【作者】 钱韧韧；

【导师】 王泽龙；

【作者基本信息】 华中师范大学 ， 中国现当代文学， 2014， 博士

【摘要】 大量现代汉语虚词的入诗,是中国诗歌由古代向现代转型的一个重要特征。在整个汉语诗歌的发展格局中,虚词作为一种特殊的词类,对现代汉语诗歌语言的发生发展、现代汉语诗歌思维、诗歌形式和诗歌美学趣味的新构型都起到重要作用。本论文主要从虚词与现代汉语诗歌语言的发生、现代汉语诗歌文本虚词的审美、现代汉语诗歌虚词的功能三个方面展开论述,探讨了现代汉语诗歌语言、形式的转型与现代汉语虚词的关系问题。第一章研究现代汉语虚词与现代汉语诗歌语言发生之间的关系。在科学思潮、民主思潮、思想文化变革以及文学审美变革的大背景下,现代汉语诗歌虚词入诗是建立在现代白话的汉语语言和借鉴欧化语法体系的现代汉语语法基础之上的,形成了“言文合一”的语言思维和诗歌观念的转换。现代汉语诗歌虚词的激增及合理使用,与诗歌语言的散文化有着直接的联系,解构了古代汉语诗歌严谨规范的诗体形式和格律形式,为现代汉语诗歌新的自由诗体形式和新的节奏构型创造了条件,适应了开放多元的文化症候与审美需要。第二章至第七章以中国现代诗歌史上的经典诗人与作品为主要考察对象,从不同侧面探讨了现代诗歌文本中现代汉语虚词与现代汉语诗歌形式的关系问题。第二章探索了现代汉语虚词与胡适《尝试集》新诗体形式建构的关系。胡适《尝试集》的文学史意义主要在于诗体的解放。这种诗体解放与现代汉语虚词入诗有密切关系。《尝试集》大量地采用现代汉语虚词入诗,改变了古代诗歌固有的语言组合规则,促成了汉语诗歌新的表意语法体系和思维模式的转变。现代汉语虚词入诗也是胡适“作诗如作文”新诗实践的一个重要途径,使过去整饬有序、节奏分明的句式松动变形,影响了新诗体式的形成；同时较大程度上改变了古诗的语音节奏、声调韵律,对现代诗歌的音节建构有重要作用,整体上有力促进了新诗诗体的转变。第三章关注的是郭沫若《女神》中的虚词使用及审美效应。郭沫若《女神》的文学史意义主要在于极大地促进了新诗审美效应的现代性变革。这种变革与现代汉语虚词入诗有密切关系,改变了古代诗歌的情感表达与思维方式,促成了汉语诗歌新的主体精神的高扬。现代汉语虚词入诗,以虚词频率组合的变化、名词短语的罗列、诗句的倒装、反复等方式,使郭沫若的浪漫主义激情的书写得以充分地表达,有力地促成了《女神》自由体诗歌形式的构型。同时,虚词与多种修辞格的运用,使诗歌的情感脉络更加流畅多变,是郭沫若诗歌新的美学趣味凸显的一个形态标志。第四章专门分析了现代汉语虚词与郭沫若《女神》的诗歌节奏形成的关系。郭沫若注重“内在律”的情绪节奏实践,在大量语气助词、介词结构对应中的排比重叠应用中,实现情绪节奏与语义节奏的互动；以虚词的合理使用构成自由灵活式、圆融平衡式和回旋递进式的语形节奏,推进了情感节奏的放纵与收敛。同时,也改变了诗句的轻重音和声调的高低升降,以大量感叹和反问的句式形成语调的变化。句末助词的反复使用及押韵特征,构成了现代的韵律节奏。《女神》以大量虚词调适自然音节的急缓、停延、抑扬等要素,与情绪节奏、语义节奏相配合,打破了传统诗歌固定的格律形式,形成了多元开放的现代节奏新形态。第五章探讨现代汉语虚词与冯至诗歌的“沉思”特质。冯至《十四行集》浓郁的沉思特质,与建立在新诗散文化基础之上的现代汉语虚词入诗有密切关系。冯至讲究美的形式和语调的自然,以虚词的合理使用调适诗句的扩展、省略或浓缩等单复句式的变化,形成倒装形式的突出、跨行跨节的连锁与隔断等现象。《十四行集》较多使用介词和关联词语,有效地契合了诗人丰富思想和复杂经验的表现。冯至借鉴关联词语对现代诗行、诗节的探索,丰富了现代汉语诗歌语言的语法结构关系,扩大了现代诗歌语言的内涵,以回旋跌宕的诗思开拓了现代汉语诗歌的表意空间,凸显了现代诗歌主体精神对现实世界的观照与思考。第六章从虚词角度阐述穆旦新诗语言的复义生成。穆旦新诗虚词的大量入诗,构成了诗歌繁复句式间的层次关系、抽象词语和跳跃性思维的逻辑理路,扩充了诗歌知性内涵,表现了诗人细腻复杂的思想、情感。同时,穆旦新诗具有一定的翻译体色彩,在一定程度上将虚词融入欧化句式,打破固定的汉语语序,充分表现了现代汉语诗歌语言的复义性,深层次地反映了诗歌主体的现代人生体验与审美感受。第七章论及现代汉语虚词与艾青诗歌的散文美效度。艾青诗歌虚词应用,是诗人自觉追求“散文化”诗体形式的选择；在探索新诗自由体形式方面,实现了外来形式与民族风格的巧妙链接。艾青诗歌虚词的使用,使得诗行长短不一、句型多样,特别是介词短语和助词等虚词的大量使用,如修饰性名词与助词的搭配,动词与助词的搭配等,较好地实现了艾青诗歌散文美的抒情效度。第八章为中国现代汉语诗歌虚词的功能研究。在叙事方面,大量虚词入诗对叙述主体、叙事内容以及时空关系有重要影响。大量分析性、逻辑性叙述语言的进入,影响了诗句的散文化倾向,改变了古代叙事诗不发达的现象,推动了现代汉语诗歌叙事功能的发展。在哲理方面,虚词的合理运用使诗歌语言更具有逻辑性、多层次性。特别是关联词语的使用,极大增益了诗歌的思辨性、哲理性的内涵,大量抽象词与具象词的连接,大量连词、介词、副词的使用,构成了修饰与被修饰、限定与被限定的表意关系,拓展了诗歌的知性空间。在节奏方面,大量虚词入诗令现代汉语诗歌突破了传统诗歌格律形式的束缚,形成新的音步划分、语音组合和自由的押韵规律；带来了句子成分、功能、形态以及语流中轻重感知的变化,影响现代汉语诗歌节奏的建构,对现代语音节奏、语形节奏、语义节奏、情感节奏、生理节奏等的构成起到了重要作用。总之,中国现代汉语诗歌中虚词成分的激增和合理使用,极大促进了现代汉语诗歌语法构成的复杂化与精细化,使得诗歌语言的表意关系趋向丰富与复杂,在诗体、节奏、修辞和诗性等方面,形成了自由、多变、求新的美学趣味与现代艺术审美风格。更多还原

【Abstract】 A large number of modern Chinese functional words came into poetry, which is an important feature of the transformation of Chinese poetry from ancient times to modern. In the development of the whole pattern of Chinese poetry, functional words as a special part of speech have played an important role in the occurrence and development of the language of modern Chinese poetry, the new configuration of poetry’s thought and form and aesthetic taste. My thesis discusses this topic mainly from three aspects:the functional words and the occurrence of the language of modern Chinese poetry, the aesthetics of functional words in modern Chinese poetic texts and the function of functional words of modern Chinese poetry. The aim of my research is trying to illuminate the relationships between