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一个熟习了现实主义格调的乐天,在打开他的历史文学写作之维之时,惊现了他的错乱和浪漫主义主观写作的天赋,《长恨歌》因之呈现了别具一格的历史的个体化想象。本文拟从“交叉文化蒙太奇”的文本建构视角,从三个层次解析白居易《长恨歌》“诗化历史”写作思维:一,“重色”之浪漫遐想;二,数字建构的迷宫;三,穿越历史的“人鬼情未了”。从而指出,诗化历史文本的品读当重符号学与诗学共同生发的意义;占主导地位的比喻方式以及与之相伴随的语言规则,构成了任何一部史学作品不可还原的“元史学”基础。
A familiar with the realistic style of Lotte, opened his dimension of history and literature writing, the discovery of his confusion and Romanticism subjective writing talent, “Everlasting Regret” because of which presents a unique historical individual imagination. This article attempts to analyze Bai Juyi’s writing thoughts of “Everlasting Sorrow” and “Poetic History” from three aspects: one, the romantic reverie of “heavy color ”; secondly, Maze; three, through the history of “ghost ”. It is pointed out that the reading of poetic historical texts pays equal attention to the joint development of semiotics and poetics. The predominant analogy and the accompanying linguistic rules constitute the irreversible feature of any historiography "basis.