描述
开 本: 16开纸 张: 胶版纸包 装: 平装-胶订是否套装: 否国际标准书号ISBN: 9787313176233
内容简介
《威·休·奥登诗歌中的绘画艺术研究（英文版）》为“当代外语研究论丛”系列之一，采用跨学科研究的综合、对比视角，探索奥登诗歌与绘画艺术之间的紧密联系。《威·休·奥登诗歌中的绘画艺术研究（英文版）》主要考察广泛呈现于奥登诗歌中的一系列绘画造型元素，包括光影、色彩、透视、空间、构图等，以及奥登对于西方美术史上一些主流画派的美学借鉴。《威·休·奥登诗歌中的绘画艺术研究（英文版）》深人探讨了奥登如何运用各种绘画艺术技法来营造其诗歌的画面感，以及如何汲取不同画派的艺术风格来增强其诗歌的视觉表现力。以此揭示奥登丰富、广阔诗学话语的来源，阐明其诗作经久不衰的艺术感染力。
《威·休·奥登诗歌中的绘画艺术研究（英文版）》的读者对象为外国语言文学、比较文学与世界文学专业方向的高校教师、科研人员、研究生等。也可供喜爱诗歌与绘画艺术的读者阅读参考。
《威·休·奥登诗歌中的绘画艺术研究（英文版）》的读者对象为外国语言文学、比较文学与世界文学专业方向的高校教师、科研人员、研究生等。也可供喜爱诗歌与绘画艺术的读者阅读参考。
目 录
Chapter OneINTRODUCTION
1．1 A Critical Survey of English and Chinese Scholarship on W．H．Auden
1．2 A Probe into the Relationship between Poetry and Painting
1．3 The Motivation，Methodology and Significance of This Book
1．1 A Critical Survey of English and Chinese Scholarship on W．H．Auden
1．2 A Probe into the Relationship between Poetry and Painting
1．3 The Motivation，Methodology and Significance of This Book
Chapter Two A Poet Artistically Inspired：Auden’s Insight into Painting
2．1 Auden’s Knowledge and Perception of Painting
2．2 Auden’s Emphasis on Direct Observation of Nature
2．3 Auden’s Rejection of Camera Lens as“Desanctifying Sight”
2．4 Auden’s Attempt to Visualize Abstract Concepts
Chapter Three Fundamental Elements of Painting in Auden’s Poetry（I）：
Microscopic Vision
3．1 Light and Shadow：Rhythm of Brightness and Darkness
3．2 Colour：Multi-Hued Apparel of Nature
Chapter Four Fundamental Elements of Painting in Auden’s Poetry（II）：
Macroscopic Vision
4．1 Perspective and Space：Aspiration for Infinity
4．2 Composition：Aesthetic Arrangement of Pictures
Chapter Five Objective Representation：Influence from Major Pre-20th Cen-
tury Schools of Painting on Auden’s Creation of Poetry
5．1 Baroque Painting：Vibration of Dynamic Life
5．2 Pastoral Painting：Idyllic Portrayal of Rural Landscape
5．3Impressionist Painting：Symphony of Light and Colour
5．4 Post-Impressionist Painting：Scenery Endowed with Humanity
Chapter Six Subjective Expression：Influence from Major 20th Century
Schools of Painting on Auden’s Creation of Poetry
