本文選題：普拉斯　切入點：鏡子意象　出處：《浙江大學(xué)》2013年博士論文　論文類型：學(xué)位論文

【摘要】：西爾維婭·普拉斯是美國自白派詩歌的重要代表,她以極富感染力的“意象”給詩歌王國添上了濃墨重彩的一筆。本文擬從意象角度切入,以普拉斯的詩歌文本為主要研究對象,立足性別視角,運用生態(tài)批評、心理分析等研究方法,重點考察審美主體投注于意象符號之中的審美體驗,在此基礎(chǔ)上呈現(xiàn)普拉斯詩歌中意象符號在思想內(nèi)涵和藝術(shù)形式方面的審美價值。 本論文共由六個部分組成： 第一章緒論部分主要交代論文的選題動機(jī)、研究對象,梳理與本課題相關(guān)的國內(nèi)外研究成果,闡明本論文的基本目標(biāo)和研究路徑。 第二章首先通過對意象概念的梳理,指出自白派詩歌與意象派詩歌之間的關(guān)聯(lián)；接著從具體的詩歌文本入手,論證自白派詩人對詩歌“意象”的熱衷以及自白派詩歌對意象派詩歌格律和音樂性的淡漠；最后,論述自白派詩歌對詩歌“意象”的貢獻(xiàn)及對詩歌形式發(fā)展的貢獻(xiàn)。 第三章論述普拉斯詩歌中“鏡子”意象與女性存在之思的審美融合。根據(jù)拉康的理論,“鏡子”意象從根本上來說是對個體存在狀態(tài)的投射。普拉斯筆下的鏡意象一方面映射了抒情主人公對生命個體的存在之思,在“攬鏡自觀”的同時,詩人完成了抒情主體對女性身份及主體人格的自我認(rèn)定；另一方面,詩人在關(guān)注“小我”的同時,更多地將目光投射在社會這面大鏡子上,積極地參與到社會政治事務(wù)中去,表達(dá)自己對人類社會的關(guān)切。 第四章探討的是普拉斯詩歌中的“色彩”意象的審美特質(zhì)。普拉斯對色彩有著天生的敏感,她深諳繪畫藝術(shù)對色彩的使用技巧,并將這種領(lǐng)悟運用到詩歌創(chuàng)作中表達(dá)其獨特的生命體驗。無論是代表生命之維的“紅”,還是象征死亡之隅的“黑”,抑或是幻化虛無的“白”,都表達(dá)了詩人獨特的內(nèi)心體驗。 第五章闡釋普拉斯詩歌中的自然意象。分別從“海洋意象”、“動物意象”、“植物意象”三個方面探討普拉斯詩歌中的人與自然的關(guān)系,以及這些自然意象所折射出的詩人的生態(tài)之思。 第六章結(jié)語部分在總結(jié)上文研究的基礎(chǔ)上,認(rèn)為：首先,普拉斯從英語詩歌傳統(tǒng)中繼承了“意象”這一詩歌創(chuàng)作的核心元素,并在自己的創(chuàng)作實踐中發(fā)展了“意象”的內(nèi)涵,豐富了英語詩歌的形式；其次,普拉斯在“攬鏡自觀”的過程中,關(guān)注的不僅僅是個體的生命體驗,更多的是對社會的、對全人類的關(guān)切。
[Abstract]:Sylvia Plath is an important representative of American confessional poetry, and she adds a lot of color to the poetry kingdom with her infectious "image." this article is going to look at it from the perspective of imagery. Taking Plath's poetry text as the main research object, based on the gender perspective, using ecological criticism, psychoanalysis and other research methods, this paper focuses on the aesthetic experience in which the aesthetic subject is betting on the image symbol. On this basis, it presents the aesthetic value of image symbols in Plath's poetry in the aspects of ideological connotation and artistic form. This thesis consists of six parts:. The first chapter introduces the motivation of the topic, the research object, combs the domestic and foreign research results related to this topic, and clarifies the basic goal and research path of this paper. The second chapter first points out the relationship between confessional poetry and imagist poetry by combing the concept of image, and then starts with the specific text of poetry. Finally, it discusses the contribution of confessional poetry to the poetry "image" and its contribution to the development of poetry form, and demonstrates the enthusiasm of confessional poets for poetry "image" and the indifference of confessional poetry to the rhythm and musicality of imagist poetry, and finally, discusses the contribution of confessional poetry to poetry "image" and to the development of poetry form. The third chapter discusses the aesthetic fusion of the image of "mirror" and the thought of female being in Plath's poetry. According to Lacan's theory, the image of "mirror" is fundamentally the projection of the state of individual being. On the one hand, it reflects the thinking of the lyric protagonist about the existence of the living individual. At the same time, the poet has completed the self-recognition of the female identity and personality of the lyric subject. On the other hand, the poet pays more attention to the "ego" and more eyes are cast on the big mirror of the society. Actively participate in social and political affairs to express their concern for human society. Chapter 4th explores the aesthetic characteristics of the "color" image in Plath's poetry. Plath is naturally sensitive to color, and she is well versed in the use of color in the art of painting. This kind of comprehension is applied to express its unique life experience in poetry creation. Whether it is "red" representing the dimension of life, "black" which symbolizes the corner of death, or "white" which is illusory, it all expresses the poet's unique inner experience. Chapter 5th explains the natural image in Plath's poetry. It discusses the relationship between man and nature in Plath's poetry from three aspects: "Sea image", "animal image" and "plant image". And the poet's ecological thoughts reflected by these natural images. The conclusion of the 6th chapter is based on the above research. Firstly, Plath inherits the core element of "image" from the tradition of English poetry, and develops the connotation of "image" in his own creative practice. It enriches the form of English poetry. Secondly, Plath pays more attention to not only the individual's life experience, but also the society and the whole mankind.
【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：I712.072

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