發(fā)布時(shí)間：2018-06-01 02:12

  本文選題：反諷模態(tài) + 傳統(tǒng)反諷　； 參考：《湖南科技大學(xué)》2007年碩士論文

【摘要】： 反諷是中西文藝批評(píng)的基礎(chǔ)理論。從古希臘、雅典時(shí)期到現(xiàn)代語義學(xué)、語用分析時(shí)期,從蘇格拉底到米克、哈桑,從中國的社會(huì)反諷到西方式技巧,反諷多被當(dāng)作修辭技巧、文本結(jié)構(gòu)與創(chuàng)作原則來看待;新批評(píng)以來,作為一種對(duì)待世界的方法,反諷被當(dāng)作動(dòng)態(tài)的文化模態(tài),從文化批判、文化研究的角度重新認(rèn)識(shí)與評(píng)估其概念、性質(zhì)、功能、意義。 反諷模態(tài)即用模態(tài)對(duì)已有反諷理論進(jìn)行歸整。作為一種文化現(xiàn)象,反諷模態(tài)是反諷過程中形成的固定功能狀態(tài),既涵括一般性反諷,又摻揉反諷穩(wěn)定功能范式,還蘊(yùn)含反諷不同語境條件下性質(zhì)、功能、意義的嬗變,用模態(tài)寄意在突出其動(dòng)態(tài)特征。以新批評(píng)為過渡形態(tài)將其分作傳統(tǒng)模態(tài)與現(xiàn)代模態(tài)兩種,前者基本形成古典修辭反諷模態(tài)、德國浪漫主義的詩性哲學(xué)反諷模態(tài)、新批評(píng)的文本詩學(xué)反諷模態(tài)三種歷時(shí)形態(tài),其審美特征表現(xiàn)在內(nèi)層意義的能指與所指、矛盾的雙重形式結(jié)構(gòu)、情感與符號(hào)上。后者主要形成詞語反諷模態(tài)、話語反諷模態(tài)、主題反諷模態(tài)三種共時(shí)形態(tài),其審美特征表現(xiàn)在不確定性、陌生化、語用化上。從實(shí)用性技巧經(jīng)詩性哲學(xué)、文本詩學(xué)再到當(dāng)下語用、語義分析,是從實(shí)踐到理論再回到實(shí)踐的辯證檢驗(yàn)過程,促成反諷模態(tài)一次次理論飛躍。同時(shí),在歷史流變中標(biāo)志出反諷模態(tài)處于漂流的發(fā)展趨勢(shì)。 任何理論范疇、藝術(shù)門類的建立都存在特定的哲學(xué)基礎(chǔ)。根據(jù)黑格爾哲學(xué)理論,反諷模態(tài)的哲學(xué)審美構(gòu)建主要反映在存在性與對(duì)象性兩方面,分別從可能化、現(xiàn)實(shí)化、必然化與主體性、否定性、批判性展開。作為一種前期性構(gòu)建,為以后繼續(xù)研究拓寬空間。 反諷模態(tài)的多維度批評(píng)實(shí)踐主要從修辭學(xué)、詩語、敘事學(xué)與接受美學(xué)等修辭與文學(xué)及現(xiàn)代學(xué)科層面展開,具體表現(xiàn)在反諷模態(tài)源于修辭性技巧,本質(zhì)是一種對(duì)話與解答;既是詩歌語言的組織特點(diǎn),又是詩歌內(nèi)義的平衡原則;采用本述與反述方式,反諷視角靈活多變;從讀者中心與本文中心兩個(gè)循環(huán)體展開心理接受。作為思想生命之自由與文學(xué)藝術(shù)之思的結(jié)晶品,反諷模態(tài)將社會(huì)批判與對(duì)人本身、人性、生命存在的反思兩相結(jié)合來實(shí)現(xiàn)與深化自身美學(xué)意義。
[Abstract]:Irony is the basic theory of Chinese and western literary criticism. From ancient Greece, Athens period to modern semantics, pragmatic analysis period, from Socrates to Meek, Hassan, from Chinese social irony to Western skills, irony is often regarded as rhetorical skills, text structure and creative principles. Since the new criticism, as a way of dealing with the world, irony has been regarded as a dynamic cultural mode, and it has been re-recognized and evaluated from the angle of cultural criticism and cultural research in terms of its concept, nature, function and significance. The ironic modal is used to integrate the existing theories of irony. As a cultural phenomenon, the mode of irony is a fixed functional state formed in the process of irony, which includes both general irony and the stable functional paradigm of irony, as well as the transmutation of nature, function and meaning of irony under different context conditions. Its dynamic characteristics are highlighted by modal signalling. Taking the new criticism as the transitional form, it is divided into the traditional mode and the modern mode. The former basically forms the classical rhetorical irony mode, the German Romantic poetic philosophical irony mode and the new criticism's textual poetic irony mode three diachronic forms. Its aesthetic characteristics are embodied in the signifier and signifier of inner meaning, the contradictory dual formal structure, emotion and symbol. The latter mainly forms three synchronic forms: verbal irony mode, discourse irony mode and thematic irony mode. The aesthetic features of the latter are uncertainty, strangeness and pragmatics. From practical skills to poetic philosophy, text poetics to present pragmatics, semantic analysis is a dialectical test process from practice to theory and back to practice, which promotes the theoretical leap of irony mode again and again. At the same time, in the historical evolution, the ironic mode is in the development trend of drift. The establishment of any theoretical category and art category has a specific philosophical basis. According to Hegel's philosophical theory, the philosophical aesthetic construction of irony mode is mainly reflected in the aspects of existence and object, which are carried out from possibility, reality, inevitability and subjectivity, negation and criticism respectively. As a kind of early-stage construction, it will broaden the space for further research. The multi-dimensional criticism practice of irony mode is mainly carried out from rhetoric, poetry, narratology and receptive aesthetics in rhetoric, literature and modern disciplines, which is embodied in that irony mode originates from rhetorical skills and is essentially a kind of dialogue and solution. It is not only the organizational feature of poetic language, but also the balance principle of poetic meaning; adopting the way of this and the reverse, the perspective of irony is flexible and changeable; and the psychological acceptance is carried out from the reader center and the center of this article. As the crystallization of the freedom of thought and the thought of literature and art, irony combines social criticism with reflection on human beings, human nature and existence of life to realize and deepen its own aesthetic significance.
【學(xué)位授予單位】：湖南科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：I04

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 陳仲義;;反諷:基于表里內(nèi)外語境的“佯裝”、“歪曲”——張力詩語探究之四[J];中國文學(xué)研究;2012年02期

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本文編號(hào)：1962462