《长恨歌》创作心理溯源  

The Writing Psychology of the Song of Everlasting Sorrow

作　　者：黄宇玲[1] 

机构地区：[1]成都大学文学与新闻传播学院,四川成都610061

出　　处：《成都大学学报（社会科学版）》2010年第2期102-104,共3页Journal of Chengdu University (Social Sciences)

摘　　要：白居易《长恨歌》中的李隆基和杨玉环的形象,以马嵬坡事变为分界所发生的巨大变化,实质上是诗人的"自我"在文学幻想中按照分身的方式进行的多重投射。话语主体李隆基的形象,既蕴含着诗人的社会价值观念,又有诗人自我宿命的感伤;而杨玉环,则是糅合了"美人幻梦"原型和诗人自身情殇的对象而形成的一个女性"符号",是拥有话语权的男性在集体无意识下对女性的另一种塑造和改编。The images of Li Longji and Yang Yuhuan in the poem Song of Everlasting Sorrow by Bai Juyi and those great changes since the Maweipo Incident are a multiple reflection of the poet＇s ＂ego＂ that was created in his visionary world. Li＇s image embodies not only the poet＇s social values but also his deep sorrow from his destiny; the image of Yang Yuhuan is just a feminine ＂symbol＂ produced by the combination of the archetype of ＂Dreams for Beauties＂ and the object of the poet＇s own sadness, and is another female image built and adapted with the collective unconsciousness by men who had the right of discourse.

关 键 词：《长恨歌》 创作心理 美人幻梦 

分 类 号：I207.22[文学—中国文学]