葉芝抒情詩中的視覺藝術(shù)
發(fā)布時間：2018-07-18 10:33
【摘要】：愛爾蘭著名詩人葉芝明確認(rèn)可其詩歌創(chuàng)作與藝術(shù)之間的聯(lián)系。由于家學(xué)與個人藝術(shù)趣味的影響,他擯棄了同時代詩人無病呻吟的詩風(fēng)。他從視覺藝術(shù)作品中汲取了不少創(chuàng)作靈感,其抒情詩中顯現(xiàn)出鮮明的視覺藝術(shù)主題、技巧和風(fēng)格特色。本文立足于此,探索葉芝在不同時期對于前拉斐爾畫派、古希臘雕塑藝術(shù)、中世紀(jì)拜占庭藝術(shù)、日本能劇與中國山水畫等視覺藝術(shù)形式及其中蘊(yùn)含的美學(xué)思想的吸收,揭示各藝術(shù)形式對其詩歌創(chuàng)作的影響以及他對于多種文化的認(rèn)同。本文以葉芝抒情詩為研究對象,著重分析葉芝抒情詩中顯現(xiàn)的視覺藝術(shù)元素,發(fā)掘其在選材、風(fēng)格和表現(xiàn)手法上與視覺藝術(shù)之間的關(guān)聯(lián)性。 葉芝的抒情詩中有不少元素直接來源于歐陸繪畫傳統(tǒng),此外,他對東方藝術(shù)也相當(dāng)癡迷。他的詩歌融合了視覺藝術(shù)中的意象與表現(xiàn)手法,致力于詩藝的錘煉與創(chuàng)新。葉芝從中借鑒的創(chuàng)作手法和吸取的美學(xué)思想有效地拓展了其抒情詩的語言表達(dá)空間。對于視覺藝術(shù)元素的運(yùn)用,豐富了其作品的形式,揭示了處于英詩傳統(tǒng)主流的詩人對于英語詩歌從浪漫主義到現(xiàn)代主義時期的發(fā)展所做出的獨(dú)特貢獻(xiàn)。詩人從視覺藝術(shù)作品中提取了對于人類文明的認(rèn)知,并以此為參照,表現(xiàn)其人生經(jīng)歷、愛爾蘭民族獨(dú)立以及現(xiàn)代西方精神危機(jī)聯(lián)系；通過詩歌中顯明的意象,呈現(xiàn)出他對于詩歌中愛爾蘭品質(zhì)的探尋,而這也有助于展現(xiàn)其關(guān)于文化和人類歷史的思考。 論文擬探討葉芝如何通過視覺藝術(shù)相關(guān)的意象和理念,展示其作品對于個人經(jīng)歷的如實(shí)呈現(xiàn)；展現(xiàn)葉芝如何將不同的視覺體驗(yàn)集合于個體的詩歌作品,揭示不同視覺藝術(shù)模式在其中的重要作用,并追溯其關(guān)于藝術(shù)理念的發(fā)展。緒論和結(jié)論之外,本文分為五章。第一章闡述葉芝與視覺藝術(shù)各流派之間的聯(lián)系、葉芝關(guān)于視覺藝術(shù)與詩歌之間的重要觀點(diǎn)及其在詩歌中的體現(xiàn),展示家庭、教育背景、19世紀(jì)九十年代倫敦詩壇等對于他的影響。第二章集中論述葉芝早期詩歌中的前拉斐爾畫派元素,如注重光線的運(yùn)用,鮮艷色彩的對比,用線條描繪清晰、鮮明的輪廓,尤其關(guān)注精致的細(xì)節(jié)描寫及人物描寫的重復(fù)手法等。葉芝在詩中展現(xiàn)了羅塞蒂女性形象,并將其置于愛爾蘭本土神話傳說背景中,以期喚醒民眾的集體無意識,表現(xiàn)民族身份的追尋和認(rèn)同。第三章指出葉芝對于希臘雕塑和拜占庭藝術(shù)的癡迷,分析其詩歌中的雕塑品質(zhì)以及《麗達(dá)與天鵝》等作品中對于沖突與歷史循環(huán)的表現(xiàn),并論述其關(guān)于人類歷史循環(huán)起源于主動和被動的相互作用的觀點(diǎn)。作為詩人預(yù)言家,葉芝通過月相和命運(yùn)之輪描述歷史,運(yùn)用拜占庭及其幾何圖像等象征來表現(xiàn)其“存在統(tǒng)一體”的理念,在這一過程中,拜占庭鑲嵌畫和金鳥的象征意義尤為重要。第四章集中于1914年至1928年間葉芝對日本視覺藝術(shù)形式的表現(xiàn),展示日本能劇中的舞者和佐藤贈劍在抒情詩中的重要象征意義。作為東方文明的代表,《在學(xué)童中》等詩歌中隱現(xiàn)的禪宗思想引人注目。舞蹈成為葉芝進(jìn)行冥想的一種媒介,以獲得與宇宙合而為一的精神體驗(yàn)。第五章從葉芝的詩歌、詩論以及傳記、書信入手,依據(jù)讀畫詩學(xué)相關(guān)理論,展現(xiàn)葉芝在與中國文化的接觸中,如何將中國古典詩詞、山水畫融入詩歌創(chuàng)作,從而揭示出其中所蘊(yùn)含的中國傳統(tǒng)美學(xué)思想,特別是道家美學(xué)思想。他以中國山水畫的典型意象構(gòu)筑《天青石雕》一詩,為西方提供了一方心向往之的圣地。該圣地超越生死,與其在早期詩歌中為愛爾蘭構(gòu)筑的圣地遙相呼應(yīng),讓詩意的靈魂在永恒和無限中輪回。 視覺藝術(shù)元素豐富了葉芝抒情詩的表達(dá)內(nèi)容和表現(xiàn)形式,幫助其建構(gòu)浪漫主義和現(xiàn)代主義詩人的形象。葉芝一生不斷嘗試,試圖將作為人類文明重要成果的詩歌與視覺藝術(shù)完美結(jié)合,在主題和技巧上不斷創(chuàng)新。他對于視覺藝術(shù)元素的獨(dú)特闡釋,既顯示了他對于詩歌藝術(shù)的探索,為二十世紀(jì)英語詩壇提供了榜樣,又體現(xiàn)了他以詩人強(qiáng)烈的社會責(zé)任感,為西方社會尋求出路的不懈努力。
[Abstract]:Ye Zhiming, the famous Irish poet, confirmed the connection between his poetic creation and art. Because of the influence of family and personal art, he abandoned the poetic style of his contemporaneous poets. He drew a lot of creative inspiration from the works of visual art. His lyric poetry showed distinctive visual artistic themes, skills and style features. This article, based on this, explores Yeats's absorption of the former Rafael school, the ancient Greek sculpture art, the medieval Byzantine art, the Japanese play and the Chinese landscape painting, and the absorption of the aesthetic ideas contained in it, and reveals the influence of various artistic forms on his poetry and his identity to various cultures. This article, taking Yeats's lyric poetry as the research object, focuses on the analysis of the visual art elements in Yeats's lyric poetry and explores the relevance between the visual art and the material selection, style and expressive techniques.
