英国玄学派诗歌的图像化记忆研究
发布时间：2018-07-18 17:24
【摘要】：学界对玄学派诗歌的研究主要围绕其主题和表现手法展开。对于主题,学界发现玄学诗的主题包括世俗和宗教题材两方面,但他们的研究多从题材本身的特点出发,如多恩的作品显示出世俗和宗教并存的复杂性、马维尔的诗歌凸显“及时行乐”的特征、赫伯特和克拉肖的诗歌则蕴含了明显的宗教情感。也有研究者将该派的作品置于16、17世纪的历史语境中,认为仅仅是当时的文化造就了其诗歌主题的两面性。还有学者是将作品与诗人的个人经历相联系,认为诗人的生平经历为其作品打上了世俗或宗教的烙印。少数学者探讨过赫伯特诗歌的记忆问题,但也只是讨论他的诗歌能加强人们对当代宗教的记忆和情感。同样,学界目前对玄学派诗歌技法的理解大多采用约翰逊博士对奇喻颇显负面的评价:喜弄才智,音律不雅;生拉活扯、牵强附会等。近来的研究也发现,奇喻包含了一个图像构建过程,因此玄学诗的创作手法带有视觉化特征。虽然学界关注了玄学派诗歌的图像化问题,但他们或是研究仅仅作为技巧的手法,讨论“奇喻”、“寓意画(Emblem)”和“具像诗”的特点,但对玄学诗人们采用的变形叙事手法,却未予关注。此外,有些学者喜用“寓意画”一词作为玄学诗所用种种修辞手法的统称。此种研究方向忽视了Emblem本身最显著的特征,而用来概括包括奇喻在内的不同修辞手段,显得有些笼统。实际上,社会历史与人类文明虽是呈线性结构向前发展,但发展的多是物质文明的形态。在历史的垂直断层面上,人类社会形态、结构甚至文化内涵总是显现出惊人相似的一面。由此角度思考,玄学诗与过往文化之间有无联系?如果有,二者呈现出一种怎样的联系?且玄学诗又为何会呈现出此种怀旧性?此外,玄学诗人使用的种种修辞手法都涉及图像建构过程。具有图像特征的修辞手法和记忆又有着怎样的关系?再者,玄学派诗人包括了具有不同信仰的诗人,其所属教派对图像持有迥异的宗教政治立场。那么,这些持不同信仰的诗人为什么会不约而同地采用具有图像构建的创作手法?基于前人的研究和对上述问题的思考,本文将玄学诗主题置于前人还未曾关注的文化记忆的背景下解读,以记忆理论和图像学理论为支撑,认为古希腊享乐主义记忆与中世纪神秘主义宗教记忆造就了玄学诗的世俗性与宗教性。其原因是由于文化的传承、诗人们与古希腊文化或中世纪文化的接触以及诗人本身的际遇和性格等因素。因此玄学诗对过往文化进行了记忆建构。在古希腊社会,有提倡肉欲享乐和精神享乐的宗教神学、现世哲学和与此相应的社会表现,同样,玄学诗人多恩和马维尔等有对肉欲享乐和精神享乐的描写;在中世纪,有基督教神秘主义神学理论下信徒冥想基督、与之婚配和为爱献身等神秘体验,同样,在玄学派中,赫伯特和克拉肖有与此类似的宗教经历的摹写。而玄学诗人使用种种带有图像特征的修辞手法则与其主题的记忆徽征有着直接且显著的联系:图像化的手法是为记忆服务的,因为图像历来与记忆传统有着深厚的渊源,且图像是唤醒和加深记忆的最佳方式。诗人们之所以用图像来建构记忆则与17世纪的历史语境密不可分。因而,玄学诗、图像与记忆三者是紧密相连的:玄学诗人使用种种在当时具有“陌生化”作用的图像手法书写怀旧主题,有着唤起或加强自我对传统文化记忆的诗学效果。目的在于通过对过往文化的追忆,表达诗人面对时代变革时对传统文化的关注与留恋,对当时随社会转型而来的诸多不适保持的一份清醒与距离。因此,本文阐发的是在英国17世纪玄学诗的研究上学界目前还未曾关注的玄学诗的记忆传统性问题。论文除引言和结语部分外共分四章。引言主要做选题缘起、理论支撑、文献综述和论文主要内容的介绍。论文第一章主要探讨玄学诗图像化记忆的呈现手法。记忆主要通过奇喻、寓意画、变形叙事和具像诗四种具有不同特点的方式呈现。奇喻是玄学诗人“巧智(wit)”的语言呈现方式,它将不相关的概念或物体的相似点糅合在一起,因而往往含有悖论性的张力。所以含有奇喻的图像叙述手法表现为画面的悖论感或张力感。玄学诗人们或通过意象的悖论性、或是形式与内容的反衬、抑或采用“突降”的修辞手法来呈现奇喻含有的悖论或张力的图像效果。寓意画则是以图配文,有着非常明显的图像元素并主要通过两种途径实现图像叙述功能:一是图画本身。以其“显性”的意象、光线、色彩、空间比例能让读者通过感官捕捉诗歌意蕴;二是诗文中所蕴含的“隐性图画”,诗歌中的意象,类似构图的色彩、光线明暗等可将诗人静态而抽象的内心活动类比化呈现以加强读者的感官感受。而变形叙事则是吸取了巴罗克文化之风,将“元意象”进行多角度、多层次的变幻,或将整个诗歌画面进行写意式的涂绘,从而使诗歌背离了古典主义的写实原则而有了现代主义印象派画风之感。具像诗可算作最经典的视觉诗。诗歌通过文字的排列组合而具有了极强的图画效应。且具像诗主要是以形状传递视觉效果,而形状的观视感,即图像的大小和体积都是靠最基本的单位——线条来体现的:线条长短体现大小,线条的摆放位置则构建图形、体积和事物的空间层次。在有些诗歌中,便有此种具像元素的存在。此四种修辞手法并不局限于某一个诗人的使用,某一位诗人也不仅仅依靠一种表现手段,而是依据诗歌特征而有的放矢地使用。论文第二章主要探讨玄学诗与古希腊享乐主义文化记忆。玄学诗中对世俗生活的肯定,对及时行乐的倡导和对人伦情爱的追求无不显示出借16世纪文艺复兴而重生的古希腊享乐主义记忆。古希腊社会享乐主义盛行。他们的神学、哲学及以此产生的生活方式无不体现出这一价值观:古希腊人按人本需求塑造了神,因此,神便是人的化身,有着逍遥人生之欲;此外,居勒尼学派和伊壁鸠鲁派提出了“快乐主义”哲学以鼓励世人莫负光阴及时行乐。在这样的价值观的观照下,古希腊人的享乐思想得到了肯定、褒扬与升华。因此,古希腊人追求享乐。此种文化通过文字、书籍等记忆的载体流传到16、17世纪。文艺复兴对它们的宣扬,使得此种记忆被“唤醒”。玄学诗人中主要以多恩和马维尔为代表的两人,由于对此记忆的接触和个人的人生际遇及性格因素等,使得他们对此进行了建构。皈依国教前的多恩多创作爱情诗,其中不乏有大胆的情爱描写,以鼓励世人享受人世之乐。且喜爱中古经院辩证的他多用具有视觉特征的“玄学奇喻”穿插诗行之中。另一位诗人马维尔也从天文、地理、科学等新发现汲取奇特的意象并常采用变形叙事的手法来表现诗歌的主题,这在他几首脍炙人口的经典作品中均有体现。论文第三章主要探讨玄学诗与中世纪神秘主义文化记忆。玄学诗人皆为宗教诗人,虽信仰不同,但他们都虔诚地敬奉上帝,因此强烈的宗教情感是他们诗歌的一个重要特征。宗教情感的流淌表现出诗歌对紧接古希腊罗马文明之后中世纪浓厚的基督教神秘主义文化的追忆。除经院哲学外,中世纪基督教文明最显著的特点便是宗教神秘主义。神秘主义通常是指个人用肉体和心灵去探知上帝和寻求天国之路的一种身心双重体验模式。冥想基督、与之婚配和为爱献身是中世纪神秘主义者无不企盼的超验状态。为了达到这一精神境界,他们多用身体的种种感知,甚至以死殉道的方式来完成。中世纪厚重的宗教文化在文艺复兴时期并未退出历史舞台。玄学派中以赫伯特和克拉肖为代表的诗人同样由于对此记忆的接触和个人的人生际遇及性格因素等,在诗中对中世纪神秘主义文化进行记忆建构。在他们的作品中,同样有对冥想基督、与之婚配和为爱献身等中世纪神秘主义主题的描写。且作为对文字的图像感非常敏感的一位诗人,赫伯特主要运用“具像诗”的手段表现宗教记忆。而克拉肖作为英国首屈一指的巴罗克诗人,更将巴罗克文化繁复华丽的意象和风格带入诗歌之中,并用“寓意画”的形式展示出以感官体验为主的巴罗克宗教沉思情感、狂喜情感和献身情感。论文第四章主要探讨玄学诗图像化记忆的生成语境。其图像化的写作手段主要基于下列四个因素的影响。