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dc.contributor.author古添洪zh_tw
dc.date.accessioned2014-10-27T15:24:47Z-
dc.date.available2014-10-27T15:24:47Z-
dc.date.issued1990-06-??zh_TW
dc.identifier80A4860A-1158-D5B8-99ED-7CB4D7D85DB8zh_TW
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/17362-
dc.description.abstract「解構」(deconstructive)的傾向實貫通當代的思維,故論文之初及界定記號學(semiotics)所含涉的五種解構行為,作為本文的理論基礎,進而於論文中提出三個解構的透視,以論述中西山水詩,並以此三透視作為其詩學模式。其一,中西山水詩歌皆有超越感官世界的「道」或「Logos」作為山水背後的意義,也即普爾斯(C. S. Peirce)記號衍義行為中的「最終義符」(final interpretant)。其二,山水詩歌解釋上的兩極,或謂山水的純然演出,或謂心志的終極勝利,在記號解構學的觀照下,都不免為兩「偏」,而歸結於記號底「規範功能」(modelling function)及「主題框框」兩概念,以解釋山水詩。其三,山水詩的表達,以「肖像法」(iconism)為基礎,其上則可上置有「喻況法」(metaphorical mode)。結論則本於前面所述,納入文類學家托鐸洛夫(Todorov)的三元模式,以建構中西山水詩的詩學模式。zh_tw
dc.language中文zh_TW
dc.publisher國立臺灣師範大學研究發展處zh_tw
dc.publisherOffice of Research and Developmenten_US
dc.relation(35),159-182zh_TW
dc.relation.ispartof師大學報zh_tw
dc.subject.other山水詩zh_tw
dc.subject.other中西zh_tw
dc.subject.other記號解構學zh_tw
dc.subject.other詩學zh_tw
dc.subject.other模式zh_tw
dc.titleToward a General Poetics of Chinesezh-tw
dc.title.alternative從記號解構學的角度建立中西山水詩的詩學模式zh_tw
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