1, voice level:
It is one of the basic levels of literary language organization and the phonetic combination system of literary language, which mainly includes rhythm and prosody.
The basic types of rhythm (temperament) are: disyllabic, overlapping rhyme, overlapping sound and overlapping rhyme.
2. Grammar: Grammar refers to the "law" of composition and poetry, that is, the law of literary creation, which mainly refers to the constituent rules of literary language organization in terms of words, sentences and chapters. Morphology, that is, word method. The ancient poets in China were very touched by the refinement of Chinese characters. Lao Du claimed that "new poems need to be changed and sung for a long time", Meng Jiao lamented that "ghosts and gods are sad because they can't learn at night", Du Xunhe boasted that "Jianghu poets are the poorest in the world", Lu Yanrang lamented "singing a word and breaking a few stems", and Jia Dao was even more excited that "two words for three years, a song of tears". If refined well, it will become a poetic eye, and even every sentence will be named after a word, and poetry will be passed down through the ages. "Cicada is quiet in the forest, and the sound palace mountain is quieter", and the characteristics of "quietness" are more prominent and distinct with noise and sound. "The branches of red apricots are noisy in spring", and the word "noisy" is written dynamically, which shows the vitality of spring and gives people a good enjoyment. "The breeze swallows are inclined", a word "inclined", turns motion into stillness and depicts a leisurely modality.
Syntax is a refined sentence.
At all times and in all countries, everyone is a master of refining words and sentences. Flaubert, a famous French writer, once said to his excellent disciple Mo Bosang, "No matter what you want, there is only one sentence that can really be expressed, and there is only one verb and adjective that can really be applied, and that is the most accurate sentence, the most accurate verb and adjective. There are many others like this. You must find this unique sentence, unique verb and unique adjective. " Flaubert practiced, and wrote many shining words in his masterpiece Madame Bovary. On the other hand, Mo Bosang kept in mind the teacher's instruction and tried to become a master of refining words and sentences. His immortal works, such as boule de suif and Necklace, put a lot of effort into words and sentences. Chekhov, a famous Russian writer, always records the wonderful words he hears quickly when talking with people, and then carefully refines them into his own articles. On the other hand, O Tolstoy, relying on a record of interrogating prisoners in court given to him by others, felt the vibrant Russian in life, and relied on this treasure to deliberately refine words and phrases, and successfully wrote the immortal masterpiece Temptation.
Writing method
Poets of all ages attached importance to composing music.
3. Rhetorical level:
It is one of the basic levels of literary language organization, and the application of expression program is expressive and regular. (Metaphor, exaggeration, repetition, irony, symbol) Common rhetorical methods are: metaphor, analogy, metonymy, exaggeration, duality, parallelism, rhetorical questions. The purpose of learning rhetoric common sense is to serve language practice. First of all, we can identify various rhetorical methods in language, and then understand their applicable effects; At the same time, we should be able to use these rhetorical methods to improve our ability to use language. Rhetoric methods are also called figures of speech. According to experts' research, there are as many as 70 Chinese figures of speech, and the common figures of speech are 10.
4. Style level:
It refers to the language style of literary language organization, and refers to the linguistic phenomenon that more than two genres or styles are comprehensively selected in a text to cause special expression effects. Genre (also called genre) here involves novels, poems, prose poems, essays, diaries, magazines, documents, archives, tables and patterns. ) refers to more specific expressions, including monologues, dialogues, miscellaneous words and complexity from the perspective of the relationship between subject and object; From the perspective of speech resources, there are classical Chinese, vernacular Chinese, Mandarin, loanwords and so on. For example, the 40th time in A Dream of Red Mansions: Granny Liu said a rural proverb.
Luxun's Soap is a miscellaneous book.
The second part describes the psychological suggestion.
First, narrative behavior-the maze of word construction
The artist's narrative behavior is how to create a fantasy world with words. When people narrate in words, the function of words has changed, and words have temporarily withdrawn from the actual communication field and become the media and materials of narration. )
What is the psychological basis of narrative behavior? Narrative behavior is simply the behavior of using words, and the artist's narrative behavior is how to use words to create a fantasy world. Then why does it use words? Its psychological basis is that writing is the easiest and most convenient material for human beings in primitive society. It is also the most practical and convenient communication tool. The verbal material used in narrative behavior comes from human beings, which is easy to obtain, create and transform, so it will be chosen to undertake this task.
Second, the plot-gradual awakening function
Psychological arousal: According to the theory of experimental aesthetic psychology, people's aesthetic taste is not aroused overnight, but slowly. Psychological arousal has a process, that is, from simple to complex, from straightforward to tortuous, from slow to nervous.
