叶芝抒情诗中的视觉艺术
发布时间：2018-07-18 10:33
【摘要】：爱尔兰著名诗人叶芝明确认可其诗歌创作与艺术之间的联系。由于家学与个人艺术趣味的影响,他摈弃了同时代诗人无病呻吟的诗风。他从视觉艺术作品中汲取了不少创作灵感,其抒情诗中显现出鲜明的视觉艺术主题、技巧和风格特色。本文立足于此,探索叶芝在不同时期对于前拉斐尔画派、古希腊雕塑艺术、中世纪拜占庭艺术、日本能剧与中国山水画等视觉艺术形式及其中蕴含的美学思想的吸收,揭示各艺术形式对其诗歌创作的影响以及他对于多种文化的认同。本文以叶芝抒情诗为研究对象,着重分析叶芝抒情诗中显现的视觉艺术元素,发掘其在选材、风格和表现手法上与视觉艺术之间的关联性。 叶芝的抒情诗中有不少元素直接来源于欧陆绘画传统,此外,他对东方艺术也相当痴迷。他的诗歌融合了视觉艺术中的意象与表现手法,致力于诗艺的锤炼与创新。叶芝从中借鉴的创作手法和吸取的美学思想有效地拓展了其抒情诗的语言表达空间。对于视觉艺术元素的运用,丰富了其作品的形式,揭示了处于英诗传统主流的诗人对于英语诗歌从浪漫主义到现代主义时期的发展所做出的独特贡献。诗人从视觉艺术作品中提取了对于人类文明的认知,并以此为参照,表现其人生经历、爱尔兰民族独立以及现代西方精神危机联系；通过诗歌中显明的意象,呈现出他对于诗歌中爱尔兰品质的探寻,而这也有助于展现其关于文化和人类历史的思考。 论文拟探讨叶芝如何通过视觉艺术相关的意象和理念,展示其作品对于个人经历的如实呈现；展现叶芝如何将不同的视觉体验集合于个体的诗歌作品,揭示不同视觉艺术模式在其中的重要作用,并追溯其关于艺术理念的发展。绪论和结论之外,本文分为五章。第一章阐述叶芝与视觉艺术各流派之间的联系、叶芝关于视觉艺术与诗歌之间的重要观点及其在诗歌中的体现,展示家庭、教育背景、19世纪九十年代伦敦诗坛等对于他的影响。第二章集中论述叶芝早期诗歌中的前拉斐尔画派元素,如注重光线的运用,鲜艳色彩的对比,用线条描绘清晰、鲜明的轮廓,尤其关注精致的细节描写及人物描写的重复手法等。叶芝在诗中展现了罗塞蒂女性形象,并将其置于爱尔兰本土神话传说背景中,以期唤醒民众的集体无意识,表现民族身份的追寻和认同。第三章指出叶芝对于希腊雕塑和拜占庭艺术的痴迷,分析其诗歌中的雕塑品质以及《丽达与天鹅》等作品中对于冲突与历史循环的表现,并论述其关于人类历史循环起源于主动和被动的相互作用的观点。作为诗人预言家,叶芝通过月相和命运之轮描述历史,运用拜占庭及其几何图像等象征来表现其“存在统一体”的理念,在这一过程中,拜占庭镶嵌画和金鸟的象征意义尤为重要。第四章集中于1914年至1928年间叶芝对日本视觉艺术形式的表现,展示日本能剧中的舞者和佐藤赠剑在抒情诗中的重要象征意义。作为东方文明的代表,《在学童中》等诗歌中隐现的禅宗思想引人注目。舞蹈成为叶芝进行冥想的一种媒介,以获得与宇宙合而为一的精神体验。第五章从叶芝的诗歌、诗论以及传记、书信入手,依据读画诗学相关理论,展现叶芝在与中国文化的接触中,如何将中国古典诗词、山水画融入诗歌创作,从而揭示出其中所蕴含的中国传统美学思想,特别是道家美学思想。他以中国山水画的典型意象构筑《天青石雕》一诗,为西方提供了一方心向往之的圣地。该圣地超越生死,与其在早期诗歌中为爱尔兰构筑的圣地遥相呼应,让诗意的灵魂在永恒和无限中轮回。 视觉艺术元素丰富了叶芝抒情诗的表达内容和表现形式,帮助其建构浪漫主义和现代主义诗人的形象。叶芝一生不断尝试,试图将作为人类文明重要成果的诗歌与视觉艺术完美结合,在主题和技巧上不断创新。他对于视觉艺术元素的独特阐释,既显示了他对于诗歌艺术的探索,为二十世纪英语诗坛提供了榜样,又体现了他以诗人强烈的社会责任感,为西方社会寻求出路的不懈努力。
[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.
【学位授予单位】：中南大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：I562.072
本文编号：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.
【学位授予单位】：中南大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：I562.072
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相关期刊论文 前3条
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3 傅浩;叶芝诗中的东方因素[J];外国文学评论;1996年03期
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