“戏剧化的自我”——解读拉金诗歌中拟称的文化意识形态功能  

“A Dramatic Self”:A Study of the Cultural Ideology of Larkin’s Persona

作　　者：肖云华[1] 

机构地区：[1]华南理工大学外国语学院

出　　处：《外国文学研究》2012年第6期40-47,共8页Foreign Literature Studies

基　　金：华南理工大学中央高校基本科研业务费专项资金【项目批号:x2wyD2112930】资助

摘　　要：作为传统修辞手法,拟称在诗歌中不表现身份与文化意识。不同的是,在拉金的《行军经过》等作品中,说话人具有明显的英格兰文化身份观,并力图通过人称变化、意图控制和提喻、反讽等修辞方式在读者心中产生相应的情感共鸣。说话人的这种文化意识形态功能源自拉金在《上教堂》中所表达的对民族生存结构的信仰,这种信仰最终指向一种自赏惧外的"电网意识",成为拉金诗歌的争议之源。Persona as a traditional rhetorical device is not made tbr cultural identity awareness. However, in Larkin＇ s poems represented by ＂The March Past＂, the speaker avowedly expresses his cultural identity by skillful switching of persons, intention control and other rhetorical devices like synecdoche and irony, with the purpose to create the same emotion within the reader. The speaker＇s identity awareness is derived from Larkin＇ s faith in structure--the structure that assumes the existence of his society and is expressed by it--which ultimately leads to the xenophobia metaphorically expressed in ＂Wires＂, and is the source of the disputes over Larkin＇ s poetry.

关 键 词：拉金 拟称 英国性 身份 文化意识形态 

分 类 号：I561.072[文学—其他各国文学]