语义杂糅——20世纪90年代诗歌表意方式之一  

Semantic Hybridity——One of the Ideographic Methods of Poetry in the 1990s

作　　者：范云晶 FAN Yunjing(College of Literature and Journalism,Inner Mongolian University,Huhehaote,Neimenggu 010070)

机构地区：[1]内蒙古大学文学与新闻传播学院,内蒙古呼和浩特010070

出　　处：《中国文学研究》2021年第4期170-177,共8页Research of Chinese Literature

基　　金：教育部人文社会科学研究规划基金项目“20世纪90年代诗歌的语言策略与表意方式研究”(19YJA751009)。

摘　　要：语义杂糅是20世纪90年代诗歌重要表意方式之一,主要表现为异义杂糅、异质杂糅和异声杂糅。因表达方式形成的异义杂糅,与同一语式和相反语式虚词的大量使用有关;异质杂糅通过"相异"与"互破"两种方式,把语义无关、不相容甚至互斥的词语组接,表达复杂的意义;异声杂糅则通过"多声部独唱"与"多声部合唱"两种发声方式,打破自吟的封闭言说模式,呈现出内爆与敞开双重趋向。语义杂糅搅乱了词与物的原有对称关系,丰富了意义的层次,同时也增加了写作的变数与理解的难度,其得失,对于现代汉语诗歌良性发展具有重要启示意义。Semantic hybridity is one of the important ideographic methods of poetry in the 1990 s,which mainly manifested as different meaning hybridity,heterogeneous hybridity and heterophonic hybridity. Different meaning hybridity formed by expressions is related to many same and opposite function words. Through"differentiation"and"mutual breaking",heterogeneous hybridity combines semantically irrelevant,incompatible and mutually exclusive words to express complex meanings. Through the"multi-voice solo"and"multi-voice chorus",heterophonic hybridity breaks the self-deprecating closed speech mode,showing the dual tendency of implosion and openness. Semantic hybridity disturbs the original symmetrical relationship between words and things,enriches the level of meaning,and also increases the variables of writing and the difficulty of understanding. Its gains and losses play a significant and enlightening role in the healthy development of modern Chinese poetry.

关 键 词：语义杂糅 20世纪90年代诗歌 表意方式 

分 类 号：I207.25[文学—中国文学]