the transformation of language and form of modern Chinese poetry and the functional words of modern Chinese.The first chapter deals with the relationship between the functional words of modern Chinese and the occurrence of the language of modern Chinese poetry. Under the historical background of the reforms of the scientific and democratic thought, ideology and culture, as well as the aesthetic appreciation of literature, modern Chinese functional words came into poetry, which was based on the Chinese language of modern vernacular and the system of modern Chinese grammar which draws lessons from the system of Europeanized grammar. This made the transformation between language thought and poetic concept of the "language oneness with speech"(“言文合一”). The proliferation and proper use of functional words in modern Chinese poetry has direct relation with the prose of poetry language, deconstructs the strict norms form of poetry and metric in ancient Chinese poetry, creates the conditions for the a new free verse forms of modern Chinese poetry and the configuration of a new rhythm, and adapts to the multivariate cultural symptom and aesthetic needs.The second chapter to the seventh chapter of this paper focuses on the classical poets and works in the history of modern Chinese poetry, elaborates the relationship between the functional words of modern Chinese in modern Chinese poetry and the form of modern Chinese poetry from different aspects. The second chapter explores the relationship between the functional words of modern Chinese and the construction of the form of new poetry in Hu Shi’s Changshiji (《尝试集》).The literary history’s significance of Hu Shi’s Changshijii(《尝试集》) lies in the liberation of poetic style, which has a close relationship with functional words that come into the modern Chinese poetry. Changshiji (《尝试集》) use a lot of functional words in modern Chinese poetry, changes the inherent rule of combination of language in ancient poetry, contributes to the transformation of the new system of expressive grammar and thinking mode in Chinese poetry. Modern Chinese functional words come into poetry which is an importance way to the practice of new poetry of Hu Shi’s "poetry as an important way for composition". This looses and deformates the order and rhythmic sentences of ancient poetry, influences the formation of style of modern poetry. At the same time greatly it changes the speech rhythm and intonation rhythm of ancient poetry, and has an important role in the construction of modern poetry syllable which effectively promotes the transformation of poetic style of new poetry on the whole.The third chapter is concerned with the use of functional words and its aesthetic effect in Guo Moruo’s "Goddess". The history of literature significance of Guo Moruo’s "Goddess"(《女神》) lies in greatly promoting the modernistic change of poetry aesthetic effect. This change has a close relationship with functional words that come into the modern Chinese poetry, which changes the expression of emotion and the thinking mode of ancient poetry, contributes to the new subject spirits in modern Chinese poetry. Functional words that come into the modern Chinese poetry makes the writings of Guo Moruo’s