6．1Cubist Painting：Subverting Visual Conventions
6．2Surrealistic Painting：Delving into the Depths of Subconsciousness
Chapter SevenConclusion
Appendix（Illustrations）
Bibliography
An Index of Major Terms
前 言
威斯坦·休·奥登（WystanHughAuden）无疑是20世纪为杰出的英语诗人之一。在其长达近半个世纪的创作活跃期，诗人笔耕不辍，创作出一批极具人文思想和艺术表现力的诗歌作品，丰富了英语诗歌的内涵，延续了英国文学的辉煌传统。在其漫长的创作生涯中，诗人勇于探索，另辟蹊径，为达到臻美的诗艺孜孜以求，从而拓展了诗歌艺术的维度。
自奥登于20世纪30年代初在诗坛初露锋芒，至今已有八十余年。八十余年间，批评界从各种角度对奥登的作品进行阐释解读，视角涉及文学、政治、社会、宗教、心理等诸多方面。然而，其间极少有学者关注过奥登诗歌作品同绘画艺术之间的关系，该领域至今尚无严格意义上的学术研究。一方面，自古以来，诗歌与绘画之间的亲缘关系就得到人们的广泛认可；另一方面，奥登的诗歌作品广泛呈现出绘画艺术特征。有鉴于此，本书拟在这一领域做出尝试。
本书采用跨学科研究的综合、对比视角，探索奥登诗歌与绘画艺术之间的紧密联系，主要考察广泛呈现于奥登诗歌中的一系列绘画造型元素，以及奥登对于西方美术史上一些主流画派的美学借鉴。本书探讨奥登如何运用各种绘画艺术技法来营造其诗歌的画面感，以及如何汲取不同画派的艺术风格来增强其诗歌的视觉表现力。以此揭示奥登丰富、广阔诗学话语的来源，阐明其诗作经久不衰的艺术感染力。
本书分为七章。
章首先对奥登的国内外研究状况进行历时、全面的综述，进而点明学界目前尚无专门从绘画艺术角度阐释其诗歌的理论著述，而这一视野的匮乏正是本书的学术创新所在。继而以古往今来世界各国杰出的诗人、画家的相关陈述为依托，探讨诗歌与绘画艺术的整体关系，阐明两领域间的美学亲缘关系，进而指出本研究课题的合理性和可行性。后点明了本书的研究动机、研究方法及研究意义。
第二章探讨奥登的绘画艺术知识及其对绘画艺术的洞悉。奥登在其诗作中多处提到过著名画家，且以恰当的诗句准确呈现出他们的绘画艺术特点，显示出他对于相关绘画艺术知识轻松、自然的理解。此外，奥登特别强调以肉眼直接观察自然，反对借助于冰冷的照相机镜头对自然进行二手观察，斥照相机镜头为“亵渎视觉”。奥登所倡导遵循的观察方法与职业画家的观察习惯完全相同。奥登类似于画家的观察及思维习惯还使其在诗歌写作中表现出一种倾向，即倾向于将一些仅存在于人们意识中的无实体的抽象概念视觉化，赋予这些抽象概念以绘画作品般的形状、光感、色彩等，使这些抽象概念可以通过视觉被读者直观把握，而无需经过玄想或思辨。高度视觉化的具象语言赋予奥登诗作以鲜明的绘画艺术特质。
第三章考察奥登如何运用光影和色彩两大基本绘画造型元素构筑诗歌中鲜明的画面感。光影对于西方绘画艺术至关重要，因为西方绘画艺术的本质就是通过光与影的微妙互动塑造形体，产生画面的立体感和空间感。缤纷的色彩也是通过眼睛对光线的不同视觉效应产生的。在奥登的诗作中，光与影是一对相辅相成的美学统一体，光影以各种形态出现在奥登的诗作中，塑造了其诗歌的立体画面；同时，光影的不同组合方式也折射出诗人的不同观念。例如，光影交融、和谐统一的画面往往蕴涵着一种创造性力量；而光影游离与分裂的画面总是兆示一种毁灭性力量。除了光影，奥登在诗歌创作中还熟练使用各种色彩技巧营造画面，赋予其诗作以缤纷多姿的视觉艺术效果。运用的技巧主要有色彩间调和、色彩间对比、多色调、色彩的特殊使用等。奥登使用色彩创造画面时还考虑到色彩的明暗度、饱和度、层次感、空间感、色彩所体现的情感等。
第四章继续考察奥登对于基本绘画造型元素的运用，本章涉及另外两大造型元素一透视／空间及构图，二者被奥登应用于营造气势恢宏的视觉图景。奥登诗作中的诸多场景呈现出无限纵深的广袤空间，得益于诗人对于透视法则的熟稔。奥登应用透视法则构筑画面时常常着眼于“鹰的视域”。“鹰的视域”源自哈代。奥登尊称哈代为自己“诗歌上的父亲”，哈代给予奥登重要的教诲就是“鹰的视域”，因为奥登可以借此“站在极高的位置以永恒的视点俯瞰生活”。凭借“鹰的视域”，奥登以一种位居高处的视点俯瞰全景，视线由高到低，由近及远，呈现出线性透视有规律的空间位移性和俯视透视特有的无垠全景视野。俯视透视的自然结果就是营造出奥登诗歌画面里无限纵深的广袤空间，辽阔深远的空间赋予奥登诗歌以一种浩瀚磅礴的美学气势。除透视／空间外，奥登还有效使用构图营造气势恢宏的画面。
