【摘要】：象征主義是近百年來西方文學(xué)中一個具有深廣影響的藝術(shù)流派,它結(jié)束了西方古典主義文學(xué)發(fā)展的歷史,開啟了現(xiàn)代文學(xué)發(fā)展的先河�！跋笳髦髁x”作為一個詩歌流派,產(chǎn)生于十九世紀(jì)中葉的法國,而法國象征派的先驅(qū)波德萊爾大大推動了詩歌潮流的發(fā)展。他的詩作上承浪漫主義之余風(fēng),下開現(xiàn)代主義之先河,匯集了歐洲世紀(jì)末情緒中各種流派中的不同側(cè)面,經(jīng)過獨(dú)立冷靜的肯定、懷疑、否定、提煉的反省過程,終形成獨(dú)特的風(fēng)格。他開拓了詩歌的審美范圍,并且提出了有啟發(fā)性的開創(chuàng)性詩歌理念,使象征主義成為現(xiàn)代文學(xué)各流派的營養(yǎng)之源,后被稱為一代宗師。本文首先從十九世紀(jì)法國的文化背景和歐洲的文藝思潮介紹入手,對象征主義這一流派的產(chǎn)生、發(fā)展進(jìn)行梳理,并對波德萊爾《惡之花》的創(chuàng)作意圖進(jìn)行初步闡述。其次從波德萊爾對于頹廢派、唯美派以及浪漫派的接受、反省和反叛的過程出發(fā),從波德萊爾對于西方文化的接受、繼承和創(chuàng)新的角度,就波德萊爾詩作中體現(xiàn)出的反省意識進(jìn)行了重點(diǎn)論述。其結(jié)論是：法國象征主義對于西方文化的態(tài)度并不僅僅處于反叛的階段,象征主義在帶給當(dāng)時文藝界“新的顫栗”的藝術(shù)方式的同時,也深刻的帶有西方文化傳統(tǒng)的烙印。同時,波德萊爾并沒有如“拿來主義”一般兼容并包的繼承傳統(tǒng),而是在反省的基礎(chǔ)上,繼承了浪漫主義等流派之理念,吸收了唯美主義等流派之精華,從而使詩歌在新的時代煥發(fā)出了新的魅力,也開創(chuàng)出了屬于他自己的詩歌領(lǐng)域。最后從反省意識的角度分析波德萊爾的美學(xué)觀,通過對當(dāng)時的社會歷史、哲學(xué)美學(xué)背景的層面考察來分析波德萊爾反省意識形成的基礎(chǔ),探究其反省意識在美學(xué)觀中顯現(xiàn)的原因,進(jìn)一步將波德萊爾放在了十字路口的坐標(biāo)中,闡釋了波德萊爾對于各種流派的接受,在他和同時代詩人的橫向比較中,看出他文藝觀的獨(dú)特性
[Abstract]:Symbolism is an art school with profound influence in western literature in the past hundred years. It has ended the history of western classical literature and opened the beginning of the development of modern literature. Symbolism, as a school of poetry, came into being in France in the middle of the 19th century, and Baudelaire, the pioneer of French symbolism, greatly promoted the development of poetry. His poems are composed of romanticism and modernism, bringing together different aspects of various schools of emotion in Europe at the end of the century, and reflecting on the independent and calm process of affirmation, suspicion, negation and refinement. Finally form a unique style. He opened up the aesthetic scope of poetry, and put forward the enlightening concept of pioneering poetry, which made symbolism the source of nutrition for various schools of modern literature, and was later called a master of a generation. Starting with the cultural background of France in the 19th century and the introduction of literary and artistic thoughts in Europe, this paper combs the emergence and development of symbolism, and expounds the creative intention of Baudelaire's Flower of Evil. Secondly, from the process of Baudelaire's acceptance, reflection and rebellion of decadence, aestheticism and romanticism, and from the angle of Baudelaire's acceptance, inheritance and innovation of western culture, This paper focuses on the reflection consciousness reflected in Baudelaire's poems. The conclusion is that the attitude of French symbolism towards western culture is not only at the stage of rebellion, but also carries the brand of western cultural tradition as well as the artistic style of "new trembling" in literary and art circles at that time. At the same time, Baudelaire did not inherit the tradition of inclusive like borrowlism, but on the basis of introspection, he inherited the ideas of romanticism and other schools and absorbed the essence of aestheticism and other schools. So that poetry in the new era glows out a new charm, but also created his own poetry field. Finally, this paper analyzes Baudelaire's aesthetic view from the perspective of introspection consciousness, and analyzes the foundation of Baudelaire's introspection consciousness by examining the social history and philosophical aesthetic background at that time. This paper explores the reasons why his consciousness of introspection appears in the aesthetic view, further puts Baudelaire in the coordinates of the crossroads, explains Baudelaire's acceptance of various schools, in his horizontal comparison with contemporary poets, See the uniqueness of his view of literature and art
【學(xué)位授予單位】：西安外國語大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：I565.072

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