试论《嚎叫》中的日神精神和酒神精神

发布时间：2018-02-12 14:07

本文关键词： 嚎叫》艾伦·金斯堡日神精神酒神精神　出处：《河南大学》2014年硕士论文　论文类型：学位论文

【摘要】：“垮掉的一代”是一个独特的战后文学流派，，它是后现代主义和嬉皮士运动的先驱。它自从出现以后就受到任何其他流派都未曾遭遇过的赞誉和抨击。艾伦·金斯堡来自于一个俄裔美国犹太家庭，他是“垮掉的一代”中最伟大的诗人。《嚎叫》是他众多名诗中的一篇，被公众视为“垮掉的一代”的宣言书。这首诗同T·S艾略特的《荒原》和詹姆斯·乔伊斯的《尤利西斯》一道广受赞誉。它在文学、诗学、社会习惯和道德方面，甚至在诸如绘画、电影和音乐等其他文学形式方面震撼了美国社会。最为重要的是，《嚎叫》同“垮掉的一代”作家的其它作品一道影响了美国民众，乃至世界人民的观念意识和生活方式。艾伦·金斯堡和他的《嚎叫》由此成为了二十世纪世界文学中不可或缺的一部分。弗里德里奇·尼采是十九世纪最具影响力的哲学家之一。他在其名著《悲剧的诞生》中详细论述了“日神精神”和“酒神精神”。这两个理论在世界范围内影响了许多代人，为我们研究和欣赏艺术提供了一个全新的视角，并给我们一个机会来重估世界、社会、生命的价值。鉴于尼采和金斯堡在思想和观点上是一脉相承的，我们采用“日神精神”和“酒神精神”从更加基础的方面来分析《嚎叫》，理解诗歌中的意象、人物和诗人自身的强烈感情，是完全可行的。金斯堡把绘画的日神手段应用于诗歌，赋予了世界奇妙的幻象，勾勒出战后美国的社会状况和美国民众的心理状况。这种描写不是自然主义和超写实主义意义上的完全仿抄自然，而是在日神的梦境中，对混乱而荒谬的现实世界适度的美化和神圣化。在这梦境中，诗人获得了生存的勇气和存在的理由，并能够积极乐观的面对残忍的现实世界。酒神作为日神的对手，在这首诗中他从未停止过撕碎阿波罗幻象、超越一切腐朽的诗歌规则和被广泛接受的价值准则与社会道德标准的嚎叫。诗人消解了自我和其他所有个体，融入了太一之中、在酒神的醉境中享受着宇宙生成的原始快感。为了满足这种特殊的需要，日神精神和酒神精神的斗争与合作不可避免地出现在《嚎叫》中。这篇论文除引言和结论外，由三个章节组成。第一章通过分析《嚎叫》中神话的应用和由造型艺术所衍生出的艺术手段的使用来研究这首诗中日神的化身及其影响。第二章详述酒神的醉境，探讨垮掉者生活中“太一的矛盾和痛苦”及“原始的快感”。这里提到的垮掉者不仅仅指“垮掉的一代”中的作家、诗人和艺术家们，而是涵盖了所有以一种不屈服于任何既定规则的风格来生活的人。第三章阐明《嚎叫》中日神精神和酒神精神的合作与斗争，探寻这两种艺术力量的内在关系。
[Abstract]:The broken Generation is a unique genre of postwar literature. It was a pioneer of the postmodernist and hippie movement. It has been praised and attacked by no other school since its emergence. Allen Ginsburg came from a Russian-American Jewish family. He was the greatest poet in the broken Generation. Howling is one of his many famous poems, A proclamation that the public regards as "the broken Generation." this poem is widely acclaimed along with T. S. Eliot's the Wild Land and James Joyce's Ulysses. It is in literature, poetics, social habits, and morality. Even in other forms of literature, such as painting, film and music, American society has been shaken. Most importantly, howling has influenced the American people along with other works by the "broken Generation" writers. And even the idea and way of life of the world's people. Allen Ginsburg and his howl became an integral part of world literature in 20th century. In 19th century, Friedrich Nietzsche was one of the most influential philosophers. In his famous book, the birth of tragedy, he elaborated on "the Spirit of the Sun" and "the Spirit of the Dionysus", two theories that influenced many generations around the world. It provides us with a new perspective on the study and appreciation of art, and gives us an opportunity to reassess the value of the world, society, and life, given that Nietzsche and Ginsburg are in the same line of thought and view. It is feasible for us to analyze howling from a more basic point of view and to understand the images in poetry and the strong feelings of the characters and poets themselves by using the "Sun God Spirit" and "Dionysus Spirit". Ginsburg applied the sun-gods of painting to poetry, giving the world a wonderful vision. Describe the social and psychological conditions of the American people after the war. This description is not a complete imitation of nature in the sense of naturalism and hyperrealism, but rather a dream of the sun and the gods. The modest beautification and sanctification of the chaotic and absurd real world. In this dream, the poet acquires the courage to live and the reason for existence, and is able to face the cruel real world positively and optimistically. The Dionysus is the adversary of the Sun God, In this poem he never stops shredding Apollo illusions, transcending all decaying poetic rules and the howling of widely accepted norms of value and social morality. The poet dissolves himself and all other individuals and melts into too one. In order to satisfy this special need, the struggle and cooperation between the spirit of the sun and the spirit of Dionysus inevitably appear in howling. In addition to the introduction and conclusions, The first chapter analyzes the application of mythology in howling and the use of artistic means derived from plastic arts to study the incarnation of the god of the sun and its influence in this poem. Discussing the "conflict and pain" and "primitive pleasure" in the life of the crumple. The "cracker" is not just the writer, the poet, and the artist in the "broken generation," It covers all those who live in a style that does not succumb to any established rule. Chapter III illustrates the cooperation and struggle between the spirit of the sun and the spirit of the Dionysus in howling and explores the inner relationship between these two artistic forces.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：I712.072

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