自奥登于20世纪30年代初在诗坛初露锋芒，至今已有八十余年。八十余年间，批评界从各种角度对奥登的作品进行阐释解读，视角涉及文学、政治、社会、宗教、心理等诸多方面。然而，其间极少有学者关注过奥登诗歌作品同绘画艺术之间的关系，该领域至今尚无严格意义上的学术研究。一方面，自古以来，诗歌与绘画之间的亲缘关系就得到人们的广泛认可；另一方面，奥登的诗歌作品广泛呈现出绘画艺术特征。有鉴于此，本书拟在这一领域做出尝试。
本书采用跨学科研究的综合、对比视角，探索奥登诗歌与绘画艺术之间的紧密联系，主要考察广泛呈现于奥登诗歌中的一系列绘画造型元素，以及奥登对于西方美术史上一些主流画派的美学借鉴。本书探讨奥登如何运用各种绘画艺术技法来营造其诗歌的画面感，以及如何汲取不同画派的艺术风格来增强其诗歌的视觉表现力。以此揭示奥登丰富、广阔诗学话语的来源，阐明其诗作经久不衰的艺术感染力。
本书分为七章。
章首先对奥登的国内外研究状况进行历时、全面的综述，进而点明学界目前尚无专门从绘画艺术角度阐释其诗歌的理论著述，而这一视野的匮乏正是本书的学术创新所在。继而以古往今来世界各国杰出的诗人、画家的相关陈述为依托，探讨诗歌与绘画艺术的整体关系，阐明两领域间的美学亲缘关系，进而指出本研究课题的合理性和可行性。后点明了本书的研究动机、研究方法及研究意义。
第二章探讨奥登的绘画艺术知识及其对绘画艺术的洞悉。奥登在其诗作中多处提到过著名画家，且以恰当的诗句准确呈现出他们的绘画艺术特点，显示出他对于相关绘画艺术知识轻松、自然的理解。此外，奥登特别强调以肉眼直接观察自然，反对借助于冰冷的照相机镜头对自然进行二手观察，斥照相机镜头为“亵渎视觉”。奥登所倡导遵循的观察方法与职业画家的观察习惯完全相同。奥登类似于画家的观察及思维习惯还使其在诗歌写作中表现出一种倾向，即倾向于将一些仅存在于人们意识中的无实体的抽象概念视觉化，赋予这些抽象概念以绘画作品般的形状、光感、色彩等，使这些抽象概念可以通过视觉被读者直观把握，而无需经过玄想或思辨。高度视觉化的具象语言赋予奥登诗作以鲜明的绘画艺术特质。
第三章考察奥登如何运用光影和色彩两大基本绘画造型元素构筑诗歌中鲜明的画面感。光影对于西方绘画艺术至关重要，因为西方绘画艺术的本质就是通过光与影的微妙互动塑造形体，产生画面的立体感和空间感。缤纷的色彩也是通过眼睛对光线的不同视觉效应产生的。在奥登的诗作中，光与影是一对相辅相成的美学统一体，光影以各种形态出现在奥登的诗作中，塑造了其诗歌的立体画面；同时，光影的不同组合方式也折射出诗人的不同观念。例如，光影交融、和谐统一的画面往往蕴涵着一种创造性力量；而光影游离与分裂的画面总是兆示一种毁灭性力量。除了光影，奥登在诗歌创作中还熟练使用各种色彩技巧营造画面，赋予其诗作以缤纷多姿的视觉艺术效果。运用的技巧主要有色彩间调和、色彩间对比、多色调、色彩的特殊使用等。奥登使用色彩创造画面时还考虑到色彩的明暗度、饱和度、层次感、空间感、色彩所体现的情感等。
第四章继续考察奥登对于基本绘画造型元素的运用，本章涉及另外两大造型元素一透视／空间及构图，二者被奥登应用于营造气势恢宏的视觉图景。奥登诗作中的诸多场景呈现出无限纵深的广袤空间，得益于诗人对于透视法则的熟稔。奥登应用透视法则构筑画面时常常着眼于“鹰的视域”。“鹰的视域”源自哈代。奥登尊称哈代为自己“诗歌上的父亲”，哈代给予奥登重要的教诲就是“鹰的视域”，因为奥登可以借此“站在极高的位置以永恒的视点俯瞰生活”。凭借“鹰的视域”，奥登以一种位居高处的视点俯瞰全景，视线由高到低，由近及远，呈现出线性透视有规律的空间位移性和俯视透视特有的无垠全景视野。俯视透视的自然结果就是营造出奥登诗歌画面里无限纵深的广袤空间，辽阔深远的空间赋予奥登诗歌以一种浩瀚磅礴的美学气势。除透视／空间外，奥登还有效使用构图营造气势恢宏的画面。
在线试读
《威·休·奥登诗歌中的绘画艺术研究（英文版）》：
1.1.1 Auden Studies in Britain and the United States
（1） The 1930s ——Wide Acclaim for a Fledgling Poet： The year 1930 saw thepublication of Auden’s first collection of poetry entitled Poems-， signifying that the poethad officially embarked on a prolonged literary career accompanied by intensive criticismfrom a wide assemblage of scholars and critics over successive decades. RegardingAuden’s maiden work Naomi Mitchison， in The Week-ezd. Revieu in October 1930，hailed