【作者】 颜同林；

【导师】 吕进；

【作者基本信息】 西南师范大学 ， 中国现当代文学， 2004， 硕士

【摘要】 李瑛是当代新诗史上有着独特艺术才情和个性的诗人。作为一个不可或缺的审美存在，李瑛视诗歌意象为诗歌本位和重视意象化的意象观，以及张扬真善美与诗人人格力量的创作理念，终于使自己慢慢积淀成为一个具有参照系价值并兼具文本与文化意义的诗学现象。本文从意象角度出发，运用意象批评与文化心理批评等方法，力求还原诗人的意象空间与情感世界，系统阐述了李瑛诗作中所隐现的意象与主题、意象与审美意识之间的互动关系与本质联系，其中对重点抽绎出的四个具有名片性意义的主体意象进行了较为充分的微观剖析与宏观把握。全文共分三个部分： 第一部分：梳理并适当评论了当前诗学界对意象研究的相关背景与大致进程，在此基础上提出并框定了意象作为诗歌本体的内涵与外延，就涉及到的意象分类、组合、意象化等相关命题进行了阐述与探究；其次，从观物方式和功能大小的角度对李瑛诗歌意象世界进行了大致分类与整体论述，并顺理成章地对鸟意象、鱼意象、石头意象、树意象等四个主体意象作了较为宏观的剖析与读解；最后，就意象之间的三大建构模式即对喻寄托型、中心意象型和群体意象型进行了归类、论述。 第二部分：在前文对四个主体意象均有所涉及与综述的基础上，更进一步抓住四个主体意象在李瑛整个诗歌创作中异于常人的份量和特色，以“我骄傲，我是一棵树”、“沉默的个体言说”、“李瑛的另一面：无名的心绪”和“浮出水面的生命精灵”等四个角度来依次相应剖析树、石头、鸟和鱼意象，以至逐一敞亮主体意象的主角性质，使四个主体意象的名片性意义得以展现与定型。 第三部分：分析意象与以使命意识和生命意识为基本内容的审美意识的关系，认为使命意识主要体现在以下二个方面：军人意识与颂歌情怀、社会关怀与家园之思；生命意识则体现于走向西部自然与咏叹生命、在生命与死亡之间对话等相关层面上。同时指出，从历时性方面来看，李瑛始终在使命意识与生命意识的天平上来回走动并适当维持某种程度上的均衡，力求取得两者的和谐。更多还原

【Abstract】 Li Ying is a poet owning unique artistic talent and personality in contemporary poetic history. As an aesthetic being, the viewpoint to tread the images as the poetic standard and put emphasis on imagination, and the thought to express truth, kindness, virtue and the poem’s personal force make Li Ying become a poetic phenomenon which has the value worth following and consulting and has the significance on text and culture. From the perspective of image, the paper adopted Intentional Criticism and Psychological Criticism to return the image space and emotional world to their original states. At the same time, the paper made a systematic exposition of interactive relationship and essential relation between images and themes, images and aesthetic consciousness. Of all the images, the paper selected four principal ones having representative meanings and have them macro-analyzed and micro- mastered.The paper consists in three parts:The first part arranged and criticized the research background of image and its current state, then put forward and restricted images intension and extension. In this process, the part expounded and studied the image classification combination, imagelization and some other related subjects. Next, Li Ying’s image world was classified and entirely discussed. Naturally, the four principal images, which are bird, fish, stone and tree, were macro-analyzed and appreciated. Finally, this part sorted out the three main patterns of image formation, such equal metaphors, center images and group images.The second part caught the specialization of four principal images which are different from the other poets. The paper analyzed the four images one by one from four points: I’m proud for I’m a tree, quiet individual saying, Li Ying’s other aspect nameless emotion and life-spirit emerging from water, so that the four principal images could show and frame their meanings.The last part discussed the relationship between image and aesthetic consciousness existing between mission and life consciousness. The paper believed that mission consciousness is mainly embodied by the following two sides including soldier’s consciousness and praising feelings, caring society and missing hometown. The life consciousness is mainly embodied by staying in the western nature and singing life, the conversation between life and death. From the diachronic view, Li Ying is always making great efforts on the two kinds of consciousness and tries to keep them balance on the inner harmony.更多还原