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郭建强诗歌意象的古典性与现代性(一)

(2020-02-10 18:29:28)
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重庆师范大学硕士学位论文

                  

 

 

 

 

 

郭建强诗歌意象的古典性与现代性

         硕士研究生:高佩佩

指导教师:  李祖德  教授

                 赵黎明  教授

学科专业: 中国现当代文学

所在学院: 文学院

 

                                   

 

 

 

重庆师范大学

20186

 

 

 

 

 

 

 

A Thesis Submitted to Chongqing Normal University in Partial Fulfillment of the Requirements for the Degree of Master

                           

 

 

 

The Classicality and Modernity of the Images in Guo Jianqiang's Poems

 

 

 

 

 

Candidate Gao Peipei

SupervisorProf. Li Zude

           Prof. Zhao Liming

MajorChinese Modern and Contemporary Literature

CollegeCollege of Literature

 

 

 

 

 

 

Chongqing Normal University

June2018

 


 

郭建强诗歌意象的古典性与现代性

                                                     

   

                                         

作为著名青海诗人,郭建强自1991年开始发表作品至今,已于数十种重要文学刊物上发表重要作品,被国内三十余种权威诗歌年选收录,连续多次获得国内重要诗歌奖项国际奖项,并陆续出版了《穿过》《植物园之诗》和《昆仑书》三部诗集,影响甚为广泛。其开阔的写作视野、严肃的审美趣味,和在诗歌意象的创造与选用上体现出的古典性与现代性的有机结合的双重性特征,都让郭建强的诗歌在商业浪潮中保持一份独有的冷峻同时又潜藏着充沛的感情。

郭建强诗歌中有五类经典意象:石头、骨头、月、远方、水与镜子。其意蕴较为复杂,蕴含着不同程度的古典性和现代性,同时熔铸了对古典韵味的追求与对当下现代化的生存境遇的诗性思考。首先,郭建强对古典文学系统中的经典意象的学习与吸收,更多地体现在对古典诗歌中常见的意识形态和哲理性思考等更为深刻的方面,而不是单纯地停留于简单地运用或机械地模拟这五种意象本身;其次,郭建强在以意象作为中介进而把控诗歌、诗人和语言这三者的关系时,融入了他对现代生活的真切感受和对现代哲思的个人理解,通过这五种意象个性化地传达了对现代人生存现状与困境的理性思考;最后,其作品在大量运用和吸收地域特色十分明显的本土素材的基础上,将古典意象与现代思考相融合,古雅韵味与强烈的诗性通过意象能够共同呈现在凝练的作品中,带来新鲜且层次丰富的审美感受。此外,注重理性思辨和对直觉的描述是郭建强诗歌的一大特色,通过返回身体来思考感知世界的方式,在“疼痛”中通过直觉描写还原现象世界,在冷眼旁观中理智地抒情是郭建强诗歌创作独特的艺术经验,在异彩纷呈的第三代诗歌创作中个性十足。

郭建强的诗歌在继承和吸收古典诗歌意象的同时,又在以现代人的眼光反视古典,不断地解构已有的公共意象的并加入个人化的经验和理解,从而使得传统的古典意象与现代生活经验、话语语境相互融合,既能表达对现代文明的思考,又能体现出古雅的情致与智慧,是对传统诗歌资源的有效利用。

 

关键词:郭建强诗歌;意象;

 

古典性;现代性

 

 


The Classicality and Modernity of the Images in Guo Jianqiang's Poems

 

ABSTRACT

                   

As a famous poet from Qinghai Province, Guo Jianqiang has published works in dozens of important literary publications since 1991.His works has been selected by more than 30 authoritative poems in China and has won several international and internal awards for important poetry in China. And successively published Chuan Guo, Poetry of Botanical, and A Romantic Telling of Mt.KunLun three poems, which has caused widespread concern and very extensive impaction. His broad writing vision, serious aesthetic taste, and the dual nature of the appropriate combination of classicality and modernity embodied in the creation and selection of poetry images have stimulate Guo Jianqiang's poetry to remain unique in the wave of business. At the same time, the coldness has hidden abundant emotion potential.

This article uses "imagery" as the entry point of Guo Jianqiang's poetry research, starting from the five classic images of stone, bones, moon, distant, water and mirrors.  And hrough specific works interprets the five classic images to comprehend the classicality and modernity reflected in Guo Jianqiang's poetry. First of all, Guo Jianqiang's study of classic images in the classical literature system is more reflected in the absorption of classical ideological and philosophical thinking, rather than simply staying on the use and simulation of the five images themselves; second, When Guo Jianqiang used imagery as an intermediary to control the relationship between poetry, poet and language, hecloud always integrates his true feelings of modern life and his personal understanding of modern philosophy. In another words, hrough these five images, he conveys the poetic thinking to current status and predicament of modern people; Finally, it was explored in the concrete works that the aesthetic effect of the combination of ancient charm and strong poetry brought about by the combination of classical imagery and modern thinking, and cast and shaped Guo Jianqiang’s unique artistic experience on intuitionistic description and rational speculative.

Guo Jianqiang's poetry inherits and absorbs the image from classical poetry. At the same time, he uses thesight of modern people to anticipate classical imageries, constantly deconstructs existing public imagery, and then adds personal experience and understanding, thus making traditional classical imagery modernity. Life experiences and discourse contexts are mutually integrated, which can not only express the thinking of modern civilization but also reflect the quaint sentiments and wisdom. It is an effective use of traditional poetry resources.

 

Keywords Guo Jianqiangpoetryimageclassicalitymodernity

 


  

中文摘要....................................................................................

英文摘要....................................................................................

绪论............................................................................................. 1

(一)郭建强诗歌的意象问题................................................................... 1

(二)相关研究综述............................................................................... 2

(三)研究方法、思路与意义................................................................... 4

意象的古今之变与郭建强的“个人才能”................................................ 6

(一)作为一种诗歌语言的意象系统..................................................... 6

(二)作为一种诗歌言语活动的意象创造................................................ 7

(三)诗歌意象的古今之别与之变.............................................................. 8

(四)郭建强诗歌意象的双重特性与“个人才能”......................................... 10

现代诗思与古典意韵熔铸的意象“词典”............................................. 11

(一)石头:纯真人格与“坚硬”的诗学理想.............................................. 12  

(二)骨头:阴郁氛围与“向死而生”的生命意识......................................... 17  

(三)月亮:永恒家园与“反视传统”的历史态度......................................... 21

(四)远方:漂泊体验与“乌托邦”想象.................................................... 28

(五)水与镜:明心见性与“超越身体”的幻象空间...................................... 32

郭建强诗歌意象的艺术经验............................................................... 37

(一)地域经验与想象.......................................................................... 37

(二)古雅诗意与现代诗思..................................................................... 38

(三)“疼痛”与身体直觉..................................................................... 39

结语 .............................................................................................. 42

参考文献.................................................................................... 43

附录一........................................................................................ 46

致谢............................................................................................ 47

 

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