本文選題：術(shù)語 + 言辭��； 參考：《云南師范大學(xué)》2003年碩士論文

【摘要】： 本文從語義學(xué)、語用學(xué)、行為主義心理學(xué)、格式塔心理學(xué)、圖式理論，以及美學(xué)、普通心理學(xué)等角度，對與藝術(shù)語言辭里與辭面的不吻合性及與此相關(guān)的幾個問題進(jìn)行了論述和探討。 引言部分提出了本文準(zhǔn)備探討的幾個問題。首先，辭里與辭面不吻合是語言運用中的普遍現(xiàn)象，就辭里與辭面的不吻合性而言，藝術(shù)語言與其他的言語運用形式有何不同？其次，藝術(shù)語言辭里與辭面不吻合，那么藝術(shù)語言是如何理解的？它的作用機(jī)制是什么？語境在其中所起的作用是什么，是如何作用的？ 辭里和辭面是植根于中國自己的學(xué)術(shù)土壤的概念。第二部分把辭里和辭面的概念放在現(xiàn)代語言學(xué)的背景下進(jìn)行了梳理，指出辭里和辭面及其相關(guān)概念是從語言運用的角度提出來的。在此基礎(chǔ)上，把辭面定義為漢語的編碼形式，辭面意義定義為話語形式脫離實際運用所具有的靜態(tài)意義，辭里定義為話語在具體的交際過程中所具有的意義。最后用辭里與辭面意義的關(guān)系定義辭里與辭面的關(guān)系。 第三部分根據(jù)辭里與辭面意義的關(guān)系，把辭里與辭面的關(guān)系分為四種類型：1．辭里與辭面意義相同；2．辭里與辭面意義相反； 3．辭里包含辭面意義；4．辭里與辭面意義沒有可比性。 第四部分在第三部分分類的基礎(chǔ)上，歸納總結(jié)了藝術(shù)語言在辭里與辭面的不吻合性這一點上所具有的特點。指出藝術(shù)語言的不吻合性是由于辭里所包含的情感信息和審美信息造成的，藝術(shù)語言以此區(qū)別于其他言語運用形式。 第五部分，從如何超越藝術(shù)語言辭面到達(dá)辭里的角度對藝術(shù)語言的作用機(jī)制進(jìn)行了探討。重點探討了語境重建的心理機(jī)制，提出了藝術(shù)語言生成的三種主要方式以及理解的兩種模式。 第六部分是結(jié)語，指出了本文的不足和有待繼續(xù)探討和解決的問題，，指出本文存在過分依賴推理和內(nèi)省的方法，如何擺脫這種方法的局限，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.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2003
【分類號】：I04

【共引文獻(xiàn)】

相關(guān)期刊論文 前10條

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