romantic passion fully express in the way of the change of frequency combination of functional words, the list of noun phrase, the flip and repeat of verse etc., which is greatly contributed to the configuration of free verse form of "Goddess"(《女神》). At the same time, function words and rhetoric figures both make the poetic emotion more fluid and changeable, which is a morphological mark of prominent of the new aesthetic taste in Guo Moruo’s poetry.The fourth chapter is devoted to analyze the relationship between functional words of modern Chinese and the formation of the rhythm poetry in Guo Moruo’s "Goddess". Guo Moruo pays attention to the practice of the emotional rhythm of "internal law", and realizes the interaction between emotional rhythm and semantic rhythm with the using of overlapping applications corresponding to a large number of particles and the preposition structure. The rational using of functional words constitutes the language rhythm of a flexible type, balance and cyclotron progressive, which promotes the indulgence and convergence of emotional rhythm. At the same time, it also changes verse’s light and stress accent and the lifting of tone and voice, and makes the change of tone form with a form which is full of a lot of exclamatory and the rhetorical question sentence. A repeated use and rhyme feature of the final sentences’ particle brings the modern rhythm. With a large number of functional words,"Goddess" adjusts to the elements of the delay, pause and limbic of natural syllables, and cooperates with the emotional rhythm and semantic rhythm, which brakes the metrical form fixed in traditional poetry, forms a new form of open and multiple modern rhythm.The fifth chapter discusses the functional words of modern Chinese and the "meditational" traits of Feng Zhi’s poetry. The "meditational" traits of in Feng Zhi’s "Sonnets"(《十四行集》) have a close relationship with the functional words coming into modern Chinese poetry which is established on the prose’s becoming of new poetry. Feng Zhi’s poetry pays attention to the beautiful form and the natural tone, Feng forms the prominent of a flip form and the phenomena of chain and partition of cross line cross section through which the rational use of the functional words adjusts the changes of simple and complex sentence which come from the expansion, ellipsis or concentration of verse. Feng Zhi’s "Sonnets" prefers using prepositions and conjunctions, corresponding effectively to the performance of the rich thoughts and complex empirical of poems. Feng Zhi exploers the verse and stanza of modern poetry with associated words which enriches the relationship of grammatical structure of modern Chinese poetry’s language, expands the connotation of modern poetry’s language, opens up the ideographic space of modern Chinese poetry, and highlights the observation and reflection of the real world for the spirit of modern poetry subject by the poetic thought of convolution, bold and unconstrained.The sixth chapter elaborates the ambiguity of Mu Dan’s poetry language in the perspective of functional words. Mu Dan s’poetry which come into a lot of functional words, constitutes the hierarchical relationship between complex