概念整合对诗歌意象构建和传递的阐释

意象是诗歌的灵魂,中国古诗词中有丰富的意象,概念整合理论作为人类普通的认知方式,对中国古诗词的创作和解读有很强的解释力。在概念整合的框架下探讨诗歌意象的构建和意象在翻译过程的传递能够为文学翻译这一动态认知过程的研究提供理论依据和实践指导。     

认知文体学视角下的《春》之赞歌

认知文体学关注语言分析或语言形式选择的认知结构和认知过程。从认知的框架来解读文学作品,更能揭示语言中蕴舍的意识与语言形式的关系。本文介绍了认知语言学中的主要理论模式,即图形一背景、意象图式、概念隐喻。并拟从认知文体学的视角,对《春》这一诗歌进行认知文体分析。指出认知语言学对文体学结合的方法更能解释对诗歌语言的选择,为文学作品的探究提供了新的思路和模式。     

基于新教育目标分类学的物理问题分类框架的构建

了解问题的构成要素、本质特征及其所涉及的认知过程是培养学生高层次问题解决能力的首要前提。以马扎诺的新教育目标分类学为基础,从知识领域和认知系统两个维度构建了物理问题的分类框架,旨在解析问题本身与认知过程之间的动态关系。其中知识领域包括信息和心智程序,认知系统包括提取、领会、分析和知识运用。该框架可以为同类研究提供参考,也可以为教师的教学提供帮助。     

语篇视点和认知诗学在英语诗歌解读中的运用——以《约翰·安德森,我的爱》为例

语篇视点与认知诗学有着密切的联系。基于前人的研究,以《约翰·安德森,我的爱》为例,采用语篇视点和认知诗学中的图形/背景、隐喻等理论相结合的视角对它进行认知解读,探讨语篇视点与认知诗学的关系。研究认为,视点也属于认知诗学的研究领域,它在认知诗学中的作用主要表现在通过视点理论对英语诗歌文本的分析。视点为丰富认知诗学的研究范畴,为英语诗歌赏析提供了新的视角。     

英语诗歌中的隐喻与语篇连贯

隐喻是建构和解读诗歌语篇的有效策略,在诗歌中具有思维、认知和组织功能。隐喻体现了诗人的情感体验和思维过程,也建构了英语诗歌的蕴意。源域和目标域的相映射,实现了形式和内容上的统一。诗人以源域意象为载体,通过源域链条和目标域链条的映射,实现语篇连贯。本文以具体的英语诗歌为实例,分析了隐喻在语篇中对于剖析诗人的思维活动、诗篇内涵和结构组织的重要作用,探讨了在诗歌主题与中心隐喻框架下源域意象连贯和隐喻连贯对于构成诗歌语篇连贯的重要意义。     

篇章修辞学视角下《红煤》的文本解读

《红煤》是刘庆邦的一部反映当代煤矿生活现实的里程碑式的作品。它深刻地揭露了农民矿工们在社会大变革中的不断扭曲的人性变化与中国煤矿单位的基层机构中掌权者们的群体性病态:腐败。本文以篇章修辞学为理论框架,通过分析矿冶小说《红煤》的布局结构特色和语言修辞特点,深化阐释小说主题,旨在为矿冶文学的研究提供一种新的方法。     

诗歌语言话语分析的认知整合框架:以谢默斯·希尼的《传神言者》为例

本文主要探讨认知语言学与诗学之间的关系,并在"多样化的统一性"美学原则的基础上,考察了概念整合理论及其相关理论能为诗歌分析提供哪些有用的资源。通过对西蒙斯·希尼的诗篇《传神言者》的分析,本文作者认为概念整合理论可以用作诗歌分析的理论框架,可以为诗学研究提供系统的研究方法。     