Third, the significance of narrative syntax
Section 3 Psychological Meaning of Skills
Psychological implication of artistic skills: mainly refers to the occurrence of art and the unique psychological reasons, motivations and general laws of writers and artists in the process of using artistic skills.
First, the occurrence of rhythm and the primitive emotions of human beings.
The earliest art form is a trinity of poetry, music and dance.
Action thinking: it is a conscious activity that is not completely distinguished from action. It cannot be expected in the mind, but is thought and expressed in action. It is a psychological reaction that is based on instinct, but different from instinct.
What role does rhythm play in the trinity of primitive art? The so-called poetry, music and dance come down in one continuous line, which comes from the lifeblood of rhythm; The so-called "trinity" means that both poetry and music exist in the matrix of dance. The artistic phenomenon of "Trinity" profoundly and fully shows that rhythm, an artistic skill, has played a unique and enormous role in the formation of human art and its style. Rhythm overflows from people's life feelings, not external artificial skills, so it is an organic part of artistic life itself, which is exactly where rhythm is different from other general artistic skills. Therefore, any art must have no rhythm. Improper rhythm will seriously damage the whole life of art.
Second, imitation and human imitation impulse.
Representation: refers to the image of things that people have already felt, which can be the image of things that are directly perceived or the image of things that are not directly perceived.
Imitative imitation: it is a low-level imitation, and the unique imitation of human beings is an advanced "delayed imitation".
Delay refers to displacement. That is, to respond to things far away in time and space. The occurrence of this kind of imitation behavior beyond the given object makes human beings evolve from the pure nastic movement level to the psychological representation (imaginary representation) stage, which is an important prerequisite for artistic creation. Even if the imitated object is out of sight, this imitation will happen. There is no obvious difference between imitative imitation and delayed imitation, and it is a dynamic development process from imitative imitation to delayed imitation. Whether it is dance as an artistic forerunner, sculpture painting of plastic arts or the beginning of words, it all starts with the imitation of intuitive images. Imitation plays an important role in promoting the formation of human aesthetic psychology and the creation of artistic beauty. First of all, imitation promotes the evolution of hands and the improvement of skills. Secondly, imitation activities cultivated primitive people's eyes to capture images and observe formal beauty. Thirdly, the operation of imitation exercised the aesthetic psychological quality of our ancestors. Therefore, from the perspective of time sequence, aesthetic psychological influence and artistic creation level, imitation has "enlightenment" significance. What influence does imitation have on the realistic characteristics of primitive art? Imitation gives people pleasure, which is the internal reason why imitation becomes an artistic creation skill. The appearance of imitation greatly promoted the occurrence and formation of art. For primitive people, imitation is not only a cognitive practice, but also a most basic and widely used skill, which determines the basic characteristics and attributes of early primitive plastic arts-realism. The closer to the day when art takes place, the more realistic the style is.
Third, personification and primitive thinking of human beings.
As an artistic skill, do anthropomorphism and primitive human thinking have the same identity? It is the same. As an artistic skill, "personification" is directly born out of the primitive thinking of early human beings. It is the most typical "primitive-child" consciousness of early human beings in primitive society. It can even be said that "personification" is originally a way of thinking.
The psychological implication of the motif in the fourth quarter
First of all, what is the theme?
Motif: A recurring factor in literary works can be an event, a pattern, a skill, a narrative procedure or an idiom.
The difference between motif and theme: theme is the central concept or leading concept in a literary work, which can be said directly or not. Therefore, all literary works have themes, but not necessarily motifs.
Motif is a thematic concept formed in the field of storytelling research in the19th century, which has had a far-reaching influence in various research fields. Motif is sometimes translated as "motivation", which comes from the Latin movere. The theme is written in English. It means to make something happen and make it develop further. Critics often use this term in the following senses: first, it refers to the smallest unit of expressing a theme or plot in a literary work. Tomashevsky pointed out that after a work is divided into several theme parts, the final inseparable part is the smallest unit of theme material. Such as "It's getting late", "The hero is dead" and so on. Second, it refers to some recurring factors in literary works. Folk stories such as Legend of the White Snake, Meng Jiangnu Crying at the Great Wall, Cinderella, Embroidered Shoes Falling into the Clouds all have metaphorical motifs such as maternal love, snake worship, resistance, cattle change, hero saving beauty, magic shoes and so on. Third, it refers to the generalization of the continuity and consistency of themes or themes expressed in different literary works. Therefore, literary motif is the same theme repeatedly expressed in the process of literary development. For example, in China's classical poems, the motif of "cherishing spring" and "hurting autumn" is often revealed, which is expressed by images such as the sun, the moon, rivers, fallen leaves, hay and white hair. Another example is patriotism, homesickness, homesickness, lovers, revenge and gratitude, which are also recurring themes in China's literature, namely literary motif.
