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| 題名: | 余光中現代散文之美學及其效應研究 |
| 其他題名: | A Study on the Aesthetics and Its Effects of Yu, Guang-Zhong's Modern Prose |
| 作者: | 陳鈺文
CHEN, YU-WEN |
| 貢獻者: | 文學系
高知遠
KAO, CHIH-YUAN |
| 關鍵詞: | 余光中;現代散文;符號學;現象學;接受美學
Yu, Guang-Zhong;Modern prose;Semiotics;Phenomenology;Reception aesthetics |
| 日期: | 2023 |
| 上傳時間: | 2023-11-09 11:39:17 (UTC+8) |
| 摘要: | 本文以「余光中現代散文之美學及其效應研究」為論題，將余氏現代散文具有「彈性」、「密度」、「質料」之書寫特質作參照依據，試圖解碼其造成的美學與效應。是以本研究聚焦於「文本之詩性特徵」、「文本中的意識投射現象」及「讀者接受效應」等三個層面。 第二章，透過羅曼．雅柯布森（Jakobson R）基於索緒爾（Ferdinand de Saussure）符號語言學系統而生的雙軸理論，解析余氏現代散文詩性語言之使用，此外，整合中國傳統文論「含蓄」、「意在言外」的特質，使雅柯布森未納入詩性考量之語言組合部分也予以剖析，討論「語境」產生之詩性氛圍，並進一步下分成「意象語」和「語境」作討論。 第三章，依據羅曼．英伽登（Roman Ingarden）把文學作品視作「意向性客體」的概念為基礎，藉由其檢視何為文學作品之「語音組合層」、「意義單位層」、「再現客體層」及「圖式化觀相層」等四個層次作基架，結合克羅齊（Benedetto Croce）「直覺說」的觀點，建構本文使用之理論框架，依序為「意識圖象組織」、「虛擬現實體現」與「意義的流動」，藉此縷析文本視域何和讀者視域結合，剖判余氏現代散文之意識投射現象。 第四章，藉沃爾夫岡．伊瑟爾（Wolfgang Iser）建立之接受美學為核心概念，梳理文本與讀者之交互關係，採用「移動視點」及「被動綜合」的觀點，探究文本內不同視點間相互作用之情形。接著根據伊瑟爾提出，余秋雨延伸之「召喚結構」，解碼讀者如何被不同空白之表現形式所影響，下分成「嵌入性召喚結構」與「吸附性召喚結構」進行解析。 現有研究，大多座落於中國文學理論之角度進行開掘，並未有將余氏現代散文以上述三類文學理論進行解析之做法，余光中認為現代散文應是一種兼具美感與知性的「創造性的散文（creative prose）」，並身體力行落實於其作品之中，故本文欲補足這方面的討論，期待可使此面向之研究更為完整。
This article discusses the topic of “A Study on the Aesthetics and Its Effects of Yu, Guang-Zhong's Modern Prose”, and refers to Yu's writing styles of “elasticity”, “density” and “quality of words” in his modern prose to attempt decoding the aesthetics and effects brought about by his literature. Therefore, this research focuses on three aspects: “poetic characteristics of the text”, “phenomenon of conscious projection in the text” and “reader-reception effect”. Based on Jakobson R’s axes of combination and selection, which he developed based on Ferdinand de Saussure’s semiology system, the second chapter analyzes the use of poetic language in Yu's modern prose. Also, by integrating the characteristics of “implicit” and “implication beyond literal meaning” in traditional Chinese literary theory, it analyzes the part of language combination that had not been included in Jakobson’s consideration of poetic characteristics, discusses the poetic atmosphere generated by “context”, and further discusses the issue by dividing it into the categories of “image language” and “context”. Based on Roman Ingarden’s concept of taking literary works as “intentional objects”, and using his framework of distinguishing what is or is not literary work, which includes the four strata of “word sounds and phonetic formations”, “meaning units”, “represented entities” and “schematized aspects”, while integrating Benedetto Croce’s views of intuitionism, the third chapter constructs the theoretical framework used in this article, which includes respectively, “consciousness image organization”, “embodiment of virtual reality” and “flows of meaning”, so as to analyze in detail how the horizon of the text and the horizon of the reader combine, and dissect the phenomenon of conscious projection in Yu's modern prose. The fourth chapter takes reception aesthetic theory built by Wolfgang Iser as the core concept, reviews the interactive relationship between the text and the reader, and adopts the viewpoints of a “moving viewpoint” and “passive synthesis”, to explore the interaction between different viewpoints in the text. Then, according to the inviting structure, which was proposed by Iser and extended by Yu Qiu-yu, the chapter decodes how readers are affected by different blank expressions, and analyzes the issue by dividing it into the categories of “embedded inviting structure” and “absorptive inviting structure”. Most of the existing studies stop at Chinese literature theory's construction, and have not analyzed Yu's modern prose with the above three types of literary theories. Yu, Guang-Zhong believed that modern prose should be a kind of “creative prose” carrying both aesthetics and intelligence, and put it into practice in his works, so this article intends to fill in the gaps of this aspect of the discussion, hoping to make the research of this aspect more complete. |
| 顯示於類別: | [文學系] 博碩士論文
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