【摘要】： 在某種意義上,文學(xué)是復(fù)合重復(fù)的編織物,是重復(fù)套重復(fù)的構(gòu)成體。因此,正如J.希利斯·米勒所言,對文本的解讀,在一定程度上得通過對重復(fù)現(xiàn)象的識別,進而理解由之衍生的意義。這也成為了一種流行性的研究方法之一,諸如原型理論、新批評、結(jié)構(gòu)主義等等。其外,還有大量有關(guān)具體文本重復(fù)現(xiàn)象的理解與闡釋。但是,必須明了的是,這并不就意味著有關(guān)重復(fù)的研究已根深葉茂。恰恰相反的是,人們往往將重復(fù)當(dāng)作一個可以洞燭微明的有效工具,而對于這工具本身的研究,卻缺乏深入;另一方面,也往往專注于具體文本的具體重復(fù)現(xiàn)象,而缺乏對重復(fù)自身的普遍性理論的探討與建構(gòu)。因此,連重復(fù)這一術(shù)語的界定,直至今日,尚缺深入的探討和權(quán)威的定論。 本文要做的是,首先是對文學(xué)意義上的重復(fù)概念進行辨析、梳整,理順其內(nèi)涵外延,確立行之有效的界定框架,對其詩學(xué)意義進行適度的評述與挖掘。進而以之為據(jù),對重復(fù)理論既有研究中的最為薄弱的環(huán)節(jié),即詩性功能進行探討。 鑒于重復(fù)衍生意義的復(fù)雜性,本文不探討其意義所指,而意在關(guān)注其衍生意義的方式,即探討重復(fù)的基本詩性功能。在探討這一基本功能時,借鑒了普羅普《故事形態(tài)學(xué)》和施塔格爾《詩學(xué)的基本概念》中的形態(tài)學(xué)方法。從重復(fù)和被重復(fù)之間的張力關(guān)系入手,推定出三種基本的功能形態(tài):再現(xiàn)式、反諷式、互文式。這三種功能不是彼此對立,而是彼此交織纏結(jié)。任何一種重復(fù)衍生的詩學(xué)意義,都是這三種功能合力的產(chǎn)物。這三種功能在具體的重復(fù)中顯現(xiàn)出來的力度并非均衡,因此,也就帶來了重復(fù)意義的復(fù)雜多變。
[Abstract]:In a sense, literature is a complex repetition of the fabric, is a repeat of the composition of the set. So, just as J. Hillis Hans Muller said that the interpretation of the text, to some extent, through the recognition of repetition, and then understand the meaning derived from it. This has also become one of the popular research methods, such as prototype theory, new criticism, structuralism and so on. In addition, there are a large number of specific text repetition phenomenon understanding and interpretation. It must be clear, however, that this does not mean that the study of repetition is deeply rooted. On the contrary, people tend to regard repetition as an effective tool which can be illuminated by holes, but the study of the tool itself is lacking in depth; On the other hand, it often focuses on the specific repetition of specific texts, and lacks the discussion and construction of the universal theory of repetition itself. Therefore, even repeated the definition of this term, until today, there is no in-depth discussion and authoritative conclusion. What this article should do is, first of all, to discriminate and analyze the concept of repetition in the sense of literature, combing it, straightening out its connotation and extension, establishing an effective definition frame, and making a moderate comment and excavation on its poetic significance. On the basis of this, this paper discusses the most weak link in the existing research of repetition theory, namely poetic function. In view of the complexity of the meaning derived from repetition, this paper does not discuss the meaning of the meaning, but intends to pay attention to the way of its derived meaning, that is, to explore the basic poetic function of repetition. In discussing this basic function, we draw lessons from the morphological methods in Prop's Tales Morphology and Stagger's the basic concept of Poetics. Starting from the tension relationship between repetition and being repeated, three basic functional forms are deduced: reproducing, irony and intertextuality. These three functions are not opposed to each other, but intertwined with each other. Any repeated derivative of poetic significance is the product of these three functional forces. These three functions are not balanced in the specific repetition, therefore, they bring the complex and changeable meaning of repetition.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：I052

【引證文獻】

相關(guān)碩士學(xué)位論文 前1條

1 高蒙;米蘭·昆德拉小說中的重復(fù)現(xiàn)象研究[D];湘潭大學(xué);2011年

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本文編號：2413303