Second, the cultural and psychological implications of the motif
Let's look at the social factors that form the theme.
This theme has the meaning of repetition and continuity. This theme was not formed overnight. For example, the motif of time in China's poems was gradually formed in the long history. We know that the Chinese nation is an agricultural nation and is particularly sensitive to time. China's calendar, medicine and philosophy all attach great importance to the influence of time on agriculture, human body and life. This sensitive sense of time permeates poetry, thus forming the motif of time. Japanese scholar Matsuura Denhisa found that there are more poems describing the Spring and Autumn Period in China's poems than those describing Xia Dong. Because the spring and autumn season can arouse the poet's feelings of lamenting the world more. In addition to the spring and autumn seasons, ancient poets often like to express the motif of time with images such as sunset, waning moon, river, morning dew, weeds, fallen leaves, white hair, ancient roads, wasteland and ruins. It can be the moon: Li Baiyou "Today people don't see Gu Yue, but this month they took photos of the ancients"; Su Shi said, "When will there be a bright moon? Ask for wine from heaven. " . It can also be a sunset: Cao Zhiyou's "The wind blows in the daytime and the scenery flows west"; Li Shangyin wrote "to see the sun, for all his glory, buried by the coming night". It can also be white hair: Xie Lingyun has "sorrow is greater than death in the heart, and all the stars are white hair"; Li Baiyou: "You didn't see the lovely hair in the mirror of the high hall. Although it was dark in the morning, it turned into snow at night"; Du Fu has "the stars are frosty and mysterious, and life experiences are fleeting". The above-mentioned time images were repeatedly written into ancient poems because of agricultural life experience and introverted and steady lifestyle.
The motif of maternal love has become an important motif in China literature in the 20th century because it has an inevitable connection with China society's emphasis on family affection and family ethics. Maternal love revealed in Lu Xun's Blessing, Ba Jin's Disillusionment, Bing Xin's Stars, Spring Water, Chen Hengzhe's Story of a Needle and a Thread, Lu Yin's Old Friend by the Sea, Yuan's Peacock Flying Southeast, Ding Ling's Mother, etc. They all originated from the social history of China, that is, the nature of life objects is the same. Other themes, such as sad autumn, homesickness, patriotism and loneliness, are also formed on the basis of national life.
On the cultural and psychological factors of motif formation. The formation of motif is also inseparable from the inheritance and continuation of human or national cultural psychology. The motif of mother becoming a cow is closely related to Buddhist ethics of karma. Pine, chrysanthemum and peach are the archetypal motifs of Tao Yuanming's poems. Generally speaking, this is a symbolic expression of his ideal personality, but it is actually the result of the cultural influence of Taoist belief in immortals. The archetypal image of the Song Dynasty first appeared in the Book of Songs, and was later accepted by Taoism and became the archetypal image of immortality. Tao Yuanming's love for Song was influenced by Taoism. The fourth cloud in Four Miscellaneous Poems: "The wind is loose on the cliff, and Gracford is a gentle boy. From the beginning of the year to the beginning of the year, what can Ke Qiao rely on? The nourishing color contains body fluid and suddenly has psychology. " This poem explains the motif of Taoism's immortality through the image of pine trees. The motif of "death" in China's literature can be divided into three types: Confucian "immortal impulse", Taoist "unity of things and me" and Yang Zhu's hedonism. (textbook page 242)
The motif is related to the general psychology of human beings or the psychological factors of the nation. Frye, a famous Canadian literary theorist, used prototype theory to analyze the literary motif in his book Critical Analysis. We can also use the motif theory to study the prototype. In other words, the motif is closely related to the collective unconscious prototype. For example, the formation of the motif of reincarnation is the embodiment of the primitive thinking concept of "sun regeneration" of primitive people. For another example, grief and indignation, as the enduring motif of China literature, is the result of repressed vitality and distorted group's ultra-stable mentality which are common in China authoritarian society. According to Maslow's need motivation theory, human needs are divided into five levels: survival needs, security needs, belonging and love needs, respect needs and self-realization needs. The change of elegance in The Book of Songs, the funeral song in Han Yuefu and the Yuan zaju Dou Eyuan all need the expression of frustration for survival and safety. Yue Fei's "Man Jiang Hong", Du Fu's "Three Officials", "Three Farewells" and Cao Xueqin's "Dream of Red Mansions" are all sad expressions of frustration in the need of belonging and love. Cao Zhi's poems reveal the helplessness of respect. Qu Yuan's Lisao, Chen Ziang's Youzhou Tower, and Li Bai's Dream of Climbing Mount Tianmu can be described as the sadness that self-realization needs to be blocked. It can be seen that the formation of motif is the result of general psychological factors. Literary motif contains rich cultural and psychological factors.
