1924年泰戈?duì)栐谌A映像研究
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本文關(guān)鍵詞：1924年泰戈?duì)栐谌A映像研究 出處：《沈陽師范大學(xué)》2017年碩士論文 論文類型：學(xué)位論文
更多相關(guān)文章： 泰戈?duì)?/b> 映像 對(duì)立面孔
【摘要】：詩人泰戈?duì)栐L華勢(shì)必給知識(shí)文化界帶來一定的沖擊,關(guān)于泰戈?duì)柕奈膶W(xué)思想、社會(huì)活動(dòng)的研究、論述、評(píng)價(jià)將會(huì)通過報(bào)刊媒介公布出來,再者報(bào)刊媒介也會(huì)對(duì)泰戈?duì)杹砣A進(jìn)行報(bào)道,這樣也就會(huì)在公共領(lǐng)域形成一個(gè)泰戈?duì)栍诚�。映像不是形象的直觀描摹,而是泰戈?duì)栐谌A的“總體留影”,這個(gè)“總體留影”包括中國人對(duì)泰戈?duì)柕奈膶W(xué)藝術(shù)思想、社會(huì)思想、政治思想、宗教思想的認(rèn)知與評(píng)價(jià),這種接受層面的認(rèn)知與評(píng)價(jià)歸結(jié)起來會(huì)在中國人心中結(jié)成一種有關(guān)人物總體評(píng)價(jià)的“映像實(shí)體”,1924年泰戈?duì)柦o中國留下的這個(gè)“映像實(shí)體”就是本文研究的目標(biāo)對(duì)象。第一章對(duì)泰戈?duì)栐谌A映像的總結(jié),回答泰戈?duì)栐谌A映像是什么這個(gè)問題,這一章直接指出泰戈?duì)栍诚裰饕憩F(xiàn)為三副對(duì)立面孔,并分別對(duì)這三副面孔的實(shí)質(zhì)和內(nèi)涵進(jìn)行了分析概括。泰戈?duì)柕脑谌A映像就是東方人、西方人,新人、舊人,科學(xué)主義者與玄學(xué)家這三組對(duì)立映像,這是對(duì)泰戈?duì)栐谌A映像的實(shí)質(zhì)和內(nèi)涵進(jìn)行的界定。第二章回答為什么會(huì)形成這樣的在華映像這個(gè)問題,本章從當(dāng)時(shí)的社會(huì)人文環(huán)境著手,認(rèn)為當(dāng)時(shí)參與泰戈?duì)栍诚窠?gòu)的媒介和知識(shí)界人士都有各自鮮明的政治主張,他們用自己既有的政治思想來塑造泰戈?duì)?不僅如此泰戈?duì)柋旧砭褪菛|西、新舊、科玄的融合體,他在詩與國家政治之間徘徊,他自身的二重屬性是其對(duì)立映像形成的內(nèi)在原因。第三章分析了泰戈?duì)?924年訪華之后映像的延續(xù)與變異,分三節(jié)分別對(duì)三副對(duì)立面孔的變化進(jìn)行了分析總結(jié),這種變化的特征是從鮮明對(duì)立變?yōu)榭陀^理性的中立分析,顯現(xiàn)出對(duì)立映像的緩和,并認(rèn)為特定的歷史文化語境是這種變化的成因。在1924年這個(gè)國家前途、民族未來風(fēng)云變化的時(shí)刻,泰戈?duì)杹砣A在媒介上呈現(xiàn)出來的投影同樣反映了當(dāng)時(shí)的中國人為中國未來的道路問題的憂思,當(dāng)時(shí)的中國徘徊在東西、新舊、科玄的十字路口上,泰戈?duì)柕脑谌A映像也通過這三大透鏡各自成像。本文的中心議題就是討論泰戈?duì)栕鳛橐粋�(gè)詩人是如何被中國獨(dú)具政治色彩的媒介以及政治色彩濃厚的知識(shí)團(tuán)體建構(gòu)的,也就是討論政治話語對(duì)詩人的映像建構(gòu)。結(jié)果表明,1924年二元對(duì)立的現(xiàn)實(shí)政治邏輯,鮮明的媒介派系構(gòu)成,媒介內(nèi)在的報(bào)道機(jī)制,以及泰戈?duì)栕陨砦膶W(xué)、思想、人格等的二重屬性,共同造成了1924年泰戈?duì)栐谌A映像的對(duì)立屬性。
[Abstract]:The poet Tagore's visit to China is bound to bring a certain impact to the intellectual and cultural circles. The study, discussion and evaluation of Tagore's literary thought and social activities will be published through the press and media. Moreover, the media will also report Tagore's coming to China, thus forming an image of Tagore in the public domain. The image is not an intuitive description of the image, but a "general picture" of Tagore in China. This "overall photo" includes the Chinese people's cognition and evaluation of Tagore's literary and artistic thought, social thought, political thought, and religious thought. This kind of cognition and evaluation at the level of acceptance can be summed up into a kind of "image entity" in the Chinese people's mind about the overall evaluation of the characters. In 1924, the "image entity" left by Tagore to China is the target object of this paper. The first chapter summarizes Tagore's image in China and answers the question of what Tagore's image is in China. This chapter directly points out that the Tagore image is mainly manifested as three opposites and analyzes and generalizes the essence and connotation of these three faces respectively. Tagore's image in China is oriental westerners and new people. Old people, scientistics and metaphysics are three groups of opposing images, which is the definition of Tagore's essence and connotation in China. The second chapter answers the question why Tagore formed such an image in China. This chapter starts from the social and humanistic environment at that time, and thinks that the media and intellectuals who participated in the image construction of Tagore at that time have their own distinct political opinions, and they use their own political thoughts to shape Tagore. Not only that, Tagore itself is something, the old and new, the fusion of science and metaphysics, he lingered between poetry and national politics. The third chapter analyzes the continuity and variation of Tagore's image after his visit to China in 1924. In three sections, the author analyzes and summarizes the changes of the three pairs of opposites respectively. The characteristics of this change are from the sharp opposition to the objective rational neutral analysis, showing the relaxation of the opposition image. In 1924, when the future of the country and the future of the nation changed, it was considered that the specific historical and cultural context was the cause of this change. The projection of Tagore's coming to China in the media also reflects the worries of the Chinese people about the future road of China. At that time, China lingered at the crossroads of things, old and new, and science and technology. Tagore's image in China is also imaged through these three lenses. The central topic of this paper is to discuss how Tagore, as a poet, was built by China's unique political media and political knowledge groups. Yes. The result shows that in 1924, the dual opposition of the realistic political logic, the distinct media faction, the media internal reporting mechanism, as well as Tagore's own literature. The dual attributes of thought and personality together resulted in the opposite attribute of Tagore's image in China in 1924.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I351.06
【相似文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前1條
1 吳海順;1924年泰戈?duì)栐谌A映像研究[D];沈陽師范大學(xué);2017年
，本文編號(hào)：1365542
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