：广西大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：H15;I207.25

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