it as heralding “a new generation” with its”beautiful and startling lines”（Mitchison， 1983： 81） . In 1932， commenting on The Orators， John Hayward observedthat “I have no doubt that it is the most valuable contribution to English poetry since TheWaste Land” （Hayward， 1983： 115）. It was apparent that Auden was steadily rising tofame as a promising young poet with distinctive style of his own. In 1937， the renownedjournal New Verse launched a special number devoted solely to Auden， whom was simplydescribed as “monstrous” by Geoffrey Grigson in his contribution entitled “Auden as aMonster” （qtd. in Sansom， 2004： 227）. Other contributors to this issue of New Versearticulated， respectively， their personal impressions of the poet： Edwin Muir describedAuden’s imagination as “grotesque”； Dylan Thomas remarked that he was “wide anddeep”； Bernard Spencer claimed that he had succeeded in “brutalising the language”（ibid.， 227） .
Regarding the fledgling poet who had exhibited impressive talent the critical worldagreed that he had launched “a brilliant attack on English staleness， dullness andcomplacency” （Plomer， 1983： 95）. Nevertheless， amidst the atmosphere of generalacclaim a number of critics， represented by Dilys Powell and Dudley Fitts， took the leadin calling attention to Auden’s opaque obscurity， which they claimed constitutes aninsurmountable obstacle to understanding Auden’s poetry. Meanwhile， Babette Deutschwas the first to speak highly of the social and political consciousness pervading some ofAuden’s poems. She observed that “If [if] one is to understand Auden’s poetry one mustrecognize that he is attacking the Old Gang， the declining class， and therewith attackingeverything in himself which clings to that sick part of society” （ Deutsch， 1991： 41） . Inreaction to Deutsch’s hearty approval of Auden’s socio-political consciousness CyrilConnolly remarked， however， that “I think Auden is the only poet of any real staturesince Eliot， but he is essentially an obscure， difficult， personal writer” （Connolly， 1983：
188） .
