本文選題：無(wú)意識(shí) + 個(gè)人無(wú)意識(shí)　； 參考：《西南交通大學(xué)》2002年碩士論文

【摘要】： 目前，國(guó)內(nèi)外有關(guān)詩(shī)人無(wú)意識(shí)心理對(duì)詩(shī)歌變異語(yǔ)言表達(dá)的影響的研究，尤其是對(duì)詩(shī)歌中無(wú)意識(shí)影響有意識(shí)的方式的研究幾近空白。本論文基于弗洛伊德的個(gè)人無(wú)意識(shí)理論、榮格的集體無(wú)意識(shí)理論以及美國(guó)形式主義的意圖理論，分析詩(shī)人在詩(shī)歌里使用變異語(yǔ)言的無(wú)意識(shí)動(dòng)機(jī)的種種情形，論證詩(shī)人無(wú)意識(shí)心理的客觀存在，并進(jìn)一步探討詩(shī)人無(wú)意識(shí)心理對(duì)詩(shī)歌變異語(yǔ)言表達(dá)的潛在影響。 全文主要包括下列三個(gè)部份： 第一，主要的理論依據(jù)，用以論證詩(shī)人無(wú)意識(shí)表達(dá)動(dòng)機(jī)的存在。弗洛伊德的個(gè)人無(wú)意識(shí)理論認(rèn)為，詩(shī)人的創(chuàng)作和他本人童年時(shí)代的愿望和創(chuàng)傷有關(guān)。而榮格的集體無(wú)意識(shí)理論則認(rèn)為，詩(shī)人可以超越個(gè)人的掙扎和痛苦，表達(dá)出人類的精神與心聲。美國(guó)形式主義的意圖理論指出，我們不應(yīng)限于作者所聲明的意圖以及評(píng)論家的解釋，而應(yīng)拓寬尋找動(dòng)機(jī)的范圍，從作品中推斷出作者沒(méi)有意識(shí)到的或是評(píng)論家沒(méi)有發(fā)現(xiàn)的動(dòng)機(jī)意義。 第二，詩(shī)歌變異語(yǔ)言的客觀存在。主要分析詩(shī)歌作品中實(shí)際存在的變異語(yǔ)言的種類、本質(zhì)及其劃分的標(biāo)準(zhǔn)。通過(guò)分析，我們可以看到，詩(shī)歌變異語(yǔ)言盡管怪誕不經(jīng)，甚至晦澀難懂，但都是對(duì)世界的新理解和原初命名。它有如一道閃電，在剎那間照亮世界。在語(yǔ)言局限無(wú)不存在的現(xiàn)實(shí)面前，表達(dá)變異是反映無(wú)窮新知的必需的客觀存在。 第三，創(chuàng)作實(shí)踐中的詩(shī)歌變異語(yǔ)言無(wú)意識(shí)表達(dá)動(dòng)機(jī)。對(duì)臺(tái)灣超現(xiàn)實(shí)主義詩(shī)人碧果的詩(shī)歌《靜物》進(jìn)行個(gè)案分析，探索詩(shī)中存在的個(gè)人無(wú)意識(shí)和集體無(wú)意識(shí)。詩(shī)人的無(wú)意識(shí)表達(dá)動(dòng)機(jī)，不管是評(píng)論家所發(fā)現(xiàn)、詩(shī)人也承認(rèn)了的，還是從詩(shī)中推斷出的，都不乏其例。通過(guò)深入而細(xì)致的分析，證明了詩(shī)人創(chuàng)作實(shí)踐上的無(wú)意識(shí)表達(dá)動(dòng)機(jī)的客觀存在，并對(duì)詩(shī)歌變異語(yǔ)言的表達(dá)產(chǎn)生一定的影響。 通過(guò)本研究，我們可以看到，詩(shī)歌變異語(yǔ)言中存在著詩(shī)人無(wú)意識(shí)的表達(dá)動(dòng)機(jī)，并以各種形式與有意識(shí)動(dòng)機(jī)發(fā)生聯(lián)系且對(duì)之產(chǎn)生影響。因此，我們?cè)诜治鲈?shī)歌變異語(yǔ)言的時(shí)候，除應(yīng)抓住有意識(shí)因素以外，還應(yīng)考慮無(wú)意識(shí)表達(dá)動(dòng)機(jī)。無(wú)意識(shí)變異語(yǔ)言常有的怪誕，，并非詩(shī)人的乖戾，而恰 西南交通大學(xué)碩士研究生學(xué)位論文 第n頁(yè) 恰是其深刻智慧的閃光。弗洛伊德的個(gè)人無(wú)意識(shí)和榮格的集體無(wú)意識(shí)都 是無(wú)意識(shí)語(yǔ)言表達(dá)的強(qiáng)大動(dòng)力。
[Abstract]:At present, the research on the influence of the poet's unconscious psychology on the expression of poetic variation language, especially on the conscious ways of the unconscious influence in poetry, is almost blank at home and abroad. Based on Freud's theory of individual unconsciousness, Jung's theory of collective unconsciousness and American formalism of intention, this thesis analyzes the situation of the poet's unconscious motivation to use the variant language in his poems. This paper demonstrates the objective existence of the poet's unconscious psychology and further discusses the potential influence of the poet's unconscious psychology on the expression of poetic variant language. The thesis mainly includes the following three parts: first, the main theoretical basis to prove the existence of the poet's unconscious expression motivation. Freud's personal unconscious theory argues that the poet's creation is related to his childhood desire and trauma. Jung's theory of collective unconscious holds that poets can transcend individual struggles and pains and express human spirits and aspirations. The American formalistic theory of intention states that we should not limit ourselves to the stated intention of the author and the commentator's interpretation, but should broaden the scope of the search for motivation. Infer from the work what the author did not realize or what the critic did not discover. Second, the objective existence of poetic language variation. This paper mainly analyzes the types, essence and criteria of the actual variant languages in poetry works. Through analysis, we can see that the variant language of poetry, though grotesque or even obscure, is a new understanding of the world and its original name. It is like a flash of lightning that illuminates the world in an instant. In the reality of language limitation, expression variation is the necessary objective existence to reflect infinite new knowledge. Thirdly, the unconscious expression motivation of the poetic variation language in the creative practice. A case study of Taiwan surrealist poet Biguo's poem "still Life" is carried out to explore the individual unconsciousness and collective unconsciousness in the poem. There are many examples of the poet's unconscious expression motive, whether it is discovered by the critic, admitted by the poet, or inferred from the poem. Through thorough and careful analysis, the author proves the objective existence of the unconscious expression motive in the poet's creative practice, and exerts a certain influence on the expression of the poetic variation language. Through this study, we can see that the poet's unconscious expressive motivation exists in the variation language of poetry, and it is associated with conscious motivation in various forms and has an impact on it. Therefore, we should not only grasp the conscious factors, but also consider the unconscious expression motivation when we analyze the language variation in poetry. It is not a poet's surly that the unconscious variation of language is often grotesque. And the Master's degree from Qiaxi Jiaotong University The post-graduate thesis on page n is a flash of deep wisdom. Freud's individual unconscious and Jung's collective unconscious are both powerful forces of unconscious language expression.
【學(xué)位授予單位】：西南交通大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2002
【分類號(hào)】：I052

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