剔清那不洁的千层音——论诗歌语言的声音配置  

Cleansing the Slovenly Layers of Sound——on the sound collocations of poetic language

作　　者：赵飞[1] 

机构地区：[1]湖南省社会科学院文学研究所,湖南长沙410003

出　　处：《长沙理工大学学报（社会科学版）》2014年第1期76-81,共6页Journal of Changsha University of Science and Technology：Social Science

摘　　要：声音与节奏是诗歌的命脉。诗歌声音上的直觉感知与物理感性形式及音素的组合结构相关。这些组合结构就是批评试图发现的声音配置,诸如韵律、音组、语调、和声等模式。现代诗的音韵效果并不一定在一行诗的末尾,更重要的是在诗句内部,以及诗句与诗句之间的绵延起伏,与音素相关的句内韵在这方面扮演着重要角色。张枣对诗歌语言的语音配置非常敏感,他是当代诗人中对闻一多、卞之琳等现代诗人倡导过的音步理论或顿感说在诗歌践行中最积极也最富成果的一位,他也有意识地注重"行间半谐音"(句内韵),在汉语声音诗学上创造了典范文本。Voice and rhythm are the lifeblood of poetry. The intuitive perception of the poetic voice is related to physical perceptual form and the combination structure of phonemes. Such combination structure is what concerns criticism in order to discover the voice configuration patterns, such as metric patterns, tone group, intonation and harmony. The rhyme effect of modern poetry is not con fined to the end of a line, but what matters most is the internal structure of the line and the rolling waves between verses, in which line assonance plays an important role. Zhang Zao was very sensitive to the voice configuration of poetic language, and he is the most active and productive contemporary poet in the poetry foot theory advocated by the modern poets Wen Yiduo, t3ian Zhilin. He also paid much attention to the line assonance. All in all he created model texts of Chinese poetic voice.

关 键 词：张枣 音素 “行间半谐音” 

分 类 号：I207.25[文学—中国文学]