首先,斯图亚特王朝对于视觉艺术品的喜爱极大地推动了当时英伦小岛视觉艺术的发展:上至王公贵胄、下至一夜暴富的社会投机者对绘画作品的争相收购以及宫廷资助人对于门下文人骚客的资助对英国视觉文化的兴盛起了推波助澜之功。此外,它还受到17世纪席卷欧洲的巴罗克文化视觉处理手法的影响:玄学诗所独有的奇喻品质很大程度上来源于巴罗克基于类比呈现的悖论手法;巴罗克对用团、块处理的涂绘方式和对富于变幻风格的青睐使得玄学诗人使用了类似的变形叙述的修辞表达;而巴罗克视觉概念中对色彩的偏好则使得玄学诗人喜爱用反差强烈的对比性色彩烘托主题。再者,英国国教对视觉艺术的发展也持点头默许之态:伊丽莎白一世为保政局稳定采取了温和的宗教改革措施,并未完全革除天主教的元素,且其引入的具有去图像观的加尔文新教教义对人们教堂之外的生活指涉较少,因此视觉艺术与普通人的生活也并未完全隔离。最后,加之玄学诗人对视觉文化的接触,他们作品的表现手法自然呈现出视觉化的特征。结语部分指出:玄学诗人生活的17世纪英国,各种新技术、新思潮的出现冲击着维持了欧洲长达千年的旧有秩序与传统,也给人们的认知和生活方式带来前所未有的巨大影响和改变,再加之宗教纷争、王位更迭、天灾人祸等种种因素,整个英国社会正处在一个向现代性转型的时期。复杂而充满矛盾的世界总是让人难免对旧有稳定而单一的生活图景产生追忆、怀念之情。因此玄学诗人们用诗笔书写了过往记忆。且在手法的选取上,他们运用了奇喻等在当时比较新颖而独特的修辞手法。这些对主题的表现起到前景化作用的图像叙述手段有着唤起和加强自我对传统文化记忆的诗学效果。而通过唤起对传统文化的记忆,表达了诗人面对时代变革时对传统文化关注、留恋、追寻的一面及对当时随社会转型而来的诸多不适保持的一份清醒与距离。
[Abstract]:The study of metaphysics poetry mainly revolves around its theme and means of expression. For the theme, the subject of metaphysics is found to include two aspects of secular and religious themes, but their studies are mostly based on the characteristics of the subject itself, such as the complexity of Donne's works showing the coexistence of secularism and religion, and Marvell's poetry highlights "and The characteristics of "time", Herbert and karshaw's poems contain obvious religious feelings. Some researchers put the work of the school in the historical context of the 16,17 century. It is thought that only the culture of the time made the two sides of the theme of his poetry. And the scholars associate the works with the personal experiences of the poets and consider the poet's life. A few scholars have discussed the memory of Herbert's poetry, but only the discussion of his poetry can strengthen the memory and emotion of the contemporary religion. Similarly, the understanding of the metaphysical poetry techniques in the academic world is mostly adopted by Dr. Johnson's negative comments on the metaphor: happy The recent study also found that the metaphor contained a process of image construction, so the writing techniques of metaphysics had visual characteristics. Although the academic circles paid attention to the image of the metaphysics poetry, they or they were only a technique to discuss the "metaphor", " The characteristics of "Emblem" and "poetic poetry" have not been paid attention to by the metaphysical poets. In addition, some scholars like to use the word "allegorical painting" as a general name for various rhetorical devices used in metaphysics. This research direction ignores the most significant features of Emblem itself, and is used to sum up the metaphor, including the metaphor. Different rhetorical devices appear somewhat general. In fact, although the social history and human civilization are developing in a linear structure, most of the development is the form of material civilization. On the vertical level of history, the form, structure and even cultural connotations of human society always show an astonishing similarity. Is there any connection between culture? If so, what is the relationship between the two? And why does metaphysical poetry present such nostalgia? In addition, all kinds of rhetorical devices used by metaphysics are all involved in the process of image construction. What are the relationship between the rhetorical devices and memory with