从框架理论看中国古典诗歌英译中的意象传递

意象是诗歌翻译的难点,因此意象传递一直是译界的热点。框架理论是语言学中的一项重要理论,它指出意象传递的任务实际上就是需要找到能够激活与原意象相同或相似的认知框架的语言表达式。框架理论可以合理解释意象传递中的理解差异,提供适合的翻译策略,为古典诗歌英译创设了一种新的思维方式。     

“辖域”对原语文本理解与翻译的制约——以李白诗歌英译为例

以认知语言学有关"辖域"的研究为理论框架,通过分析对比李白诗歌的不同英译,探讨了"辖域"对唐诗理解和翻译的制约,发现译者在翻译过程中都自觉或不自觉地受到了原语文本"辖域""的制约,而且译者应尽量实现与原语文本的"辖域"对等。     

对等翻译的新视角：认知性对等——以陕北民歌的英译本为例

翻译对等历来都是翻译研究者关注的热点和焦点话题,但传统的翻译研究只集中于语言形式、意义、信息、功能、效果等层次上的对等,而忽视了翻译过程中的认知心理因素这一本质特征,很少从认知对等的角度去研究翻译。鉴于此,本文以陕北民歌的英译本为语料,通过对意象图式、隐喻转喻、框架映射、原型理论、映射等认知方法的分析,来具体说明译者如何通过这些认知手段使原文和译文达到认知性对等。     

诗歌鉴赏方法论

通过诗的感觉去把握诗的思维,从而进入诗歌文本。诗歌文本中以意象为基本单位构成诗的思维不同层次。对诗的思维不同层次的把握,使鉴赏者对诗歌文本有更进一步的理解、分析。但在诗歌鉴赏中还必须通过对诗歌的本体性特征“诗家语”的感悟去把握诗歌的独特性,在艺术再创造中充分发挥鉴赏者的想象和联想的作用,根据“知人论世”、“以意逆志”等原则去鉴赏诗歌和获得诗美享受。     

On explaining curriculum change: H. B. Beal,organizational categories and the rhetoric of justification

ABSTRACT

In response to a perceived reluctance to engage with poetry on the part of teachers and trainee teachers, a questionnaire was administered to a group of 48 trainees in their second year of training, before they undertook the part of their course dealing with the teaching of poetry. Their responses indicated that they had had a positive experience of poetry during their own primary education but had ceased to enjoy or understand poetry at secondary level. In discussing the responses, attention is drawn to the importance of understanding the difference between poetry as a specialist subject and as a vehicle for teaching other things. The difference between ‘enjoyment’ and ‘appreciation’, as outlined by Wittgenstein, is defined and applied to the study of poetry. Ways of extending trainees’ understanding and ability to teach poetry are explored. It is concluded that in order to get ‘on the inside of the subject they should (a) be allowed to respond freely to poetry at their own level and (b) be initiated into the kind of skills and knowledge which will enable them to identify the progressive features of poetry itself as well as the instrumental aspects of poetry teaching in the primary school.     

韵律与诗歌的传播效果

韵律在诗歌传播中有不可或缺的决定作用。古诗的强韧和今诗的低迷 ,都与对韵律的运用紧密相关——或者更直接地说 ,诗歌在今日文坛上地位的退让 ,在很大程度上缘于众多作品中韵律的缺失。韵律不仅是诗歌的内容 ,而且同时还是诗歌传播的优质介质 ,是提高传播效率的润滑剂。没有韵律 ,诗歌的传播必定遭遇媒体的障碍 ,很难达到理想的传播效果 ,阻碍读者对诗歌的接受程度 ,最终成为诗歌发展的阻滞。我们期冀于诗歌的兴盛 ,就要尊重诗歌的传播特点 ,重归韵律传统     

禅宗美学传统与卞之琳诗歌

卞之琳诗歌中蕴涵着浓厚的禅宗美学传统,这可从其诗歌诗思的妙悟隽趣、诗境的空灵澄澈以及诗质的超脱圆融三个方面感受到.     