Thirdly, archetypal images and idioms
Prototype image:
Prototype is a concept closely related to motif and a common code carrier of motif. Prototype is a recurring symbolic pattern in literary works. It constitutes a specific literary tradition, which connects individual works in history and has a conventional semantic association. There are two points worthy of special emphasis: 1, and the prototype corresponds to people's unconscious psychology, not conscious psychology. 2. According to Jung's view, the prototype is the expression of collective unconsciousness rather than individual unconsciousness, so what should be interpreted from the prototype image is the collective unconsciousness rather than individual psychology, or the collective psychology is expressed by individual psychology. Swiss psychologist Jung (a student of Freud) was dissatisfied with Freud's theory of "individual unconsciousness" and then put forward the theory of "collective unconsciousness". He refuted the teacher's theory in two points: one was against taking sexual desire as the only spiritual motivation, and the other was against classifying the unconscious as a personal unconscious. When Jung treated mental patients, he found that individuals encountered certain images in dreams or hallucinations, which were not only experienced by themselves, but also by their ancestors. For example, human ancestors often used bamboo poles to symbolize male genitalia, and this symbolic image often appeared in personal unconsciousness. Jung put forward the concept of "collective unconsciousness" and extended it to all human cultures, including literature and art, which are the reappearance of "collective unconsciousness". In this way, he attributed the object of literature and art to the "original image". The so-called "primitive image", in Jung's view, is "the deep collective unconsciousness of ancient human beings", a deep psychological experience formed in ancient human life and passed down from generation to generation, which precedes the eternal spiritual ontology of individual unconsciousness.
Jung believes that we can't see the original image in our daily life, but the original image is stored in the original myth (myth is the illusion of the original image), such as night elves, mysterious magic, sacred heaven, strange ghosts and so on. Great art obtains original images from myths, such as the presentation of demons, angels and black dogs in Goethe's Faust.
Jung believes that "collective unconsciousness" is the continuous evolution of the human brain in the historical development. The long-term social practice experience has been repeated by countless people, leaving physiological traces in the structure of the human brain, forming various unconscious prototypes, which have become an innate instinct of human beings through inheritance and accumulation. Jung's theory of "collective unconsciousness" can be used as a reference for the study of literary creation objects. The most important thing is to shift the exploration of creative objects from the level of realistic life consciousness to the level of human collective unconsciousness, and abandon Freud's explanation of sexual instinct. In Jung's view, "collective unconsciousness" is a kind of "remnant of our ancestors' life", which is deeply hidden in everyone's heart and becomes the deep root of literary creation. Artists have duality. In reality, he is an individual. Once he enters artistic creation, he becomes a "collective person". He believes that the deep object of literary creation is "collective unconsciousness". Once the potential "original image" in a writer's mind is awakened by some superficial creative object, he can instinctively create this "original image" without relying on personal experience.
However, he explained the deep psychological experience with idealism and mysticism, attributed the literary object to this mysterious psychological experience, and denied that literature was a reflection of real life, which was obvious.
First, he believes that "collective unconsciousness" is the content produced by genetically preserved brain structure. The influence of heredity on human brain structure is certain, but the human brain structure itself is only the material carrier of unconscious existence, which does not mean unconsciousness. Unconsciousness, as a kind of consciousness, is also a reflection of the objective world. His statement seems to think that the unconscious can exist alone without reflecting on the objective world;
Secondly, his theory of collective unconsciousness denies that social life practice is the content of literary creation. He believes that a real artist turns to an introvert because he can't adapt to the outside world or is not interested in real life, and gets creative inspiration from "collective unconsciousness". This is not only not completely in line with the actual creation, but also narrows the writer's creative space and may not be able to create works that reflect the spirit of the times.
But jung's theory of collective unconsciousness still has its positive significance:
First of all, his view of "collective unconsciousness" regards writers as "collective people", which is a great progress compared with Freud's view of "unconsciousness". He regards the writer and his creative potential as the accumulation of human social history. Although he does not admit the acquired social practice factors, his views are more historic and social than Freud's natural instinct.
