寓言发展形态的嬗变研究

发布时间：2018-06-28 00:50

本文选题：寓言 + 发展　；参考：《郑州大学》2003年硕士论文

【摘要】： 本文从内在修辞决定外在修辞，言说方式同时也是思维方式和认识方式的角度深度审视“寓言”概念。认为它不仅是一个修辞学或诗学的概念，不仅是艺术作品的形式原则：即用一个类似的观念取代另一个观念的比喻方式，，而且是一个审美概念，一种绝对普遍性的理解方式和观察模式。体现了人对自然和对自我认识的转变，并与时代历史的发展构成同一。为说明这一点本文重点考察了寓言在不同时期发展形态的嬗变。全文分四部分：一、寓言概念的重新界定；二、寓言发展的历史追朔；三、现代寓言理论的形成；四、寓言在当代的新发展。文章第一部分在比较分析权威辞书及重要理论家对寓言的界定之后，认为多集中于文体或修辞方面而提出自己研究的新思路。认为寓言是一种思维方式和观察模式。第二部分详细探讨了寓言发展的历史。分为五个阶段：(一)寓言的起源。认为寓言起源与神话思维和逻辑思维有同源性。体现了人的混沌与原始的齐万物的境界。(二)寓言与神话的分离。寓言在形态上的初步形成和独立期。二者有了不同的关注视角和对象：俯视、尘世、人性/仰视、天国、神性。人的自我意识初步觉醒，体现了寓言视角中得“人本主义”色彩。(三)寓言对宗教的迎合与放弃。表现为中世纪说教式寓言。二元对立观念中，人受到压制。寓言一方面成为宣扬教义的工具，另一方面，尤其在中世纪后期，是反对宗教压制，争取人的声音的武器。表现出寓言对意识形态批判的雏形。(四)寓言与自然、历史的奇怪结合。这是近代寓言的诞生期。文艺复兴时期人文主义者破译象形文字的努力为寓言表达方式的诞生提供了动力。他们在二者之间找到了同构性，从而赋予寓言历史、自然、哲学的内涵。重要影响在于开始关注寓言形式本身。将形式作为研究客体。(五)寓言与象征的相遇：现代寓言概念的正式确立。古典主义以来，随着象征概念的世俗化，逐渐发展了与之相对的一个思辩概念，即寓言概念。标志着现代寓言概念的正式形成。第三部分是现代寓言理论的形成。法兰克福学派理论家本雅明在历史的纬度上对这一形式进行了考察，并运用于现代社会和现代艺术的评价。形成真正的现代寓言理论，并提出现代寓言的特征在于：与象征的某种对立、断裂性、多义性、破坏性及救赎性。第四部分探讨寓言在当代的新发展。以詹姆逊的寓言理论为基础，阐明了寓言在当代社会，在现代和后现代的背景下，对政治和意识形态的阐释和批判功能。认为他是人们自省、反叛、和消除神话给予人的虚假的想象性安慰的有效手段。并认为它已从文学向建筑、音乐、戏剧、影视甚至商业广告等文化载体的众多领域渗透。文章最后还谈到文化回归思潮的现象，认为它与寓言的去魅功能并不矛盾。
[Abstract]:This paper examines the concept of "fable" in depth from the angle of internal rhetoric and external rhetoric, which is also a mode of thinking and understanding. It is not only a concept of rhetoric or poetics, but also a formal principle of artistic works: a metaphorical way of replacing another with a similar idea, but also an aesthetic concept. An absolutely universal way of understanding and observation. It reflects the change of man's understanding of nature and self-knowledge, and constitutes the same as the development of the history of the times. To illustrate this point, this paper focuses on the evolution of fables in different periods. The full text is divided into four parts: first, the redefinition of the concept of fable; second, the history of fable development; third, the formation of modern fable theory; fourthly, the new development of fable in the contemporary era. In the first part, after comparative analysis of authoritative dictionaries and the definition of fables made by important theorists, the author thinks that most of them focus on stylistic or rhetorical aspects and puts forward new ideas for their own research. Fable is a mode of thinking and observation. The second part discusses the history of fable development in detail. It is divided into five stages: (1) the origin of fable. The author thinks that the origin of fable has the same origin with mythical thinking and logical thinking. Reflects the chaos of man and the original state of all things. (II) the separation of fables and myths. The initial formation and independence of fables in form. They have different perspectives and objects of concern: overlooking, earthly, human nature / looking up, heaven, divinity. The initial awakening of human self-consciousness reflects the "humanism" color in the allegory perspective. (3) the pandering and abandoning of fables to religion. Represented as a medieval preaching fable. In the concept of duality, man is oppressed. Fable, on the one hand, became a tool for propagating doctrine, on the other hand, especially in the late Middle Ages, as a weapon against religious repression and for the voice of man. It shows the embryonic form of allegory's criticism of ideology. (4) the strange combination of fable and nature, history. This is the birth of modern fables. The Renaissance humanists' efforts to decipher hieroglyphics provided the impetus for the birth of fables. They find the isomorphism between them and endow the fable with the connotation of history, nature and philosophy. The important effect is to begin to pay attention to the form of fable itself. Take form as the object of study. (v) the encounter between fables and symbols: the formal establishment of the concept of modern fables. Since classicism, with the secularization of symbolic concept, a relative speculative concept, fable concept, has been gradually developed. Marks the formal formation of the modern fable concept. The third part is the formation of modern fable theory. Frankfurt school theorist Benjamin examines this form in the historical latitude and applies it to the evaluation of modern society and modern art. The real modern fable theory is formed, and the characteristic of modern fable lies in: some opposition with symbol, break, polysemy, destructiveness and redemption. The fourth part discusses the new development of fable in the contemporary era. Based on Jameson's fable theory, this paper expounds the interpretation and critical function of fable to politics and ideology in contemporary society, under the background of modern and postmodernism. He is considered to be an effective means of introspection, rebellion, and elimination of false imaginative comfort given by mythology. It has permeated many fields of culture carrier such as architecture, music, drama, film and television, even commercial advertisement. Finally, the article discusses the phenomenon of cultural return to the trend of thought, which is not contradictory to the disenchantment function of the fable.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：I057

【引证文献】