文化有根 創意是伴 Bridging Creativity
前言
在俄國形式主義學派中,將語言學和詩學聯系起來的觀點是顯而易見的。把詩看成是對語言的操作,並使用從語言學中借用的方法,這或許是最基本的形式主義的觀點。詩歌語言和日常語言的關係,語言學和詩學的關係,因而也是貫徹於整個形式主義的核心問題。
The idea of linking linguistics and poetics is evident in the Russian Formalism school. Seeing poetry as the deformation of everyday language and using methods borrowed from linguistics is perhaps the most basic formalist view. The relationship between poetic language and everyday language, the relationship between poetics and linguistics was thus one of the central issues that carried over into the whole of formalism.
就這個問題,形式主義有兩種不同的回答。位於聖彼得堡的OPOJAZ (Society for the Study of Poetic Language)認為詩歌語言和日常語言是兩種不同的東西,詩學應該是獨立於語言學的學科。這一派的代表人物是什克洛夫斯基和艾亨鮑姆。而位於莫斯科的莫斯科語言學學會則認為詩歌語言的詩性是一般語言的一種功能,而詩學是語言學的一部分。這一派的代表則是羅曼雅各布森。
There are two different answers to this question in formalism. The St Petersburg-based OPOJAZ (Society for the Study of Poetic Language) believes that the language of poetry and everyday language are two different things and that poetics should be a separate discipline from linguistics. This school is represented by Viktor Shklovsky and Boris Eikhenbaum. The Moscow linguistic circle in Moscow, on the other hand, believes that the poetic nature of poetic language is a function of language in general, and that poetics is part of linguistics. This school is represented by Roman Jacobson.
在這場貫徹了形式主義的辯論中,一般認為雅各布森站在一般語言和語言學的一邊。但是他同樣是一位形式主義者,追求詩的獨立和詩學的獨立。在結束語,語言學和詩學這篇文章中,雅各布森提出了一種六要素的理論,為這場爭論提供了自己的最終解答。他試圖彌合兩個對立的立場,為獨立的詩學提供一種語言學的基礎——雖然他的努力並不成功。
In his concluding essay, Closing Statement: Linguistics and Poetics (1960), Jakobson summarized and developed this thesis by proposing a linguistic theory of six elements, provided his own final answer to this controversy. He attempts to bridge the two opposing positions and provide a linguistic basis for a type of independent poetics - although he is not successful in his efforts.
本文將分析這篇重要文本,介紹雅各布森的六要素理論,並隨後加以批判和闡發。
This article will analyze this important text, introduce Jakobson's six-element theory, and subsequently critique and re-elaborate it.
1 雅各布森的六要素理論 Jakobson's six-element theory
在《結束語語言學和詩學》這篇文章的開頭,雅各布森就開門見山地宣布:他要就詩歌和語言的關係問題做總結。
Jakobson opens his article, Closing Statement: Linguistics and Poetics (1960), with an announcement: he wants to conclude on the question of the relationship between poetry and language.
"詩學涉及的首要問題是,究竟是什麽東西使得一段語言成為藝術品,詩學正是確定了語言藝術和其他語言行為的區別的一門學科,因此是文學研究之首。詩學研究語言結構的問題,正如對畫的分析要涉及畫的結構一樣,既然語言學是一門關於語言結構普遍性的科學,詩學就該被視為語言學不可分割的組成部分。"[1]
"Poetics deals with the question, What makes a verbal message a work of art? Because the main subject of poetics is the differentia specifica of verbal art in relation to other arts and in relation to other kinds of verbal behavior, poetics is entitled to the leading place in literary studies. Poetics deals with problems of verbal structure, just as the analysis of painting is concerned with pictorial structure. Since linguistics is the global science of verbal structure, poetics may be regarded as an integral part of linguistics."[1]
雅各布森定義了詩學,他認為詩學是所有文學研究中最重要的學科,它解釋了文學為什麽不同於其他的語言行為。在這裏,他非常明確地表明自己作為形式主義者的身份:追求詩的獨立和詩學的成熟。但是更重要的是,它是語言學的一部分,因此我們必須把語言學和詩學結合起來。因此雅各布森要用語言學來為獨立的詩學奠基。具體而言,語言學包含六個要素,以及與之相對應的六個功能。而詩學所研究的語言的詩性功能,是六個功能中的一種。
Jakobson defines poetics as the most important discipline of all literary studies, explaining why literature differs from other acts of language. Here he makes his identity as a formalist very clear: the pursuit of poetic independence. But, more importantly, it is part of linguistics, so we must combine linguistics and poetics. Jacobson therefore wants to use linguistics to lay the foundations for an independent poetics. Specifically, linguistics consists of six elements and the six functions that correspond to them. And the poetic function of language, which poetics studies, is one of the six functions.
