趋同与发散诗歌的情感:18世纪末和21世纪初英国诗歌研究

I. Redka
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摘要

本文主要研究英语发散性和收敛性诗歌文本的情感特征。情感被认为是诗歌文本的一个类别,它是由情感正式代表的(言语意味着命名、表达或描述情感)。情感单元在诗中结合,创造了主导的情感形象,伴随着诗歌文本的中心概念。作者在诗歌文本中处理和实现他/她的情感意象的方式预先决定了诗歌的类型(根据R. Tsur)是趋同的还是发散的。收敛性诗歌遵循传统的诗歌写作规则(包括格律、韵律、韵律等),发散性诗歌则与自动写作有关。前者的特点是审美设计,审美感觉的存在或所谓的“变质的激情”(D. Miall)。后者包含了作者的直接或“原始”的感受,换句话说,他在写作的那一刻所经历的感受。对18世纪末至21世纪初诗歌的分析表明,趋同思维在古典诗歌(如浪漫主义时期的诗歌)中更为典型。流派体系的破坏和艺术新思潮的出现,带来了新的意象形成技法。20世纪的实验诗歌变得不那么趋同,而更加具有双相性,这预设了两种思维类型在诗歌文本写作中的实施。于是,发散思维被激发出来,打破陈腐的图像,将它们分解成碎片,通过聚合技术创造出新的新鲜图像。诗歌文本内部的这种转变也影响了诗歌的情感面,而情感面与概念节点密切相关。发散性、趋同性或双相性思维的运用塑造了诗歌的情感焦点,这种情感焦点可能变得含蓄、明确、模糊、尖锐等。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Emotiveness of convergent and divergent poems: a study of late 18th- and early 21st-century English poetry
The article is devoted to the study of emotiveness of English divergent and convergent poetic texts. Emotiveness is regarded as a category of the poetic text that is formally represented by emotives (verbal means that name, express, or describe emotions). Emotive units combine within the poem creating the dominant emotive image that accompanies the central concept of the poetic text. The way the author processes and then implements his / her emotional images in the poetic text predetermines the type of poetry (according to R. Tsur) as convergent or divergent. The convergent poetry complies with the rules of traditional poetry writing (that include meter and rhythm, rhyme, etc.) while divergent poetry associates with automatic writing. The former is marked by the aesthetic design, presence of aesthetic feelings or so-called “metamorphic passions” (D. Miall). The latter contains immediate or “raw” feelings of the author, in other words, feelings that he experiences at the moment of writing. Analysis of the poems of the late 18th — early 21st century has revealed that the convergent thinking is more typical of classical poetry (for example, of the period of Romance). The genre system destruction and appearance of new trends in arts have brought forth new techniques of imagery formation. The 20th century experimental poetry becomes less convergent and more biphasic which presupposes implementation of both thinking types in poetic texts writing. Thus, the divergent thinking is called forth to shatter stale images and break them to fragments out of which new fresh images can be created due to convergence techniques. Such transformations within poetic texts have also influenced their emotive side which is closely connected with conceptual nodes. The implementation of divergent, convergent, or biphasic thinking shapes the emotive focus of a poetic piece, which may become implicit, explicit, blurred, sharp, etc.
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