image features? And the metaphysical poets include The poets of different beliefs have different religious and political positions in their educational parties. Then why do the poets with different beliefs adopt the creative techniques of image construction? Based on previous studies and thinking about the above questions, this paper puts the theme of metaphysics in cultural memory that has not been paid much attention by the predecessors. With the support of the theory of memory and the theory of iconography, it is believed that the ancient Greek hedonistic memory and the religious memory of the medieval mysticism created the secularity and religion of the metaphysics. The reason is that the poet's contact with the ancient Greek culture or the medieval culture and the chance and character of the poet itself are due to the inheritance of culture. Therefore, the metaphysical poetry has a memory construction of the past culture. In the ancient Greek society, there were religious theology, which advocated meat appetite and spiritual enjoyment, the contemporary philosophy and the corresponding social performance, as well as the portrayal of the metaphysical poets Donne and Marvell, and the portrayal of the carnal pleasure and the spiritual enjoyment; in the middle ages, there were Christian mysticism gods. Under the theory of the mystic experience of meditation on Christ, marriage and devotion to love, in the metaphysics, Herbert and crshaw have a similar religious experience. The metaphysical poets have a direct and significant relationship with the memory emblem of their themes with the rhetorical devices with image features: image manipulation. It is for memory, because the image has always had a profound origin with the memory tradition, and the image is the best way to wake and deepen the memory. The reason why the poets use images to construct memory is closely related to the historical context of the seventeenth Century. Therefore, metaphysics, images and memory are closely linked to the three: Metaphysics poets use all kinds of times. The theme of "nostalgia", which has the role of "Defamiliarization", has the poetic effect of arousing or strengthening the memory of the traditional culture. The purpose is to express the poet's attention and attachment to the traditional culture in the face of the change of the times, and to keep a lot of discomfort in the transformation of the society at that time. Therefore, this article elucidates the memory tradition of metaphysics in the study of metaphysics in Britain in seventeenth Century. The thesis is divided into four chapters in addition to the introduction and conclusion. The introduction is mainly about the origin of the topic, the theoretical support, the literature review and the introduction of the main contents of the literature. The memory of metaphysics is presented by four different characteristics: metaphor, allegorical, deformable and pictorial poetry. The metaphor is the linguistic presentation of the metaphysical poet "wit", which combines unrelated concepts or objects together, and often contains paradoxical tension. So the image narrative technique which contains the metaphor is manifested by the paradox or tension