自1948年陈世骧英译西晋文人陆机的《文赋》面世后,中国式"伐柯之斧"成为美国现代诗革新章法之斧,被赋予了特定的象征义和隐喻义.究其实质,主要是因为中美诗学传统中都存在着"斧"文化,且"斧"之意象皆为诗歌创新、文化传承的利器."中国斧"的诗学意义主要体现为"章法"利器,即诗歌创作章法的技巧使用,而"美国斧"的诗学意义主要表现为"清场"利器,即去浪漫化,为"美国化"特征的本土诗歌登场做"清场"准备.这一共性使得美国现代诗中有一些借用"中国斧"这一利器进行变异、改写的作品,且赋予"清场"后的美国诗歌和诗学一股新的气息,彰显了美国文化的传承力.基于中美诗学各自传统中的斧意象,本文拟从源头上探讨"伐柯之斧""伐柯其则"这类中国文化概念隐喻在美国现代诗中所引发的深层变革原因,以及在诗歌创作中的改写现象及符号适应性.
清初三大诗学理论"性灵""神韵"与"格调"是中国古典诗论在文论历时谱系中的共时表达,其中"性灵"在现代语境中评述颇多.本文运用皮尔斯符号学理论,从性灵的主体、符号与结构三方面探讨中国古典诗学中"性灵"诗论之特征,认为主体(流派)对客体(诗论)的理解呈无限递归的趋势;性灵符号的"真"与"变"反映了文人对复古思潮的反思和批判,对社会现实的策应;"趣"结构成为性灵诗论的艺术表达.通过阐释,本文认为"性灵"诗论是历代文人"自恋"意识的集合,其诗性语言符号的自指性和理据性的统一传达了他们对人性的怜悯和才情的珍视.这种诠释为中国古代文论的现代哲思开辟了蹊径,同时也为世界符号学的中国阐释提供了新的研究视角.
《白噪音》是当代美国作家唐·德里罗的代表作,它以“声音”作为切入点,探讨了后现代社会中噪音与消费及环境伦理的关系.通过小说中听觉意象及声音景观的描写,德里罗指出,后现代商品经济的繁荣、科学技术的进步和媒介文化的过剩给人们带来了生活上和精神上的“白噪音”——生存环境的破坏和精神生态的失衡,从而导致广泛而深层的死亡恐惧.同时,德里罗提醒读者,树立生态整体观意识,营造积极健康的社会生态环境,才能更好地实现人与人、人与自然、人与社会、社会与自然之间和谐的多层次立体交叉关系,从根本上实现人类的可持续发展.
《心灵的慰藉》是当代美国女作家特丽·坦皮斯特·威廉斯的代表作,一部优秀的自传体回忆录,被西方学者誉为“美国自然文学的经典之作”.本文拟从“风景与记忆”这一关键词出发,借助记忆心理学、生态学、风景学、人文地理学、生态批评等领域的相关理论,探讨威廉斯如何通过书写个体的经验和情感,反思当今人类社会面临的生态困境和人伦困境.面对现实中破碎的、不连贯的、乃至失落的风景,威廉斯通过记忆和想象重构时间维度上的风景,以多重记忆书写和身体写作方式在作品中再现自然风景和文化风景.这种叙事方式旨在呼吁人类重新开始以原始的身体感官了解和体验自然,了解脚下的土地,重新建立起与大地的亲密关系,重新找回爱的本能,以此找到回归人类精神家园之路.
“寒山—禅—生态”能否视为加里·斯奈德作品中的创意诗学传统是学术界在20世纪70年代提出的一个命题.本文对该命题进行逻辑论证,认为它是一个有意义的连续体.根据复调神话的观点,基于长诗《神话与文本》的分析,本文认为诗人在东西方文化传统中所寻觅的各种代理人或集体生命力构成了一个多声部的“神话”与“文本”,伴随着诗人或“我”开启了寒山式英雄传奇之旅或悟道之行.在这个创意诗学传统中,寒山只是一个引子,禅宗所蕴含的生态哲理思想则是内核,对解决当今一些生态危机问题是一剂良好的疗方;其叙事模式有助于诗人在创作中达到“孵化一个新神话”的目的.
为了促进斯奈德研究的跨学科发展并在此基础上促进文学研究跨学科的深入,湖南大学外国语学院、加里·斯奈德研究中心于2015年11月13—15日举办了"生态诗学、绘画诗学暨加里·斯奈德研究国际研讨会",本次会议也成为全球首次经斯奈德本人授权的以其名字冠名的国际会议。来自中国、美国、南非、日本、韩国、葡萄牙、芬兰等国家近200名学者围绕加里·斯奈德研究、生态诗学、绘画诗学三大议题展开了深入研讨。
加里·斯奈德是美国当代著名的生态诗人,其创作的诗歌和散文作品极具影响力,体现了他对宗教、哲学、生态、文化、语言、人生等多领域的深层思考,其中有些经典作品集中反映了斯奈德对“道”的独特领悟.本文通过语料库数据和文本分析,着重从可循之道、径外之道、行之道、道之道、佛之道这五个方面对斯奈德的作品进行深层解读,以探讨和分析“道”在斯奈德生态诗学体系中所蕴含的哲理.
运用生态符号学阐释自然文学中的文本世界,可以发现其可然性模仿的本质.自然与人之间的可然性关系,其本质是创设一个新概念预示自然与人之间的理想关系.自然摹写的象似性不是审美客体的呈现,而是物的可然性存在.在自然与人作为能指符号构成的关系体中,现实元素的减少和理想生态位的对应体现了自然文学创作的美学价值.
