中國與斯里蘭卡愛情詩歌的比較研究
發(fā)布時間：2018-07-16 08:06
【摘要】：愛情，永遠是社會生活的主題，也是世界文壇上長久不衰的母題。在抒發(fā)愛情的文學中，詩歌又是最古老也是最璀璨的文學載體。斯里蘭卡和中國同處亞洲的文化圈中，以印度文化為淵源的斯里蘭卡文化和中國文化，形成了獨特而自主的文化體系。在古典愛情詩歌的領域，以倫理為中心的儒家文化和以佛祖為中心的佛教文化，各自培育出了相關聯(lián)的主題：愛情抒情短詩的擅長和長篇敘事史詩的流行。而以農(nóng)耕文化為底蘊的民族特色和面朝大海熱帶風情的島國特色又形成了愛情內(nèi)容和描寫方式的側重，直接的表達和描繪是斯里蘭卡愛情詩歌的重要特色，而感傷情緒和對心理的細膩把握使中國的詩歌更注重深層的體悟和理解。 在19世紀末20世紀初風起云涌的時代，在相似的世界背景和社會環(huán)境中，兩個國家的現(xiàn)代化歷史也隨之開啟，在詩歌邁進各自現(xiàn)代化的過程中，兩國的現(xiàn)代詩歌同樣面臨相似的龜裂、發(fā)展和演變。愛情詩歌的發(fā)展歷程是這場“現(xiàn)代化”的一條重要線索。從兩國現(xiàn)代詩歌所處的社會環(huán)境來看，現(xiàn)代愛情詩歌均呈現(xiàn)出下列特征：開放性、時代性、多元性和民族性，依照各國的實際情況，具體有所不同。在現(xiàn)代愛情詩歌中，徐志摩和Siri Gunasingha(悉利·古納辛格)又分別是兩國最值得關注的對象。 徐志摩是中國格律派的代表人物，Siri Gunasingha是斯里蘭卡佩拉德尼亞派的代表人物，他們同受到西方思潮和文風的深刻影響，他們的思想都帶著“現(xiàn)代性”的烙印，在聯(lián)結各自民族和異質(zhì)文化上都起到了出色的“使者”作用。他們都是詩歌的“天才”，帶有強烈“個人色彩”，，顯示著個人獨到的領悟和魅力。 但他們又有明顯的差異，徐的詩歌思想是唯美的、浪漫的，Gunasingha走的是現(xiàn)實主義道路。Siri Gunasingha的詩歌里處處體現(xiàn)著現(xiàn)實主義詩人的清醒和追問，他的愛情詩歌折射著現(xiàn)代愛情的弊病和深刻現(xiàn)實，而徐志摩在氣質(zhì)上又完全偏向于個人浪漫主義，沉湎于自我的愛情世界，為愛而詩。從英國回來的徐強調(diào)詩歌傳統(tǒng)中的“格律”和“美”，Siri Gunasingha帶著哲思之韻卻帶給了蘭卡西方意象主義的熱潮，他把斯里蘭卡的自由體詩歌帶上了一條全新的“現(xiàn)代”道路。對他們兩人愛情詩歌的比較，更能形象地顯示出兩個國度在現(xiàn)代詩歌發(fā)展道路上不同的詩歌風景。
[Abstract]:Love is always the theme of social life and the motif of world literature. In the literature of expressing love, poetry is the oldest and brightest literary carrier. Sri Lanka and China are in the same Asian cultural circle. Sri Lankan culture and Chinese culture, which originated from Indian culture, have formed a unique and independent cultural system. In the field of classical love poetry, the Confucian culture centered on ethics and the Buddhist culture centered on Buddha have each cultivated the related themes: the excellence of short poems of love lyricism and the popularity of long narrative epics. However, the national characteristics of farming culture and the island features of tropical customs facing the sea form the emphasis of love content and description, and the direct expression and description are the important characteristics of Sri Lankan love poetry. And sentimental emotion and delicate grasp of psychology make Chinese poetry pay more attention to deep understanding and understanding. At the end of the 19th century and the beginning of the 20th century, in the similar world background and social environment, the modernization history of the two countries began. The modern poetry of the two countries also faces the similar crack, development and evolution. The development of love poetry is an important clue of modernization. According to the social environment of modern poetry in the two countries, modern love poetry shows the following characteristics: openness, times, pluralism and nationality, according to the actual situation of different countries. In modern love poetry, Xu Zhimo and Siri Gunasingha are the two most worthy of attention. Siri Gunasingha, a representative of the Chinese Rhythm School, is a representative figure of the Peraldnian faction in Sri Lanka. Both of them are deeply influenced by western trends of thought and literary style, and their thoughts are marked with the brand of "modernity". In the connection of their respective nationalities and heterogeneous cultures have played an outstanding "messenger" role. They are all poetic geniuses, with strong "personal color", showing their own unique understanding and charm. But there are obvious differences between them. Xu's poetic thoughts are aesthetically beautiful. The romantic Gunasingha takes the realistic road. Siri Gunasingha's poems are full of realistic poets' sobriety and questioning. His love poems reflect the drawbacks and profound reality of modern love, while Xu Zhimo completely inclines to personal romanticism in temperament, indulges in the love world of his own, and poems for love. Xu, who came back from England, emphasized the "rhythm" and "beauty" in the tradition of poetry. Siri Gunasingha, with the rhyme of philosophy, brought the wave of western imagism to Lanka, and he took Sri Lankan's free style poetry to a new "modern" road. The comparison of their love poems can more vividly reveal the different poetic scenery of the two countries in the development of modern poetry.
