现代诗歌悖论性语言特征研究.pdfVIP

现代诗歌悖论性语言特征研究 摘 要 “悖论”一词起初源于逻辑学，后来在哲学、文学、语言学等学 科中得以运用和发展。上世纪四十年代，美国文学评论家克林斯•布 鲁克斯首次将悖论引入诗歌理论研究中，并把悖论视为诗歌语言的本 质。这一观点对中国现代诗歌，尤其是上世纪七、八十年代中国新诗 的发展产生了重大的影响。历来人们对现代诗歌的讨论都离不开悖论 性语言，然而对诗歌悖论性语言的研究大多局限于文学理论的范畴。 本文从语言学的角度出发，尝试论证悖论性语言是现代诗歌语言中一 种重要的语言策略。对于诗歌写作中“悖论”和“反讽”这两种语言 策略的区别及联系，在经过一番对比分析后，得出广义的悖论和反讽 在事实上是同一概念的结论。 为了更好地从语言学角度理解诗歌悖论性语言，笔者借助语义学 和语用学的基本概念探讨现代诗歌中悖论性语言的类型特点。尽管语 义学和语用学都讨论语言的意义，但研究诗歌语言时，语义学侧重于 诗歌词语、语句的关系；而语用学侧重于诗歌的整体文本以及相关的 社会、文化文本，即语境对作品的影响和制约。从以上两个视角出发， 尝试去发掘现代诗歌悖论性语言的语义类型特点和语用类型特点。另 外从修辞的角度上来看，能使诗歌语句产生悖论性效果的修辞手法有 I 很多种，文中将相应的修辞手法逐一列举并分别讨论它们所产生的修 辞意义。 关键词：诗歌 悖论性语言 类型 修辞 II THE CHARACTERISTIC OF PARADOX LANGUAGE IN MODERN POETRY ABSTRACT Paradox is a term first originated from logistics and subsequently developed during its application in philosophy, literature, linguistics and other disciplines. In the 1940s, Cleanth Brooks, an American literary critic, for the first time introduced paradox into the research of poetic theory and regarded it as the essence of poetic language. This notion had a tremendous impact on the development of Chinese modern poetry, especially Chinese neo-poetry which flourished in the 1970s and 1980s. For a long time modern poetry was debated without the absence of paradoxical language, however, most of studies on paradoxical language of poetry were restricted in the scope of literary theory. In this essay, from the perspective of linguistics, an attempt was tried to demonstrate that paradoxical language is a significant language strategy used in modern poetry. With respect to the differences and association between the two strategies of para