T.S.艾略特的詩歌《荒原》和《J·阿爾弗雷德·普魯弗洛克的情歌》是關(guān)于文明淪陷的詩歌。這種淪陷并不是一種實(shí)體意義上的淪陷,并不是指高樓大廈的倒塌等具體的影像,而是一種精神層面的淪陷。一種精神上的無意義,無目的,無希望所帶來的絕望感。艾略特在詩中象征主義手法及意象疊加、時(shí)空交錯(cuò)等現(xiàn)代詩歌表現(xiàn)手段的運(yùn)用,使得詩歌高度的抽象哲理化,拓展了詩歌的思想內(nèi)容。本論文試圖從波德萊爾的感應(yīng)系統(tǒng)理論的嶄新視角對現(xiàn)代派詩人艾略特的作品《荒原》和《情歌》進(jìn)行美感視角的詮釋與挖掘。法國詩人波德萊爾是被認(rèn)為比批評家圣勃夫“還要偉大的批評家”,他最主要的貢獻(xiàn)就是提出一整套美學(xué)理論—感應(yīng)論。波德萊爾不再用柏拉圖的“靈感說”和“迷狂說”來解釋詩歌的創(chuàng)作了,他在美學(xué)論文集《美學(xué)珍玩》中說:“現(xiàn)代詩歌同時(shí)兼有繪畫、音樂、雕塑、裝飾藝術(shù)、嘲世哲學(xué)和分析精神的特點(diǎn);不管修飾得多么得體、多么巧妙,它總是明顯地帶有取之于各種不同的藝術(shù)的微妙之處。”波德萊爾還指出,詩歌的目的和本質(zhì)就是“把善同美區(qū)別開來,發(fā)掘惡中之美,讓節(jié)奏和韻腳符合人對單調(diào)、勻稱、驚奇等永恒的需要;讓風(fēng)格適應(yīng)主題,靈感的虛榮和危險(xiǎn)等等。”這些觀點(diǎn)可集中體現(xiàn)在他... 

【文章來源】：東北師范大學(xué)吉林省 211工程院校 教育部直屬院校

【文章頁數(shù)】：51 頁

【學(xué)位級別】：碩士

【文章目錄】：
Abstract in English
Abstract in Chinese
Introduction
Chapter One Baudelaire’s Aesthetic Theory—Correspondence Theory
    1.1 The Implication of Correspondence theory
    1.2 The Reality Correspondence
    1.3 The Artistic Correspondence
        1.3.1 Purposes of Artistic Correspondence
        1.3.2 Means of Artistic Correspondence
        1.3.3 Activity Forms of Artistic Correspondence
    1.4 Transcendental Correspondence
Chapter Two The Reflection of the Art Forms of Correspondence Theory in T.S. Eliot’s Works
    2.1 Introduction of Analogy
    2.2 Analogy of Correspondence Theory used in “The Love Song of J. Alfred Prufrock” （abbreviated as “Love Song”）
Chapter Three The Reflection of Natural Concepts of Correspondence Theory in T.S. Eliot’s works.
    3.1 The Concept of Nature in T.S Eliot’s Modernistic Poetry and their aesthetic pursuit
        3.1.1 The Concept of Nature in Modernistic literature
        3.1.2 Correlation between Modernistic literature and Romanticism literature.
        3.1.3 The Concept of Nature in T.S Eliot’s Modernistic Poetry
    3.2 The Concept of Nature in Correspondence Theory and its aesthetic pursuits
        3.2.1 Material Nature
        3.2.2 Spiritual Nature
        3.2.3 Super Nature
    3.3 The Aesthetical Correlation between Natural Concepts of Correspondence Theory and T.S. Eliot’s Love Song
Chapter Four The Aesthetic Principle “Beauty in Evil” of Correspondence Theory and its Reflection in T.S. Eliot’s The Waste Land.
    4.1 The Philosophical Value of the concept “Beauty”and “Ugly”, “Good”and “Evil”as both contrary and unified terms
    4.2 The Aesthetic Value of “Beauty in Evil” and its Reflection in T.S. Eliot’s The Waste Land
        4.2.1 The establishment of evil imagery.
        4.2.2 Evil Imagery Analysis in Eliot’s The Waste Land
    4.3 Grotesquery as an Aesthetic Category
        4.3.1 The Characteristics of
        4.3.2 The Aesthetic Value of
        4.3.3 The Reflection of Grotesquery in The Waste
    4.4 The Moral and Ethical Value of “Beauty in Evil” and its Reflection in T.S. Eliot’s The Waste Land
        4.4.1 The Moral and Ethical Value of “Evil Beauty”
        4.4.2 The Reflection of the Moral and Ethical Values of “Evil Beauty” in T.S. Eliot’s The Waste
Conclusion
Bibliography
Acknowledgements


【參考文獻(xiàn)】：
期刊論文
[1]解讀《荒原》與文學(xué)鑒賞的困惑——兼與曾艷兵同志商榷[J]. 劉崇中.  外國文學(xué)評論. 1993(04)
[2]T.S.艾略特在中國[J]. 楊金才.  山東外語教學(xué). 1992(Z1)
[3]《荒原》與《鳳凰涅槃》[J]. 辜正坤.  外國文學(xué)研究. 1988(04)
[4]現(xiàn)代生活的畫家[J]. 波德萊爾,王小箭,顧時(shí)隆.  世界美術(shù). 1986(01)



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