發(fā)布時間：2019-06-02 19:44

【摘要】：本文主要對程抱一詩歌集《雙歌集》中的中法雙重文化作用做比較分析。 第一章闡述程抱一詩歌的雙重性。程抱一詩歌用法文創(chuàng)作，對于中國讀者來說，那如涓涓細流的拉丁文字無疑是陌生的，但細看其內容，卻又有種種熟悉的感覺，讓人感到似曾相識。他的詩受著中國傳統(tǒng)文化的影響，與之有著不可分割的關系。程抱一詩歌對于法國讀者來說，從形式上看并不陌生，但作為以象形文字為母語的詩人，用拉丁文字創(chuàng)作的法語詩歌，從其思想精髓來說，對于法國讀者是陌生的。也許這正是程抱一詩歌的魅力所在，他的詩歌展現(xiàn)在人們面前的是一個不同于以往任何一個詩歌流派的新物質。這個物質只有在這樣兩種相隔甚遠的文化的雙重作用下才可以產生。在東西文化的雙重作用下，他的詩歌沒有偏向任何一方，而是在這兩種作用力的撞擊下，生出了異樣的火花。因此他為比較文學的研究提供了平臺，并為我們展示了文化融合的魅力。我們在此將這一現(xiàn)象概述為鏡面現(xiàn)象。 這里我們的關鍵詞是“雙重”。詩集《雙歌》分為“石音”和“木聲”兩部分�！笆�”與“木”都為中國古典詩歌中的慣用題材。中國詩歌，特別是唐代詩歌，尤為喜愛描寫大自然的景物，并借景抒情，表達詩人的一種情思。從這點上來講，這是程抱一詩歌與法國詩歌的不同之處，法國詩歌，很少直接僅僅用一個景物來作為主題描寫，法國詩歌往往更直接。 接下來第二章對其詩歌的分析。其詩歌中的“石”與“木”并非真正意義上的石頭與樹木，詩歌中沒有對石頭與樹木的描寫，而是在于其對話，時而與自我對話，時而與它者對話，時而與天地對話。似乎天地之間的萬物都在進行這對話與聯(lián)系。他們所訴說的，都是詩人心中所想的一切。程抱一詩歌這種將人的情感寄托于自然景物的詩歌表現(xiàn)手法，是對中國詩歌中“比”與“興”手法的運用。法國象征主義詩歌對隱喻,換喻以及象征手法的大量使用，在這一點上與中國詩歌有著相似之處。程抱一對這一修辭手法的使用并非純中國意義的比興，從主題選取上，他的詩歌符合“大自然”這一固有主題，但他在表意方面更具備法國式的激進與批判精神。程抱一詩歌的象征意義，具備了中法雙重的文化底蘊。我們在其中看到了中國式思維的象征，，也看到了法國式思維下的象征意義。在他的詩歌中，有不少中國傳統(tǒng)詩歌中慣用的詞匯，和在中國人心中的特有意義。程抱一詩歌中有同音異議詞象征不同意義的運用。這一手法不論是在中國詩歌還是法國詩歌中都可以見到。他的詩歌也具有其獨特的象征意義，很多詞與詩句被程抱一附上了中法文化交流的雙重意義。 中國詩歌語言講究虛實。一些虛詞成分往往被詩人省略，以追求模糊的效果。程抱一翻譯過許多中國古典詩詞，他的翻譯從某種意義上來說是一種法語詩歌再創(chuàng)作。而他在創(chuàng)作中，也將自己在翻譯過程中的一些處理手法使用在了其自己的詩歌中。 中國詩歌的另一特點就是陰陽押韻及詩句對仗問題。其詩歌節(jié)奏很多地方也遵循了中國律詩陰陽交替節(jié)拍規(guī)律，但是他沒有完全遵照律詩的創(chuàng)作方式，而是將其自由運用與其詩歌中，沒有過多的束縛，卻具有了節(jié)奏的跳躍感。對于詩歌節(jié)奏問題，程抱一的詩歌中不乏具有中國詩歌中偶數句押韻，而奇數句不押韻特點的詩句。用法文創(chuàng)作出具有中國韻律特征的詩歌，讓人耳目一新。其詩歌中也有很多具有法國詩歌押韻特征的詩句，但這兩種方式，都很好的體現(xiàn)出來法語的音韻美。而法語的音韻，配上中國詩歌的節(jié)拍特征，又有了另一番風味。 最后第三章是對于程抱一基于道家思想的詩歌觀。這一章我們要解決三個問題。即：“死亡”的價值問題，詩人的任務問題，記憶對話問題。他曾寫過這樣的詩句，“Embrassant Yin/Embrassant Yang/Frayant en nous la voie s re”�？偨Y這一思想，即詩人應探索生命宇宙的意義，讓世間萬物在詩人的筆下互相對話。在陰陽，以及萬物的相互作用下，世間萬物將相互包容、不斷融合。
[Abstract]:This paper makes a comparative analysis of the Chinese-French double-cultural function in the two-song-set. The first chapter is about the double of Cheng's poem. Sex. Cheng holds a poem in French. For Chinese readers, such as the trickle-up Latin word is no doubt strange, but the content of it, but the familiar feeling, makes the person feel like a once-in-one. Identification. His poems are influenced by Chinese traditional culture and have an integral close relationship with them. As for French readers, Cheng's poems are not strange to French readers, but as a poet with hieroglyphics as their mother tongue, French poems written in Latin words, from the essence of their thought, are strange to the French readers Perhaps this is the charm of Cheng's poem, and his poetry is in the face of a new thing that is different from any of the previous poetry schools Quality. This material can be produced only under the double effect of two different cultures. In the dual role of the culture of the east and west, his poems did not favor either side, but under the impact of the two forces, a strange fire was produced. Therefore, he provided the platform for the study of comparative literature, and showed us the opportunity of cultural integration. Force. We're here to outline the phenomenon as a mirror. The key words here are "trunk>" double ". Poetic divided into "Shi Yin" and "wood sound" Both the "stone" and the "wood" are used to the Chinese classical poetry On the subject. Chinese poetry, especially the poetry of the Tang Dynasty, is especially fond of describing the scenery of nature, and borrowing the lyrical and expressing the poet's one. In this regard, this is the difference between Cheng's poetry and French poetry. French poetry, which is rarely used directly as a theme, is often used in French poetry. More directly. In