论汪启疆海洋诗中月亮意象的艺术创新  

On the Artistic Innovation of the Moon Image in Wang Qijiang’s Maritime Poems

作　　者：沈玲[1] 方环海[2] SHEN Ling;FANG Huanhai(Tan Kah Kee College,Xiamen University,Zhangzhou,Fujian 363105;Overseas Education College,Xiamen University,Xiamen,Fujian 361102)

机构地区：[1]厦门大学嘉庚学院,福建漳州363105 [2]厦门大学海外教育学院,福建厦门361005

出　　处：《中国文学研究》2019年第4期181-188,共8页Research of Chinese Literature

基　　金：福建省社会科学规划项目“台湾现代海洋诗研究”(FJ2017B130)

摘　　要：汪启疆在中国海洋诗发展历程中承上启下,因丰富的海洋经验和基督徒的身份,使其在月亮意象的经营上既有对中国诗歌写月传统的承继,又有丰富与超越。本文从海洋认知场域的考察视角,探究月亮意象所呈现出来的审美特质。其中,月亮意象既有陆地家园的思念情感,海上怀人的官能欲求,亦有来自月亮的宗教救赎,这三重意象内涵,构成了汪启疆海洋书写中独有的审美表达。Wang Qijiang is a very important poet who serves as a connecting link in the progress of the development of Maritime Poetry in China. He uses the moon image in a special way,which not only inherits the moon description in his poems but also enrichs and goes beyond the tradition due to his abundant experience about ocean and Christian identity. From the perspectives of cognitive field on ocean,this paper explores the aesthetic characteristics presented by the unique time and space field under the moon image. In the maritime poems of Wang Qijiang,the moon image presents the missing emotion for land home,the sense requirement of missing people on the sea,and religious redemption from moon. And the triple image connotations constitute the unique aesthetic innovation in his maritime poems.

关 键 词：汪启疆 海洋诗 月亮意象 认知 

分 类 号：I227[文学—中国文学]