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本文将图式理论(构架、素材)运用于对诗歌的叙事学分析。莎士比亚的第107首十四行诗是对彼特拉克爱情观的一个特殊修正:无私的爱的倾诉,以及对男性朋友(而非惯常的美丽纯洁的女子)的崇敬。诗歌初始情境的特征表现为因朋友的行为而使完美的友谊出现危机。在这一状况下,抒情人表达了他对自己昔日完美的爱(作为未来发展的素材)重生的渴望,并将这獉獉一私人欲望的实现与在公共领域克服国家危机的类似希望相联系(第一个四行诗节)。继而,在獉獉獉獉诗歌的叙事进程中,公共危机的最终解决(第二诗节),以类似解决私人问题的保证而出现(第三诗节第一部分)。但是,抒情人出乎意料地将其欲望从爱的构架转向他自己作为诗人表现的优越才能,宣称自己将不朽(第三诗节第二部分),并对朋友许诺,作为他诗歌的艺术主题,在自己死后,他也将同样不朽(尾联)。这样,在诗歌的叙事发展中就有两个转折点或事件——第一,在獉獉被叙述的故事层次上(一个发生之事中的事件):政治危机的成功解决,以及通过类比,在私人领獉獉獉獉獉獉獉獉域中他的爱的类似前景;第二,从爱的架构(以及素材)转向艺术成就(一个呈现事件),从恳请獉獉獉獉朋友爱的重生到他作为诗人的自我肯定。这一从爱到艺术的构架突破,明显地是由抒情人对受獉獉獉獉到威胁的朋友的爱的消退转而试图断言他自身所驱动的,从而恢复了他们之间关系的平衡。
In this paper, schema theory (framework, material) is applied to the analysis of the poetic narratology. Shakespeare’s 107th sonnet is a special revision of Petrarch’s view of love: a selfless talk of love, and a reverence for male friends, not the usual beautiful and pure woman. The initial situation of poetry is characterized by a crisis of perfect friendship due to the behavior of friends. Under such circumstances, the lyric person expressed his desire to be born again with his perfect past love as a material for future development and to link this realization of lust to a private desire with similar hopes of overcoming the state crisis in the public domain (The first four lines of stanza). Then, in the narrative process of the poetic poem, the final solution to the public crisis (second verse) emerges in a similar way to the plight of the private issue (part one of the third verse). But the lyricist unexpectedly shifted his desire from a framework of love to his own superior talent as a poet, declaring himself immortal (part two of the third verse) and promising friends as an artistic theme of his poetry , After his own death, he will also be immortal (Tailian). Thus there are two turning points or events in the development of the narrative of poetry - first, at the level of narrative story (event in one event): the successful resolution of the political crisis and, through analogy, The similar prospects for his love in the private sphere; secondly, the shift from the architecture of love (as well as the material) to the achievement of art (a presenting event), from pleading 獉 獉 獉 重 to the rebirth of a friend’s love He self-affirmed as a poet. This structural breakthrough, from love to art, is apparently a restoration of the balance of the relations between them by applauding the decline of the lovers’ love of the underhanded and threatening friends in an attempt to assert his own initiative.