This paper is a thorough study of the beat writer Jack Kerouac’s semi-fictional novel The Dharma Bums from the angle of acculturation and historical events.It aims to examine how Han Shan (mysterious hermit poet of the Tang Dynasty),Gary Snyder (American translator of Cold Mountain Po-ems)and Japhy Ryder (main character of The Dharma Bums)are merged into oneness and thus transferred to an American counter-cultural beat hero in the novel.The paper contends that this novel is not only de-voted to the ancient Chinese poet Han Shan,but also to Gary Snyder,an exemplary representative of an American Han Shan.
美国诗人格雷·史奈德在研读《心经》英译的基础上对“色空相即”理论进行了诗意改写,并将《心经》所涵摄的内容和蕴含的哲理作为亚文化中的“他者”形象,具体运用到自己的诗歌创作之中.本文从变异学的角度探讨《心经》英译在史奈德生态诗歌中的改写现象以及对其生态诗学色空观形成的影响.
The ideogrammic method is invented by Ezra Pound based upon his editing and examining of Ernest Fenollosa's manuscript on Chinese ideogram as a vehicle for poetry.It refers to a method of juxtaposing seemingly unrelated particulars or images,but automatically capable of suggesting some ideas or meanings through their intrinsic relations.This Poundian technique brings about a poetic revolution for modern American poetry,which impacts many American young poets.Unlike others,Gary Snyder acquires his ideogrammic method "riprapping" not from Pound,but directly from Chinese poetry and through his work experience in mountains,which is greatly enhanced in his later literary production.This article is mainly concerned with the formation,features and use of riprapping in Snyder's poetry.
美国诗人格雷.史奈德耗时40年完成的具有全球亚文化和神话色彩的长诗《山河无尽》自1996年出版以来一直被誉为西方生态诗歌的盖世之作。受日本《禅林句集》的启迪,史奈德运用其独创的ku结构机制解决了该诗卷中"山河无尽"的叙事矛盾,营造出时空一体的诗意效果。本文探讨史氏ku结构与俳句、禅林语录、视觉想像、自然-禅意象等概念之间的内在关联,分析诗人如何运用杂糅手法、采用亚文化素材创作ku结构以及ku结构如何调和诗人"先知/预言家"两大功能的矛盾。
This article provides a textual analysis of the ekphrastic poem,Endless Streams and Mountains, written by Gary Snyder,a well-known contemporary American eco-poet.It examines its relationship with an anonymous Song landscape handscroll entitled Streams and Mountains without End based on the theory of ekphrasis and Guo Xi's Essays on Landscape.As the opening poem of Snyder's immense eco-work,Mountains and Rivers Without End,the article contends that the characteristics of spatiotemporality in Chinese landscape painting helps the poet sort out the problematic structure of endless space and time in poetry.It provides an applicable paradigm for the reconstruction of American-Oriental ekphrasis,a missing chapter in the poetics of Occidental ekphrasis.
本文从西方绘画诗学理论的角度,重审庞德的<七湖诗章>与其创作的蓝本中国山水画卷<潇湘八景图>之间的内在关系,揭示诗尾行"第四;静止维/其威可制服野兽"可视为诗人关于绘画诗"静止威力"的审美原则.这一原则将"第四维-时间"的科学衡量标准转化为美学中的"静止"概念,反映了庞德-贯坚持的科学诗学观.本文认为这一审美原则是现代绘画诗学理论"诗画静止运动说"的一个强有力的补充.
This article aims to examine the adaptive aesthetic principle involved in the transition from English Romantic ekphrasis to modern American ekphrasis through the case study of John Keats' s poem, "Ode on a Grecian Urn. Moses Mendelssohn's formula of beauty will be employed to "calculate" such terms as "beauty," "truth," and "energy" in the poetics of "wild ecstasy" shared by Keats and modern American poets. Based on Murray Krieger's modern ekphrastic principle of "the still movement," this article is intended to articulate how Ezra Pound's "fourth dimension of stillness" provides readers with an applicable paradigm dealing with the verbal representation of the graphic art and helping them grasp the de romanticizing of Keats's Grecian urn in modern American poems.
The "still movement" as an ekphrastic principle was put forward by the critic Murray Krieger in the 1960s after he revisited Gotthold Ephraim Lessing's aesthetic masterpiece Laocoon.Consequently,the debate in the academia further developed this new theory,making it a significant part of the poetics of ekphrasis.The archetypal motif of "a China jar" has become a trigger in the second revolution of aesthetic principles in the poetic representation of visual arts.Aesthetically and historically,this article aims to examine this cultural phenomenon in some ekphrastic poems,which will provide more Oriental sources for the perfection of this theory.
Ekphrasis,a special literary mode in English poetry,has experienced four main stages:classical,neo-classical,romantic and modern;and now it is entering its postmodern period.The debate on a principle or theory of ekphrasis in the academia has not yet come to agreement since the 1960s. Based on the classical theory of"ut pictura poesis"and Lessing's"spatialtemporal"reduction principle,through two decades' exploration,ekphrasis has been developed into a new disciplinary science of humanities—the poetics of ekphrasis,which is mainly concerned with the interconnectedness between word and image.It aims to seek a marriage of the verbal and visual emblems as two complementary languages within the verbal art.This article is to comb this subject from the historical perspectives,which will provide an applicable paradigm for the reconstruction of Oriental ekphrasis.
以意象派诗歌理论为中心,结合意象派诗歌创作实践,探索意象派运动辩证的发展过程,并对其各阶段进行了较为详尽的分析.
