三种向度与易卜生的诗学观念——对易卜生诗歌的整体观察与辩证评价  

Three Dimensions and Poetic Concepts in Ibsen's Poetry Writing:An Overall Observation and Dialectical Evaluation of Ibsen's Poetry

作　　者：邹建军[1,2] 

机构地区：[1]华中师范大学文学院 [2]<外国文学研究>

出　　处：《外国文学研究》2009年第2期36-46,共11页Foreign Literature Studies

摘　　要：易卜生的诗歌写作存在三种向度,即以政治事件为对象的外观向度、以人生哲学为对象的内视向度和以动物植物为对象的象征向度,表明其诗歌写作始终处于不稳定形态,其对诗歌艺术的探索还处在途中。同时,它在一定程度上直接预示了其后来的戏剧写作形态:早期浪漫主义诗剧、中期社会问题剧和后期象征剧。三种向度之间表面上没有必然联系,却存在着诸多内在关联,有所交叉与渗透。它也形成其诗歌的三种艺术形态:外观形态是其心绪在相当激烈与波动情况下的不得已;内视形态是其心情宁静与明朗的表征;象征形态是其在凝神聚气下的超越情怀与时空穿透力的体现。以三种向度和三种形态为主要内容的艺术图式的产生与其后期的诗学观念存在一定距离,说明诗人对诗歌文体本质与特征的认识有一个发展与成熟的过程。There are three dimensions in Ibsen＇ s poetry writing, the external dimension which takes political phenomena as its object; the internal dimension which takes life and philosophy as its object; and the symbolic dimension which takes animals and vegetation as its object, which indicates Ibsen＇ s poetry writing was in an erratic modality. To a certain extent, these three dimensions correspond to the three types of his plays： the Romantic poetical plays in his early period, the problem plays in his middle period, and the symbolic plays in his late period. No apparent connection exists in the three dimensions, but they are internally interrelated. These three dimensions have also given rise to three artistic forms, with conflicts as the external form, peacefulness as the internal form and transcendence as the symbolic form. The distance between the existence of the three dimensions and the three artistic forms, and Ibsen＇ s concept of poetry in his late period indicates the gradual process of the development and maturation of the poet＇ s understanding of the nature and characteristics of poetry. Key words：

关 键 词：易卜生诗歌 外观向度 内视向度 象征向度 诗学观念 

分 类 号：I533.072[文学—其他各国文学]