發(fā)布時(shí)間：2018-06-11 22:30

  本文選題：詩(shī)歌 + 巫語(yǔ)�。� 參考：《山東師范大學(xué)》2005年碩士論文

【摘要】：巫術(shù)文化曾廣泛影響了世界各民族的政治、宗教、文學(xué)及其他各類藝術(shù)。詩(shī)歌和巫術(shù)語(yǔ)言都富有無窮的魔力。本文通過對(duì)二者關(guān)系的深入探討,可以更好地見出原始巫術(shù)思維與藝術(shù)思維的相通與相異。由詩(shī)歌和巫術(shù)語(yǔ)言的相異凸現(xiàn)詩(shī)歌語(yǔ)言的審美特性;由二者的相通見出人類共同的心理需求。同時(shí)通過對(duì)二者語(yǔ)言樣式的比較可以打開我們的視野,提供對(duì)當(dāng)代詩(shī)歌研究的新思路。 引論。自19 世紀(jì)中期開始有關(guān)巫術(shù)研究的理論和學(xué)說就層出不窮,而巫術(shù)儀式話語(yǔ)通常作為原始宗教和文化研究的一部分也受到人們的關(guān)注。國(guó)內(nèi)外學(xué)者對(duì)詩(shī)與巫術(shù)關(guān)系的研究大多從發(fā)生學(xué)的角度入手,著重從語(yǔ)言層面探討二者關(guān)系的論述并不多見,而由此透析語(yǔ)言與思維、語(yǔ)言與生存的深刻關(guān)聯(lián)在當(dāng)代具有特殊的價(jià)值和意義。 一、同源相通。原始巫術(shù)與原始詩(shī)歌同體共生。神秘性是巫術(shù)思維的本質(zhì)特征;同一性是巫術(shù)思維的運(yùn)作規(guī)則;具體性是巫術(shù)思維的表現(xiàn)形式。而巫術(shù)思維的神秘性、同一性、具體性特征與藝術(shù)思維的特性存在深刻的相通之處,這使得巫術(shù)語(yǔ)言具有音樂性、情感性、意象性等詩(shī)性表現(xiàn)特征。 二、艱難的分化。隨著科學(xué)的發(fā)展和人類個(gè)體意識(shí)的確立,巫術(shù)緩慢地走向了衰落。當(dāng)然巫術(shù)自身的失敗也改變著人們對(duì)巫術(shù)語(yǔ)言篤信癡迷的態(tài)度。這樣原始一體性文化在發(fā)展中出現(xiàn)了分化,這為詩(shī)歌藝術(shù)脫離原始宗教走上獨(dú)立成熟的道路提供了契機(jī)。 三、相似中的差異。詩(shī)歌不再是巫術(shù)話語(yǔ),這主要表現(xiàn)在:詩(shī)歌是向心性話語(yǔ),巫術(shù)語(yǔ)言是外指向性話語(yǔ),前者指向內(nèi)在,后者指向外在;詩(shī)歌與巫語(yǔ)給人帶來的情感體驗(yàn)是不同的,巫語(yǔ)則讓人感到神秘的強(qiáng)制,而詩(shī)歌則帶來生命的豐富體驗(yàn)和自由氣息;對(duì)于人的治療來講,巫語(yǔ)突出的是其實(shí)用功能,而詩(shī)歌突出的是其審美功能,前者更為直接,具有類似行為性的“施動(dòng)性”效果,后者則較為間接,是一種精神性升華。 四、現(xiàn)代詩(shī)的巫歌情懷�，F(xiàn)代詩(shī)歌表現(xiàn)出返祖復(fù)魅的傾向。這啟發(fā)著我們重新去思考巫術(shù)與詩(shī),乃至巫術(shù)與人類生存世界的關(guān)系。神秘是詩(shī)歌永遠(yuǎn)揭不去的面紗;詩(shī)人在當(dāng)代更應(yīng)該承擔(dān)起通靈、預(yù)言的重任;巫術(shù)意識(shí)中的生命一體觀有助于我們反思人與自然外界的關(guān)系。 結(jié)語(yǔ)。藝術(shù)思維與巫術(shù)思維同中有異,異中有同,詩(shī)歌不可能再回復(fù)為巫術(shù)話語(yǔ)。自由幻想是人的天性,借助巫術(shù)觀念及其思維方式來復(fù)生現(xiàn)代藝術(shù)并彌合人與世界對(duì)立的鴻溝,不失為一條現(xiàn)代人重返和諧生存狀態(tài)的詩(shī)意通道。
[Abstract]:Witchcraft culture has influenced the politics, religion, literature and other kinds of arts of all nations in the world. Poetry and witchcraft language are full of endless magic. In this paper, we can find out the connection and difference between the original witchcraft thinking and the artistic thinking through the deep discussion of the relationship between the two. The aesthetic characteristics of poetic language are highlighted by the differences between poetry and witchcraft language, and the common psychological needs of human beings are seen from the connection of the two languages. At the same time, through the comparison of the two language styles, we can open our vision and provide a new way to study contemporary poetry. Since the middle of the 19th century, theories and doctrines on witchcraft have been emerging in endlessly, and the discourse of witchcraft ritual is usually regarded as a part of the study of primitive religion and culture. Scholars at home and abroad study the relationship between poetry and witchcraft mostly from the perspective of genomics, focusing on the discussion of the relationship between the two from the language level is rare, and thus analyze the language and thinking. The profound relationship between language and existence has special value and significance in contemporary times. Primitive witchcraft and primitive poetry coexist in the same body. Mystery is the essential feature of witchcraft thinking, identity is the operating rule of witchcraft thinking, and concreteness is the manifestation of witchcraft thinking. However, the mysticism, identity, specificity of witchcraft thinking have profound similarities with the characteristics of artistic thinking, which makes witchcraft language have poetic characteristics such as musicality, sensibility, imagery and so on. Second, difficult differentiation. With the development of science and the establishment of individual consciousness, witchcraft slowly declined. Of course, the failure of witchcraft itself has changed people's obsession with witchcraft language. In this way, the primitive unity culture has been divided in the development, which provides an opportunity for poetry art to break away from the primitive religion and walk on the road of independence and maturity. Third, the difference in similarity. Poetry is no longer the discourse of witchcraft, which is mainly manifested in: poetry is a discourse of tropism, the language of witchcraft is a discourse of external direction, the former points to the inner, the latter points to the external; the emotional experience of poetry and witchcraft is different from that brought by the language of witchcraft. Witchcraft makes people feel mysterious and forced, while poetry brings a rich experience of life and a breath of freedom. For the treatment of human beings, the witch language stands out for its practical function, while the poetry for its aesthetic function, the former is more direct. It has similar action effect, the latter is indirect, it is a spiritual sublimation. Modern poetry shows the tendency of atavism and reenchantment. This inspired us to rethink the relationship between witchcraft and poetry, and even between witchcraft and the world of human existence. Mystery is the veil that poetry can never reveal; poets should bear the burden of channeling and prophesying in contemporary times; the concept of life unity in witchcraft consciousness helps us to reflect on the relationship between man and nature. There are differences between artistic thinking and witchcraft thinking, so poetry can no longer be returned to witchcraft discourse. Free fantasy is the nature of human beings. It is a poetic channel for modern people to return to a harmonious state of existence by means of witchcraft and its mode of thinking to reinvigorate modern art and bridge the gap between man and the world.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2005
【分類號(hào)】：I052

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 周芳;先秦食舉樂考探[D];武漢音樂學(xué)院;2007年

，

本文編號(hào)：2006924