【作者】 黎萌；

【导师】 高月琴；

【作者基本信息】 北京林业大学 ， 外国语言学及应用语言学， 2013， 硕士

【摘要】 认知语言学和文学研究的蓬勃发展和相互渗透促使了一门新的交叉学科的诞生——认知诗学。这一全新解读方法重在从心理认知过程及其规律阐释文学作品结构、语言选择和文学效果之间的关系。图形背景理论是认知诗学的主要基本思想之一,它源于完形心理学家对视觉感知的研究成果。该理论是建立在凸显观的基础上的。处理凸显观的核心便是图形背景分离原则。完形心理学家将拥有较为完整的结构、易获知觉者注意从而从其它事物中凸显出来的“前景”归类为图形,而背景是退到“后景”中来烘托前景的其它事物。有形状、结构和较强的连贯性是图形的基本特点,而相反,背景则缺乏结构和形状,连贯性较差。可见,图形相比背景而言更为突出,更易辨认和记忆,并且在主观上与知觉者的经验、情绪、动机、兴趣、需要有紧密关系。山水田园诗最早开始于东晋谢灵运和晋代陶渊明。到唐代,王维、孟浩然时期达到顶峰。山水田园诗主要描写的是自然风光、农村景物以及安逸恬淡的隐居生活。此类诗歌以田园风光为背景,借以表达诗人对现实的不满,对宁静平和生活的向往。山水田园诗画面感强、画面转换丰富、以文引图传意巧妙,具备了用认知诗学中的图形背景理论分析的语篇特征。本文以王维、孟浩然山水田园诗为对象,将认知诗学理论体系中的图形背景理论的基本思想应用于其田园山水诗的分析当中,从诗歌的动态感,诗人情感和构图三个方面,以图形背景关系为着手点,对田园山水诗进行认知分析,剖析读者在理解和赏析诗歌时的心理动态过程。利用图形背景理论进行分析,可以摒弃那种印象式的阅读,做到精确而系统地分析读者阅读文学文本时到底发生了什么,弥补了前人在山水田园诗上多以文本为主体进行研究而造成的空白,并从读者角度重新解读诗歌并再次验证图形背景理论的阐释力,为今后诗歌的分析提供新的角度。本文共分为五章：第一章为前言,介绍论文研究内容,研究意义,以及论文结构；第二章为文献综述,在此章中,作者就国内外对图形背景理论的研究以及已有的相关田园山水诗赏析研究的文献进行综述；理论框架的阐述在本文第三章进行展开,进一步探讨认知诗学中的图形背景理论；第四章是本文的核心部分。作者运用图形-背景理论对王维、孟浩然的山水田园诗进行认知解读,并揭示读者在诗歌阅读过程中的心理感受和认知处理过程；本文最后一章是结论部分,简要回顾了图形背景理论的原理,并重申了本篇文章的意义及其局限。本研究表明,诗歌欣赏过程中的动态运动可以被理解成为“图形”和“背景”的产生、交替过程,能够揭示读者在阅读过程中的心理感受和认知处理过程,也最终证实了图形背景理论对文学作品的解读有强大的阐释力。更多还原

【Abstract】 The development and interpenetration of cognitive linguistics and literature research brings out a new interdiscipline—cognitive poetics. Cognitive poetics means to explore the relationship between literature structures, language choices and literature effects from the perspective of psychological cognitive process and law. As a basic and powerful theory in cognitive poetics, figure and ground theory roots in the visual perception researches conducted by gestalt psychologists. According to the figure and ground theory,"figure" is "foreground" standing out from the other objects which processes complete structure and is capable of attracting viewer’s attention. On the contrary, the object that retreats to the "background" to set the foreground off is called "ground". Generally speaking, figures have certain forms or structures and good coherence, while grounds fail to possess shapes and coherence. In addition, based on the figure and ground segregation which is the core of prominent view, figures are more prominent than ground and much easier to be distinguished and memorized. Figures have a close connection with the experience, emotion, motivation, interest and needs of the percipients.Xie Lingyun and Tao Yuanming were among the first ones to write pastoral poetry. In Tang Dynasty, Wang Wei and Meng Haoran reached the peak of the development of the pastoral poetry. Pastoral poetry describes the natural scenery, country life and comfortable reclusion. In pastoral poetry, poets made their complaints of the reality and desire for tranquility, meanwhile, the discourse features of Chinese pastoral poetry ensure that they can be analyzed by figure and ground theory.Based on figure and ground theory, this paper illustrates the pastoral poetry by Wang Wei and Meng Haoran in terms of picture composition, poets’emotion and dynamic effect. By adopting figure and ground theory, we can accurately and systematically analyze what is happening during readers’reading process rather than the impressionistic reading. In addition, it verifies the explanatory power of figure and ground theory from the perspective of disclosing readers’psychological process while reading and provides a new angle for the future poetry research.This paper has been divided into five chapters. The first chapter is introduction which introduces the content, purpose and structure of the paper. The second chapter is literature review that includes the review of the researches on figure and ground theory and the appreciation of Chinese pastoral poetry from home and abroad. Theoretical framework has been put in the third chapter which comprehensively illustrates figure and ground theory. Chapter four is the core of this paper which analyzes pastoral poetry of Wang Wei and Mcng Haoran from the perspective of figure and ground theory, meanwhile, reveals readers’ cognitive process and psychological feelings during the reading process. Chapter five is conclusion which briefly explains how figure and ground theory works, the significance and the limitation of this paper.This research shows that the dynamic movement through reading can be understood as the process of "figure" and "ground" segregation. It reveals readers’cognitive process and psychological feelings during the reading process and proves the explanatory power of figure and ground theory.更多还原