In Yeats's lyric poetry, many elements are directly derived from the traditional European painting tradition. In addition, he is quite obsessed with the Oriental Art. His poetry combines the imagery and expressive techniques in the visual arts, and is devoted to the refinement and innovation of the poetic art. The writing techniques and aesthetic ideas borrowed from Yeats have effectively expanded the lyric language of his poetry. The use of the visual art elements enriches the form of his works and reveals the unique contribution of the poets in the mainstream of English poetry to the development of English poetry from Romanticism to modernism. The experience of his life, the independence of the Irish nation and the modern western spiritual crisis, and the exploration of the Irish character in poetry through the images displayed in poetry, which also helps to show his thinking about culture and human history.
The thesis intends to explore how Yeats uses the images and ideas related to visual art to show the true presentation of his works to personal experiences, and to show how Yeats combines different visual experiences with individual poetry, revealing the important role of different visual art patterns, and tracing the development of artistic ideas. In addition, this article is divided into five chapters. The first chapter describes the relationship between Yeats and the various genres of visual art, Yeats's important views on visual art and poetry and their embodiment in poetry, and the influence of the family, educational background, and the London poetry in 90s nineteenth Century. The second chapter focuses on Yeats's early poetry. The elements of the former Rafael School of painting, such as the emphasis on the use of light, the contrast of bright colors, clear and vivid outlines with lines, and especially attention to exquisite detail description and the repetition of character description. Yeats displayed Rossetti's female image in the poem and placed it in the background of Irish native mythology in order to awaken the people. The third chapter points out Yeats's obsession with Greek sculpture and Byzantine art, analyzes the quality of the sculpture in his poetry and the expression of the conflict and historical cycle in the works of Lida and swan, and discusses the interaction between the active and passive origins of the historical cycle of human history. As a poet's prophet, Yeats describes history through the moon and the wheel of fate, using the Byzantium and its geometric images to represent the concept of "the unity of existence". In this process, the symbolic meaning of Byzantine mosaic and golden bird is particularly important. The fourth chapter is focused on the Japanese vision of the Japanese vision from 1914 to 1928. The expression of the art form shows the dancers in Japanese opera and the important symbolic meaning of Misaki Sato's gift in lyric poetry. As the representative of the Oriental civilization, the Zen thought hidden in the school children and other poems is noticeable. The dance becomes a medium for Yeats to meditate. The fifth chapter is from the leaf. On the basis of the related theories of poetry reading and painting, Yeats shows how to integrate Chinese classical poetry and landscape painting into poetic creation in contact with Chinese culture, thus revealing the Chinese traditional aesthetic thought, especially the Taoist aesthetic thought, with the typical images of Chinese landscape painting. The construction of a poem of "stone carving of the sky and green" provides a sacred place for the West. The holy place transcends life and death, echoes the Holy Land built for Ireland in the early poetry, and reinforces the poetic soul in eternity and infinity.
