【摘要】：發(fā)話主體在藝術(shù)語(yǔ)言的創(chuàng)作過(guò)程中,常常將自己對(duì)世界的審美體驗(yàn)融進(jìn)了藝 術(shù)語(yǔ)言。一定時(shí)代一定地域的人們對(duì)世界的審美體驗(yàn)和認(rèn)知方式具有一定的特 點(diǎn),甚至形成一定的模式。人們求新求異的努力使人們要突破原有的語(yǔ)言表達(dá)方 式,這又導(dǎo)致人們新的審美體驗(yàn)的出現(xiàn)。 一定地域,一定歷史時(shí)期人們使用的修辭方式具有一定的特點(diǎn),這就形成特 定的審美體驗(yàn)的表現(xiàn)模式。人們?cè)谑褂谜Z(yǔ)言的過(guò)程中,對(duì)已有的表現(xiàn)模式既有繼 承,也在不斷地超越。 發(fā)話主體的審美體驗(yàn)常常是偏離現(xiàn)實(shí)的。一方面,發(fā)話主體的審美體驗(yàn)對(duì)現(xiàn) 實(shí)的偏離是藝術(shù)語(yǔ)言產(chǎn)生的基礎(chǔ)。另一方面,藝術(shù)語(yǔ)言一旦產(chǎn)生,會(huì)影響人們對(duì) 現(xiàn)實(shí)的審美體驗(yàn)。 我們認(rèn)為,在藝術(shù)語(yǔ)言中,隱喻的喻體和本體的審美體驗(yàn)相似性越明顯,隱 喻越有獨(dú)創(chuàng)性:隱喻的喻體和本體的客觀相異性越明顯,隱喻越有獨(dú)創(chuàng)性。并且, 對(duì)于某一句藝術(shù)語(yǔ)言,我們很難找到一個(gè)客觀的標(biāo)準(zhǔn)來(lái)量化其獨(dú)創(chuàng)性,其獨(dú)創(chuàng)性 的認(rèn)定一般只能靠我們的審美體驗(yàn)來(lái)衡量。 對(duì)藝術(shù)語(yǔ)言的理解是一個(gè)復(fù)雜的問(wèn)題。對(duì)發(fā)話主體的了解及讀者個(gè)人的文化 修養(yǎng)都影響他對(duì)藝術(shù)語(yǔ)言的理解。語(yǔ)境也對(duì)理解藝術(shù)語(yǔ)言有制約作用。
[Abstract]:In the process of artistic language creation, the speaker often melts his aesthetic experience of the world into art language. At a certain time, people in a certain region have a certain special experience and cognitive style of the world, and even form a certain mode. People's efforts to seek new and different things make people break through the original expressions of language, which leads to the emergence of new aesthetic experience. In a certain region and in a certain historical period, the rhetorical means used by people have certain characteristics, which forms the expression mode of special aesthetic experience. In the process of using language, people are inheriting and surpassing the existing performance patterns. The aesthetic experience of the speaker often deviates from reality. On the one hand, the deviation from reality is the basis of artistic language. On the other hand, once artistic language comes into being, it will affect people's aesthetic experience of reality. In the artistic language, the more obvious the similarity between the metaphor and the aesthetic experience of the ontology is, the more original the implicit metaphor is. The more obvious the objective difference between the metaphor and the Noumenon is, the more original the metaphor is. Moreover, it is difficult to find an objective criterion to quantify the originality of an artistic language, and its originality can only be measured by our aesthetic experience. Understanding the language of art is a complex problem. The understanding of the speaker and the individual culture of the reader affect his understanding of artistic language. Context also restricts the understanding of artistic language.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2005
【分類號(hào)】：I045

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 邱淵,齊春紅;語(yǔ)言中的任意概念系統(tǒng)和隱喻概念系統(tǒng)[J];云南師范大學(xué)學(xué)報(bào);2004年01期

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