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流亡是强权政治将个体从原有群体强行剥离、驱逐的一种状态,在时空的双重逼迫和巨大的精神压力下,要求回归便成为流亡者的永恒渴望。屈原的骚体弃逐诗即真切地表现了故乡回归、政治回归、自我回归和终极回归四个层面的丰富内涵,并通过鸟狐之喻、追忆和“求女”、问卜和对话、“不去”“死直”和“依彭咸之遗则”等不同方式与核心词语,由外而内,由显而隐,由一般而特殊,对其回归目标、回归途径、回归不成的内心矛盾及其终极关怀等予以逻辑展演,由此循环往复,层深层进,刚肠绕指,哀感顽艳,既真切地展示了放与归、怨与慕、自疏与不舍、远逝与不去等对立范畴,由此大大深化了其自身的文化意蕴,也以其内含的观念与生命、理性与感性、超我与本我之两种力量的冲突纠葛和走向“大归”的举动,极度凸显了弃逐文学的回归主题。
Exile is a state in which power politics forcibly detach and expel individuals from their original groups. Under the double persecution of time and space and tremendous mental pressure, the return to their demands has become the eternal aspiration of the exiles. The Qu Yuan’s Sao style depreciates poetry, which truly shows the rich connotation of the return of the hometown, the return to politics, the return to the self and the return to the ultimate. At the same time, through the metaphor of birds and foxes, “Not to ” “Dying ” and “According to the legacy of Pang Xian ” and other different ways and core words, from the outside, from the obvious, from the general and special, its return to the goal, the return path , Return to the heart of the inner contradictions and their ultimate concern to the logic of the show, which cycle through, deeper into the level, just around the gut, sad grumpy, both show and let go, grudges, self-sparse and not It has greatly deepened its own cultural connotations and also entwined and marred by the conflicting ideas and life, reason and sensibility, super-ego and self-power “Big return ” move, extremely highlights the return theme of abandoning literature.