【作者】 周丹；

【导师】 张跃军；

【作者基本信息】 中南大学 ， 外国语言文学， 2012， 博士

【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。更多还原

【Abstract】 The Irish poet William Butler Yeats acknowledges his accepting of visual arts and its affinity with his poetry, which validates the research of Yeats’s poetry and visual arts. He abandons the morbid themes and styles of his English peers and develops his poetic styles amid the artistic atmosphere of his family. His teenage painting apprenticeship also enables him to take inspirations from the works of the visual arts and his poetry demonstrates conspicuous themes, techniques and stylistic features of the visual arts. The present research follows this belief and explores the influence of Yeats’s preferences for different painting styles upon the stages of his poetic writing, including Pre-Raphaelism, Greek sculpture, Byzantine art, Japanese Noh drama and Chinese landscape painting, indicating his identifications with different cultures. The dissertation, on the basis of the studies on Yeats’s lyrical poetry, is mainly engaged in the discussion of the affinities between Yeats’s lyrical poetry and the elements of visual arts, exploring its relations to the themes, styles and manners of visual arts.There are elements in Yeats’s poetry that come from the European continental painting heritage. Meanwhile, abundant evidences demonstrate his fascination with oriental arts. He adopts images and ways of representation from visual arts and employs them into his poetry, and thus endeavors to innovate his versification. The manners within the art works and their aesthetic ideas he has borrowed from visual arts effectively help him to expand the possibilities of verbal expression. The visual elements enrich his poetic forms and reveal his unique contributions as a poet when English poetry was transiting from Romanticism to Modernism. He associates the inspirations he recognized from the art works with his life experiences, Irish nationality and the western spiritual crisis in modern society. The dissertation discusses the conspicuous images in Yeats’s poems, identifies what he considered to be elements of Irishness and probes further into his understanding of culture and human history.The dissertation aims to show how Yeats associates the images and concepts of visual arts with his life experiences. It tries to identify how Yeats organizes various visual experiences in a single poem, exhibiting the important roles different visual patterns that have played in his poetry and tracing the development of his artistic understandings. Besides the introduction and conclusion, the main body consists of five chapters. The first chapter tracks down Yeats’s involvements with different trends of visual arts, in the process of which his family influence, his education and the1890s artists serve as consistent contributors. Yeats’s views on visual arts and poetry will be highlighted here. Chapter Two focuses on Yeats’s early indulgence in Pre-Raphaelitism, developing parallels between Pre-Raphaelite paintings and his imagery and sense of pattern. Many of Yeats’s techniques reveal the mannerism of romantic painters, especially in the contrast of colours, clear delineation, detailed and repetitive description of the characters and his manipulation of light and shade for certain dramatic effects. He depicts the Rossettian women images in his poetry, who show up as background of Irish folktales and legends in order to awaken the collective unconsciousness of the Irish people and display the poet’s pursuit for and recognition of the national identity. Chapter Three explores Yeats’s fascination with Greek sculpture and Byzantine arts, focusing on the sculptural qualities of his lyrical poetry and his treatment of conflicts and historical cycling in poems such as "Leda and the Swan." This chapter traces the origin of Yeats’s notion of the cyclical movement of history arising from the mutual interactions between the active and passive. As a poet prophet, Yeats presents history with the lunar phases and the wheel, and applies the symbol of Byzantium and its geometrical icons to show his idea of "Unity of Being." The mosaic paintings and the golden bird stand respectively important in his artistic designs. Chapter Four takes up Yeats’s borrowing images from Japanese visual arts as these images are developed from Responsibilities (1914) to The Tower (1928). This chapter attempts to demonstrate the symbolic meanings of the dancer image in the Noh drama and Sato’s sword. The Zen thoughts implied in poems like "Among the School Children" are representative of Yeats’s artist representation of the oriental civilization. Dance becomes a medium for him, helping to mediate and arrive at the spiritual experience in harmony with the universe. Based on the related theories of Ekphrasis and the scattering evidences in Yeats’s poems, essays, autobiographies and letters, Chapter Five intends to articulate how Yeats assimilates the essence of traditional Chinese aesthetics in Chinese classical poetry and landscape paintings, particularly Taoism, into his poetry writing. He constructs "Lapis Lazuli" with typical images in Chinese landscape painting and provides a holy land for the West, where the poet may transcend the restrictions imposed by death. The place corresponds to the holy land he has established in his early poetry and enables the poetical soul to cycle in the realm of eternity and the infinite.The elements of the visual arts enrich the contents and forms of Yeats’s lyrical poems, and help to construct his status as a Romanticist and Modernist poet. Yeats has undergone experiments to incorporate the visual arts into poetry and fashion the themes and techniques in his poetry. The unique employment of the various visual elements demonstrates his exploration of poetic art, which sets an example for the modern English poets and shows his strong sense of social responsibility as a poet to search for the outlet for the western society.更多还原