of the picture. The metaphysical poets or the paradoxes of the imagery, or the contrast of the form and content, or the rhetorical techniques of "sudden drop" are used to show the paradoxes or tension of the imagery. The image elements are realized by two ways: one is the picture itself. With its "dominant" image, light, color, and space, the reader can capture the meaning of poetry through the senses; two is the "recessive picture" contained in the poetry, the image in the poetry, the color of the composition, the light and dark, and so on. The analogy of the state and abstract inner activity is presented to enhance the reader's sensory perception, while the deformable narrative is the wind of Barok's culture, the multi angle, multilevel change, or the painting of the entire poetic picture, which makes the poetry back from the realism of the classicism and has modernism. The impression of the impressionist style. A poem can be regarded as the most classic visual poem. Poetry has a very strong picture effect through the combination of words. And a poem is mainly used to convey visual effects in shape, and a sense of visual perception, that is, the size and volume of the image are reflected by the most basic single bits - lines: the length and the length of the lines. Size, the position of the line is set to build a figure, volume and the spatial level of things. In some poems, there are such elements. These four rhetorical devices are not limited to the use of a poet, and a poet is not only dependent on a means of expression, but is used by the characteristics of poetry. The two chapter mainly discusses the cultural memory of metaphysics and the hedonism of ancient Greece. The affirmation of secular life in the metaphysical poetry, the advocacy of the popular music and the pursuit of human love all show the rebirth of the ancient Greek hedonism memory of the Renaissance in sixteenth Century. The hedonism in ancient Greece was prevalent. Their theology, philosophy and this production were produced. The way of life embodies this value: the ancient Greeks created the gods according to the needs of human beings. Therefore, God is the incarnation of human beings and the desire of unfettered life. In addition, the greeny and Epicurus schools put forward the "happy" philosophy to encourage the world to have no time and time. Under such values, ancient Greece The thought of man's enjoyment of pleasure was affirmed, praised and sublimated. Therefore, the ancient Greeks sought pleasure. This culture passed through the memory of words and books to the 16,17 century. The revival of the Renaissance made this memory "awakened". Two of the metaphysical poets, represented mainly by Donne and Marvell, were remembered for this. They have been constructed by contact and personal experience and personality factors. Donne, before the conversion to the national religion, created many love poems, among which there was a bold description of love to encourage the world to enjoy the happiness of the world. A poet, Marvell, also draws strange images from the new discoveries of astronomy, geography and science and often uses the technique of deformable narration to show the theme of poetry. This is