sentences, abstract words and the logical processes of jumping thinking, extends the intellectual connotation of poetry, expresses the complex thought and emotion of poet. At the same time, Mu Dan’s poetry has certain color of translation which integrates functional words into the Europeanized sentences in a certain extent. This breaks fixed Chinese word order, demonstrates fully the ambiguity of modern Chinese poetry language, and reflects deeply the modern life experience and aesthetic feeling of the subject of poet.The seventh chapter deals with the modern Chinese functional words and the prose validity in Ai Qing’s poetry. The functional words in Ai Qing’s poetry are his choice in purchasing the poetic form of "prose" verse, which realizes the excellent connections between foreign form and national style in the exploration of a new free poetic form. The use of functional words in Ai Qing’s poetry makes the lines in different lengths and sentence in diverse patterns. Especially the extensive use of prepositional phrases and auxiliary function, such as collocation between modifying nouns and verbs, and collocation between verbs and auxiliaries etc., can better realize the lyric validity of prose beauty in Ai Qing’s poetry.The eighth chapter is the study of function of functional words in modern Chinese poetry. In the aspect of narrative, a lot of functional words come into poetry, which has played an important role in the narrator, narrative content and spatial-temporal relations. A lot of analytic, logical narrative languages’ coming into modern Chinese poetry, which influences the tendency of prose of poetry, changes the underdeveloped phenomenon in the ancient narrative poems, and promotes the development of narrative function in modern Chinese poetry. In the aspect of philosophy, the rational use of functional words makes the language of poetry become more logical and multi-level, and especially the use of the conjunctions expands speculative and philosophical connotation of poetry. The connection of a large number of abstract and concrete words, and the use of a large number of conjunctions, prepositions and adverbs, constitute the ideographic relationship of modifier and modified, limited and restricted, and expand the intellectuality space of poetry. In the aspect of rhythm, a lot of functional words’ coming into poetry makes modern Chinese poetry breaks through the traditional poetry form, shapes a new foot division, combination of voice and free rhythm. It also brings about changes in the sentence, function, form and stress in the language flow, affects the construction of rhythm in modern Chinese poetry which has played an important role in the formation of the rhythm of modern speech, language, emotional semantics, semantic and physiological and so on.In short, the proliferation and proper use of functional words in modern Chinese poetry greatly enhances the composition of grammar of modern Chinese poetry become complicated and fine, and makes the semantic relations of poetry language tend to abundant and complex, and shapes the aesthetic taste and modem art’s aesthetic style of free, changeable and novel in the aspects of poetic form, rhythm, rhetoric and poetic and so on.更多还原