（2） The 1940s-” Divergent Views across the Atlantic： Auden’s status was widely disputed after his immigration to the United States in 1939. In 1940， the magazine
Horizon ran， a coLumn， open， to the publ，ic debating the pros and cons of Auden’s departrxre.In，1941 Louis MacNeice， in an article entitled “Traveller’s Return，” noted that London was “full of rumours about Auden” （qtd. in Sansom， 2004： 229）. Questions about his departure were even raised in Parliament. All this public stir surrounding Auden’s departure for America pointed to the poet’s high status in the sphere of English poetry；and it was exactly on this account that the British could hardly turn a blind eye to the
poet’s ” betrayal.”
Auden’s immigration to the US might be taken as a watershed dividing his literary career as well as affecting the critical milieu both in Britain and the US. In Britain， critics in general seemed to agree that Auden had taken a downward turn in his creations， noting in particular his cool detachment from the social and political events that were then seriously afflicting Britain. John Lehmann lamented that Auden had intentionally refrained from writing “the poetry of this war we are all waiting for； as it is， there seems to me a danger that a certain vagueness of phrase and a kind of beneficent aloofness that is disturbing in much of his recent work may only increase” （qtd. in Haffenden， 1983： 37）.Similarly， Julian Symons regretted that ‘6Auden had lost his genius with his disinvolvement” （ibid.， 37）.
With World War II drawing to its close， the critical hostility to Auden that had once raged in Britain considerably subsided. Critics ceased to make an issue of the poet’s putative “betrayal” ； instead， they began to concern themselves with Auden’s ideological shift marked by his departure for the US and how this shift had affected his creations. It is worthy of note that the keynote tone dominating Auden’s criticism in Britain was still an unfavourable one. Scholars believed that Auden had achieved admirable virtuosity in poetic craftsmanship， but his poetry was said to be sinking， irrevocably， deeper and deeper into dullness. Commenting on Auden’s long poem “The Age of Anxiety” Patric Dickinson interrogated plainly in Horizon that “when he [Auden] really has become American，inside as well as out， in diction， in rhythm， in feeling， in thought （as Mr. Eliot has become English） surely he will again produce living work?” （ibid.， 376）.
In contrast to the relatively harsh tone that characterized Auden’s criticism in Britain， American scholars exhibited a generally tolerant attitude in receiving this British poet. Commenting on Auden’s collection of poems The Double Man Malcolm Cowley remarked that “people who haven’t followed his [Auden’s] recent development will find on reading it that they are entering an unfamiliar … but stimulating world of ideas，” and that “The Double Man is technically a considerable achievement” （ Cowley， 1983： 309） .Cowley also observed that”Auden is … a profoundly Christian poet，” and that “his new book is preoccupied with the problem not only of war guilt but of guilt in generaY’ （ibid.，311）. Apparently， Cowley was keen sighted enough to perceive Auden’s subtly complex changes in belief and poetic style， and hailed such changes as significantly favourable.
……
1.1.1 Auden Studies in Britain and the United States
（1） The 1930s ——Wide Acclaim for a Fledgling Poet： The year 1930 saw thepublication of Auden’s first collection of poetry entitled Poems-， signifying that the poethad officially embarked on a prolonged literary career accompanied by intensive criticismfrom a wide assemblage of scholars and critics over successive decades. RegardingAuden’s maiden work Naomi Mitchison， in The Week-ezd. Revieu in October 1930，hailed it as heralding “a new generation” with its”beautiful and startling lines”（Mitchison， 1983： 81） . In 1932， commenting on The Orators， John Hayward observedthat “I have no doubt that it is the most valuable contribution to English poetry since TheWaste Land” （Hayward， 1983： 115）. It was apparent that Auden was steadily rising tofame as a promising young poet with distinctive style of his own. In 1937， the renownedjournal New Verse launched a special number devoted solely to Auden， whom was simplydescribed as “monstrous” by Geoffrey Grigson in his contribution entitled “Auden as aMonster” （qtd. in Sansom， 2004： 227）. Other contributors to this issue of New Versearticulated， respectively， their personal impressions of the poet： Edwin Muir describedAuden’s imagination as “grotesque”； Dylan Thomas remarked that he was “wide anddeep”； Bernard Spencer claimed that he had succeeded in “brutalising the language”（ibid.， 227） .
