后朦朧詩(shī)與元曲的解構(gòu)美學(xué)
發(fā)布時(shí)間：2018-08-03 19:42
【摘要】：后朦朧詩(shī)與元曲雖然在文學(xué)史上相隔千年,但它們都對(duì)傳統(tǒng)文學(xué)從根基上進(jìn)行反叛,從而呈現(xiàn)出一種共同的解構(gòu)主義美學(xué)傾向,即反對(duì)文學(xué)有一個(gè)固定的中心,文學(xué)不再是承載他者的工具,而是表現(xiàn)自我的主體。同時(shí),后朦朧詩(shī)歌與元曲反對(duì)文學(xué)的有一個(gè)固定的解釋,詩(shī)人認(rèn)為詩(shī)歌的意義應(yīng)該是語(yǔ)境化的、多解的、與前代作品聯(lián)系的,甚至是無(wú)解的。自由精神是后朦朧詩(shī)與元曲最重要的精神,一切規(guī)則都不再存在,可以表達(dá)一切,可以用一切方式表達(dá)。第一章主要研究后朦朧詩(shī)與元曲的解構(gòu)重心,后朦朧詩(shī)與元曲對(duì)精神化的性進(jìn)行了解構(gòu),將性還原到肉體的層面,同時(shí)突出了女性主動(dòng)的性欲望、性意識(shí)。后朦朧詩(shī)元曲還對(duì)具有社會(huì)價(jià)值的死亡進(jìn)行解構(gòu),死得“重于泰山”還是“輕于鴻毛”其實(shí)沒(méi)有區(qū)別。詩(shī)人同時(shí)還對(duì)日常生活進(jìn)行了解構(gòu),否認(rèn)日常生活底下還存在深沉的本質(zhì)規(guī)律,他們只在粗糙原始的生活本身中感受快樂(lè)。后朦朧詩(shī)與元曲同時(shí)還對(duì)文化進(jìn)行超越,他們認(rèn)為文化那一層層隱喻、象征,遮蔽了宇宙本原。英雄也是他們的解構(gòu)目標(biāo),他們將英雄還原為人。第二章主要討論的是后朦朧詩(shī)與元曲“反叛”的藝術(shù)呈現(xiàn),后朦朧詩(shī)與元曲破除了能指與所指的固定關(guān)系,元曲與后朦朧詩(shī)也轉(zhuǎn)變?yōu)椤稗o豐義約”與“言之無(wú)物”,后朦朧詩(shī)與元曲還大量對(duì)于前人的經(jīng)典作品進(jìn)行有意誤讀,將原作的典雅崇高改寫為幽默通俗。狂歡化的手法在元曲與后朦朧詩(shī)中也經(jīng)常得以展現(xiàn),釋放語(yǔ)言與生命的激情,他們還打破普通話的話語(yǔ)霸權(quán),在詩(shī)歌中大量使用方言,使得詩(shī)歌呈現(xiàn)一種與以往不一樣的語(yǔ)感。第三章主要探究了后朦朧詩(shī)與元曲的自由精神,首先是酒神精神,元曲與后朦朧詩(shī)在作品中大力張揚(yáng)無(wú)理性,詩(shī)歌中有強(qiáng)烈的自我意志灌注。還有就是游戲精神,他們的詩(shī)歌有時(shí)并想傳達(dá)任何價(jià)值觀,寫作只是為了好玩,為了有趣。還有元曲與后朦朧詩(shī)中的極端精神,他們像極端分子一般在詩(shī)歌的領(lǐng)域狂飆突進(jìn)。黑色幽默精神在他們作品中也十分明顯,以笑寫悲,悲喜交融,用幽默地方式去揭示世界背后的殘酷荒誕。最后一章論述了元曲與后朦朧詩(shī)的寫作神話,筆者認(rèn)為元曲與后朦朧詩(shī)的寫作是“共工怒觸不周山”式的,他們的撞斷的“不周山”就是德里達(dá)所說(shuō)的“在場(chǎng)”,或者說(shuō)中心和本質(zhì),他們將傳統(tǒng)文學(xué)的根基撞斷了。而他們的創(chuàng)造就好比天柱撞斷后傾瀉下來(lái)的洪水,那些丑的、臟的、情色的、本我的、非理性、非道德的東西得以直接展現(xiàn)在人們眼前。
[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.
【學(xué)位授予單位】：四川省社會(huì)科學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.2
本文編號(hào)：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.
【學(xué)位授予單位】：四川省社會(huì)科學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.2
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 畢嬌嬌;;元曲詞匯研究綜述[J];忻州師范學(xué)院學(xué)報(bào);2016年03期
2 趙紅;;元曲發(fā)展及其語(yǔ)言現(xiàn)象研究[J];長(zhǎng)江叢刊;2016年14期
3 羅麒;;21世紀(jì)詩(shī)歌:“代際”寫作中的身份認(rèn)同[J];學(xué)術(shù)交流;2016年03期
4 王曉升;;死亡控制與權(quán)力誕生——評(píng)鮑德里亞對(duì)權(quán)力產(chǎn)生根源的分析[J];蘇州大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2013年04期
5 林平喬;;第三代詩(shī)人創(chuàng)作中的古典詩(shī)歌因子[J];南通大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2012年03期
6 游弋;;2009:成都詩(shī)歌研究[J];青年作家;2010年10期
7 李建周;;第三代詩(shī)歌的認(rèn)同焦慮——以“1986'現(xiàn)代詩(shī)群體大展”為中心[J];文藝爭(zhēng)鳴;2009年08期
8 吳矛;;論第三代詩(shī)歌的“反詩(shī)歌”傾向[J];黃岡師范學(xué)院學(xué)報(bào);2008年02期
9 焦冬梅;;試論元曲語(yǔ)匯的口語(yǔ)性[J];理論界;2006年06期
10 林紅,沈玲;宋元之際民族融合下的文學(xué)轉(zhuǎn)型[J];長(zhǎng)春大學(xué)學(xué)報(bào);2003年06期
，本文編號(hào)：2162808
本文鏈接：http://sikaile.net/gudaiwenxuelunwen/2162808.html
最近更新
教材專著
