Writing techniques belong to artistic expression techniques (that is, artistic techniques and expression techniques, including expression techniques (techniques)). Common ones include: exaggeration, contrast, metaphor, personification, suspense, anaphora, association, and imagination. , combination of circumlocution, combination of point and surface, combination of movement and stillness, combination of narrative and argument, blending of scenes, contrast, foreshadowing, supporting things to express ambitions, line drawing and detailed description, foreshadowing suspense, front and side metaphors and symbols, borrowing from the past to satirize the present, showing ambitions at the end of the chapter, connecting the past and the next , straight to the point, contrasting, rendering, dynamic and static, virtual and real, real writing and virtual writing, supporting the meaning of things, chanting things and expressing emotions, etc. The means of expression are common narration, description, lyricism, discussion and explanation. (In fact, it is also an artistic expression technique). Rhetorical techniques include common metaphors, contrasts, analogies, parallels, metonymy, hyperbole, intertextuality, puns, rhetorical questions, hypothetical questions, repetition, irony, quotations, etc.
Image
I
The basis of imagery is "image", which is a visual image. But this "image" must also include "meaning", that is, people's subjective color, which can constitute the so-called "image". In literary works, the description of any scenery or thing cannot contain human emotions or intentions. Therefore, Jin Shengtan said that although the three hundred chapters of the Book of Songs contain all the plants, trees, insects, fish, birds, and beasts, there is not a single sentence describing scenery. Wang Guowei also said that all scenery language is love language.
According to visual theory expert R.H. McKim, imagery should include the interaction of several aspects: first, the objectively visible part, that is, Vision; second, the imaginary and virtual part, that is, Imagination; and finally, expression. The part of composition is Composition.
Visual image as the basis of imagery is due to the direct perception of visual objects. In this stage, the subject communicates directly with the object rather than through words or concepts, which has obvious intuitive characteristics; and the image of the object enters the idea through vision, and is colored by the subject's emotions, experience, and personality, and the image becomes was finally completed. This process can be expressed as follows:
Visual object (object) Visual image Imagery Conscious emotion (subject)
Obviously, visual image is an intermediary from object image to image. The process of visual objects becoming images is a process of "natural generation to humans" in which human consciousness and emotion are fully involved.
The thinking process of image generation is different from conceptual thinking and logical thinking. Because it is mainly dominated by visual perception and intuition, the process of image generation shows obvious intuitive and emotional characteristics, lacking a strong logical paradigm, allowing the subject to exert its initiative at will and make free choices based on experience. For example, both are writing about autumn. Ma Zhiyuan's vision is full of withered vines, old trees and dim crows, but Mao Zedong's vision is the scene of "thousands of mountains are red, and the forests are dyed; the river is full of blue, and hundreds of boats are competing for the flow."
The mechanism of image formation may be the same as the mechanism of dream formation. In the theory of psychoanalysis, dreams are an important object of analysis. Freud pointed out that the most obvious feature of the dream process is that "certain thoughts, or certain conscious thoughts, are materialized in dreams, and in a certain way He also pointed out that "most experiences in dreams are visual; although emotions, thoughts and other feelings are also mixed in, visuals are always the main component." The image, symbolism and ambiguity of dreams are very similar to images. The workings of dreams are intuitive and consistent with the way images are generated. Of course, images, especially images in literary and artistic works, involve people's conscious choice and participation, and may have more rational factors than dreams.
Image is an important concept in poetry. Poems are usually vivid and vivid because of the common use of imagery in poetry. The manipulation of imagery creates a huge space for association and imagination. The imagery of poetry is originally closely related to intuition, and it can induce intuition to produce epiphanies, break through the barrier between the conscious awareness and unconscious mind of poetry readers, and awaken the silent and unconscious experiences that readers usually immerse in their hearts. Produces *whispers. In fact, poems that move us often make us feel that the poet is expressing some feeling that we have already had but have never expressed.
For structural reasons, the organization of imagery in poetry is logical. But the imagery itself has no obvious logic. This means that the experience and understanding of images in poetry need to take into account two aspects: first, pay attention to the logical structure of the organization of poetic images; second, grasp the non-logical connotation of images through non-reasoning methods such as experience, association, and imagination. In this way, the interpretation of poetry must be personalized and diversified. Li Shangyin's poems are confusing and confusing. Some people have long lamented that "a piece of "Jin Se" can explain people's difficulties." In fact, "poetry has no clear explanation", there is no need to force interpretation, let alone uniformity. The ancients said a very wise saying long ago: "It can only be understood but not expressed in words." We quote this saying not to make any mystery, but to state and emphasize a fact in poetry reading. Modern psychology has made it very clear: there are countless psychological contents buried deep in our consciousness, and what we can express in language is only a very small part.
II
Imagery is the image of the mind. The image of imagery is closely related to people. From a philosophical point of view, if a moon hangs in the sky and is not seen by people, then it can be considered as non-existent to people, and there is no possibility of it being spoken about. In fact, there are only objective things that can be reflected by the human mind; "objective" things that are independent of the human mind are meaningless to people. When the poet chants "cut off the laurel in the moon, there should be more clear light", the moon enters people's field of vision, and it is related to people's state of existence.
Image is not an object, it is the product of artistic expression. It is not presented in reality at the moment, but reproduced in the form of imagination, memory, etc.; it is a kind of image consciousness, including image intention. But the generation of images can come from the visible images of people's external world. Such as:
Withered vines, old trees and dim crows, small bridges and flowing water. The ancient road has a westerly wind and a thin horse.
These dense images are all nouns, external objects directly perceived by vision. However, the names imagined in the heart that do not exist objectively in the external world, such as angels and fairies, are visible in the mind and are related to visual experience, so they can still constitute images.
Image does not have to be visible, it can also be observable. Such as:
I have left the past, and the willows are still there. Now that I'm thinking about it, it's raining and snowing.
Another example:
In March in the south of the Yangtze River, in late spring, the grass grows, there are peanut trees, and a group of orioles fly around.
"Willows and willows are falling", "Rain and snow are falling", "Assorted peanut trees and flocks of orioles flying around" are not famous things, but the state of famous things. This also belongs to the range that can be visually observed, so it can form an image. Virtual visual scenes, such as stubborn rocks nodding, goddesses scattering flowers, pearls shed tears, good jade produces smoke, can also form images.
The basis of imagery is "image", so imagery must be related to visual experience