reflected in several of his popular classics. The third chapter of the thesis mainly discusses metaphysical poetry and the cultural memory of medieval constipation. Metaphysical poets are all religious poets. Although they have different beliefs, they all worship God devoutly, so strong religious feelings are an important feature of their poetry. The flow of religious feelings shows the recollection of the strong Christian mysticism culture in the Middle Ages after the ancient Greek and Rome civilization. It is characterized by religious mysticism. Mysticism usually refers to a pattern of physical and mental experience for individuals to explore the way of God and the kingdom of heaven by the body and mind. To meditate on Christ, to marry and devote himself to love is the transcendental state of the medieval mysticism. The profound religious culture in the middle ages did not withdraw from the historical stage in the Renaissance. In the metaphysics, the poets represented by Herbert and crabshaw were also in the poetry of the medieval mysticism because of the contact of the memory and personal life and character and character factors. Memory construction. In their works, there is also a description of the medieval mysticism about the meditation of Christ, the marriage and devotion to love. And a poet who is very sensitive to the image sense of the text, Herbert mainly uses the means of "like poetry" to express religious memory. The poet has brought the complex and luxuriant image and style of Barok's culture into poetry, and uses the form of "allegorical painting" to show Barok's sentiments of religious meditation, ecstasy emotion and devotion. The fourth chapter of the thesis mainly discusses the creation context of metaphysical poetry in image memory. The influence of the following four factors. First, the Stuart Dynasty's love of visual art greatly promoted the development of the visual art of the British Isles. Culture flourished, and it was influenced by the visual processing of the Barok culture that swept Europe in seventeenth Century: the peculiar quality of the metaphysics was largely derived from Barok's paradox based on analogy; Barok's way of painting with a regiment, a block processing and a vantage style. The metaphysical poets used the rhetorical expression of similar deformation narration, while the preference for color in Barok's visual concept made the metaphysical poets fond of contrasting the theme with contrasting contrasting colors. Furthermore, the British national religion also took a nod of acquiescence to the development of visual art: Elizabeth I adopted the stability of the Political Bureau. The moderate religious reform measures did not completely remove the elements of Catholicism, and the Calvin Protestant teachings with a view to the image were not completely involved in the life outside the church, so the visual art and the life of the ordinary people were not completely isolated. Finally, in addition to the contact of the metaphysics poets to the visual culture, the performance of their works The final part points out that all kinds of new technologies and new trends of thought in the seventeenth Century of metaphysical poets lived in England.