Secondly, Jung believes that the illusion experience of artistic works does not come from personal experience, on the contrary, personal experience is subordinate to illusion experience, which is an inevitable conclusion drawn from the previous discussion. At this point, it once again shows Jung's criticism of Freud's position that the source of artistic works is attributed to personal experience. Jung believes that "illusion represents a deeper and more unforgettable experience than human lust", so it is the real material source of works of art, and this material feature of works of art also shows that artists' works of art are not based on the experience of the external world, but on the internal psychological experience. Jung believes that Picasso's non-objective art is based on "inner", which is not human consciousness, but an unconscious psychological world, and it affects our consciousness from the inside. Since a work of art is based on original experience or illusion, it is of course the expression of original experience or illusion. However, Jung believed that this kind of experience was unfathomable, so it needed to be given a form by mythical imagination.
It is of great significance for us to use Jung's theory of collective unconsciousness to analyze China's recluse literary trend of thought in Wei and Jin Dynasties. Ruan Ji's Poems of Huaihuai, Ji Kang's Poems of Telling Stories and Annoying, Pan Yue's Poems of Huaixian, Zuo Si's Poems of Huaihuai, Lu Ji's Poems of Thinking of Thoughts, Zhang Xie's Miscellaneous Poems, Guo Pu's Poems of Wandering Immortals and Tao Yuanming's Poems of Huaihuai. The prototype of recluse spirit refers to the collective unconsciousness accumulated in the psychological structure of literati in Wei and Jin Dynasties, which originated from the invisible consciousness of Taoism and the recluse thought of Laozi and Zhuangzi. In other words, the recluse prototype is the prototype of Tao, the transcendence of secular utility and the grasp of life ontology. Therefore, it is a new perspective to analyze the trend of thought of recluse literature in Wei and Jin Dynasties from the recluse prototype.
Idiom: it is a conventional expression code for a certain theme in the history of literature. For example, in the history of China literature, the passage of time is often manifested as "the deceased is like a husband", "time flies" and "the sun and the moon fly like a shuttle". The difference between idioms and prototype images is that the former is often a declarative phrase or short sentence, while the latter is a nominal word or phrase.
Significance of motif: First of all, literary motif has positive significance. The literary motif embodies the universal law of the development of human literature and the aesthetic psychology of the nation. For example, in The Book of Songs, motifs such as folklore, morality, personality, current situation, home country, life experience, love, youth, affection, friendship, humanity, etc. appear repeatedly in the later literary process, which can sort out the inheritance and development laws of China ancient literature. The study of literary motif is of great guiding significance to the study of literary creation, literary appreciation and literary criticism. Secondly, the motif has negative significance. Because there are obvious theme factors in literary motifs, it is easy to cause the tendency of single theme, rigid thinking and similar theme. For example, the motif of treasure hunt and revenge in martial arts novels leads to the tendency of pattern and similarity in such works, which is not conducive to the normal play of originality and artistry of novels. Another example is that the motif of karma appears constantly in the novel, which gives people the feeling of deja vu and is not convenient for artistic innovation. Section 5 Mutual Conquest of Content and Form and Its Psychological Implication
First, the aesthetic relationship between the content and form of works of art
1. The content and form of artistic works are inseparable.
2. Deep processing of the theme by form.
3. As the theme of intermediary concept.
4. Form of theme appeal
5. The theme of formal conquest. Art forms conquer themes. By emphasizing this and ignoring that, the author conquered the subject matter in form and made the subject matter submit to form.
Second, the principle of opposition and its application in artistic activities
Principle of Opposition and Artistic Activities
The application of the principle of opposition in the relationship between artistic content and form
Third, the psychological connotation of the dialectical contradiction between the content and form of the work. Formal emotion conquers natural emotion and forms aesthetic emotion through the following three stages: in the first stage, the theme emotion is used as a stimulus to arouse people's emotional excitement.
In the second stage, the form appears under the inspiration of the theme, and the formal emotion conflicts with the theme, and finally the formal emotion overcomes the theme emotion. It is the conquest and separation of art forms that transforms the utilitarian view into a super-utilitarian view. It is the function of art form that dispels the direct utilitarian purpose and forms an aesthetic focus unrelated to utilitarianism, so that the uncontrollable natural emotional flow with precipitation is injected into the deep pool, controlled, whirled and alleviated, and then becomes a clear and leisurely pouring of aesthetic feelings. The third stage, the formal emotional transformation, the final psychological reaction to conquer the theme emotion, is the relaxation and sublimation of emotion. Through the above, it shows that the formal emotion conquers and melts the theme emotion, which makes our emotion advance along the route of excitement-liberation, hysteresis-liberation and sublimation, and the end of this route is the aesthetic emotion in the art that people yearn for and can comfort our hearts.