论文部分内容阅读
互文和戏仿不仅是一种客观存在的文本策略,而且还是一种经典的艺术表现手法。在诗学王国里,诗歌文本有着独特的价值和意义。在诗学理论历时态与共时态纵横交错的时空之中,诗歌文本以动态的发展和变化呈现在历史的疆域。诗歌文本的互文和戏仿以积极、活跃的方式参与、融合到诗歌文本的生产和再创造之中。在理性层面,诗歌文本的“模仿”与“镶嵌”、“狂欢化”、“非个人化”与“生态秩序”、“解放”与美学精神、“存在”与“回归”都在不同程度、不同角度地描摹和勾画着诗歌文本中互文与戏仿的事实和场景,接受着历史语境和文本语境的合理“焊接”和“煅造”。
Intertextuality and parody are not only an objective text strategy, but also a classic artistic expression. In the poetic kingdom, poetry text has unique value and meaning. In the time and space between the diachronic and total tense of poetics theory, the poetic texts are presented in the historical territory with the dynamic development and changes. The intertextuality and parody of poetic texts take part in a positive and active way and are integrated into the production and re-creation of the poetic texts. At the rational level, poetry texts are closely related to “imitation” and “inlaying”, “carnivalization”, “non-personalization” and “ecological order”, “liberation” and aesthetic spirit, “Existence ” and “Return ” all trace and outline the facts and scenes of intertextuality and parody in the poetic texts in different degrees and angles, accepting the reasonable “welding” of historical context and textual context “And ” Forged ".