在討論語言的詩性功能之前,他認為有必要了解詩性功能和語言其他功能的關係,以及它在整體功能框架中所處的位置。
Before discussing the poetic function of language, he argues that it is necessary to understand the relationship between the poetic function and the other functions of language, and where it fits into the overall functional framework.
一個言語事件由六個必要的要素所構成。
A speech event is made up of six necessary elements.
信息,總是從發送者傳遞給接受者。信息、發送者,接受者,這是三個要素。A對B說話,A就是發送者,B就是接收者,所說的話就是信息。
A Message, which is always transmitted from the Addresser to the Addressee. A speaks to B. A is the addresser, B is the addressee, and what is said is the message.
(原題:〈語言學和詩學:對雅各布森六要素理論的批判和新解〉更多精彩内容請點擊 》知乎)
Comment
不帶偏見的語言分析
雅各布森的另一項貢獻,在於他提出了一種分析溝通的方法。按照雅各布森在1960年出刊的論文《語言學與詩學》(Linguistics and Poetics),溝通可以分成六種元素:
1. 傳送者
2. 接受者
3. 符碼(code,例如語言系統,或索緒爾語言學底下的 langue)
4. 訊息(message,指說話的行為,或稱 parole)
5. 脈絡、語境
6. 媒介(指傳送者與接收者之間存在著的精神上或物理上的聯繫)
這些元素各自能達成六種不同的功能,例如傳遞情感(emotive)、傳遞企圖(conative)、指涉環境或參考物(referential)、社交(phatic)、後設語言(metalinguistic),與及雅各布森最為想要強調的詩學功能(poetic function)——或者說,一種文章的美學。將美學稱作「詩學功能」,出於雅各布森認為在詩歌之中最容易觀察到這種情況。
那麼,這種美學到底是指什麼?理論家喬納森・卡勒(Jonathan Culler)在他的著作《結構主義詩學》(Structurlist Poetics)就分析過: 「語言的詩學用法就是把音韻和語法上互相關聯的語言單元,排列成語序。重複類似的語言單元,把他們排列成齊整的結構形式,這種做法在詩歌中比別的語言形式都更為常見,也更為醒目。」(《Structurlist Poetics》,英文版頁66,簡體中文譯本頁95)
卡勒於是提出:只要我們對這種「重複類似的語言單元」進行「不帶偏見的、專注的、透徹的、全面的描述」,我們就可以看見「那些不曾預料的、醒目的均稱和反均稱、那些平衡的結構、那些別具效果的同義形式和突出反差的累積」,理解「已經形成的詩作中各成分之間巧妙的相互作用。」
在這段話裡,我們已經可以看出雅各布森的最終目的:透過語言學,製造出一種「不帶偏見」的分析。這種「不帶偏見」的分析,必須要是基於對語言單元——也就是語言學要素——的描述。
他在這裡特別提出,那些「重複類似的」語言學要素,例如排比(parallelism)、音韻的對仗或格律,甚至乎說偏離(deviation)的元素,都能達致「文學性」(literariness)。
喬納森・卡勒在《結構主義詩學》中 對於這些理論的分析,卡勒提出了一個饒有趣味的批評:也許我們的確可以透過語言學分析,羅列出詩歌的排比、結構對稱、平衡,規劃出一種屬於文本的形式美。但這種形式美的重要性、成因,除了美學之外的文本效果,卻始終不明。
另一個問題是,語言學分析文本應該客觀、公正,像是科學一樣能被複查檢驗。然而分析者選定以某個或者某幾個語言學的元素進行分析,這種選擇卻有很多時候是基於個人的希望,總無法說算得上客觀、公正。( 原文網址: 雅各布森:語言的詩學功能,索緒爾以外的音系學 | 香港01)
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