本文從認(rèn)知文體學(xué)的三個(gè)角度（圖形與背景,認(rèn)知指示語和概念隱喻）分析了著名愛爾蘭詩人葉芝的三首神秘主義詩歌。通過這樣的分析,本文旨在表明對(duì)詩歌的認(rèn)知文體分析是閱讀欣賞詩歌的一條可靠、有價(jià)值的途徑。首先,從詩歌的本質(zhì)看,詩歌是語言的一種運(yùn)用,是詩人運(yùn)用語言表達(dá)內(nèi)心思想的一種文體格式,這種語言運(yùn)用需要人們對(duì)此做出解釋。文學(xué)批評(píng)是人們解釋詩歌的主要途徑,但長(zhǎng)期以來文學(xué)批評(píng)家們一直致力于研究不同觀點(diǎn)的細(xì)節(jié)末梢,因?yàn)樗麄兏鼘?duì)作品的變異與獨(dú)特性感興趣,而這種結(jié)果卻不幸導(dǎo)致了對(duì)作品偏離常規(guī)的分析往往過分強(qiáng)調(diào)差異,他們要么使用一些界定不清的術(shù)語,要么憑著自己的個(gè)人感覺。因此,只靠文學(xué)批評(píng)不能提供一種科學(xué)系統(tǒng)的方法來解釋文學(xué)作品。其次,既然文體學(xué)是對(duì)文學(xué)語言的研究,并且這種研究近年來越來越轉(zhuǎn)入認(rèn)知方向,因此認(rèn)知詩學(xué),或認(rèn)知文體學(xué),作為認(rèn)知語言學(xué)的最前沿領(lǐng)域之一,能夠?yàn)槲覀兲峁┮环N系統(tǒng)科學(xué)的方式來討論作者和讀者對(duì)世界的理解和闡釋如何在語篇組織中體現(xiàn)這些闡釋。實(shí)際上,認(rèn)知詩學(xué),或認(rèn)知文體學(xué)是詩性語言在認(rèn)知語言學(xué)上的應(yīng)用。最后,作為世界文壇上最偉大的詩人之一,葉芝創(chuàng)作了許多不朽的作品,他的作品跨越浪漫主義、前拉... 

【文章來源】：中國石油大學(xué)(華東)山東省 211工程院校 教育部直屬院校

【文章頁數(shù)】：84 頁

【學(xué)位級(jí)別】：碩士

【文章目錄】：
Abstract
摘要
Introduction
    0.1 Theoretical Bases
        0.1.1 Leech’s Descriptive Rhetoric
        0.1.2 Stockwell’s Cognitive Poetics
        0.1.3 Langacker’s Cognitive Grammar
        0.1.4 Lakoff-Johnson-Turner’s Theory of Metaphor
    0.2 An Introduction to Yeats and His Poems
        0.2.1 Yeats’s Position in Literature
        0.2.2 Arcane Features in Yeats’s Poems
    0.3 The Outline of the Study
Chapter 1 Figures and Grounds
    1.1 Traits of Figures
    1.2 Foregrounding in Literature
    1.3 Image Schema
    1.4 Cognitive Poetic Analysis of “Sailing to Byzantium”
        1.4.1 Stanza One: Figure is the Young
        1.4.2 Stanza Two: Soul against the Flesh
        1.4.3 Stanza Three: God is Guide
        1.4.4 Stanza Four: Golden Art is Immortal
    1.5 Summary
Chapter 2 Cognitive Deixis
    2.1 Entity-roles in the Process of Reading Literature
    2.2 Grounding
        2.2.1 Deixis and Grounding
        2.2.2 Subjectivity vs. Objectivity
        2.2.3 Nominal Grounding
        2.2.4 Clausal Grounding
    2.3 Different Approaches on “Leda and the Swan”
        2.3.1 Spitzer’s ‘Philological Circle
        2.3.2 Halliday’s Description
        2.3.3 My View on “Leda and the Swan”
    2.4 Spatial and Temporal Shift in “Leda and the Swan”
        2.4.1 Entity-roles in Reading “Leda and the Swan”
        2.4.2 Nominal Grounding on “Leda and the Swan”
            2.4.2.1 Referential Use
            2.4.2.2 Point of View
        2.4.3 Tense-modal Complex in the Poem
    2.5 Summary
Chapter 3 Conceptual Metaphor
    3.1 On Conceptual Metaphor
    3.2 Center/Periphery Schema
        3.2.1 Perceptual Center-Periphery
        3.2.2 Central vs. Peripheral Parts
        3.2.3 Dynamic Center and Periphery
    3.3 Backgrounds of the Poem
        3.3.1 Christian and Historical Influence on the Poem
        3.3.2 Magical Symbols in the Poem
            3.3.2.1 The Gyre
            3.3.2.2 Spiritus Mund
            3.3.2.3 Others
    3.4 Metaphorical Reading of “The Second Coming”
        3.4.1 Center vs. Periphery in “The Second Coming”
            3.4.1.1 Stanza One: Metaphors of Decentering
            3.4.1.2 Stanza Two: Metaphors of Recentering
        3.4.2 A Structural Metaphor in “The Second Coming”
    3.5 Summary
Conclusions
Bibliography
Acknowledgements



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