本文選題：何塞·安赫爾·巴倫特　切入點：多多　出處：《上海外國語大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：本論文以西班牙詩人何塞·安赫爾·巴倫特(Joséángel Valente)的中早期詩歌全集《零點:詩歌1953-1979》(Punto cero:poesía,1953-1979)和中國詩人多多(原名栗世征)的中早期詩歌為研究對象,從詩歌結(jié)構(gòu)、詩歌語詞和詩歌畫面與音樂三方面結(jié)合符號學(xué)和陌生化理論進行剖析,試圖闡明二者互通的詩藝所展現(xiàn)的個性化的集體記憶。論文正文分為四個章節(jié)。第一章簡要介紹詩歌語料的概況及國內(nèi)外研究現(xiàn)狀,并引入比較文學(xué)、符號學(xué)和陌生化理論的理論框架。第二章主要分析詩歌結(jié)構(gòu)層面上的陌生化,以“支離破碎的語言”為切入點探討陌生的美感。二者的詩歌語言之所以不可模仿正在于其對文本的“分解”處理以及對修辭手法的重組和創(chuàng)新。第三章我們從“詞”的角度進行分析,試圖闡明二者詩歌中“概念和物質(zhì)的陌生化”。第一部分我們從名詞這一寬泛的概念入手,第二部分則相對具化,探析“把言語帶向零點的詞”這一概念在二者詩歌中的體現(xiàn)以及“自然元素”和“動物”這些語象的變形和重生。第四章從詩歌的畫面感和音樂感為切入點論證二者的詩歌并不完全是個人化的,若把詩歌作為整體去感受,我們也能夠接近“詞”的本質(zhì),“恢復(fù)”集體的記憶。此處我們所指的“集體記憶”不僅僅是關(guān)于戰(zhàn)爭和革命的記憶,同時也包括我們對日常生活的體驗和對外部世界的感知。最后我們總結(jié)全文,并結(jié)合上述各章的論述闡明本文的觀點:巴倫特和多多的詩歌中“陌生”與“非陌生”,“個性化”與“集體化”共存。正因為此兩位詩人帶給我們的是真正持久的美學(xué)享受。在認識到兩者詩歌創(chuàng)作的特點之后我們可以更為自由地在詩歌的國界間穿行,體會“詞”之真義,感受詩歌內(nèi)部的韻律。1981年諾貝爾文學(xué)獎得主埃利亞斯·卡內(nèi)蒂(Elias Canetti)曾如此評價詩歌:“詩是一只陌生的動物,我們無法一眼看清它的完整形態(tài)。對詩的解說是一個牢籠,但它從來就不在里面�！�(Valente,2007:19)我們不可能以此文徹底展現(xiàn)巴倫特和多多詩歌的全貌,也并不試圖達到這一目的。我們“對詩的解說”旨在追隨這只“陌生動物”的腳步,尋找靠近它的方式,從而得以靜心端詳它的面貌。
[Abstract]:This thesis focuses on the early poetry of Jos 茅 謾 ngel Valente by Jos 茅 謾 ngel Valente, a Spanish poet, from the structure of poetry, from the poetry structure of the middle and early periods of poetry by the Spanish poet Jos 茅 謾 ngel Valente, and the Chinese poet Dodou (formerly known as Li Shizheng), from the perspective of the early poetry < 00:00: poetry 1953-1979 > Punto cero:poes 鉚 aqu 茅 1953-1979) and the Chinese poet Dodou (formerly known as Li Shizheng). Combining the semiotics and the theory of defamiliarization with the three aspects of poetry words, poetic pictures and music, The paper is divided into four chapters. The first chapter briefly introduces the general situation of poetry corpus and the current research situation at home and abroad, and introduces comparative literature. The second chapter mainly analyzes the defamiliarization of poetry on the structural level. From the point of view of "fragmented language", we discuss the strange aesthetic feeling. The reason why the poetic language of the two cannot be imitated lies in their "decomposition" of the text and the reorganization and innovation of the rhetoric. In chapter three, we begin with. From the perspective of "words", In the first part, we start with the broad concept of noun, and the second part is relatively characterized. This paper explores the embodiment of the concept of "bringing speech to the 00:00 word" in their poems and the transformation and rebirth of the "natural elements" and "animals". Chapter 4th demonstrates from the perspective of the poetic sense of picture and the sense of music. Their poems are not entirely personal. If we feel poetry as a whole, we can also approach the essence of "words", "restore" collective memory. We mean "collective memory" not only about war and revolution, It also includes our experience of daily life and our perception of the outside world. And with the above chapters of the discussion to clarify the point of view of this article: Barendt and Dodo's poetry "strange" and "no stranger", "individuation" and "collectivization" coexistence. Precisely because these two poets bring us is really lasting. Aesthetic enjoyment. After recognizing the characteristics of their poetic creation, we can travel more freely between the boundaries of poetry, Understand the true meaning of "ci" and feel the rhythm of poetry. In 1981, Nobel Prize winner Elias Canetti commented on poetry as follows: "Poetry is a strange animal. We can't see it in its full form at a glance. The interpretation of poetry is a cage, but it's never inside. "Valentele 2007: 19. We do not try to achieve this goal either. Our interpretation of poetry aims to follow in the footsteps of this strange animal and to find ways to approach it so that we can meditate on its face.
【學(xué)位授予單位】：上海外國語大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I106.2

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