日本和歌的韵律特征及文化价值  

The Prosodic Features and Cultural Value of Japanese Waka

作　　者：赵春英[1] Zhao Chunying(College of Foreign studies, Liaoning University, Shenyang Liaoning 110036)

机构地区：[1]辽宁大学外国语学院,辽宁沈阳110036

出　　处：《沈阳师范大学学报（社会科学版）》2017年第4期147-151,共5页Journal of Shenyang Normal University(Social Science Edition)

摘　　要：日本和歌在继承本民族古代民谣的同时吸取了中国古代诗歌的精华。《新撰万叶集》的诞生意味着和歌地位逐渐从"私"走向"公",最终超越汉诗成为最具民族特色的文学形式。日本和歌深受中国古代诗歌的影响,并可以从三个方面归纳了和歌独特的韵律形式。和歌在追求意境与韵律的过程中,因语言、文字所限,舍弃押韵,主要继承了中国汉语诗歌以意义节奏为前提的调控音拍数的形式。尽管如此,被舍弃的押韵在大众文化中屡见不鲜。据此,以诗学功能的等值原则为理论依据,分析典型例子的音与义的不等值问题,且针对押韵植根于日本社会文化之中并以具象显现的事实,探讨和歌的韵律特征以及押韵在日本文化中的演变和现实意义。Waka,based on ancient Japanese folk lyrics,has also absorbed the essence of Chinese ancient poetry.The birth of New Manyoushuu marked the transition of Waka as a literature form from ＂Private＂to ＂Public＂which overshadowed Chinese poetry in Japan and won popularity through its national characteristics. This essay,through investigating the genetic relation between Waka and Chinese poetry,discovered three rhythmic patterns of Waka.Restricted by language and word features,Waka gave up rhyming,but inherited Mora patterningin Chinese poetry in the pursuit of artistic conceptions and rhythms. Despite rhyme isabnegated by Waka,it is still very common in grass root culture. Therefore,taking the equivalence principle of poetic function as theoretical foundation,this study analyzed the non-equivalence relation between sound and meaning,and discussed the prosodic features of Waka and the evolution and contribution of rhyming in Japanese culture,which is based on the fact that rhyme was originated in Japanese culture and the concrete manifestation.

关 键 词：日本和歌 韵律 押韵 诗学功能 具象 

分 类 号：H03[语言文字—语言学]