象征主义在中国的百年传播反思  

A Reflective Study on the Introduction of Symbolism to China over the Past Century

作　　者：蒋承勇 李国辉[2] Jiang Chengyong;Li Guohui

机构地区：[1]浙江工商大学西方文学与文化研究院,浙江杭州310018 [2]台州学院人文学院,浙江临海317000

出　　处：《社会科学战线》2020年第2期159-166,282,共9页Social Science Front

基　　金：国家社会科学基金重大项目(15ZDB086);浙江省社会科学规划重大项目(16YSXK11ZD).

摘　　要：法国象征主义在中国的百年传播是一个曲折变化的过程。五四前后我国学界对其介绍和评论非常热心,但都比较粗疏乃至有不少谬误。20世纪30—40年代,诗人和批评家从象征主义中抽离出了美学精神,并使它与中国传统的意境美学结合起来,这产生了梁宗岱的象征主义诗学,也缔造了戴望舒、卞之琳等现代派诗人。20世纪50—70年代中期,象征主义在大陆的传播显得滞缓,中国台湾现代诗人推动了它与中国意境理论的结合。新时期大陆的象征主义译介和研究开始复兴,但仍需在两方面予以拓展,一方面是改变单方向的影响研究为双方或者多方的影响和交流研究;另一方面是深化对作为文学思潮的象征主义的研究,将法国象征主义与当时的美学、哲学、政治结合起来。The introduction of French Symbolism to China during the past century experienced constant changes.The May Fourth period witnessed an enthusiastic introduction of and comments on Symbolism,which,though,were rough,and even misleading.By 1930s to 1940s,poets and critics extracted aesthetic spirit from French Symbolism,and combined it with the traditional Chinese artistic aesthetics,which brought about Liang Zongdai’s symbolism and Dai Wangshu,Bian Zhilin’s modern poems.During 1950s to the mid-1970s,the introduction process slowed down in China's Mainland,but Taiwan modernist poets continued the combination promotion.This paper concludes,with the revival of French Symbolism,it is necessary to extend its research in two directions:one is to change the one-sided accepting of French Symbolism into a study of interaction of both sides or multiple sides;the other is to deepen the study on Symbolist as a literary trend,combing the French Symbolism with its aesthetic,philosophic and political backgrounds.

关 键 词：法国象征主义 中国象征主义 译介 传播 

分 类 号：H059[语言文字—语言学] I046[文学—文学理论]