the next chapter, the second chapter The analysis of poetry. The "stone" and "wood" in his poetry are not really the stones and trees of the real meaning, but not the description of the stone and the tree in the poem, but the dialogue, the time and the self-dialogue, and the dialogue with the other. Dialogue with heaven and earth. It seems that everything between heaven and earth is in progress. The dialogue and the connection. They speak, are the poet's heart All that is thought of. Cheng holds a poem such as the poetic expression of the human emotion in the natural scenery, which is the "ratio" and the "Hing" in Chinese poetry The use of the method of symbolism, metonymy and the great use of the symbolism of the French symbolism. There are similarities. The use of a pair of this technique is not pure Chinese. From the subject selection, his poetry is in line with the inherent subject of the "nature", but he has more French-style radicalism in terms of ideality. With the spirit of criticism, the symbolic meaning of Cheng's poem has the double of China and France. We have seen the symbol of Chinese thinking and the French-style thought. In his poetry, there are a lot of Chinese traditional Chinese poetry, and in the heart of the Chinese The special meaning of Cheng's poem is the same as the symbol of the same. The use of meaning, whether in Chinese or French poetry. All of them can be seen. His poetry also has its unique symbolic meaning, and many of the words and the poems are accompanied by a cultural exchange between China and France The Double Meaning of Chinese Poetry The song language is fastidious and real. Some of the imaginary words are often omitted by the poet. To pursue the effect of fuzziness. Cheng holds a translation of many Chinese classical poems, and his translation is a kind of one in a sense The French poetry is recreated. And in his creation, he also uses some of his processing techniques in the process of translation The other characteristic of Chinese poetry is the yin and yang There are many places in the rhythm of the poem, but it also follows the law of the alternation of the yin and yang of the Chinese rhythm, but he does not follow the creative way of the rhythm, but the free use of his poetry is not bound by too much, yet it is not too much bound. With the rhythm of the jumping, there is no shortage of the rhyme of the even-numbered sentences in the Chinese poetry and the odd number in the poem. A poem that has a characteristic of Chinese prosody. The poetry is a new one. There are also many poems with the characteristics of the rhyming of French poetry in his poems, but both of them are very good. The phonological beauty of French, and the phonology of French, with the beat of Chinese poetry. And there's another flavor. The third chapter is for Cheng. A view of the poetry based on the thought of the Taoist. The chapter is to solve three problems. That is, the value of the "death", the poet's The question of the task, the question of memory dialogue. He had written such a verse, "Chunk>" Embrasant Yin/ Emrasant Yang/ Frayant en Nous la voi e s re ". This idea is to be summed up, that is, the poet should explore the meaning of the life universe, and let the world be Talk to one another in a poet's pen. In Yin and Yang, and the interaction of all things, the world is ten thousand.
【學位授予單位】：西安外國語大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I565.072

【共引文獻】

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10 朱曉U

本文編號：2491378

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