梦窗词心理意象研究

【作者】 王倩；

【导师】 朱崇才；

【作者基本信息】 南京师范大学 ， 文艺学， 2006， 硕士

【摘要】 南宋著名词人吴文英，不仅存词数量多，在两宋词人中位居第四，而且还是南宋最具个性和创造力的词人之一。他在继承传统中另辟蹊径，于辛弃疾的豪放和姜夔的清空之外，另创幽隐密丽一格，在南宋词坛上卓然一家。其词运意深杳、用笔幽邃、铸语险丽，乍看雕缋满眼，如残垣断壁，深味之则灵气往来、超逸沉博，因此具有独特的审美价值，在当时和后世产生过重要影响。然而对吴文英及其词的评价，历来却充满分歧。自宋末张炎《词源》中“吴梦窗词如七宝楼台，眩人眼目，碎拆下来，不成片断”的著名批评，到今天将其置于词史上十大词人之一的大家地位，其间经历了几度沉浮。时至今日，梦窗词研究依然没有达成共识。基于梦窗词的研究历史和现状，本文试图从“梦”、“窗”的意象分析以及梦窗词的写作手法这三个方面入手，对梦窗词中的意象作多角度、多侧面分析，以便我们能够更好地走进词人的内心世界。 本文共分四章。第一章是概述部分，首先简单回顾了梦窗词的研究历史，为本文作铺垫，文章正是在这样的基础上展开的；其次是对心理意象概念的分析，因为我的这篇文章是对梦窗词心理意象的分析，所以在开始这篇文章的写作之前，有必要把“心理意象”这个概念弄清楚。 第二章是对“梦”这个意象的分析。在现存三百四十余首梦窗词中，仅“梦”字就出现了一百七十一次(还不包括虽写梦境但却无“梦”字的作品)，在古代诗人、词人中，很少有像吴文英这样全神贯注地创造梦境的作者了，从这一点上讲，吴文英也可称之为梦幻词人，他的词写的就是没完没了的残梦。这一章分为两节，第一节是对“梦”的文本分析，结合具体作品，分析梦窗词中“梦”这个意象的特点；第二节是在第一节的基础上，进一步分析吴文英内心的梦幻心理与恐惧心理。 第三章是对“窗”这个意象的分析，对于吴梦窗来说，“梦”建构了经验结构的主体，“窗”则提供了主体观望的视角，提供了梦产生的情境。窗与梦是密不可分的。词人之所以自号“梦窗”，并在作品中反复组合这两个字，绝非偶然。其中不仅反映了词人创造梦幻境界所获得情感与心理上的某种补偿，同时也反映出他的审美价值与艺术追求。 第四章是通过梦窗词写作手法、修辞方法的研究，进一步分析梦窗词的现代更多还原

【Abstract】 Wu wenying was a famous poet of the Southern Song Dynasty, whose literary works’ number was very huge. He was one of the most creative and characteristic poets. He not only inherited the tradition but created a new style of poems, which was so unique that many literary critics gave him excoriation and in the contrast a few commenter sang the praises for him. There isn’t a settled point about his works until now. I tried analyzing his works from different angles of view to go deep into the inner world of Wu.This thesis was divided into four chapters. Chapter one is an overview. I firstly ran back over the history of research about Wu’s works in chapter one, which was the basis of this thesis. Secondly I elucidated the concept of imago as the analyzing tool for Wu’s work.Chapter two was the analysis of the imago of dream, which is ever-present in Wu’s work. There were few poets absorbed in the imago of dream before Wu’s emergence. From this angle of view, Wu can be characterized as an imagist. He depicted lots of his relic dreams. Chapter two was divided into two sections. The first section is a text analysis of imago of Wu’s dream. In the second section I take a step forward into Wu’s dream and fear world basing the first one.Chapter three was the analysis of the imago of window. To Wu the imago of window and the imago of dream were connected very firmly and couldn’t be divided apart. The imago of dream and window reflect Wu’s esthetic sense and values.In chapter four I analyze the current values of Wu’s works further by investigating the idiosyncrasy and eloquence of Wu’s verse. The saltant ability of the imago of dream reflected the bounce of hierarchical structure. The bouncing style was near to the idiosyncrasy of the western stream of consciousness. I think that Wu’s verse and Baudelaire’s Theory of Correspondences were similar in the nature.In the end I summarized the aforementioned chapters and re-kempt the structure and opinion of this thesis.更多还原