论朦胧诗的“朦胧性”及其语言策略  

On Ambiguity and Language Policy of the Obscure Poetry

作　　者：赵敬鹏[1] 

机构地区：[1]江苏第二师范学院文学院,江苏南京210013

出　　处：《河北民族师范学院学报》2016年第2期48-55,共8页Journal of Hebei Normal University For Nationalities

基　　金：2012年度国家社科基金重点项目"文学图像论"(12AZW005);2015年度江苏省社科基金青年项目"<水浒传>小说成像研究"(15ZWC002)的阶段性成果

摘　　要："文学作为语言的艺术",意味着文学研究要建基于语言的形式分析。就朦胧诗而言,"朦胧性"的根源是语言的审美复活,这一特点被作家充分认识并娴熟运用。进一步研究表明,朦胧诗人具体的语言策略包括两个方面,首先是疏离语言能指与所指的原有任意性关系,然后再予以重组,造成了诗歌意义的不确定;其次是以"言"绘"象","象化"的语言延缓甚至阻断了言意的通达过程,加重了诗歌的朦胧程度。That ＂Literature is the language art＂ means the literary study should be based on the formal analysis of language. As for the obscure poetry, ambiguity is rooted in the aesthetics of language, which revives in the new period of contemporary Chinese literature. A further reflection leads to the observation that the poets＇ language policy contains two aspects： the detachment and reconstruction of the arbitrary relationship between the signifiant and the signifie of language, resulting in the uncertainty of meaning, and the delay or even blocking-up of the course from signifiant to signifie with picturesque language to strengthen the ambiguity degree of poem.

关 键 词：朦胧诗 朦胧性 语言 语象 

分 类 号：I206[文学—中国文学]