本文關(guān)鍵詞： 詩歌隱喻 情感 詩到語言止 拒絕隱喻 詩歌分行　出處：《廣西大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：詩歌是一門古老、用來闡述心靈的文學(xué)體裁,詩歌中的隱喻通常會(huì)被當(dāng)作修辭格來看待,但是人們往往忽略掉語言系統(tǒng)天生的隱喻性,而沒有從本質(zhì)上去認(rèn)識(shí)詩歌中的隱喻。從傳統(tǒng)詩學(xué)角度看,詩歌的本質(zhì)在于言此意彼。言與道的分離導(dǎo)致言不盡意,此處言只能暗示而不能直指,而彼處是不可能言的,只能靠言的暗示去意會(huì)。換言之,語言的最本質(zhì)特征是隱喻,隱喻本身又是一種文學(xué)性語言,“言此意彼”正是詩歌所特有的美學(xué)特征,所以隱喻就是詩性的語言,所以詩歌語言和隱喻本是同根同源同質(zhì),詩歌作為隱喻研究的語料最為合適。 現(xiàn)代漢語詩歌的隱喻特征從20世紀(jì)80年代以來發(fā)生了一系列改變,造成這些變化的原因是多方面的,從語言學(xué)方面來分析主要分為內(nèi)容意義上的改變和形式格律上的改變。從內(nèi)容意義上來講：80年代初,以食指、北島、楊煉、舒婷、顧城為代表的“朦朧詩”派詩人在詩歌創(chuàng)作中滲透了大量隱喻,此時(shí)人們對(duì)詩歌隱喻的理解僅限于修辭學(xué)上的隱喻,本體與喻體富含情感,多有夸張的“英雄主義”情結(jié),本體與喻體的語義映射關(guān)系繁雜,大都以共同的情感色彩為關(guān)聯(lián)基礎(chǔ),負(fù)載文化蘊(yùn)意的意象厚重、層層疊加,大量喻意信息堆積在詩歌當(dāng)中,使讀者思不暇接,詩歌顯得“晦澀、多義、朦朧”。80年代以后出現(xiàn)以韓東、于堅(jiān)、西川、臧棣為代表的“第三代詩人”,他們借鑒吸收西方現(xiàn)代主義詩歌的藝術(shù)經(jīng)驗(yàn),將詩歌隱喻的范圍擴(kuò)大到語言層面,隱喻不再只是修辭格。此時(shí)構(gòu)成詩歌隱喻的本體和喻體多來自于日常生活的瑣碎意象,“回歸語言”的觀念使隱喻本體與喻體之間呈現(xiàn)單一的語義映射關(guān)系,“冷抒情”的創(chuàng)作方式讓詩歌隱喻平淡寫實(shí)。在“詩到語言止”、“拒絕隱喻”口號(hào)的倡導(dǎo)下,語感、意識(shí)、語言的“還原理論”帶領(lǐng)詩人將詩歌隱喻回歸“純語言”狀態(tài),日�？谡Z成為構(gòu)建詩歌隱喻的主體部分,隱喻趨向于對(duì)客觀世界的簡(jiǎn)單命名。從形式格律的變化上來講：利用分行創(chuàng)造隱喻空間是詩人們一直在探索、實(shí)踐的問題,從“朦朧詩”到“第三代詩人”再發(fā)展到今天,現(xiàn)代漢語詩歌分行的方式隨著詩人觀念的改變也有著細(xì)微的變化：從束縛于古典詩歌格律,到有所啟發(fā)、創(chuàng)新,再到有意識(shí)地塑造形式意義空間,乃至徹底擺脫束縛完全自由地分行,都體現(xiàn)了詩人敢于嘗試、推陳出新的創(chuàng)新精神。 詩歌中隱喻的變化是人們認(rèn)知關(guān)系發(fā)生改變的結(jié)果。進(jìn)入語言層面,就是語義的多義性和創(chuàng)造性發(fā)生變化的結(jié)果。本選題著力于選取具有代表性的現(xiàn)代漢語詩歌為語料,對(duì)80年代以來現(xiàn)代漢語詩歌的隱喻特征進(jìn)行描寫、歸納、總結(jié),幫助人們認(rèn)識(shí)語言本身的隱喻性,使人們認(rèn)識(shí)到現(xiàn)代漢語詩歌隱喻的本質(zhì)特征。
[Abstract]:Poetry is an ancient literary genre used to explain the soul. Metaphors in poetry are often treated as rhetorical Ge Lai, but people tend to ignore the natural metaphorical nature of the language system. From the point of view of traditional poetics, the essence of poetry lies in saying this meaning and meaning. The separation of speech and Tao leads to the lack of meaning of speech. Here, words can only be implied, not directly pointed at, and it is impossible to say anything else. In other words, the most essential feature of language is metaphor, and metaphor itself is a literary language. Therefore, poetic language and metaphor are homologous and homogenous, and poetry is the most suitable material for metaphor research. Since 1980s, a series of changes have taken place in the metaphorical characteristics of modern Chinese poetry. In terms of linguistics, it is mainly divided into changes in the meaning of content and changes in formal patterns. In terms of content, at the beginning of the 1980s, the index finger, the North Island, Yang Lian, and Shu Ting took the index finger, the North Island, Yang Lian, and Shu Ting. The poets of "hazy poetry" represented by Gu Cheng have infiltrated a large number of metaphors in their poetry creation. At this time, people's understanding of poetic metaphors is limited to rhetorical metaphors. Noumenon and vehicle are rich in emotion and have exaggerated "heroism" complex. The semantic mapping relationship between ontology and vehicle is complicated, and most of them are based on the common emotional color. The images loaded with cultural meaning are thick, stacked layer upon layer, and a large amount of metaphorical information is accumulated in poetry, which makes the reader unable to think. Poetry appears to be "obscure, polysemous, hazy". After the 1980s, "the third generation poets", represented by Han Dong, Yu Jian, Xichuan and Zang Di, appeared after the 1980s. They learned from the artistic experience of western modernist poetry. To extend the scope of poetic metaphor to the linguistic level, Metaphor is no longer just a rhetorical figure of speech. At this time, the ontology and metaphor of poetry metaphor come from the trivial images of daily life. The idea of "returning to language" makes the semantic mapping relationship between metaphor ontology and the metaphor simple, and "cold express". The creation of emotion makes the metaphor of poetry plain and realistic. Under the slogan of "poem to language" and "refuse metaphor", The "restoration theory" of language sense, consciousness and language leads the poet to return the poetic metaphor to the "pure language" state, and the daily spoken language becomes the main part of constructing the poetic metaphor. Metaphor tends to be a simple name for the objective world. From the perspective of the change of formal rules: the use of branches to create metaphorical space is a problem that poets have been exploring and practicing, from "obscure poetry" to "the third generation of poets" and then to today. With the change of the poet's concept, the way of modern Chinese poetry branch also has a slight change: from being bound to classical poetry, to enlightening, innovating, to consciously shaping the space of formal meaning. Even completely free from the shackles of the branch, reflects the poet dare to try, innovative spirit. The change of metaphor in poetry is the result of the change of people's cognitive relationship. Entering the linguistic level, it is the result of semantic polysemy and creativity. This paper describes, induces and summarizes the metaphorical features of modern Chinese poetry since 80s, which helps people understand the metaphorical nature of language itself and make people realize the essential features of metaphor in modern Chinese poetry.
【學(xué)位授予單位】：廣西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：H15;I207.25

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