【学位授予单位】：西南大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：I561.072
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本文编号：2132620
[Abstract]:The study of metaphysics poetry mainly revolves around its theme and means of expression. For the theme, the subject of metaphysics is found to include two aspects of secular and religious themes, but their studies are mostly based on the characteristics of the subject itself, such as the complexity of Donne's works showing the coexistence of secularism and religion, and Marvell's poetry highlights "and The characteristics of "time", Herbert and karshaw's poems contain obvious religious feelings. Some researchers put the work of the school in the historical context of the 16,17 century. It is thought that only the culture of the time made the two sides of the theme of his poetry. And the scholars associate the works with the personal experiences of the poets and consider the poet's life. A few scholars have discussed the memory of Herbert's poetry, but only the discussion of his poetry can strengthen the memory and emotion of the contemporary religion. Similarly, the understanding of the metaphysical poetry techniques in the academic world is mostly adopted by Dr. Johnson's negative comments on the metaphor: happy The recent study also found that the metaphor contained a process of image construction, so the writing techniques of metaphysics had visual characteristics. Although the academic circles paid attention to the image of the metaphysics poetry, they or they were only a technique to discuss the "metaphor", " The characteristics of "Emblem" and "poetic poetry" have not been paid attention to by the metaphysical poets. In addition, some scholars like to use the word "allegorical painting" as a general name for various rhetorical devices used in metaphysics. This research direction ignores the most significant features of Emblem itself, and is used to sum up the metaphor, including the metaphor. Different rhetorical devices appear somewhat general. In fact, although the social history and human civilization are developing in a linear structure, most of the development is the form of material civilization. On the vertical level of history, the form, structure and even cultural connotations of human society always show an astonishing similarity. Is there any connection between culture? If so, what is the relationship between the two? And why does metaphysical poetry present such nostalgia? In addition, all kinds of rhetorical devices used by metaphysics are all involved in the process of image construction. What are the relationship between the rhetorical devices and memory with image features? And the metaphysical poets include The poets of different beliefs have different religious and political positions in their educational parties. Then why do the poets with different beliefs adopt the creative techniques of image construction? Based on previous studies and thinking about the above questions, this paper puts the theme of metaphysics in cultural memory that has not been paid much attention by the predecessors. With the support of the theory of memory and the theory of iconography, it is believed that the ancient Greek hedonistic memory and the religious memory of the medieval mysticism created the secularity and religion of the metaphysics. The reason is that the poet's contact with the ancient Greek culture or the medieval culture and the chance and character of the poet itself are due to the inheritance of culture. Therefore, the metaphysical poetry has a memory construction of the past culture. In the ancient Greek society, there were religious theology, which advocated meat appetite and spiritual enjoyment, the contemporary philosophy and the corresponding social performance, as well as the portrayal of the metaphysical poets Donne and Marvell, and the portrayal of the carnal pleasure and the spiritual enjoyment; in the middle ages, there were Christian mysticism gods. Under the theory of the mystic experience of meditation on Christ, marriage and devotion to love, in the metaphysics, Herbert and crshaw have a similar religious experience. The metaphysical poets have a direct and significant relationship with the memory emblem of their themes with the rhetorical devices with image features: image manipulation. It is for memory, because the image has always had a profound origin with the memory tradition, and the image is the best way to wake and deepen the memory. The reason why the poets use images to construct memory is closely related to the historical context of the seventeenth Century. Therefore, metaphysics, images and memory are closely linked to the three: Metaphysics poets use all kinds of times. The theme of "nostalgia", which has the role of "Defamiliarization", has the poetic effect of arousing or strengthening the memory of the traditional culture. The purpose is to express the poet's attention and attachment to the traditional culture in the face of the change of the times, and to keep a lot of discomfort in the transformation of the society at that time. Therefore, this article elucidates the memory tradition of metaphysics in the study of metaphysics in Britain in seventeenth Century. The thesis is divided into four chapters in addition to the introduction and conclusion. The introduction is mainly about the origin of the topic, the theoretical support, the literature review and the introduction of the main contents of the literature. The memory of metaphysics is presented by four different characteristics: metaphor, allegorical, deformable and pictorial poetry. The metaphor is the linguistic presentation of the metaphysical poet "wit", which combines unrelated concepts or objects together, and often contains paradoxical tension. So the image narrative technique which contains the metaphor is manifested by the paradox or tension of the picture. The metaphysical poets or the paradoxes of the imagery, or the contrast of the form and content, or the rhetorical techniques of "sudden drop" are used to show the paradoxes or tension of the imagery. The image elements are realized by two ways: one is the picture itself. With its "dominant" image, light, color, and space, the reader can capture the