The element of visual art enriches the expression and expression of Yeats's lyric poetry and helps him to construct the image of romanticism and modernist poets. Yeats tried to make a perfect combination of poetry and visual art as the important achievement of human civilization in his life. The special interpretation not only shows his exploration of poetry, but also provides an example for the English poetry in twentieth Century, and reflects his unremitting efforts to seek a way out for the western society with the strong sense of social responsibility of the poet.
【學(xué)位授予單位】：中南大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2012
【分類號】：I562.072
本文編號：2131634
[Abstract]:Ye Zhiming, the famous Irish poet, confirmed the connection between his poetic creation and art. Because of the influence of family and personal art, he abandoned the poetic style of his contemporaneous poets. He drew a lot of creative inspiration from the works of visual art. His lyric poetry showed distinctive visual artistic themes, skills and style features. This article, based on this, explores Yeats's absorption of the former Rafael school, the ancient Greek sculpture art, the medieval Byzantine art, the Japanese play and the Chinese landscape painting, and the absorption of the aesthetic ideas contained in it, and reveals the influence of various artistic forms on his poetry and his identity to various cultures. This article, taking Yeats's lyric poetry as the research object, focuses on the analysis of the visual art elements in Yeats's lyric poetry and explores the relevance between the visual art and the material selection, style and expressive techniques.
In Yeats's lyric poetry, many elements are directly derived from the traditional European painting tradition. In addition, he is quite obsessed with the Oriental Art. His poetry combines the imagery and expressive techniques in the visual arts, and is devoted to the refinement and innovation of the poetic art. The writing techniques and aesthetic ideas borrowed from Yeats have effectively expanded the lyric language of his poetry. The use of the visual art elements enriches the form of his works and reveals the unique contribution of the poets in the mainstream of English poetry to the development of English poetry from Romanticism to modernism. The experience of his life, the independence of the Irish nation and the modern western spiritual crisis, and the exploration of the Irish character in poetry through the images displayed in poetry, which also helps to show his thinking about culture and human history.
The thesis intends to explore how Yeats uses the images and ideas related to visual art to show the true presentation of his works to personal experiences, and to show how Yeats combines different visual experiences with individual poetry, revealing the important role of different visual art patterns, and tracing the development of artistic ideas. In addition, this article is divided into five chapters. The first chapter describes the relationship between Yeats and the various genres of visual art, Yeats's important views on visual art and poetry and their embodiment in poetry, and the influence of the family, educational background, and the London poetry in 90s nineteenth Century. The second chapter focuses on Yeats's early poetry. The elements of the former Rafael School of painting, such as the emphasis on the use of light, the contrast of bright colors, clear and vivid outlines with lines, and especially attention to exquisite detail description and the repetition of character description. Yeats displayed Rossetti's female image in the poem and placed it in the background of Irish native mythology in order to awaken the people. The third chapter points out Yeats's obsession with Greek sculpture and Byzantine art, analyzes the quality of the sculpture in his poetry and the expression of the conflict and historical cycle in the works of Lida and swan, and discusses the interaction between the active and passive origins of the historical cycle of human history. As a poet's prophet, Yeats describes history through the moon and the wheel of fate, using the Byzantium and its geometric images to represent the concept of "the unity of existence". In this process, the symbolic meaning of Byzantine mosaic and golden bird is particularly important. The fourth chapter is focused on the Japanese vision of the Japanese vision from 1914 to 1928. The expression of the art form shows the dancers in Japanese opera and the important symbolic meaning of Misaki Sato's gift in lyric poetry. As the representative of the Oriental civilization, the Zen thought hidden in the school children and other poems is noticeable. The dance becomes a medium for Yeats to meditate. The fifth chapter is from the leaf. On the basis of the related theories of poetry reading and painting, Yeats shows how to integrate Chinese classical poetry and landscape painting into poetic creation in contact with Chinese culture, thus revealing the Chinese traditional aesthetic thought, especially the Taoist aesthetic thought, with the typical images of Chinese landscape painting. The construction of a poem of "stone carving of the sky and green" provides a sacred place for the West. The holy place transcends life and death, echoes the Holy Land built for Ireland in the early poetry, and reinforces the poetic soul in eternity and infinity.
The element of visual art enriches the expression and expression of Yeats's lyric poetry and helps him to construct the image of romanticism and modernist poets. Yeats tried to make a perfect combination of poetry and visual art as the important achievement of human civilization in his life. The special interpretation not only shows his exploration of poetry, but also provides an example for the English poetry in twentieth Century, and reflects his unremitting efforts to seek a way out for the western society with the strong sense of social responsibility of the poet.
【學(xué)位授予單位】：中南大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2012
【分類號】：I562.072
【參考文獻(xiàn)】
相關(guān)期刊論文 前3條
1 蔣洪新;;龐德的《七湖詩章》與瀟湘八景[J];外國文學(xué)評論;2006年03期
2 譚瓊琳;;重訪龐德的《七湖詩章》——中國山水畫、西方繪畫詩與“第四維-靜止”審美原則[J];外國文學(xué)評論;2010年02期
3 傅浩;葉芝詩中的東方因素[J];外國文學(xué)評論;1996年03期
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