【學位授予單位】：南京師范大學
【學位級別】：博士
【學位授予年份】：2006
【分類號】：I0-03;I207.2;I358.072
本文編號：2125777
[Abstract]:Love is always the theme of social life and the motif of world literature. In the literature of expressing love, poetry is the oldest and brightest literary carrier. Sri Lanka and China are in the same Asian cultural circle. Sri Lankan culture and Chinese culture, which originated from Indian culture, have formed a unique and independent cultural system. In the field of classical love poetry, the Confucian culture centered on ethics and the Buddhist culture centered on Buddha have each cultivated the related themes: the excellence of short poems of love lyricism and the popularity of long narrative epics. However, the national characteristics of farming culture and the island features of tropical customs facing the sea form the emphasis of love content and description, and the direct expression and description are the important characteristics of Sri Lankan love poetry. And sentimental emotion and delicate grasp of psychology make Chinese poetry pay more attention to deep understanding and understanding. At the end of the 19th century and the beginning of the 20th century, in the similar world background and social environment, the modernization history of the two countries began. The modern poetry of the two countries also faces the similar crack, development and evolution. The development of love poetry is an important clue of modernization. According to the social environment of modern poetry in the two countries, modern love poetry shows the following characteristics: openness, times, pluralism and nationality, according to the actual situation of different countries. In modern love poetry, Xu Zhimo and Siri Gunasingha are the two most worthy of attention. Siri Gunasingha, a representative of the Chinese Rhythm School, is a representative figure of the Peraldnian faction in Sri Lanka. Both of them are deeply influenced by western trends of thought and literary style, and their thoughts are marked with the brand of "modernity". In the connection of their respective nationalities and heterogeneous cultures have played an outstanding "messenger" role. They are all poetic geniuses, with strong "personal color", showing their own unique understanding and charm. But there are obvious differences between them. Xu's poetic thoughts are aesthetically beautiful. The romantic Gunasingha takes the realistic road. Siri Gunasingha's poems are full of realistic poets' sobriety and questioning. His love poems reflect the drawbacks and profound reality of modern love, while Xu Zhimo completely inclines to personal romanticism in temperament, indulges in the love world of his own, and poems for love. Xu, who came back from England, emphasized the "rhythm" and "beauty" in the tradition of poetry. Siri Gunasingha, with the rhyme of philosophy, brought the wave of western imagism to Lanka, and he took Sri Lankan's free style poetry to a new "modern" road. The comparison of their love poems can more vividly reveal the different poetic scenery of the two countries in the development of modern poetry.
【學位授予單位】：南京師范大學
【學位級別】：博士
【學位授予年份】：2006
【分類號】：I0-03;I207.2;I358.072
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