寻觅跨语际诗歌的音乐之美——“中国文学海外传播”国际学术研讨会石江山访谈录

俄克拉荷马大学英语文学系的助理教授石江山(Jonathan Stalling)的研究专长是20世纪当代美国诗歌、比较文学和东西比较诗学。他参加完北京师范大学文学院举办的"中国文学海外传播"国际学术研讨会之后,刘倩同学就诗歌与翻译等问题对石江山进行了采访。在采访中,石江山谈到了自己的学术与翻译理论及实践,介绍了他的新作《吟歌丽诗》的灵感来源,分享了翻译中国著名诗人食指的诗歌的心得体会,并阐述了自己关于如何在诗歌翻译中传递音韵之美的独到见解。     

古诗文教学有效诵读的求致路径

运用诵读法提高古诗文教学质量已成为语文教师的共识,但在课堂教学中诵读古诗文却出现一些不尽人意的情况。探求古诗文教学有效诵读的路径主要有三条：其一,“理解诵读要义”为古诗文有效诵读提供认识基础;其二,“明确诵读意图”为古诗文有效诵读提供目标导向;其三,“加强诵读指导”为古诗文有效诵读提供方法保障。     

诗与思:存在的道说和倾听——海德格尔对荷尔德林诗的阐释

海德格尔阐释荷尔德林诗歌的目的是要探究存在之真理,显现存在的意义。他对荷尔德林诗歌的前理解是“存在之思”。在“存在历史”的意义上,他把荷尔德林诗的道说中还“没有被人听到”或“未曾言明”的东西“说”了出来,重铸了其内在的意蕴。这种非审美的诗歌阐释,是海德格尔存在论的运思批评的必然。     

A boy who would rather write poetry than throw rocks at cats is also considered to be wanting in masculinity: poetry,masculinity, and baiting boys

This paper draws on research on masculinities to examine poetry as a socially and culturally gendered genre. Situated in the context of the current ‘crisis’ around boys’ underachievement in school, attention is drawn to the problematic understanding of poetry as an unsuitable genre for boys. Attention is further drawn to the way in which poetry, when offered up to boys, is often imbued with traditional and outdated definitions of masculinity. We illustrate the extent to which hegemonic versions of masculinity are implicated in discourses about poetry as an unsuitable genre for boys. This is accomplished by undertaking a critical analysis of various sources such as Odean's (1998) Great Book for Boys, and Scieszka's (2005) Guys Write for Guys Read, as well as Iggulden and Iggulden's (2006) The Dangerous Book for Boys. Historical perspectives which highlight the role of sexologists in forging an association between poetry and effeminacy are also used to illuminate the legacy associated with the treatment of poetry somehow discordant with dominant understandings about boys’ developing masculinity. In this way, we provide a richer understanding of poetry and its discursive relationship to masculinity.     

Affective and Cognitive Responses to Poetry in the University Classroom

Abstract

In universities, as in mainstream education more widely, cognitive approaches to poetry are often dominant. Far from being irrelevant to the serious study of literature, we argue that eliciting students’ affective responses to poetry can deepen their cognitive understanding and analytical skills. Drawing on recent research in psychology on the relationship between cognition and affect, we show that poetry has particular potential to make us aware of the crucial interrelation of our cognitive and affective processes; and that bringing those responses into balance can deepen our understanding of poetry. Building on recent educational studies of typical student (and teacher) anxieties and assumptions about working with poetry, and on our observations from our own initial, exploratory seminars, we explore some of the obstacles to rebalancing the cognitive and affective dimensions of poetry in higher education, and point to the potential value of such an approach if such obstacles are overcome.     

高中语文诗歌赏析例谈

在高中诗歌鉴赏过程中,学生只有掌握丰富的语文基础知识,具备较强理解与赏析能力,才能从诗歌中感受文字之美,体会诗人的思想与情感。诗歌鉴赏活动的开展显得尤为重要。教师应从诗歌的特点出发,通过创设诗歌情境、发挥学生主体性、鼓励学生品读诗歌、开展诗歌品鉴与交流活动等方面开展诗歌鉴赏教学。