袁宏道诗歌语言结构研究

【作者】 梁静；

【导师】 郑利华；

【作者基本信息】 复旦大学 ， 中国古代文学， 2009， 博士

【摘要】 将语言学与诗学相结合,从“结构”的视角探讨文学的价值,是19世纪末以来西方文学批评的重要路径。从这个角度分析诗歌,意味着我们将诗歌定位为一种语言的“建筑”,着重于从诗歌语言的内部肌理出发考察诗歌的审美品性与价值构成方式。袁宏道是明中后期大力反对“模拟”、开启“师心”一脉从而促使明代诗歌结构发生转折性变化的最关键的人物。本文将以“变”著称的袁宏道作为研究对象,目的即是想探讨在明代这样一个变革时期,作为传统雅文学主要样式的诗歌其内在结构是否发生了变化并且是如何变化的。具体来说,也就是袁宏道在理论上所宣扬的“创变”与其作品所客观呈现出的语言结构之间到底存在怎样的关系。第一章中我们试图建立本文的两个分析坐标:一是静态的诗体格局坐标,标示出近体诗与古体诗的结构差异;二是动态的诗史演变坐标,标示出“唐诗”与“宋诗”的结构差异。从第二章到第四章,我们将从声韵、语法、象与境等三个层面,具体探讨袁宏道诗歌语言结构的特征,并与经典的唐诗结构及宋诗结构进行比较,从而得以在诗史演变的框架内对袁诗结构的变化趋向进行定位。第五章将在对之前章节进行整合的基础上,探讨袁宏道诗歌语言结构的整体特征及其所呈现出的审美价值趋向。最后第六章中,我们将在袁宏道个人生平以及诗歌史的动态演变中探讨其诗歌语言结构的开放趋向的意义。袁宏道诗歌语言在整体上呈现出白话的、自然的以及开放的结构特征,这一特征内在地指向了一种现代审美结构。古典诗歌向近现代的转型是中国诗歌史自身演变的漫长过程的结果。袁宏道诗学思想中的革新精神及其诗歌语言结构的开放特征,在古典诗歌史向近现代的演变过程中具有标志性与转折性的意义。更多还原

【Abstract】 Since the late nineteenth century, it is obvious that general linguistics, as a vigorous and developing field of study, has been turning its attention more and more to the study of language in literature. As a result of marriage between linguistics and poetics, to revalue the literature from the structuralistic angle makes it possible for Western literary criticism to find a new way, which means that we come to regard poetry as kind of "architecture" made of words. In a way, the distinctive feature of poetry lies in the fact that words and their arrangement, their meaning, their outward and inward form acquire weight and value of their own.During the mid and late Ming Dynasty, Yuan Hongdao, who was against "imitation" and for "expression", was the most important figure in the transformation of poetic structure. There were deep changes in the economic structure and mind structure of society of Ming Dynasty, which is generally regarded as the transforming age in our ancient history. In this paper, we will concentrate on Yuan Hongdao, well known as a thought-provoking poet of Ming Dynasty and give a penetrating inquiry of the relationship between his literary theory and the inward texture of his poems in order to know if the structure of poetry, as a major form of classical refined literature, has come to change and how to change.In chapter one, we intend to set up two kinds of coordinate: one is static coordinate of poetic form, which indicates the structuralistic difference between regular verse and ancient verse; the other is dynamic coordinate of poetic history, which indicates the structuralistic difference between the poetry of "Tang" and "Song". From chapter two to chapter four, we’re supposed to probe into the characteristics of linguistic structure of Yuan Hongdao’s poetry at the three main levels: phonological structure, grammatical structure, and imagery structure. We also keep our eyes open to the general tendency of stucturalistic change by comparing the poetry of Yuan Hongdao to classical poetry, such as "Tang Poetry"and "Song Poetry". In chapter five, based on integrative wholeness of what’s discussed from chapter two to chapter four, we’ll concentrate on the overall characteristic of the linguistic structure and the tendency of aesthetic value of Yuan Hongdao’s poetry. Finally, in chapter six, we’ll deal with the meaning of the open structure of Yuan Hongdao’s poetry in the history of his own life and Chinese ancient poetry from a dynamic angle.The linguistic structure of Yuan Hongdao’s poems, generally presents itself with a feature of the colloquial, natural and open structure, which points to modern aesthetics in an inward way. The transformation from classical poetry to modern poetry is a result of the far-flung process in which Chinese history of poetry had been developing on its own. The revolutionary spirit in poetic thought of Yuan Hongdao and the open structure of his poetry made a sharp point and an influencing turn in the course of this transformation from classical poetry to modern poetry.更多还原