Regarding the fledgling poet who had exhibited impressive talent the critical worldagreed that he had launched “a brilliant attack on English staleness， dullness andcomplacency” （Plomer， 1983： 95）. Nevertheless， amidst the atmosphere of generalacclaim a number of critics， represented by Dilys Powell and Dudley Fitts， took the leadin calling attention to Auden’s opaque obscurity， which they claimed constitutes aninsurmountable obstacle to understanding Auden’s poetry. Meanwhile， Babette Deutschwas the first to speak highly of the social and political consciousness pervading some ofAuden’s poems. She observed that “If [if] one is to understand Auden’s poetry one mustrecognize that he is attacking the Old Gang， the declining class， and therewith attackingeverything in himself which clings to that sick part of society” （ Deutsch， 1991： 41） . Inreaction to Deutsch’s hearty approval of Auden’s socio-political consciousness CyrilConnolly remarked， however， that “I think Auden is the only poet of any real staturesince Eliot， but he is essentially an obscure， difficult， personal writer” （Connolly， 1983：
188） .
（2） The 1940s-” Divergent Views across the Atlantic： Auden’s status was widely disputed after his immigration to the United States in 1939. In 1940， the magazine
Horizon ran， a coLumn， open， to the publ，ic debating the pros and cons of Auden’s departrxre.In，1941 Louis MacNeice， in an article entitled “Traveller’s Return，” noted that London was “full of rumours about Auden” （qtd. in Sansom， 2004： 229）. Questions about his departure were even raised in Parliament. All this public stir surrounding Auden’s departure for America pointed to the poet’s high status in the sphere of English poetry；and it was exactly on this account that the British could hardly turn a blind eye to the
poet’s ” betrayal.”
Auden’s immigration to the US might be taken as a watershed dividing his literary career as well as affecting the critical milieu both in Britain and the US. In Britain， critics in general seemed to agree that Auden had taken a downward turn in his creations， noting in particular his cool detachment from the social and political events that were then seriously afflicting Britain. John Lehmann lamented that Auden had intentionally refrained from writing “the poetry of this war we are all waiting for； as it is， there seems to me a danger that a certain vagueness of phrase and a kind of beneficent aloofness that is disturbing in much of his recent work may only increase” （qtd. in Haffenden， 1983： 37）.Similarly， Julian Symons regretted that ‘6Auden had lost his genius with his disinvolvement” （ibid.， 37）.
With World War II drawing to its close， the critical hostility to Auden that had once raged in Britain considerably subsided. Critics ceased to make an issue of the poet’s putative “betrayal” ； instead， they began to concern themselves with Auden’s ideological shift marked by his departure for the US and how this shift had affected his creations. It is worthy of note that the keynote tone dominating Auden’s criticism in Britain was still an unfavourable one. Scholars believed that Auden had achieved admirable virtuosity in poetic craftsmanship， but his poetry was said to be sinking， irrevocably， deeper and deeper into dullness. Commenting on Auden’s long poem “The Age of Anxiety” Patric Dickinson interrogated plainly in Horizon that “when he [Auden] really has become American，inside as well as out， in diction， in rhythm， in feeling， in thought （as Mr. Eliot has become English） surely he will again produce living work?” （ibid.， 376）.
In contrast to the relatively harsh tone that characterized Auden’s criticism in Britain， American scholars exhibited a generally tolerant attitude in receiving this British poet. Commenting on Auden’s collection of poems The Double Man Malcolm Cowley remarked that “people who haven’t followed his [Auden’s] recent development will find on reading it that they are entering an unfamiliar … but stimulating world of ideas，” and that “The Double Man is technically a considerable achievement” （ Cowley， 1983： 309） .Cowley also observed that”Auden is … a profoundly Christian poet，” and that “his new book is preoccupied with the problem not only of war guilt but of guilt in generaY’ （ibid.，311）. Apparently， Cowley was keen sighted enough to perceive Auden’s subtly complex changes in belief and poetic style， and hailed such changes as significantly favourable.
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