meaning of poetry through the senses; two is the "recessive picture" contained in the poetry, the image in the poetry, the color of the composition, the light and dark, and so on. The analogy of the state and abstract inner activity is presented to enhance the reader's sensory perception, while the deformable narrative is the wind of Barok's culture, the multi angle, multilevel change, or the painting of the entire poetic picture, which makes the poetry back from the realism of the classicism and has modernism. The impression of the impressionist style. A poem can be regarded as the most classic visual poem. Poetry has a very strong picture effect through the combination of words. And a poem is mainly used to convey visual effects in shape, and a sense of visual perception, that is, the size and volume of the image are reflected by the most basic single bits - lines: the length and the length of the lines. Size, the position of the line is set to build a figure, volume and the spatial level of things. In some poems, there are such elements. These four rhetorical devices are not limited to the use of a poet, and a poet is not only dependent on a means of expression, but is used by the characteristics of poetry. The two chapter mainly discusses the cultural memory of metaphysics and the hedonism of ancient Greece. The affirmation of secular life in the metaphysical poetry, the advocacy of the popular music and the pursuit of human love all show the rebirth of the ancient Greek hedonism memory of the Renaissance in sixteenth Century. The hedonism in ancient Greece was prevalent. Their theology, philosophy and this production were produced. The way of life embodies this value: the ancient Greeks created the gods according to the needs of human beings. Therefore, God is the incarnation of human beings and the desire of unfettered life. In addition, the greeny and Epicurus schools put forward the "happy" philosophy to encourage the world to have no time and time. Under such values, ancient Greece The thought of man's enjoyment of pleasure was affirmed, praised and sublimated. Therefore, the ancient Greeks sought pleasure. This culture passed through the memory of words and books to the 16,17 century. The revival of the Renaissance made this memory "awakened". Two of the metaphysical poets, represented mainly by Donne and Marvell, were remembered for this. They have been constructed by contact and personal experience and personality factors. Donne, before the conversion to the national religion, created many love poems, among which there was a bold description of love to encourage the world to enjoy the happiness of the world. A poet, Marvell, also draws strange images from the new discoveries of astronomy, geography and science and often uses the technique of deformable narration to show the theme of poetry. This is reflected in several of his popular classics. The third chapter of the thesis mainly discusses metaphysical poetry and the cultural memory of medieval constipation. Metaphysical poets are all religious poets. Although they have different beliefs, they all worship God devoutly, so strong religious feelings are an important feature of their poetry. The flow of religious feelings shows the recollection of the strong Christian mysticism culture in the Middle Ages after the ancient Greek and Rome civilization. It is characterized by religious mysticism. Mysticism usually refers to a pattern of physical and mental experience for individuals to explore the way of God and the kingdom of heaven by the body and mind. To meditate on Christ, to marry and devote himself to love is the transcendental state of the medieval mysticism. The profound religious culture in the middle ages did not withdraw from the historical stage in the Renaissance. In the metaphysics, the poets represented by Herbert and crabshaw were also in the poetry of the medieval mysticism because of the contact of the memory and personal life and character and character factors. Memory construction. In their works, there is also a description of the medieval mysticism about the meditation of Christ, the marriage and devotion to love. And a poet who is very sensitive to the image sense of the text, Herbert mainly uses the means of "like poetry" to express religious memory. The poet has brought the complex and luxuriant image and style of Barok's culture into poetry, and uses the form of "allegorical painting" to show Barok's sentiments of religious meditation, ecstasy emotion and devotion. The fourth chapter of the thesis mainly discusses the creation context of metaphysical poetry in image memory. The influence of the following four factors. First, the Stuart Dynasty's love of visual art greatly promoted the development of the visual art of the British Isles. Culture flourished, and it was influenced by the visual processing of the Barok culture that swept Europe in seventeenth Century: the peculiar quality of the metaphysics was largely derived from Barok's paradox based on analogy; Barok's way of painting with a regiment, a block processing and a vantage style. The metaphysical poets used the rhetorical expression of similar deformation narration, while the preference for color in Barok's visual concept made the metaphysical poets fond of contrasting the theme with contrasting contrasting colors. Furthermore, the British national religion also took a nod of acquiescence to the development of visual art: Elizabeth I adopted the stability of the Political Bureau. The moderate religious reform measures did not completely remove the elements of Catholicism, and the Calvin Protestant teachings with a view to the image were not completely involved in the life outside the church, so the visual art and the life of the ordinary people were not completely isolated. Finally, in addition to the contact of the metaphysics poets to the visual culture, the performance of their works The final part points out that all kinds of new technologies and new trends of thought in the seventeenth Century of metaphysical poets lived in England.
【学位授予单位】：西南大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：I561.072
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本文编号：2132620
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