莎士比亚十四行诗第十八首的审美建构——基于模糊语言学的视角  

The Aesthetic Construction of Shakespeare's Sonnet 18:A Fuzzy Linguistics Perspective

作　　者：李金树[1] 

机构地区：[1]四川外国语大学研究生院,重庆400031

出　　处：《西华大学学报（哲学社会科学版）》2015年第5期38-41,共4页Journal of Xihua University(Philosophy & Social Sciences)

基　　金：国家社会科学基金项目"美国华裔批评家刘禾‘新翻译理论’研究"(项目编号:12XYY003);四川外国语大学校级科研项目"模糊语言学视域下的诗歌翻译研究"(项目编号:SISU201308)的研究成果之一

摘　　要：模糊性是语言的本质属性,诗歌的模糊美给读者留下了无限解读的空间。莎士比亚十四行诗第十八首的模糊美主要表现在语义模糊、意象模糊和主题模糊三个方面。从语义模糊方面来看,该诗选择"lovely,temperate,short,hot"等形容词和"I","thee","this"等指示代词,使其蕴含的意义空白和不确定性呈现出开放的审美意境;从意象模糊方面来看,该诗将夏天、花朵、太阳、死亡等孤立、单一的意象组合在一起,虚实相生,召唤读者能动地参与填补与构建该诗的意境,充分挖掘并体验其模糊美;语义模糊和意象模糊又决定了该诗题旨的不确定性和流变性,赋予其主题以多元模糊之美。Fuzziness is the nature of natural language. The fuzzy beauty of poetry leaves endless room for the readers to interpret.This paper delves into the research of the fuzzy beauty in Shakespeare's Sonnet 18 from three aspects: semantic fuzziness,image fuzziness and theme fuzziness. The choice of such fuzzy words as 'lovely,temperate,short,hot,I,thee and this ' makes it semantically fuzzy; its image fuzziness is well displayed by the author's wise combination of such individual image as summer,bud of may,eye of heaven and death,and the uncertainty and multiplicity resulting from its semantic and image fuzziness lead to its theme fuzziness.

关 键 词：十四行诗第十八首 审美建构 语义模糊 意象模糊 主题模糊 

分 类 号：I561.072[文学—其他各国文学]